Appendices

A. Chapter number, title and length by part issue and date

No. of work-sheet	Date of Part	Chapter number	Chapter title (as published)		Chapter length
(1)	(2)	(3)	(4)		(5)
1	1846 Oct	1	Dombey and Son		7+¾
		2	In which Timely Provision is made in the best regulated Families		¼+7
		3	In which Mr. Dombey. as a Man and a Father ... the Home-Department		8
		4	In which some more First Appearances … the Stage of these Adventures		9
2	Nov	5	Paul’s Progress and Christening		12+¾
		6	Paul’s Second Deprivation		¼+15
		7	A Bird’s-eye glimpse … also of the State of Miss Tox’s Affections		4
3	Dec	8	Paul’s further Progress, Growth and Character		14+½
		9	In which the Wooden Midshipman gets into Trouble		½+8+¾
		10	Containing the Sequel to the Midshipman’s Disaster		¼+8
4	1847 Jan	11	Paul’s Introduction to a new Scene		10+½
		12	Paul’s Education		½+12+½
		13	Shipping Intelligence and Office Business		½+8
4a		Added leaf—a plan for the final episodes of ch.12, wafered to the bottom of the left-hand page of Ws.4
5	Feb	14	Paul grows more and more Old-fashioned, and goes Home for the Holidays		17+¼
		15	Amazing Artfulness of Captain Cuttle, and a new pursuit for Walter Gay		¾+10
		16	What the Waves were always saying		4
5a		Added leaf—a plan for chs.14 and 16, wafered over the left-hand page of Ws.5
6	Mar	17 (18)	Captain Cuttle … the young people	chs.17 and 18 are written as chs.18 and 17, and reversed at proof stage	8+½
		18 (17)	Father and Daughter		½+13+½
		19	Walter goes away		½+9
6a	Added leaf—entitled “Florence’s age”, pasted in error to Ws.6, probably written to prepare for ch.47 in No.15
7	Apr	20	Mr. Dombey goes upon a Journey	Chs.20 and 21 are written as one chapter entitled “New Faces”. It is divided in two at proof stage, and re-titled.	10+¼
		21	New Faces		¾+7+¼
		22	A Trifle of Management by Mr. Carker the Manager		¾+13
8	May	23	Florence Solitary, and the Midshipman Mysterious		16+¾
		24	The Study of a Loving Heart		¼+8+¼
		25	Strange News of Uncle Sol		¾+6
9	June	26	Shadows of the Past and Future		11
		27	Deeper Shadows		12+½
		28	Alterations		½+8
10	July	29	The Opening of the Eyes of Mrs. Chick		8+¾
		30	The Interval before the Marriage		¼+11
		31	The Wedding		12
11	Aug	32	The Wooden Midshipman goes to Pieces		13+¼
		33	Contrasts		¾+8+¾
		34	Another Mother and Daughter		¼+9
12	Sept	35	The Happy Pair	Chs.35 and 36 are written as one chapter, and divided at proof stage	8+¾
		36	Housewarming		¼+8+¼
		37	More Warnings than One		¾+7+¼
		38	Miss Tox improves an Old Acquaintance		¾+6
13	Oct	39	Further Adventures of Captain Edward Cuttle, Mariner		12+½
		40	Domestic Relations		½+11+½
		41	New Voices in the Waves		½+7
14	Nov	42	Confidential and Accidental		11+¾
		43	The Watches of the Night		¼+6+¼
		44	A Separation		¾+6+¾
		45	The Trusty Agent		¼+6
15	Dec	46	Recognizant and Reflective		9+½
		47	The Thunderbolt		½+13+¾
		48	The Flight of Florence		¼+8
16	1848 Jan	49	The Midshipman makes a Discovery		13
		50	Mr. Toots’s Complaint		13
		51	Mr. Dombey and the World		6
17	Feb	52	Secret Intelligence		11+¾
		53	More Intelligence		¼+11+¾
		54	The Fugitives		¼+8
18	Mar	55	Rob the Grinder loses his Place		9
		56	Several People Delighted, and the Game Chicken Disgusted		17
		57	Another Wedding		6
19/20	Apr	58	After a Lapse		11+¼
		59	Retribution		¾+13
		60	Chiefly Matrimonial		9+¼
19/20a		61	Relenting		¾+8+½
		62	Final		½+4

Key to Appendix A

The numbered columns show the following:

1. the worksheet number

   As Dickens wrote one worksheet for each instalment, the number of each worksheet corresponds to that of the instalment. An additional leaf is attached to Ws.4, 5, 6 and 19&20 and numbered Ws.4a, 5a, 6a and 19&20a respectively. All are hyperlinked to their facsimile in ‘Section 5’.

2. the date of the instalment

   Each number was published on the last day of the month, the ‘magazine day’ when monthly magazines generally went on offer to the public. It is usually described as belonging to the following month.

3. the chapter number

   The number of each chapter is hyperlinked to its start in the online version of ebook 821 in Project Gutenberg.

4. the chapter title as published
5. the length of each chapter as published in the instalment

   The length of each chapter is measured by the number of full pages that it occupies, plus the proportion of the page (rounded to a quarter) which it may share with the chapter before and after. The opening page of the opening chapter and closing page of the closing chapter of the instalment are counted as full pages, even if they have blank lines before or after.

