A Tale of Two Cities

A Tale of Two Cities  
Tales serial.jpg
Cover of serial Vol. V, 1859
Author Charles Dickens
Illustrator Hablot Knight Browne (Phiz)
Cover artist Hablot Knight Browne (Phiz)
Country United Kingdom
Language English
Series Weekly: 30 April 1859 - 26 November 1859 [1]
Genre(s) Novel
Historical
Social criticism
Publisher London: Chapman & Hall
Publication date 1859
Media type Print (Serial, Hardback, and Paperback)
ISBN N/A
OCLC Number 21196349
Dewey Decimal 823/.8 20
LC Classification PR4571.A2 S56 1990
Preceded by Little Dorrit
Followed by Great Expectations

A Tale of Two Cities (1859) is a novel by Charles Dickens, set in London and Paris before and during the French Revolution. With well over 200 million copies sold, it is the most printed original English book, and among the most famous works of fiction.[2]

The novel depicts the plight of the French peasantry demoralized by the French aristocracy in the years leading up to the revolution, the corresponding brutality demonstrated by the revolutionaries toward the former aristocrats in the early years of the revolution, and many unflattering social parallels with life in London during the same time period. It follows the lives of several protagonists through these events, most notably Charles Darnay, a French once-aristocrat who falls victim to the indiscriminate wrath of the revolution despite his virtuous nature, and Sydney Carton, a dissipated British barrister who endeavours to redeem his ill-spent life out of his unrequited love for Darnay's wife, Lucie Manette.

The novel was published in weekly installments (not monthly, as with most of his other novels). The first installment ran in the first issue of Dickens' literary periodical All the Year Round appearing on 30 April 1859; the thirty-first and last ran on 25 November of the same year.[1]

Contents

Plot summary

Book the First: Recalled to Life

“ It was the best of times, it was the worst of times... ”

—Opening line of A Tale of Two Cities[3]

The first book of the novel takes place in the year 1775. Jarvis Lorry, an employee of Tellson's Bank, is travelling from England to France to bring Dr. Alexandre Manette to London. Before crossing into France, he meets seventeen-year-old Lucie Manette at Dover, and reveals to her that her father, Dr. Manette, is not dead, as she had been told; instead he has been a prisoner in the Bastille for the last 18 years.

Lorry and Lucie travel to Saint Antoine, a suburb of Paris, and meet Monsieur Ernest and Madame Therese Defarge. The Defarges operate a wine shop which they use to secretly lead a band of revolutionaries, who refer to each other by the codename "Jacques" (which Dickens draws from the name of an actual French revolutionary group, the Jacquerie).

Monsieur Defarge (who was Dr. Manette's servant before Manette's imprisonment, and now has care of him) takes them to see the doctor. Due to his long imprisonment, Dr. Manette entered a form of psychosis and has become obsessed with making shoes, a trade he had learned whilst imprisoned. At first he does not recognize his daughter; he eventually compares her long golden hair with her mother's (which he found on his sleeve when he was imprisoned and kept) and notices their identical, blue eye color. Lorry and Lucie then take him back to England.

Book the Second: The Golden Thread

Five years later, French emigrant Charles Darnay is being trialed at the Old Bailey for treason. Two British spies, John Barsad and Roger Cly, are trying to frame the innocent Darnay for their own gain. They claim that Darnay, a Frenchman, gave information about British troops in North America to the French. Darnay is acquitted when a witness who claims he would be able to recognize Darnay anywhere cannot tell Darnay apart from a barrister present in court (not one of those defending Darnay), Sydney Carton, who just happens to look almost identical to him.

In Paris, the Marquis St. Evrémonde (Monseigneur), Darnay's uncle, runs over and kills the son of the peasant Gaspard; he throws a coin to Gaspard to compensate him for his loss. Monsieur Defarge comforts Gaspard. As the Marquis's coach drives off, Defarge throws the coin back into the coach, enraging the Marquis.

Arriving at his château, the Marquis meets with his nephew: Charles Darnay. (Darnay's real surname, therefore, is Evrémonde; out of disgust with his family, Darnay has adopted a version of his mother's maiden name, D'Aulnais.[4]) They argue: Darnay has sympathy for the peasantry, while the Marquis is cruel and heartless:

"Repression is the only lasting philosophy. The dark deference of fear and slavery, my friend," observed the Marquis, "will keep the dogs obedient to the whip, as long as this roof," looking up to it, "shuts out the sky."[5]

That night, Gaspard (who has followed the Marquis to his château, hanging under his coach) murders the Marquis in his sleep. He leaves a note saying, "Drive him fast to his tomb. This, from JACQUES."[6]

In London, Darnay gets Dr. Manette's permission to wed Lucie. But Carton confesses his love to Lucie as well. Knowing she will not love him in return, Carton promises to "embrace any sacrifice for you and for those dear to you".[7]

On the morning of the marriage, Darnay, at Dr. Manette's request, reveals who his family is, a detail which Dr. Manette had asked him to withhold until then. This unhinges Dr. Manette, who reverts to his obsessive shoemaking. His sanity is restored before Lucie returns from her honeymoon; to prevent a further relapse, Lorry destroys the shoemaking bench, which Dr. Manette had brought with him from Paris.

