Master Humphrey's Clock — Themes and Context
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The Author would fain hope that there are not many who would disturb Master Humphrey and his friends in their seclusion; who would have them forego their present enjoyments, to exchange those confidences with each other, the absence of which is the foundation of their mutual trust. For when their occupation is gone, when their tales are ended, and but their personal histories remain, the chimney corner will be growing cold, and the clock will be about to stop for ever.
One other word in his own person, and he returns to the more grateful task of speaking for those imaginary people whose little world lies within these pages.
It may be some consolation to those well-disposed ladies and gentlemen who, in the interval between the conclusion of his last work and the commencement of this, originated a report that he had gone raving mad, to know that it spread as rapidly as could be desired, and was made the subject of considerable dispute; not as regarded the fact, for that was as thoroughly established as the duel between Sir Peter Teazle and Charles Surface in the _School for Scandal_; but with reference to the unfortunate lunatic’s place of confinement; one party insisting positively on Bedlam, another inclining favourably towards St. Luke’s, and a third swearing strongly by the asylum at Hanwell; while each backed its case by circumstantial evidence of the same excellent nature as that brought to bear by Sir Benjamin Backbite on the pistol shot which struck against the little bronze bust of Shakespeare over the fireplace, grazed out of the window at a right angle, and wounded the postman, who was coming to the door with a double letter from Northamptonshire.
It will be a great affliction to these ladies and gentlemen to learn—and he is so unwilling to give pain, that he would not whisper the circumstance on any account, did he not feel in a manner bound to do so, in gratitude to those amongst his friends who were at the trouble of being angry at the absurdity that their inventions made the Author’s home unusually merry, and gave rise to an extraordinary number of jests, of which he will only add, in the words of the good Vicar of Wakefield, “I cannot say whether we had more wit among us than usual; but I am sure we had more laughing.”
DEVONSHIRE TERRACE, YORK GATE, _September_, 1840.
PREFACE TO THE SECOND VOLUME
“AN author,” says Fielding, in his introduction to _Tom Jones_, “ought to consider himself, not as the gentleman who gives a private or eleemosynary treat, but rather as one who keeps a public ordinary, to which all persons are welcome for their money. Men who pay for what they eat, will insist on gratifying their palates, however nice and whimsical these may prove; and if everything is not agreeable to their taste, will challenge a right to censure, to abuse, and to damn their dinner without control.
“To prevent, therefore, giving offence to their customers by any such disappointment, it hath been usual with the honest and well-meaning host to provide a bill of fare, which all persons may peruse at their first entrance into the house; and having thence acquainted themselves with the entertainment which they may expect, may either stay and regale with what is provided for them, or may depart to some other ordinary better accommodated to their taste.”
In the present instance, the host or author, in opening his new establishment, provided no bill of fare. Sensible of the difficulties of such an undertaking in its infancy, he preferred that it should make its own way, silently and gradually, or make no way at all. It _has_ made its way, and is doing such a thriving business that nothing remains for him but to add, in the words of the good old civic ceremony, now that one dish has been discussed and finished, and another smokes upon the board, that he drinks to his guests in a loving-cup, and bids them a hearty welcome.
DEVONSHIRE TERRACE, LONDON, _March_, 1841.