B. Chapter title history with purpose and features of chapter description

No. of work-sheet	No. of chapter	Title of chapter	History of chapter title entry	Purpose of the chapter description		Features of the chapter description
(1)	(2)	(3)	(4)	(5)		(6)
1	1	Dombey and Son	MS↔Ws / with the same revisions (3) in both	summary note	entered together after composition	principal incident
	2	In which Timely Provision… Families	revised (3) in Ws→MS	summary note		defines chapter title
	3	In which Mr. Dombey is… Department	revised (2) in MS→Ws	summary note		the antagonists, Dombey and “Miss Nipper”
	4	In which some… Adventures	MS↔Ws	—		—
2	5	Paul’s Progress and Christening	revised in MS→Ws	—		—	eight ideas for various numbers, entered before the Ws format was devised, and all written towards right-hand edge
	6	Paul’s Second Deprivation	MS→Ws	summary note	entered both together, with titles, after composition	defines chapter title
	7	A Bird’s-eye… Miss Tox’s Affections	revised (2) in MS / revised in Ws, revised→Proofs, revised	summary note		Major and Miss Tox
3	8	Paul’s further Character	revised (3) in Ws→MS, revised→Ws	summary note	entered together, after composition	an incident from each chapter, concerned with the power of money
	9	In which the… Midshipman gets into Trouble	MS→Ws	summary note
	10	Containing the Sequel to… Disaster	MS→Ws	summary note
4	11	Paul’s Introduc-tion to a new Scene	revised in MS→Ws	summary	entered together, perhaps when ch.13 is being planned	omits the long lead-in / gives setting, central episode and the repeated detail of the ticking clock
	12	Paul’s Education	MS↔Ws	summary		situation and central scene / for “etc” see Ws.4a
	13	Shipping Intelligence and Office Business	revised (3) in MS→Ws	plan		gap for title / directive / omits Dombey / positions Walter’s dispatch at end
4a	Additional leaf—a list of ideas for second half of ch.12, which grows into a plan that is probably used in the composition of the chapter, and then wafered to bottom left-hand of Ws.4
5	14	Paul grows more… Holidays	revised in MS→Ws	plan		leaves gap for title / notes an ending then deletes it / principal incident / comment expressing intent / adds Ws.5a, plan from ailing Paul’s POV
	15	Amazing Artful-ness… Gay	MS↔Ws / with the same revision in both	plan		leaves narrow gap for title / dis-jointed layout / query / no mention of Walter’s role / reply to query
	16	What the Waves were always saying	MS↔Ws	plan		titled at start / gives opening and close / omits farewells / draft of closing texts / disjointed layout / re-uses Ws.5a after adding note on ever-flowing River
5a	Additional leaf—a plan that is probably used to write chs.14 and 16, and afterwards wafered over left-hand of Ws.5

No. of work-sheet	No. of chapter	Title of chapter	History of chapter title entry		Purpose of the chapter description	Features of the chapter description
(1)	(2)	(3)	(4)		(5)	(6)
6	17 ch.18 in Ws & MS	Captain Cuttle does a little Business for the young people	MS↔Ws		summary note	titled at start / restatement of title
	18 ch.17 in Ws & MS and written first	Father and Daughter	revised (2) in MS→Ws		summary	titled at start / title and summary evenly aligned and spaced / omits recapitulation and lead-in / four similar phrases, salient points in order / a fifth, inserted below title, avoiding underlines (cf. Ws.107) / smudges confirm all entries made together
	19	Walter goes away	inserted in MS→Ws		summary	titled at start / alludes to each section in MS order / taking tea, two awkward lovers-to-be / next day farewell to Sol and Cuttle / memo on Cuttle’s watch
6a	Added leaf on Florence’s age, wafered in error to Ws.6 instead of being attached to Ws.15
7	20	Mr. Dombey goes on a Journey	written as one chapter in blue titled “New Faces” in MS→Ws / at proofing divided into two chapters and both titled / titles copied to Ws, and number heading added or adjusted		—	—
	21	New Faces			—	—
	22	A Trifle of Management …	revised in MS→Ws		summary note, and a last minute plan	plot device: Rob a spy in the Shop / Toots episode added to extend ending
8	23	Florence Solitary, ... Midshipman Mysterious	revised (3) in List→MS↔Ws		—	—
	24	The Study of a Loving Heart	MS↔Ws		—	—
	25	Strange News of Uncle Sol	MS↔Ws		—	—
9	26	Shadows of the Past and Future	entered in MS while writing chs.27 or 28 then→Ws	all titles copied to Ws at the same time, probably after writing ch.28	plan	gap for title / in MS, emphasises competition between Carker and Bagstock / the action follows the Major’s exits and entrances
	27	Deeper Shadows	revised in MS→Ws		planned together perhaps to delay writing at length	gap for title / opening items / various insertions / closing sequence
	28	Alterations	MS↔Ws			gap for title / omits extemporised lead-in (discussion about Carker and Toots’s visits, the farewells) / on arrival, surprise at changes / closure on Edith’s feelings for Florence (underlined for future significance)
10	29	The Opening of the Eyes of Mrs. Chick	revised (2) in MS→Ws		summary	titled at start / entries similar in structure, each opening with a name / sectioned as in MS / setting, situation, conflict, outcome
	30	The Interval before the Marriage	revised in MS→Ws		plan (plus memo entered during composition)	gap for title / description of the closing tableau / memo after title entry / Brook St satire prepares for Feenix’s role at wedding
	31	The Wedding	MS↔Ws		plan	titled at start / detailed through–plan / change of speaker to develop Feenix and satire of aristocracy / directive at opening, and elision “Back to” at close, both implying intent