It is 14 July 1789. The Defarges help to lead the storming of the Bastille. Defarge enters Dr. Manette's former cell, "One Hundred and Five, North Tower".[8] The reader does not know what Monsieur Defarge is searching for until Book 3, Chapter 9. (It is a statement in which Dr. Manette explains why he was imprisoned.)

In the summer of 1792, a letter reaches Tellson's bank. Mr. Lorry, who is planning to go to Paris to save the French branch of Tellson's, announces that the letter is addressed to Evrémonde. Nobody knows who Evrémonde is, because Darnay has kept his real name a secret in England. Darnay acquires the letter by pretending Evrémonde is an acquaintance of his. The letter turns out to be from Gabelle, a servant of the former Marquis. Gabelle has been imprisoned, and begs the new Marquis to come to his aid. Darnay, who feels guilty, leaves for Paris to help Gabelle.

Book the Third: The Track of a Storm

"The Sea Rises", an illustration for Book 2, Chapter 21 by "Phiz"

In France, Darnay is denounced for emigrating from France, and imprisoned in La Force Prison in Paris.[9] Dr. Manette and Lucie—along with Miss Pross, Jerry Cruncher, and "Little Lucie", the daughter of Charles and Lucie Darnay—come to Paris and meet Mr. Lorry to try to free Darnay. A year and three months pass, and Darnay is finally tried.

Dr. Manette, who is seen as a hero for his imprisonment in the hated Bastille, is able to get him released. But that same evening Darnay is again arrested, and is put on trial again the next day, under new charges brought by the Defarges and one "unnamed other". We soon discover that this other is Dr. Manette, through the testimony of his statement (his own account of his imprisonment, written in the Bastille in the "last month of the tenth year of [his] captivity"); Manette does not know that his statement has been found, and is horrified when his words are used to condemn Darnay.

On an errand, Miss Pross is amazed to see her long-lost brother, Solomon Pross, but Pross does not want to be recognised. Sydney Carton suddenly appears (stepping forward from the shadows much as he had done after Darnay's first trial in London) and identifies Solomon Pross as John Barsad, one of the men who tried to frame Darnay for treason at his first trial in London. Carton threatens to reveal Solomon's identity as a Briton and an opportunist who spies for the French or the British as it suits him. If this were revealed, Solomon would surely be executed, so Carton's hand is strong.

Darnay is confronted at the tribunal by Monsieur Defarge, who identifies Darnay as the Marquis St. Evrémonde and reads the letter Dr. Manette had hidden in his cell in the Bastille. Defarge can identify Darnay as Evrémonde because Barsad told him Darnay's identity when Barsad was fishing for information at the Defarges' wine shop in Book 2, Chapter 16. The letter describes how Dr. Manette was locked away in the Bastille by the deceased Marquis Evrémonde (Darnay's father) and his twin brother (who held the title of Marquis when we met him earlier in the book, and is the Marquis who was killed by Gaspard; Darnay's uncle) for trying to report their crimes against a peasant family. The younger brother had become infatuated with a girl. He had kidnapped and raped her and killed her husband, the knowledge of which killed her father, and her brother died in the act of fighting to protect her honor. Prior to his death, the brother of the raped peasant had hidden the last member of the family, his younger sister, "somewhere safe". The paper concludes by condemning the Evrémondes, "them and their descendants, to the last of their race".[10] Dr. Manette is horrified, but his protests are ignored—he is not allowed to take back his condemnation. Darnay is sent to the Conciergerie and sentenced to be guillotined the next day.

Carton wanders into the Defarges' wine shop, where he overhears Madame Defarge talking about her plans to have the rest of Darnay's family (Lucie and "Little Lucie") condemned. Carton discovers that Madame Defarge was the surviving sister of the peasant family savaged by the Evrémondes. The only plot detail that might give one any sympathy for Madame Defarge is the loss of her family and that she has no (family) name. "Defarge" is her married name, and Dr. Manette cannot learn her family name, though he asks her dying sister for it.[11] The next morning, when Dr. Manette returns shattered after having spent the previous night in many failed attempts to save Charles' life, he reverts to his obsessive shoemaking. Carton urges Lorry to flee Paris with Lucie, her father and "Little Lucie".

That same morning Carton visits Darnay in prison. Carton drugs Darnay, and Barsad (whom Carton is blackmailing) has Darnay carried out of the prison. Carton—who looks so similar to Darnay that a witness at Darnay's trial in England could not tell them apart—has decided to pretend to be Darnay, and to be executed in his place. He does this out of love for Lucie, recalling his earlier promise to her. Following Carton's earlier instructions, Darnay's family and Lorry flee Paris and France with an unconscious man in their coach who carries Carton's identification papers, but is actually Darnay.