LIST OF ILLUSTRATIONS
PAGE MASTER HUMPHREY’S CHAMBER _George Cattermole_ 215 FRIENDLY RECOGNITIONS _Phiz_ 217 GOG AND MAGOG ,, 228 A GALLANT CAVALIER _George Cattermole_ 232 DEATH OF MASTER GRAHAM ,, 237 A CHARMING FELLOW _Phiz_ 240 THE TWO FRIENDS ,, 246 HUNTED DOWN _George Cattermole_ 254 MR. PICKWICK INTRODUCES HIMSELF TO _Phiz_ 259 MASTER HUMPHREY WILL MARKS READING THE NEWS _George Cattermole_ 266 CONCERNING WITCHES WILL MARKS TAKES UP HIS POSITION _Phiz_ 270 FOR THE NIGHT WILL MARKS ARRIVES AT THE CHURCH _George Cattermole_ 277 TONY WELLER AND HIS GRANDSON _Phiz_ 282 PROCEEDINGS OF THE CLUB „ 288 THE LAST WILL AND TESTAMENT OF ,, 292 WILLIAM BLINDER A RIVAL CLUB ,, 297 A CHIP OF THE OLD BLOCK ,, 302 MASTER HUMPHREY’S VISIONARY ,, 311 FRIENDS THE DESERTED CHAMBER _George Cattermole_ 318
MASTER HUMPHREY, FROM HIS CLOCK-SIDE IN THE CHIMNEY CORNER
[Picture: Master Humphrey’s Chamber]
THE reader must not expect to know where I live. At present, it is true, my abode may be a question of little or no import to anybody; but if I should carry my readers with me, as I hope to do, and there should spring up between them and me feelings of homely affection and regard attaching something of interest to matters ever so slightly connected with my fortunes or my speculations, even my place of residence might one day have a kind of charm for them. Bearing this possible contingency in mind, I wish them to understand, in the outset, that they must never expect to know it.
I am not a churlish old man. Friendless I can never be, for all mankind are my kindred, and I am on ill terms with no one member of my great family. But for many years I have led a lonely, solitary life;—what wound I sought to heal, what sorrow to forget, originally, matters not now; it is sufficient that retirement has become a habit with me, and that I am unwilling to break the spell which for so long a time has shed its quiet influence upon my home and heart.
I live in a venerable suburb of London, in an old house which in bygone days was a famous resort for merry roysterers and peerless ladies, long since departed. It is a silent, shady place, with a paved courtyard so full of echoes, that sometimes I am tempted to believe that faint responses to the noises of old times linger there yet, and that these ghosts of sound haunt my footsteps as I pace it up and down. I am the more confirmed in this belief, because, of late years, the echoes that attend my walks have been less loud and marked than they were wont to be; and it is pleasanter to imagine in them the rustling of silk brocade, and the light step of some lovely girl, than to recognise in their altered note the failing tread of an old man.
Those who like to read of brilliant rooms and gorgeous furniture would derive but little pleasure from a minute description of my simple dwelling. It is dear to me for the same reason that they would hold it in slight regard. Its worm-eaten doors, and low ceilings crossed by clumsy beams; its walls of wainscot, dark stairs, and gaping closets; its small chambers, communicating with each other by winding passages or narrow steps; its many nooks, scarce larger than its corner-cupboards; its very dust and dulness, are all dear to me. The moth and spider are my constant tenants; for in my house the one basks in his long sleep, and the other plies his busy loom secure and undisturbed. I have a pleasure in thinking on a summer’s day how many butterflies have sprung for the first time into light and sunshine from some dark corner of these old walls.
When I first came to live here, which was many years ago, the neighbours were curious to know who I was, and whence I came, and why I lived so much alone. As time went on, and they still remained unsatisfied on these points, I became the centre of a popular ferment, extending for half a mile round, and in one direction for a full mile. Various rumours were circulated to my prejudice. I was a spy, an infidel, a conjurer, a kidnapper of children, a refugee, a priest, a monster. Mothers caught up their infants and ran into their houses as I passed; men eyed me spitefully, and muttered threats and curses. I was the object of suspicion and distrust—ay, of downright hatred too.