No. of work-sheet	No. of chapter	Title of chapter	History of chapter title entry		Purpose of the chapter description	Features of the chapter description
(1)	(2)	(3)	(4)		(5)	(6)
11	32	The Wooden Midshipman goes to Pieces	entered in Ws / not copied to MS at the start of composition / inserted later in MS		plan	title and plan uniform in hand and layout / combines LH and RH notes / together a full account of all episodes including the recapitulation (Mrs MacStinger and Rob) / re-orders “glimpse” / attention to closing text
	33	Contrasts	inserted in blue in MS while writing ch.34 in blue→Ws		chs.33 and 34 planned together	deletion to preserve a gap for title / Harriet entry omits the Morfin visit already noted in LH / ends with money gift to Alice
	34	Another Mother and Daughter	MS↔Ws			titled at start / opening / “Indication” re-ordered in MS / ending with “to return money” implying intention
12	35	The Happy Pair	MS↔Ws	planned, written and titled as one chapter, then divided and the new ch.36 numbered and titled at proof stage, but not copied to MS or Ws		titled at start / rethinks opening / combines LH and RH notes /assumes handkerchief scene that leads to Dombey’s “discovery” / adds the dinner before the “at home” / inserts the first quarrel, Carker and Mrs Skewton present
	36	Housewarming	titled in proofs→ List130
	37 36 in Ws	More Warnings than One	not titled at start in MS / title inserted later→Ws / (and MS re-numbered at a later point)		summary	numbered ch.36, in blue / title and summary uniform in hand and layout / outline of two warnings, Carker’s to Edith (18) and Death’s to Mrs S (19) / the effect of her stroke
	38 37 in Ws	Miss Tox improves an Old Acquaintance	Ws→List, revised / another title entered in MS during composition, then revised (see ‘Appendix D’)		plan	titled at start / opening directive / rethinks what Tox should wear / in MS, adds family reactions to Rob’s deceitfulness, tying in subplot to theme of money misused
13	39	Further Adven-tures of Captain Edward Cuttle…	inserted in MS→Ws		plan	preserves gap for title / layout reveals how Dickens forms the chapter plan by assembling (and ordering) incident and character (see comment in Ws.13, p.96)
	40	Domestic Relations	MS→Ws		plan	titled at start / gives a selective two part entry for each of three sections /assumes LH Bagstock (see Ws.134) / “So to” warns of a transition (cf. chs.41 and 49).
	41	New Voices in the Waves	in MS titled, revised, deleted, restarted, and later retitled→Ws (see ‘Appendix E’)		plan	gap for title / notes subject, the death / queries the burial (34–35) / assembles the lead-in / in MS, adds Florence but omits a Pipchin scene (32) making room for (35) / ‘so to’ with directive, a warning of transition (33)
14	42	Confidential and Accidental	inserted in MS→Ws		plan	laid out to preserve gap for title / directive “open” / in MS Rob moved to recapitulation / omits Carker’s 2nd meeting with Edith and Florence after Dombey is brought home
	43	The Watches of the Night	ch.43 titled in MS / revised, then initial title re-instated→Ws / while writing ch.43, divided in two / inserts number and title for ch.44→Ws		plan	gap for title / opening directive / deletion shows change of order (15) / closing text
	44	A Separation			summary note for ch.45 written first followed by summary for ch.44	for history of writing and summary of ch.44, see commentary of Ws.14, p.100
	45	The Trusty Agent	MS↔Ws			“Carker & Edith” suggests his growing mastery “by force” / last view before eloping
15	46	Recognizant and Reflective	ch.47 (initially ch.48) titled and entered as ch.48 in Ws→MS and written first / ch.46 titled and numbered in MS→Ws / ch.48 titled and numbered in MS→Ws under the chapter number heading for ch.47 /chapter number headings for chs.47 and 48 changed to 48 and 47		summary	title inserted / plot device, to link Rob and Mrs Brown without Carker knowing / two addi-tions, Carker’s and Edith’s motives
	47	The Thunderbolt			plan	titled at start / hesitancy over how to describe digression / inclusive sequence of closing incidents / through-planned to end (cf. ch.31)
	48	The Flight of Florence			summary	deletion relates to transposition / title and summary uniform in hand and layout / last section begins the gathering of characters to Shop / mock suspense of Walter’s arrival

No. of work-sheet	No. of chapter	Title of chapter	History of chapter title entry	Purpose of the chapter description	Features of the chapter description
(1)	(2)	(3)	(4)	(5)	(6)
16	49	The Midshipman makes a Discovery	MS started without titling, restarted, title inserted later→Ws (see ‘Appendix E’)	plan	leaves gap for title / entries (5)–(7) cover first three sections / entry (8) expresses Cuttle’s agitation and builds up suspense / “So to” signals a narrative turning point needing preparation
	50	Mr.Toots’s Complaint	titled in MS, revised→Ws and to List where, misremembering, CD makes an error and corrects it (see ‘Appendix D’)	plan	leaves gap for title / three entries for three sections, much added to and developed in MS / each distinct in hand and alignment / progressive loss of density with corrosion in (13), (14) and (15), with successive re-dipping or perhaps just a poor quill
	51	Mr. Dombey and the World	Ws→MS (see ‘Appendix E’)	plan	titles at start / deletion with revision / omission of Chick / order of reactions adjusted in MS
17	52	Secret Intelligence	inserted in MS→Ws	summary	each title uniform with description in layout and hand (though contrasting in size) / evenly corroded (6)-(11) but uneven where hand may be lighter or ink thinner (13)–(16) and progressively corroded (18 and 19) / brief orderly ‘stage notes’: characters and incidents with no signs of planning
	53	More Intelligence	titled in MS, revised→Ws	summary
	54	The Fugitives	MS→Ws	summary
18	55	Rob the Grinder loses his Place	Ws→MS	plan	layout & hand suggest end planning: draft of closing text, then changes in transport and in Carker, and last, the oblique title
	56	Several People Delighted, and …Disgusted	MS↔Ws	plan(?)	indications of planning: amount of detail, tilted and cramped entry, closing text / contra indica-tions: salient point(s) for each narrative section, and an orderly outline that resolves two plot- lines, the return of Sol and dismissal of Chicken (17)–(19), and prepares for the wedding
	57	Another Wedding	MS↔Ws	—	—
19/20	58	After a Lapse	MS started, titled, deleted, restarted, titled as before→Ws (see ‘Appendix E’)	plan	leaves gap for title / omits reactions to Firm’s collapse / notes Morfin, the link to Harriet and Carker’s intestacy / “Introduce” confirms planning intent / action follows Harriet to the penitent Alice on her deathbed / omits the mother’s revelation of blood relationship
	59	Retribution	MS→Ws	plan	leaves gap for title / states subject / gives intermittent refrain marking order of departures  /  notes the loyal Miss Tox, and Dombey’s crisis with (3), and Florence’s rescue of her father (underlined with a flourish) / omits Polly’s part in the drama and the quiet irony of the close
	60	Chiefly Matrimonial	Ws→MS	plan	enters title / identifies the marriages / gives Toots a new tag / instruction to open at the Blimber’s / orders transition to Bunsby through Cuttle / then to Florence and Susan (in her servant dress) / in MS elaborates Toots’ role
19/20a	61	Relenting	MS, inserted, turns leaf over, titles as before and restarts→Ws (see ‘Appendix E’)	plan	leaves gap for number and title / Edith to go to Italy with Feenix / Florence and Susan nurse the critically ill Dombey / a sequence: Feenix’s request, Florence taken back to London and Brook Street, final meeting, Edith’s revelation / in MS, opens with the nursing of Dombey, inserts presence of Walter, then follows plan
	62	Final	in MS probably leaves title gap, reinstates initial title of Ws / not copied to Ws	plan	enters and revises title in Ws  / assembles plan with draft of ending (45) / in MS, all re-ordered, omitting “sketch”, adding Toots the messenger, and rewording end (changed again at proofing)

Key to Appendix B

The numbered columns show the following:

1. the worksheet number

   As Dickens wrote one worksheet for each instalment, the number of the worksheet corresponds to the number of the instalment. Note an additional leaf is attached to Ws.4, 5, 6 and 19&20 and numbered Ws.4a, 5a, 6a and 19&20a respectively. All are hyperlinked to their facsimile in ‘Section 5’.