Meanwhile Madame Defarge, armed with a pistol, goes to the residence of Lucie's family, hoping to catch them mourning for Darnay (since it was illegal to sympathise with or mourn for an enemy of the Republic); however, Lucie, her child, Dr. Manette and Mr. Lorry are already gone. To give them time to escape, Miss Pross confronts Madame Defarge and they struggle. Pross speaks only English and Defarge speaks only French, so neither can understand each other verbally. In the fight, Madame Defarge's pistol goes off, killing her; the noise of the shot and the shock of Madame Defarge's death cause Miss Pross to go permanently deaf.

The novel concludes with the guillotining of Sydney Carton. Carton's unspoken last thoughts are prophetic:[12] Carton foresees that many of the revolutionaries, including Defarge, Barsad and The Vengeance (a lieutenant of Madame Defarge) will be sent to the guillotine themselves, and that Darnay and Lucie will have a son whom they will name after Carton: a son who will fulfill all the promise that Carton wasted. Lucie and Darnay have a first son earlier in the book who is born and dies within a single paragraph. It seems likely that this first son appears in the novel so that their later son, named after Carton, can represent another way in which Carton restores Lucie and Darnay through his sacrifice.[13]

“ It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known. ”

—Final sentence of A Tale of Two Cities[12]

Analysis

A Tale of Two Cities is one of only two works of historical fiction by Charles Dickens (Barnaby Rudge is the other one). It has fewer characters and sub-plots than a typical Charles Dickens novel. The author's primary historical source was The French Revolution: A History by Thomas Carlyle: Charles Dickens wrote in his Preface to Tale that "no one can hope to add anything to the philosophy of Mr. Carlyle's wonderful book"[14] Carlyle's view that history cycles through destruction and resurrection was an important influence on the novel, illustrated especially well by the life and death of Sydney Carton.

Language

Dickens uses literal translations of French idioms for characters who can't speak English, such as "What the devil do you do in that galley there?!!" and "Where is my husband? ---Here you see me." The Penguin Classics edition of the novel notes that "Not all readers have regarded the experiment as a success."[15]

Humor

Dickens is renowned for his humor, but A Tale of Two Cities is one of his least comical books. Nonetheless, Jerry Cruncher, Miss Pross, and Mr. Stryver provide much comedy. Dickens also uses sarcasm as humour in the book to show different points of view. The book is full of tragic situations, leaving little room for intended humor provided by Dickens.

Themes

"Recalled to Life"

In Dickens' England, resurrection always sat firmly in a Christian context. Most broadly, Sydney Carton is resurrected in spirit at the novel's close (even as he, paradoxically, gives up his physical life to save Darnay's—just as, in Christian belief, Christ died for the sins of all people.) More concretely, "Book the First" deals with the rebirth of Dr. Manette from the living death of his incarceration.

Resurrection appears for the first time when Mr. Lorry replies to the message carried by Jerry Cruncher with the words "Recalled to Life". Resurrection also appears during Mr. Lorry's coach ride to Dover, as he constantly ponders a hypothetical conversation with Dr. Manette: ("Buried how long?" "Almost eighteen years." ... "You know that you are recalled to life?" "They tell me so.") He believes he is helping with Dr. Manette's revival, and imagines himself "digging" Dr. Manette up from his grave.

Resurrection is the main theme in the novel. In Jarvis Lorry's thoughts of Dr. Manette, resurrection is first spotted as a theme. It is also the last theme: Carton's sacrifice. Dickens originally wanted to call the entire novel Recalled to Life. (This instead became the title of the first of the novel's three "books".)

Jerry is also part of the recurring theme: he himself is involved in death and resurrection in way that the reader does not yet know. The first piece of foreshadowing comes in his remark to himself: "You'd be in a blazing bad way, if recalling to life was to come into fashion, Jerry!" The black humour of this statement becomes obvious only much later on. Five years later, one cloudy and very dark night (in June 1780[16]), Mr. Lorry reawakens the reader's interest in the mystery by telling Jerry it is "Almost a night ... to bring the dead out of their graves". Jerry responds firmly that he has never seen the night do that.[17]

It turns out that Jerry Cruncher's involvement with the theme of resurrection is that he is what the Victorians called a "Resurrection Man", one who (illegally) digs up dead bodies to sell to medical men (there was no legal way to procure cadavers for study at that time).

The opposite of resurrection is of course death. Death and resurrection appear often in the novel. Dickens is angered that in France and England, courts hand out death sentences for insignificant crimes. In France, peasants are even put to death without any trial, at the whim of a noble. The Marquis tells Darnay with pleasure that "[I]n the next room (my bedroom), one fellow ... was poniarded on the spot for professing some insolent delicacy respecting his daughter—his daughter!"[18]

Interestingly, the demolition of Dr. Manette's shoe-making workbench by Miss Pross and Mr. Lorry is described as "the burning of the body".[19] It seems clear that this is a rare case where death or destruction (the opposite of resurrection) has a positive connotation, since the "burning" helps liberate the doctor from the memory of his long imprisonment. But Dickens' description of this kind and healing act is strikingly odd:

"The Accomplices", an illustration for Book 2, Chapter 19 by "Phiz"

So wicked do destruction and secrecy appear to honest minds, that Mr. Lorry and Miss Pross, while engaged in the commission of their deed and in the removal of its traces, almost felt, and almost looked, like accomplices in a horrible crime.[20]

Sydney Carton's martyrdom atones for all his past wrongdoings. He even finds God during the last few days of his life, repeating Christ's soothing words, "I am the resurrection and the life".[21] Resurrection is the dominant theme of the last part of the novel. Darnay is rescued at the last moment and recalled to life; Carton chooses death and resurrection to a life better than that which he has ever known: "it was the peacefullest man's face ever beheld there ... he looked sublime and prophetic".

