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By Charles Dickens, Richard Maxwell (editor)

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See especially Mysteries, I, ch. 27, where Tidkins is interestingly juxtaposed with a venerable Republican agitator, quite a different sort of man. 9. On the citoyennes tricoteuses of Paris, see Dominique Godineau, The Women of Paris and their French Revolution, trans. Katherine Streip (Berkeley: University of California Press, 1998). 10. 3, ‘The Night Shadows’. In the manuscript of A Tale, this is one of the most heavily worked-over paragraphs. In other crucial London passages, Lucie is a mystery even to her father, Dr Manette, and he, as it turns out, to her.

1. 25. See Jules Michelet, History of the French Revolution, trans. Charles Cocks, edited (abridged) and with an introduction by Gordon Wright (Chicago: University of Chicago Press, 1967), p. 10. 26. For details, see Appendix III. 27. For a sustained close reading of Carton’s words, see Garrett Stewart, Death Sentences: Styles of Dying in British Fiction (Cambridge, MA: Harvard University Press, 1984), pp. 83–97. 28. Either this sentence is a double subjunctive construction – if he had given utterance, if they were prophetic – or Dickens is affirming that Carton’s last thoughts were in fact prophetic, although he was unable to utter them.

Like the ‘quiet street-corner’ where Dr Manette resides, A Tale seems to function as a kind of echo-chamber; it is an intimate book which somehow evokes the epic presence of crowds and the vast movements of history. Something of the novel’s intimacy and compression are implicit in the circumstances of its publication. Dickens composed A Tale for his newly established weekly All the Year Round. The first instalment appeared in the first number of the periodical, on 30 April 1859. ’ 1 These complaints continued throughout the book’s composition.

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