2. the chapter number

   The number of each chapter is hyperlinked to its start in the online version of ebook 821 in Project Gutenberg.

3. the chapter title as published
4. a summary of the chapter title in worksheet, manuscript and elsewhere:

   • ‘→’ means ‘transferred to’, e.g. ‘MS→Ws’ means the title is first entered in manuscript, then transferred to worksheet,

   • ‘MS↔Ws’ means that the appearance of the manuscript and worksheet does not reveal where the title is first entered, whether in manuscript or in worksheet,

   • the number of revisions, if more than one, is shown in brackets.

5. initial purpose of the chapter description, as shown by one of the following:

   • ‘summary note’—one or two entries written after composition,

   • ‘summary’—an outline usually of more than two entries, always written with the title after composition,

   • ‘plan’—always entered before composition, sometimes with the chapter title, but more often leaving a gap for the title to be inserted later,

   • ‘(?)’—a query added in brackets means that the purpose cannot be described as plan or summary with any certainty, because of insufficient or conflicting evidence.

6. features of description

   The features noted are, for the most part, those mentioned in the commentary that suggest the purpose of the chapter description.

C. Transcription of the List of Chapter Headings

Purpose of the List

In light of how he has used the first five worksheets, Dickens decides that a list of chapter numbers and titles might be a useful adjunct, perhaps to remind him of the position of each chapter relative to other chapters, perhaps to get a view of the novel’s overall progress. The List might also serve—if he had not yet received a copy of the previous number or its manuscript—as a note of the number of the opening chapter of the next number.

The List is not a preparation for the publication of a contents page. He would be aware that the printers assembled their contents pages from the eighteen published instalments and the proofs of the final double number. A contents page gives the opening page number of each chapter, which does not concern him. However, unlike a contents page that never gives the instalment divisions, the List usually implies the instalment boundary by its changes of hand.

Procedures in the List

Similarity of hand, quill and positioning of each chapter heading clearly shows that the headings for chs.1–16 are made on the same occasion, probably in the interval between the composition of Nos.5 and 6. From then on, with the exception of Nos.14 and 15, he completes one group of entries for each number.

From entry [6] to [12], it so happens that, when Dickens updates the List, he also changes ink colour with each group of entries. Entry [6] is in black, [6/7] in blue, [7/8] in black, [8/9] in blue, and so on, up to [12] in black. The changes in ink colour, together with the accompanying changes of alignment and hand, confirm that Dickens regularly updates his compilation during the writing of each number.

The timing of entries can also be traced in some detail. The listing for No.6 begins with the number entry for ch.17 (later 18), i.e. prior to the proofing of chs.17 and 18 when the first two chapters are reversed, and ends with the number error ‘IX’ for 19. The next entry [6/7] begins with the correction to the number heading of ch.19 and ends with the entry of the initial title given to ch.20, i.e. prior to the proofing of ch.20 when that chapter is divided and ch.20 retitled. When Dickens returns to enter [7/8], he begins by correcting the title of ch.20, includes the adjustments at proof stage and ends by titling ch.23, the first chapter of No.8. He revises that title in the List itself, copying the final version to the manuscript—an exceptional departure from his usual practice of revising in the manuscript, and a part of the general disruption to his usual procedures during the production of No.8 (see commentary on Ws.8, p.76). In [8/9], he completes the record for No.8 and most of No.9 except for the headings of ch.28, probably updating the record before he begins the final chapter of No.9. Then in [9/10], he copies in the headings of the four remaining chapters up to and including ch.31, thus completing the record for the first half of the novel.

For [11] and [12], Dickens continues the procedure, begun in No.10, of updating the List after finishing one number and before starting the next. Then for No.13, he reverts to his earlier practice of adding to the List before he has completed the number in hand. The handwriting of the chapter headings in Nos.14 and 15 is unusually varied, with several ink smudges that are untypical and a sure sign of rush. Despite dirty copy, we can be reasonably certain that Dickens makes at least two entries within the same number for the pivotal No.14 (see the conjectures in [13/14] and [14]). Similarly in the climactic No.15 he updates the List twice, entering [15a] after just one chapter the initial ch.48 (‘The Thunderbolt’), followed later by [15b]. In the excitement of the moment and gripped by “the interest and passion of it”, he overrides his established habit of making one entry for each number. For the remaining entries, he returns to his previous practice, making one entry each for Nos.16–18 and the two entries for the double number.131

There is also evidence of variation in the source that Dickens draws on when adding to the List. He may be copying (or recalling) what is entered in the manuscript, the worksheet or the corrected proofs. In entry [6], he enters the earlier order of chs.17 and 18 found in the worksheet and the manuscript, prior to their reversal in the proofs. In entry [8], on the other hand, he relies partly on the proofs and partly on the worksheet; the title of ch.36 appears only in proof, and the version of the title of ch.38 appears only in worksheet. On one unusual occasion, probably while writing ch.23, he revises a title in the List itself, and then copies the revision(s) into the manuscript (see entry [7/8] for ch.23).

Description of the transcription

Page size and layout (slightly reduced) is kept roughly proportionate to the original. A short unbroken black line from the left-hand edge is added to the transcript to show the boundaries that define each instalment. Below the black line is the number of the instalment in round brackets.

A short dotted red line from the right-hand edge shows the boundaries that define each group of headings that are entered together, with the exception of the boundary between the unique entries [15a] and [15b] that cannot be shown in this way (see commentary on [15a and b], p.178). Below the red line, a number in bold and in square brackets is given to the group of chapter headings that follows (the number also identifies the instalment(s), in part or whole, that each group covers). Its lower boundary gives a rough indication of the point at which the group is entered.

Each group of entries is accompanied, in the right-hand margin, by a brief description and comment on the group’s main features. The broken double underlines of the chapter headings are typographical, while those of the chapter titles are ‘drawn’, in order to represent more clearly the broken underlines of the original. Changes in hand and ink in the original are imitated in the same way that they are shown in the transcriptions of the worksheets.