In the broadest sense, at the end of the novel Dickens foresees a resurrected social order in France, rising from the ashes of the old one.

Water

Many in the Jungian archetypal tradition might agree with Hans Biedermann, who writes that water "is the fundamental symbol of all the energy of the unconscious—an energy that can be dangerous when it overflows its proper limits (a frequent dream sequence)."[22] This symbolism suits Dickens' novel; in A Tale of Two Cities, the frequent images of water stand for the building anger of the peasant mob, an anger that Dickens sympathises with to a point, but ultimately finds irrational and even animalistic.

Early in the book, Dickens suggests this when he writes, “[T]he sea did what it liked, and what it liked was destruction.”[23] The sea here represents the coming mob of revolutionaries. After Gaspard murders the Marquis, he is “hanged there forty feet high—and is left hanging, poisoning the water.”[24] The poisoning of the well represents the bitter impact of Gaspard's execution on the collective feeling of the peasants.

After Gaspard’s death, the storming of the Bastille is led (from the St. Antoine neighbourhood, at least) by the Defarges; “As a whirlpool of boiling waters has a centre point, so, all this raging circled around Defarge’s wine shop, and every human drop in the cauldron had a tendency to be sucked towards the vortex...”[25] The crowd is envisioned as a sea. “With a roar that sounded as if all the breath in France had been shaped into a detested word [the word Bastille], the living sea rose, wave upon wave, depth upon depth, and overflowed the city...”[25]

Darnay’s jailer is described as “unwholesomely bloated in both face and person, as to look like a man who had been drowned and filled with water.” Later, during the Reign of Terror, the revolution had grown “so much more wicked and distracted ... that the rivers of the South were encumbered with bodies of the violently drowned by night...” Later a crowd is “swelling and overflowing out into the adjacent streets ... the Carmagnole absorbed them every one and whirled them away.”

During the fight with Miss Pross, Madame Defarge clings to her with “more than the hold of a drowning woman”. Commentators on the novel have noted the irony that Madame Defarge is killed by her own gun, and perhaps Dickens means by the above quote to suggest that such vicious vengefulness as Madame Defarge's will eventually destroy even its perpetrators.

So many read the novel in a Freudian light, as exalting the (British) superego over the (French) id. Yet in Carton's last walk, he watches an eddy that "turned and turned purposeless, until the stream absorbed it, and carried it onto the sea"—his fulfilment, while masochistic and superego-driven, is nonetheless an ecstatic union with the subconscious.

Darkness and light

As is common in English literature, good and evil are symbolised with light and darkness. Lucie Manette is often associated with light and Madame Defarge with darkness.

Lucie meets her father for the first time in a room kept by the Defarges:." Lucie's hair symbolises joy as she winds "the golden thread that bound them all together". She is adorned with "diamonds, very bright and sparkling", and symbolic of the happiness of the day of her marriage.

Darkness represents uncertainty, fear and peril. It is dark when Mr. Lorry rides to Dover; it is dark in the prisons; dark shadows follow Madame Defarge; dark, gloomy doldrums disturb Dr. Manette; his capture and captivity are shrouded in darkness; the Marquis’s estate is burned in the dark of night; Jerry Cruncher raids graves in the darkness; Charles's second arrest also occurs at night. Both Lucie and Mr. Lorry feel the dark threat that is Madame Defarge. "That dreadful woman seems to throw a shadow on me," remarks Lucie. Although Mr. Lorry tries to comfort her, "the shadow of the manner of these Defarges was dark upon himself". Madame Defarge is "like a shadow over the white road", the snow symbolising purity and Madame Defarge's darkness corruption. Dickens also compares the dark colour of blood to the pure white snow: the blood takes on the shade of the crimes of its shedders.

Social injustice

Charles Dickens was a champion of the maltreated poor because of his terrible experience when he was forced to work in a factory as a child. His sympathies, however, lie only up to a point with the revolutionaries; he condemns the mob madness which soon sets in. When madmen and -women massacre eleven hundred detainees in one night and hustle back to sharpen their weapons on the grindstone, they display "eyes which any unbrutalised beholder would have given twenty years of life, to petrify with a well-directed gun".

The reader is shown the poor are brutalised in France and England alike. As crime proliferates, the executioner in England is "stringing up long rows of miscellaneous criminals; now hanging housebreaker ... now burning people in the hand" or hanging a broke man for stealing sixpence. In France, a boy is sentenced to have his hands removed and be burned alive, only because he did not kneel down in the rain before a parade of monks passing some fifty yards away. At the lavish residence of Monseigneur, we find "brazen ecclesiastics of the worst world worldly, with sensual eyes, loose tongues, and looser lives ... Military officers destitute of military knowledge ... [and] Doctors who made great fortunes ... for imaginary disorders".[26]

The Marquis recalls with pleasure the days when his family had the right of life and death over their slaves, "when many such dogs were taken out to be hanged". He won't even allow a widow to put up a board bearing her dead husband’s name, to discern his resting place from all the others. He orders Madame Defarge's sick brother-in-law to heave a cart all day and allay frogs at night to exacerbate the young man's illness and hasten his death.

In England, even banks endorse unbalanced sentences: a man may be condemned to death for nicking a horse or opening a letter. Conditions in the prisons are dreadful. "Most kinds of debauchery and villainy were practised, and ... dire diseases were bred", sometimes killing the judge before the accused.

So riled is Dickens at the brutality of English law that he depicts some of its punishments with sarcasm: "the whipping-post, another dear old institution, very humanising and softening to behold in action". He faults the law for not seeking reform: "Whatever is right" is the dictum of the Old Bailey.[27] The gruesome portrayal of quartering highlights its atrocity.

Without entirely forgiving him, Dickens understands that Jerry Cruncher robs graves only to feed his son, and reminds the reader that Mr. Lorry is more likely to rebuke Jerry for his humble social status than anything else. Jerry reminds Mr. Lorry that doctors, men of the cloth, undertakers and watchmen are also conspirators in the selling of bodies.

Dickens wants his readers to be careful that the same revolution that so damaged France will not happen in Britain, which (at least at the beginning of the book)[28] is shown to be nearly as unjust as France. But his warning is addressed not to the British lower classes, but to the aristocracy. He repeatedly uses the metaphor of sowing and reaping; if the aristocracy continues to plant the seeds of a revolution through behaving unjustly, they can be certain of harvesting that revolution in time. The lower classes do not have any agency in this metaphor: they simply react to the behaviour of the aristocracy. In this sense it can be said that while Dickens sympathises with the poor, he identifies with the rich: they are the book's audience, its "us" and not its "them". "Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious licence and oppression over again, and it will surely yield the same fruit according to its kind".[29]

Relation to Dickens' personal life

Some have argued that in A Tale of Two Cities Dickens reflects on his recently begun affair with eighteen-year-old actress Ellen Ternan, which was possibly asexual but certainly romantic. Lucie Manette resembles Ternan physically, and some have seen "a sort of implied emotional incest" in the relationship between Dr. Manette and his daughter.[30]

After starring in a play by Wilkie Collins entitled The Frozen Deep, Dickens was first inspired to write Tale. In the play, Dickens played the part of a man who sacrifices his own life so that his rival may have the woman they both love; the love triangle in the play became the basis for the relationships between Charles Darnay, Lucie Manette, and Sydney Carton in Tale.[31]

Sydney Carton and Charles Darnay may also bear importantly on Dickens' personal life. The plot hinges on the near-perfect resemblance between Sydney Carton and Charles Darnay; the two look so alike that Carton twice saves Darnay through the inability of others to tell them apart. It is implied that Carton and Darnay not only look alike, but they have the same "genetic" endowments (to use a term that Dickens would not have known): Carton is Darnay made bad. Carton suggests as much:

'Do you particularly like the man [Darnay]?' he muttered, at his own image [which he is regarding in a mirror]; 'why should you particularly like a man who resembles you? There is nothing in you to like; you know that. Ah, confound you! What a change you have made in yourself! A good reason for talking to a man, that he shows you what you have fallen away from and what you might have been! Change places with him, and would you have been looked at by those blue eyes [belonging to Lucie Manette] as he was, and commiserated by that agitated face as he was? Come on, and have it out in plain words! You hate the fellow.'[32]

Many have felt that Carton and Darnay are doppelgängers, which Eric Rabkin defines as a pair "of characters that together, represent one psychological persona in the narrative".[33] If so, they would prefigure such works as Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde. Darnay is worthy and respectable but dull (at least to most modern readers), Carton disreputable but magnetic.

One can only suspect whose psychological persona it is that Carton and Darnay together embody (if they do), but it is often thought to be the psyche of Dickens himself. Dickens was quite aware that between them, Carton and Darnay shared his own initials.[34]

Characters

Many of Dickens' characters are "flat", not "round", in the novelist E. M. Forster's famous terms, meaning roughly that they have only one mood.[35] In Tale, for example, the Marquis is unremittingly wicked and relishes being so; Lucie is perfectly loving and supportive. (As a corollary, Dickens often gives these characters verbal tics or visual quirks that he mentions over and over, such as the dints in the nose of the Marquis.) Forster believed that Dickens never truly created rounded characters, but a character such as Carton surely at least comes closer to roundness.

Adaptations

Films

There have been at least five feature films based on the book:

In the 1981 film History of the World, Part I, the French Revolution segment appears to be a pastiche of A Tale of Two Cities.

In the film A Simple Wish, the protagonist's father Oliver (possibly a reference to another of Dickens' famous novels, Oliver Twist) is vying for a spot in his theatre company's production of a musical of A Tale of Two Cities, of which we see the beginning and end, using the two famous quotes, including "It is a far, far better thing that I do", as part of a few solos.