Aim of the transcription

The transcription corrects and adds to description of the List in the Clarendon edition of the novel (‘Introduction’, Dombey and Son, ed. Alan Horsman (Oxford: Clarendon Press, 1974 p.xliii). It aims to show visually most of the evidence in layout, hand and ink that enables us to conjecture how the order and content of its entries relate to those in the worksheets, the manuscript and proofs.

Transcription of the List of Chapter Headings

Entry [1–5] consists of the title heading and the headings for chs.1–16. They are distinguished by evenness of hand, a thin unvarying line, and regularity of alignment and spacing down and across the page.

Dickens writes without hesitation probably copying from the worksheet soon after he finished ch.16. The addition of ‘some’ to the title of ch.2 is assumed to be an error, the writer perhaps relying on memory and anticipating the title of ch.4.

Entry [6] consists of the headings for chs.17 and 18 together with the chapter number heading for ch.19, mistakenly entered as ch.9. Dickens copies in these entries probably before he finishes and titles ch.19 (the last chapter of No.6) and certainly before he transposes chs.17 and 18 at proof stage.

Entry [6/7] consists of the correction to the numbering of ch.19 and its title, the number heading and the initial title of ch.20. The entries coincide with the bright blue ink used for all of No.7. Dickens copies them in before writing ch.22 (the last chapter of No.7) and before dividing ch.20 at proof stage.

Entry [7/8] consists of the deletion of the initial title for ch.20, the entry of the revised title and the headings for chs.21–23. Dickens probably copies in these entries while he is writing ch.23 in black. When he comes to devising a title for ch.23, he enters it first in the List, then revises it there (twice), and lastly copies the final version into the gap in the manuscript and later into worksheet (see ‘Appendix D’, ch.23, p.185).

Entry [8/9] consists of all the headings for chs.24–27. The amendment to the number heading for ch.24 is a running correction. His use of blue ink here coincides with its use in No.9 from MS p.6 of the first chapter (ch.26) to the end of the last chapter (ch.28). Dickens enters the headings, before he begins to write ch.28.

Entry [9/10] consists of the headings for chs.28–31. Dickens begins by giving the title of ch.29 to ch.28, forgetting that he had not yet entered the title of the final chapter in the previous number. He corrects the error and completes the headings up to and including ch.31, copying in these entries when he has finished ch.31, thus completing the entries for the first half of the novel.

Entry [11] consists of the headings for chs.32–34. Dickens writes with the same blue he has just used for ch.34, the final chapter of No.11, misnumbering ch.34 as ch.24.

Entry [12] consists of the headings for ch.35–38. Dickens copies in these entries but, continuing from the previous entry, misnumbers the first chapter as ch.25. He corrects the number headings of both chs.34 and 35, and completes the headings up to and including ch.38 (the last chapter of No.12). He is perhaps copying from the worksheet, but correcting as he goes from his memory of the changes made to second proofs of ch.35. He gives the earlier unrevised title for ch.38 only found in Ws 12.

The listings of both this and the previous two numbers are added after he completes each number, reflecting his confidence in the progress of the narrative.

Entry [13] consists of the headings for chs.39 and 40 and the number heading for ch.41. Dickens copies in these entries before he has titled ch.41 (the last chapter of No.13).

Entry [13/14] consists of the title for ch.41, the headings for ch.42, and the number heading of ch.43. Dickens probably copies in these entries before he has completed or titled ch.43, for the first time interrupting composition during or as he begins the second chapter of a number.

Entry [14] consists of the title of ch.43 and the headings for chs.44 and 45. Dickens probably copies in these entries as soon as he has finished ch.45 (the last chapter of No.14). Ink flow in the titles of chs.44 and 45 is unusually erratic. Dickens seems to overwrite “Agent”.

Entries for No.15, like those for No.14, are made in two stages. In the first stage, covered by [15a], Dickens enters the just the number headings for chs.46–48 followed by the title of the chapter he had just finished “The Thunderbolt” (initially intended as the last chapter). In the second stage, after writing the other two chapters and re-thinking the chapter order, he makes entry [15b], in which he deletes the initial title of ch.48, re-titling it “The Flight of Florence”, and transfers the titles of chs.46 and 47. The separation of the two entries is clear from the marked contrast of hand. (The second double underline beneath ch.48 seems inadvertently to have been repeated, perhaps made by mistake or—more likely—being accidentally caught on paper that Dickens may have used as blotting paper or as a hand-rest).

For the first and only time, in keeping the record for Nos.14 and 15, Dickens makes two entries in each number, interrupting composition in the middle of both. There is an unusual number of smudged entries. He seems energised by the approaching crisis, taken up with the reactions of each of the four protagonists in turn. His hurried engagement with this task is in keeping with his involvement in the narrative; in his excitement, he goes between manuscript and worksheet more often than usual.

Entry [15a] confirms the order of entry given in the commentary for Ws.15 (p.104) and the interpretation of Dickens's 'Comment' (p.105). See also endnote 89 and 92.

Entry [16] consists of headings for chs.49–50 and the number heading of ch.51, entered before beginning work on ch.51, the last chapter of No.16. Titling ch.50, Dickens appears to misremember, and then correct the title (see ch.50 ‘Appendix D’).

Entry [16/17/18] consists of the title of ch.50, all the headings for chs.52–54 and the number heading for ch.55. Dickens copies in these entries probably when he has completed ch.54, the last chapter of No.17. It is the only entry when he completes the record for two numbers and prepares for a third.

Entry [18] consists of the title of ch.55 and the headings for ch.56 and 57. Perhaps entering the title of ch.56 from memory, Dickens miswords the title, and at once corrects the error. The underlines are applied to only one version, confirming that the change is a running correction, not a revision. He completes the record, without going on to number the first chapter of the double number, perhaps anticipating that he will begin his preparation for Nos.19&20 without the usual break.

Entry [19&20] consists of headings for chs.58–60, made during or after the completion of ch.60.

Entry [19&20a] consists of the headings for chs.61 and 62 entered overleaf on the last page of the List when he has completed ch.62.

D. Revisions to chapter titles in manuscript, worksheet and List

In his introduction to the Clarendon edition, Horsman makes a general comment on manuscript revisions that ‘deletions are not recorded because, with very few exceptions, they cannot be read’ (Horsman 1974 Introduction, p.xliv). While this appears to be the case for the body of the text, it is fortunately not true of most revisions to chapter titles in manuscript, worksheet and List.