Terry Gilliam also developed a film version in the mid-1990s with Mel Gibson and Liam Neeson. The project was eventually abandoned.

Star Trek II: The Wrath of Khan pays homage to A Tale of Two Cities, with Spock giving Kirk a copy of the book for his birthday, then later sacrificing his life a la Sydney Carton to save the Enterprise. Kirk quotes both the opening and closing lines of the book in the movie's first and last scenes respectively.

Radio

In 1938, The Mercury Theatre on the Air (aka The Campbell Playhouse) produced a radio adapted version starring Orson Welles.

In 1945, a portion of the novel was adapted to the syndicated program The Weird Circle as "Dr. Manette's Manuscript."

In 1950, a radio adaptation written by Terence Rattigan and John Gielgud was broadcast by the BBC. They had written it in 1935, as a stage play, but it was not produced.

In June 1989, BBC Radio 4 produced a 7-hour drama adapted for radio by Nick McCarty and directed by Ian Cotterell. This adaptation is occasionally repeated by BBC Radio 7. The cast included:

Television programs

An 8-part mini-series was produced by the BBC in 1957 starring Peter Wyngarde as "Sydney Carton", Edward de Souza as "Charles Darnay" and Wendy Hutchinson as "Lucie Manette".

Another mini-series, this one in 10 parts, was produced by the BBC in 1965.

A third BBC mini-series (in 8 parts) was produced in 1980 starring Paul Shelley as "Carton/Darnay", Sally Osborne as "Lucie Manette" and Nigel Stock as "Jarvis Lorry".

The novel was adapted into a 1980 television movie starring Chris Sarandon as "Sydney Carton/Charles Darnay". Peter Cushing as "Dr. Alexandre Manette", Alice Krige as "Lucie Manette", Flora Robson as "Miss Pross", Barry Morse as "The Marquis St. Evremonde" and Billie Whitelaw as "Madame Defarge".

In 1989 Granada Television made a mini-series starring James Wilby as "Sydney Carton", Serena Gordon as "Lucie Manette", Xavier Deluc as "Charles Darnay", Anna Massey as "Miss Pross" and John Mills as "Jarvis Lorry", which was shown on American television as part of the PBS television series Masterpiece Theatre.

In the 1970 Monty Python's Flying Circus episode "The Attila the Hun Show", the sketch "The News for Parrots" included a scene of A Tale of Two Cities (As told for parrots).

On the animated series King of the Hill, the novel was Peggy Hill's favorite book and played a prominent role in the episode Full Metal Dust Jacket.

The children's television series Wishbone adapted the novel for the episode "A Tale of Two Sitters".

This novel was also mentioned in the Nickelodeon show Hey Arnold, where Oscar was learning how to read.

Books

In Nicholas Meyer's novel The Canary Trainer, descended from Charles and Lucie, once more titled the Marquis de St. Evremonde, attends the Paris Opera during the events of The Phantom of the Opera.

American author Susanne Alleyn's novel A Far Better Rest, a reimagining of A Tale of Two Cities from the point of view of Sydney Carton, was published in the USA in 2000.

Diane Mayer self-published her novel Evremonde through iUniverse in 2005; it tells the story of Charles and Lucie Darnay and their children after the French Revolution.

Simplified versions of A Tale of Two Cities for English language learners have been published by Penguin Readers, in several levels of difficulty.

Stage musicals

There have been four musicals based on the novel:

A 1968 stage version, Two Cities, the Spectacular New Musical, with music by Jeff Wayne, lyrics by Jerry Wayne and starring Edward Woodward.

A Tale of Two Cities, a musical adaptation by Jill Santoriello, was performed at the Asolo Repertory Theatre in Sarasota, Florida, in October and November 2007. James Stacy Barbour ("Sydney Carton") and Jessica Rush ("Lucie Manette") were among the cast. A production of the musical began previews on Broadway on 19 August 2008, opening on 18 September at the Al Hirschfeld Theatre. Warren Carlyle is the director/choreographer; the cast includes James Stacy Barbour as "Sydney Carton", Brandi Burkhardt as "Lucie Manette", Aaron Lazar as "Charles Darnay", Gregg Edelman as "Dr. Manette", Katherine McGrath as "Miss Pross", Michael Hayward-Jones as "Jarvis Lorry" and Natalie Toro as "Madame Defarge".[44][45][46]

In 2006, Howard Goodall collaborated with Joanna Read in writing a separate musical adaptation of the novel called Two Cities. The central plot and characters were maintained, though Goodall set the action during the Russian Revolution.

The novel has also been adapted as a musical by Takarazuka Revue, the all-female opera company in Japan. The first production was in 1984, starring Mao Daichi at the Grand Theater, and the second was in 2003, starring Jun Sena at the Bow Hall.

Opera

Arthur Benjamin's operatic version of the novel, subtitled Romantic Melodrama in six scenes, was premiered by the BBC on 17 April 1953, conducted by the composer; it received its stage premiere at Sadler's Wells on 22 July 1957, under the baton of Leon Lovett.[47]

Notes

  1. ↑ 1.0 1.1 Facsimile of the original 1st publication of A Tale of Two Cities in All the year round
  2. ↑ Broadway.com on A Tale of Two Cities: "Since its inaugural publication on 30 August 1859, A Tale of Two Cities has sold over 200 million copies in several languages, making it one of the most famous books in the history of fictional literature." (24 March 2008)
  3. ↑ Dickens 2003, p. 5 (Book 1, Chapter 1)
  4. ↑ Dickens 2003, p. 191 (Book 2, Chapter 16).
  5. ↑ Dickens 2003, p. 128 (Book 2, Chapter 9). This statement (about the roof) is truer than the Marquis knows, and another example of foreshadowing: the Evrémonde château is destroyed by revolting peasants in Book 2, Chapter 23.
  6. ↑ Dickens 2003, p. 134 (Book 2, Chapter 9)
  7. ↑ Dickens 2003, p. 159 (Book 2, Chapter 14)
  8. ↑ Dickens 2003, p. 330 (Book 3, Chapter 9)
  9. ↑ Emigration is about to be made illegal, but is not yet illegal. See Dickens 2003, p. 258 (Book 3, Chapter 1)
  10. ↑ Dickens 2003, p. 344 (Book 3, Chapter 10)
  11. ↑ Dickens 2003, p. 340 (Book 3, Chapter 10)
  12. ↑ 12.0 12.1 Dickens 2003, p. 390 (Book 3, Chapter 15)
  13. ↑ Dickens 2003, p. 219 (Book 2, Chapter 21)
  14. ↑ Dickens 2003, p. 398
  15. ↑ Dickens 2003, p. 455
  16. ↑ Dickens 2003, p. xxxix
  17. ↑ Dickens 2003, pp. 107-108 (Book 2, Chapter 6)
  18. ↑ The daughter the Marquis is speaking of is surely the girl he raped and let die; it was to conceal this act that he had Dr. Manette imprisoned. The Marquis emphasises his because Dickens is alluding to the (probably mythical) Droit de seigneur, under which any girl from the Marquis's land would belong to the Marquis rather than to her parents. Dickens 2003, p. 127 (Book 2, Chapter 9)
  19. ↑ Dickens 2003, p. 212 (Book 2, Chapter 19)
  20. ↑ Dickens 2003, p. 214 (Book 2, Chapter 19)
  21. ↑ John 11.25-6
  22. ↑ Biedermann 1994, p. 375
  23. ↑ Dickens 2003, p. 21 (Book 1, Chapter 4)
  24. ↑ Dickens 2003, p. 178 (Book 2, Chapter 15)
  25. ↑ 25.0 25.1 Dickens 2003, p. 223 (Book 2, Chapter 21)
  26. ↑ Dickens 2003, p. 110 (Book 2, Chapter 7)
  27. ↑ Dickens 2003, p. 63 (Book 2, Chapter 2). Dickens is quoting Alexander Pope's Essay on Man of 1733.
  28. ↑ Ruth Glancy has argued that Dickens portrays France and England as nearly equivalent at the beginning of the novel, but that as the novel progresses, England comes to look better and better, climaxing in Miss Pross's pro-Britain speech at the end of the novel.
  29. ↑ Dickens 2003, p. 385 (Book 3, Chapter 15)
  30. ↑ Dickens 2003, p. xxi
  31. ↑ "Context of A Tale of Two Cities". http://www.sparknotes.com/lit/twocities/context.html. Retrieved 2009-08-03. 
  32. ↑ Dickens 2003, p. 89 (Book 2, Chapter 4) p. 89
  33. ↑ Rabkin 2007, course booklet p. 48
  34. ↑ Schlicke 2008, p. 53
  35. ↑ "In their purest form [flat characters] ... are constructed round a single idea or quality. ... Part of the genius of Dickens is that he does use types and caricatures, people whom we recognise the instant they re-enter, and yet achieves effects that are not mechanical and a vision of humanity that is not shallow. Those who dislike Dickens have an excellent case. He ought to be bad." Forster 1927, p. 67, 71-72
  36. ↑ Dickens 2003, p. 83 (Book 2, Chapter 4)
  37. ↑ After Dr. Manette's letter is read, Darnay says that "It was the always-vain endeavour to discharge my poor mother's trust, that first brought my fatal presence near you." (Dickens 2003, p. 347 [Book 3, Chapter 11].) Darnay seems to be referring to when his mother brought him, still a child, to her meeting with Dr. Manette in Book 3, Chapter 10. But some readers also feel that Darnay is explaining why he changed his name and travelled to England in the first place: to discharge his family's debt to Dr. Manette without fully revealing his identity. (See note to the Penguin Classics edition: Dickens 2003, p. 486.)
  38. ↑ Dickens 2003, p. 470
  39. ↑ The Marquis is sometimes referred to as "Monseigneur the Marquis St. Evrémonde." He is not so called in this article because the title "Monseigneur" applies to whoever among a group is of the highest status; thus, this title sometimes applies to the Marquis and other times does not.
  40. ↑ Stryver, like Carton, is a barrister and not a solicitor; Dickens 2003, p. xi
  41. ↑ Dickens 2003, p. 147
  42. ↑ Dickens 2003, p. 120 (Book 2, Chapter 8)
  43. ↑ Dickens 2003, p. 462
  44. ↑ Playbill.com, 25 September 2008: "Best of Times: A Tale of Two Cities Opens on Broadway September 18"
  45. ↑ Playbill.com, 25 March 2008: "Tale of Two Cities, the Musical, to Open on Broadway in September"
  46. ↑ A Tale of Two Cities musical official site
  47. ↑ Boosey & Hawkes page