Partially visible words can be identified with near certainty. It is also sometimes possible to make a reasonable guess at groups of words that are in part indecipherable, while single words that are entirely obscured can sometimes be conjectured from their length and context. Only a few revisions are completely unreadable (see chs.7, 8, 29 and 38). However, even in these instances it is helpful to know that revisions are present.132

In the manuscript, after the early chapters, Dickens invariably underlines the chapter title as he enters it, doing the same for title revisions. The broken double underlines that are given to chapter titles probably began as his routine signal to compositors to use uppercase type.133 They are used throughout, with the result that, because he tends to vary the size and spacing of the underlines with each revision, they are important in distinguishing one revision from another.

From the transcriptions below, it seems that, for the first few chapters, Dickens often revises in the worksheet but that after ch.8 he finds it more useful to revise in manuscript during or soon after composition. On one occasion (ch. 23) he appears to enter the chapter title first in his “List of Chapter Headings”, and takes the opportunity to revise there. On several other occasions, e.g. for chs.38 and 62, he reverts to his earlier practice of entering the chapter title first in worksheet, presumably because he is confident in his choice of title. As with so many of his practices in the working notes at this stage of his career, he is quick to adapt to changing circumstances.

Each title and each revised title are shown separately, with their location, and in the order in which they are made. No attempt is made to give the evidence for this summary of outcomes, as the underlines and layout that reveal order are often too closely written to be transcribed without magnification. However where there is doubt about the order, location or substance of a revision, conjectures are followed by a query in brackets.

Chapter one

1. Dombey and Son (Ws)
2. Dombey and Son (MS)
3. In which Dombey and Son are presented to the reader. (Ws)
4. In which Dombey and Son are presented to the reader. (MS)
5. Dombey and Son. (MS and Ws)

The original title, the revised title and the reinstated title appear in both worksheet and manuscript. In the manuscript, each version is underlined; in the worksheet, only the final title is underlined. A probable explanation is that Dickens entered the title in the worksheet (1) and then manuscript (2), then revised it by adding “In which” and “are presented to the reader” in the worksheet (3), copied the same additions to the manuscript (4), but finally re-instated the initial title in both the worksheet and manuscript (4).

Chapter two

1. In which timely provision is made for an Family emergency that will sometimes arise in the best regulated families. (Ws)
2. In which timely provision is made for an emergency that will sometimes arise in the best regulated families. (MS)

The correction in (1) suggests that (1) precedes (2), i.e. the title is entered first in the worksheet, revised there, then copied to the manuscript.

Chapter three

1. In which Mr Dombey is beheld in the bosom of his family. (Ws)
2. In which Mr Dombey is seen in the bosom of his family. (Ws)
3. In which Mr Dombey, as a man and a Father, is seen at the head of the home Department. (Ws)
4. In which Mr Dombey, as a man and a father, is seen at the head of the home-department. (MS)

Dickens rewords and revises in the worksheet, delaying transfer to the manuscript until he has a final version. He underlines only the final version in the worksheet and in the manuscript.

Chapter five

1. Paul’s Progress (MS)
2. Paul’s Progress and christening. (MS)
3. Paul’s Progress and christening (Ws)

Dickens titles and revises in the manuscript, and then transfers the final version to the worksheet.

Chapter seven

1. CHAPTER IV In which a xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx glimpse is afforded of Princess’s Place. (MS)
2. CHAPTER IV In which a bird’s-eye glimpse is afforded of Princess’s Place. (MS)
3. CHAPTER VII A Bird’s eye glimpse of Miss Tox’s dwelling place. Also of the state of Miss Tox’s affections (Ws)
4. CHAPTER IV VII IN WHICH A BIRD’S-EYE GLIMPSE IS AFFORDED OF PRINCESS’S PLACE. Miss Tox’s dwelling place; and also of the state of Miss Tox’s affections. (Corrected proof of (2))

Dickens titles and revises in the manuscript (1) and (2). When transferring the revised version to the worksheet, he makes further changes (3). Using the proofs of (2), he brings the title into line with (3), at the same time substituting a semicolon for the stop and using a lower case ‘a’ in “Also” (4).

Chapter eight

1. Paul’s further progress progress, and character. (Ws)
2. Paul’s further progress, growth and character. With some account of Mrs Wrychin’s establishment. (Ws)
3. Paul’s further progress, growth and character. With some account of Mrs Pipchin’s establishment. (Ws)
4. Paul’s further progress growth, and character. With some account of Mrs Pipchin’s xxxxxx xxxxxxxxxxx establishment(?) (MS)
5. Paul’s further progress growth, and character. With some account of Mrs Pipchin’s establishment (MS)
6. Paul’s further progress, growth, and character. (MS)
7. Paul’s further progress, growth, and character. (Ws)

Dickens begins by revising in the worksheet alone. To (1) he adds “growth” and “With Wrychin’s establishment” (2), following the second change of name in the left-hand entry Ws.32. He then alters “Wrychin” to “Pipchin” (3) after the fourth and final change of name in Ws.32. When he transfers (3) to the manuscript, he extends the description of Mrs Pipchin’s establishment (4) and revises that version at least once (5). The presence of versions (4) and (5) is confirmed by two distinct sets of underlines. Finally in (6), he deletes all mention of Mrs Pipchin and returns to an early version of Paul’s progress (2). He then copies (6) to (7), underlining it in Ws.3 for the first time.

Chapter eleven

1. Paul’s education (MS)
2. Paul’s Introduction to a new Scene. (MS)
3. Paul’s Introduction to a new Scene. (Ws)

Dickens titles and revises in the manuscript, and then transfers the final version to the worksheet.

Chapter thirteen

1. Sailing Orders. (MS)
2. Shipping Business. (MS)
3. Sailing Orders, and Office Business. (MS)
4. Shipping Intelligence and Office Business. (MS)
5. Shipping Intelligence and Office Business (Ws)

Dickens titles and revises in the manuscript, and then transfers the final version to the worksheet.

Chapter fourteen

1. Paul goes home for the holidays. (MS)
2. Paul grows more old-fashioned and goes home for the holidays. (MS)
3. Paul grows more and more old-fashioned and goes home for the holidays. (MS)
4. Paul grows more and more old-fashioned and goes home for the holidays.(Ws)

Dickens titles and revises in the manuscript, and then transfers the final version to the worksheet.

Chapter fifteen

1. Artfulness of Captain Cuttle, and a new pursuit for Walter Gay. (MS)
2. Artfulness of Captain Cuttle, and a new pursuit for Walter Gay. (Ws)
3. Amazing Artfulness of Captain Cuttle, and a new pursuit for Walter Gay. (MS and Ws)

Dickens titles in the manuscript and transfers the title to the worksheet. “Amazing” appears to be an afterthought, added to both the manuscript and the worksheet at the same time.

Chapter seventeen (later chapter eighteen)

1. Relatives and Friends (MS)
2. Relatives and Friends of Florence. (MS)
3. Father and Daughter. (MS)
4. Father and Daughter. (Ws)

Dickens titles and revises twice in the manuscript, and then transfers the final version to the worksheet. Unlike title revisions in previous chapters that are all cumulative, building on earlier versions, revision (3) is an emphatic change of focus.

Chapter twenty

1. New Faces (MS and Ws)
2. Mr Dombey goes upon a journey (Corrected proof of (1))
3. Mr Dombey goes upon a journey (Ws)

Dickens enters the title (1) in the manuscript and in the worksheet (in blue). At the proof stage, he divides ch.20 into two, re-titling ch.20 “Mr Dombey goes upon a journey” and titling the new ch.21 “New Faces”. In worksheet, he deletes (1), copies in “Mr Dombey goes upon a journey” for ch.20. (He also enters a new chapter number heading for ch.21, titles it “New Faces”, and adjusts the initial ch.21 to 22).

Chapter twenty-two

1. Xxxxx(?) Management of Mr Carker the Manager. (MS)
2. A trifle of Management by Mr Carker the Manager. (MS)
3. A trifle of Management by Mr Carker the Manager. (Ws)

Dickens, writing all of the manuscript of the seventh instalment in blue, also revises there in blue—the deletion may be “Alert/Astute/Adroit” or some such word with similar risers—and later transfers the final version in black to the worksheet.

Chapter twenty-three

1. Domestic and Fxxxgxxxx(?) (List)
2. Domestic and Foreign . The Midshipman Mysterious (List)
3. Florence solitary, and the Midshipman Mysterious. (List)
4. Florence solitary, and the Midshipman Mysterious. (MS and Ws)

Having left a gap for the title in manuscript during the composition of chapter twenty-three, Dickens titles in the List, revises there two or three times, then transfers the final version to the manuscript and the worksheet.

Chapter twenty-seven

1. Darker and deeper Shadows. (MS)
2. Deeper Shadows. (MS)
3. Deeper Shadows. (Ws)

Dickens titles and revises in blue in manuscript, but transfers the final version to worksheet in black, probably after he composed ch.28 in blue in manuscript, and returned to black to complete the record (see 'Titles of chs.26, 27 & 28', p.81).

Chapter twenty-nine

1. The eyes of Mrs Chick are opened all at once (?). (MS)
2. The eyes of Mrs Chick are opened. (MS)
3. The eyes of Mrs Chick are opened. (Ws)
4. The opening of the eyes of Mrs Chick. (MS)
5. The opening of the eyes of Mrs Chick. (List)

Dickens enters the title (1) in the manuscript as he begins the chapter. Later, he lessens the irony, revising the title to (2), which is copied to the worksheet (3). When he decides soon afterwards to use the wording of the title as the basis for the lettering of the first illustration in No.10 “The eyes of Mrs Chick are opened to Lucretia Tox”, perhaps to avoid repetition he restyles the title in the manuscript to its final version (4). This is also the version he copies into the “List of Chapter Headings” (5). However, he may leave the title that he had already copied to the worksheet unchanged, because the version there serves as a record well enough.

Chapter thirty

1. Before the Wedding (MS)
2. Before the Marriage (MS)
3. The Interval Before the Marriage (MS)
4. The Interval before the Marriage (Ws)

Dickens titles and revises in the manuscript, and then transfers the final version to the worksheet.

Chapter thirty-eight

1. Miss Tox cultivates an old acquaintance. (Ws after ‘ch.37’)
2. Miss Tox renews acquaintance (?) with Rob the Grinder. (MS)
3. Miss Tox improves an old acquaintance. (MS)
4. Miss Tox cultivates an old acquaintance. (List)

Dickens may first title the chapter in worksheet, where the chapter is numbered ch.37. In manuscript, where the chapter is numbered ch.38, he revises the wording as he enters it, then, bringing it closer to the version in the worksheet, revises it again (the published version). When he transfers the title to the List, where the chapter is numbered ch.38, perhaps overlooking the revision in manuscript, he re-enters the initial title only found in worksheet.

Chapter forty-one

1. The great(?) sea shore. (MS)
2. The sea shore. (MS)
3. New Voices in the Waves. (MS)
4. New Voices in the Waves. (Ws)

Dickens titles and revises twice in the manuscript, and then transfers the final version to the worksheet. The second revision, like that of ch.18, brings a change of subject, in this case making a comparison more explicit.

Chapter forty-three

1. The Watches of the Night (MS)
2. The Vigils of a Night (MS)
3. The Watches of the Night. (MS)
4. The Watches of the Night. (Ws)

During or perhaps after composition, Dickens titles, revises, then reinstates the initial title in the manuscript, transferring the final version to the worksheet.

Chapter fifty

1. Mr Toots’s love(?) and friendship (MS)
2. Mr Toots’s complaint. (MS)
3. Mr Toots’s complaint. (Ws)
4. Mr Toots’ sore(?) complaint (List)

Dickens titles and revises in manuscript transferring the final title to worksheet. When he enters the title in the List, he appears to mistake the title, then to correct it. The conjecture “sore” is suggested on the following grounds (1) it is the right length (2) like the deleted word it has no letters with risers or tails (3) Dickens has already given Toots the word “sore” to describe his love (ch.32, 448492) (4) the collocation is a common one in biblical and Shakespearian language.

Chapter fifty-three

1. Further Intelligence. (MS)

(2/3) More Intelligence. (MS)

(3/2) More Intelligence. (Ws)

Dickens titles, revises in the manuscript, and transfers the final version to the worksheet (or vice-versa).

Chapter fifty-eight

1. After a lapse (MS)
2. After a lapse (MS)
3. After a lapse. (MS)
4. After a lapse. (Ws)

In the manuscript, Dickens enters the title, which he deletes along with the opening paragraph. He replaces them with a slip where he rewrites the paragraph, and reinstates the deleted title. He then transfers the title to the worksheet.