References

Further reading

External links

Works by Charles Dickens
Novels
The Pickwick Papers (1836–1837) · Oliver Twist (1837–1839) · Nicholas Nickleby (1838–1839) · The Old Curiosity Shop (1840–1841) · Barnaby Rudge (1840–1841) · Martin Chuzzlewit (1843–1844) · Dombey and Son (1846–1848) · David Copperfield (1849–1850) · Bleak House (1852–1853) · Hard Times (1854) · Little Dorrit (1855–1857) · A Tale of Two Cities (1859) · Great Expectations (1860–1861) · Our Mutual Friend (1864–1865) · The Mystery of Edwin Drood (unfinished) (1870)
Charles Dickens - Project Gutenberg eText 13103.jpg
Christmas books
A Christmas Carol (1843) · The Chimes (1844) · The Cricket on the Hearth (1845) · The Battle of Life (1846) · The Haunted Man and the Ghost’s Bargain (1848)
Short stories
Sunday Under Three Heads (1836) · The Lamplighter (1838) · A Child's Dream of a Star (1850) · Captain Murderer · The Long Voyage (1853) · The Lazy Tour of Two Idle Apprentices (1857) (with Wilkie Collins) · Hunted Down (1859) · The Signal-Man (1866) · George Silverman's Explanation (1868) · Holiday Romance (1868)
Christmas short stories
A Christmas Tree (1850) · What Christmas is, as We Grow Older (1851) · The Poor Relation's Story (1852) · The Child's Story (1852) · The Schoolboy's Story (1853) · Nobody's Story (1853) · Going into Society (1858) · Somebody's Luggage (1862) · Mrs Lirriper's Lodgings (1863) · Mrs Lirriper's Legacy (1864) · Doctor Marigold's Prescriptions (1865)
Short story collections
Sketches by Boz (1837–1839) · The Mudfog Papers (1837–1838) · Master Humphrey's Clock (1840–1841) · Boots at the Holly-tree Inn: And Other Stories (1858) · Reprinted Pieces (1861)
Non-fiction
American Notes (1842) · Pictures from Italy (1846) · The Life of Our Lord (1846, published in 1934) · A Child's History of England (1851–1853) · The Uncommercial Traveller (1860–1869)
Poetry & plays
The Village Coquettes (play, 1836) · The Fine Old English Gentleman (poetry, 1841) · The Frozen Deep (play, 1866) (with Wilkie Collins)  · No Thoroughfare: A Drama: In Five Acts (play, 1867) (with Wilkie Collins)
Journalism
The Examiner (1808–1886) · Monthly Magazine (1833–1835) · Morning Chronicle (1834–1836) · Evening Chronicle (1835) · Bentley's Miscellany (1836–1838) · Master Humphrey's Clock (1840–1841) · The Pic-Nic Papers (1841) · Daily News (1846) · Household Words (1850–1859) · All the Year Round (1858–1870)
Collaborative works
Household Words: The Seven Poor Travellers (1854) (with Wilkie Collins, Adelaide Proctor, George Sala and Eliza Linton) · The Holly-tree Inn (1855) · (with Wilkie Collins, William Howitt, Harriet Parr, and Adelaide Procter) · The Wreck of the Golden Mary (1856) (with Wilkie Collins, Adelaide Proctor, Harriet Parr, Percy Fitzgerald and Rev. James White) · The Perils of Certain English Prisoners (1857) (with Wilkie Collins) · A House to Let (1858) (with Wilkie Collins, Elizabeth Gaskell and Adelaide Procter)
All the Year Round: The Haunted House (1859) (with Wilkie Collins, Elizabeth Gaskell, Adelaide Procter, George Sala, and Hesba Stretton)  · A Message from the Sea (1860) (with Wilkie Collins, Robert Buchanan, Charles Allston Collins, Amelia Edwards, and Harriet Parr) · Tom Tiddler's Ground (1861) (with Wilkie Collins, John Harwood, Charles Allston Collins, and Amelia Edwards) · The Trial for Murder (1865) (with Charles Allston Collins) · Mugby Junction (1866) (with Andrew Halliday, Charles Allston Collins, Hesba Stretton and Amelia Edwards) · No Thoroughfare (1867) (with Wilkie Collins)
Articles & essays
A Visit to Newgate (1836) · Epitaph of Charles Irving Thornton (1842) · In Memoriam W. M. Thackeray (1850) · A Coal Miner's Evidence (1850) · Frauds on the Fairies (1853) · The Lost Arctic Voyagers (1854)