Chapter sixty-two

1. Final (Ws )
2. The last bottle of the old Madeira (Ws)
3. Final (MS)

Dickens enters a title in greeny blue ink and later revises it. During composition, after using the “old Madeira” as a recurring motif in the text, he reinstates the initial title in the manuscript.

E. False starts in the manuscript at chapter openings

Dickens occasionally begins a chapter, falters, turns the leaf over and starts again. Sometimes, instead of turning over the leaf, he writes a fair copy on a slip of paper, perhaps with more revisions, which he sticks over his first attempt. The five false starts listed below—often interesting for what they reveal of Dickens’s stylistic sensitivities—show how his entry of chapter titles varies:

• he may title as he writes and revises the text, then start again, repeat the title and continue to revise the text as he writes (chs.51 and 58)
• he may title as he writes, revise the title and the text, then start again, leave a blank line, continue to revise the text and insert a different title later (ch.41)
• he may leave a narrow gap, write on (creating a broken sentence) and soon after sqeeze in a title. He then deletes the whole, enters the same title, full-sized and well spaced, and revises the text (ch.61)
• he may leave a gap, write on, revise the text, then start again, leave a gap, continue to revise the text and insert a title later (ch.49).

These false starts show that Dickens sometimes leaves a blank line for the title, that he usually begins again because of dissatisfaction with the text, and that he may often, having left a blank line, insert (and revise) a title soon afterwards. We also know from colour changes that he may delay entering a title until well into the chapter, or even until he begins the next chapter.

Chapter forty-one

Dickens titles, revises, then after a line abandons what he has written. Turning over the leaf he begins again, leaving a blank line for a different title that is entered later.134

Chapter forty-nine

Dickens enters the part and chapter number heading, leaves a narrow blank line for the title, composes the first two sentences but revises the third so extensively that he decides to abandon the page. He strikes out the whole of what he has written, turns the leaf over and begins again, entering the part and chapter number heading and leaving a gap as before, into which he later inserts a title in smallhand.

Chapter fifty-one

Dickens transfers the title from the worksheet, then writes on. However, when he begins to extend the simile, he turns the leaf over and begins again. He enters the title and writes on as before, omitting the comparison. The false start with the identical repeat of the title confirms that the title is entered before he begins to compose.

Chapter fifty-eight

Dickens enters the title and writes the first paragraph, making many revisions. Then he takes a blank slip of paper, makes a fair copy (with the title), cuts it to size and attaches it over his first attempt. It is possible to read the same title beneath, but little of the corrected text.

Chapter sixty-one

Dickens leaves a narrow gap for the title, writes the first line, and then squeezes the title into the spaces (the risers of “Rel” lie between the broken underlines) and finally strikes through the whole. He turns the page over and starts again, this time confidently titling as he writes.

F. Use of blue inks in worksheet, manuscript, List and proofs

The table below shows when Dickens uses a blue quill and ink. It lists the number he is working on, the sort of blue he is using, the point at which he begins to use it in each number, the entries that are made in blue—with a note on function—and when and how its use is interrupted by a change to black:

• in No.7	in bright blue	LH (2) the backstory of Edith and her mother;
	in black	RH (7), (8), (11) & (13) preliminaries,
		LH (1), (3) & (4) initial plan;
	in bright blue	MS and RH (9) title and composition of ch.20 (later 20 & 21), List [6/7],
		MS composition and title of ch.21 (later 22),
		Proofs (ch.20 divided into 20 & 21),
		LH (6) additional plan for ch.22,
		MS composition of extension to ch.22;
	in black	RH (10) & (12) titles for chs.20 & 21, etc.
• in No.9	in bright blue	MS composition of second half of ch.26 and its title;
	in black	RH (13)–(17) plans for ch.27 and (20) for ch.28;
	in bright blue	MS composition and title of ch.27, List [8/9], MS composition and title of ch.28;
	in black	RH (6), (12) & (19) titles of chs.26, 27 & 28.
• in No.11	in bright blue	MS composition and title of ch.34, title of ch.33, List [11];
	in black	RH (18) & (34) titles of chs.33 & (34), etc.
• in No.12	in watery blue	RH (17)–(19) title and summary of ch.36(later 37), Proofs (ch.35 divided into chs.35 and 36),
		LH (6) comment and RH (15) underlines,
		MS composition of ch.38,
		LH (8) comment;
	in black	MS change of ‘ch.36’ to ‘ch.37’, List [12].
• in Nos.19&20	in greeny blue	MS composition of ch.59,
		RH (15) title for ch.58 and (20) for ch.59, (28) title and (30) & (31) plan for first part of ch.60,(36) plan for first section of ch.61,(40) number heading and (41) title of ch.62;
	in black	RH (32) & (33) plan for second part of ch.60, etc..

The table above is derived from Dickens’s order of work, as reconstructed in the commentaries to the worksheets in ‘Section 5’. It reveals the extent to which it has been possible to preserve consecutiveness in his use of blue ink—given the other constraints: the function of chapter descriptions, the history of titling, the layout of entries, and their other qualities of hand, quill and ink.

It shows that in No.7 he begins by making a single isolated entry (2) in bright blue, and that all his other bright blue entries in No.7, other than (2), are consecutive, i.e. uninterrupted by the use of black. Likewise, the bright blue entries in No.11, the watery blue entries in No.12 and the greeny blue entries of Nos.19&20 are all uninterrupted by entries in black. It also shows that, although Dickens writes most of No.9—the second half of ch.26 and all of chs.27 and 28—in bright blue, he interrupts its use on one occasion only to plan for chs.27 and 28 in black.

For explanations and conjecture on Dickens’s use of blue inks, see ‘Ink colour’ in ‘Section 2’, p.21 and the relevant commentaries in the worksheets of ‘Section 5’.

Abbreviations used in the table are the same as elsewhere. They are:

• ‘LH’ means the left-hand half of a worksheet
• ‘List’ refers to “List of Chapter Headings”
• ‘MS’ means the manuscript of the novel
• ‘RH’ means the right-hand half of a worksheet
• numbers in round bracket refer to the marginal numbers given to entries in the transcription of each worksheet
• numbers in square brackets refer to the numbered entries in ‘Appendix C’.