But when in course of time they found I did no harm, but, on the contrary, inclined towards them despite their unjust usage, they began to relent. I found my footsteps no longer dogged, as they had often been before, and observed that the women and children no longer retreated, but would stand and gaze at me as I passed their doors. I took this for a good omen, and waited patiently for better times. By degrees I began to make friends among these humble folks; and though they were yet shy of speaking, would give them ‘good day,’ and so pass on. In a little time, those whom I had thus accosted would make a point of coming to their doors and windows at the usual hour, and nod or courtesy to me; children, too, came timidly within my reach, and ran away quite scared when I patted their heads and bade them be good at school. These little people soon grew more familiar. From exchanging mere words of course with my older neighbours, I gradually became their friend and adviser, the depositary of their cares and sorrows, and sometimes, it may be, the reliever, in my small way, of their distresses. And now I never walk abroad but pleasant recognitions and smiling faces wait on Master Humphrey.
[Picture: Friendly recognitions]
It was a whim of mine, perhaps as a whet to the curiosity of my neighbours, and a kind of retaliation upon them for their suspicions—it was, I say, a whim of mine, when I first took up my abode in this place, to acknowledge no other name than Humphrey. With my detractors, I was Ugly Humphrey. When I began to convert them into friends, I was Mr. Humphrey and Old Mr. Humphrey. At length I settled down into plain Master Humphrey, which was understood to be the title most pleasant to my ear; and so completely a matter of course has it become, that sometimes when I am taking my morning walk in my little courtyard, I overhear my barber—who has a profound respect for me, and would not, I am sure, abridge my honours for the world—holding forth on the other side of the wall, touching the state of ‘Master Humphrey’s’ health, and communicating to some friend the substance of the conversation that he and Master Humphrey have had together in the course of the shaving which he has just concluded.
That I may not make acquaintance with my readers under false pretences, or give them cause to complain hereafter that I have withheld any matter which it was essential for them to have learnt at first, I wish them to know—and I smile sorrowfully to think that the time has been when the confession would have given me pain—that I am a misshapen, deformed old man.
I have never been made a misanthrope by this cause. I have never been stung by any insult, nor wounded by any jest upon my crooked figure. As a child I was melancholy and timid, but that was because the gentle consideration paid to my misfortune sunk deep into my spirit and made me sad, even in those early days. I was but a very young creature when my poor mother died, and yet I remember that often when I hung around her neck, and oftener still when I played about the room before her, she would catch me to her bosom, and bursting into tears, would soothe me with every term of fondness and affection. God knows I was a happy child at those times,—happy to nestle in her breast,—happy to weep when she did,—happy in not knowing why.
These occasions are so strongly impressed upon my memory, that they seem to have occupied whole years. I had numbered very, very few when they ceased for ever, but before then their meaning had been revealed to me.
I do not know whether all children are imbued with a quick perception of childish grace and beauty, and a strong love for it, but I was. I had no thought that I remember, either that I possessed it myself or that I lacked it, but I admired it with an intensity that I cannot describe. A little knot of playmates—they must have been beautiful, for I see them now—were clustered one day round my mother’s knee in eager admiration of some picture representing a group of infant angels, which she held in her hand. Whose the picture was, whether it was familiar to me or otherwise, or how all the children came to be there, I forget; I have some dim thought it was my birthday, but the beginning of my recollection is that we were all together in a garden, and it was summer weather,—I am sure of that, for one of the little girls had roses in her sash. There were many lovely angels in this picture, and I remember the fancy coming upon me to point out which of them represented each child there, and that when I had gone through my companions, I stopped and hesitated, wondering which was most like me. I remember the children looking at each other, and my turning red and hot, and their crowding round to kiss me, saying that they loved me all the same; and then, and when the old sorrow came into my dear mother’s mild and tender look, the truth broke upon me for the first time, and I knew, while watching my awkward and ungainly sports, how keenly she had felt for her poor crippled boy.
I used frequently to dream of it afterwards, and now my heart aches for that child as if I had never been he, when I think how often he awoke from some fairy change to his own old form, and sobbed himself to sleep again.
Well, well,—all these sorrows are past. My glancing at them may not be without its use, for it may help in some measure to explain why I have all my life been attached to the inanimate objects that people my chamber, and how I have come to look upon them rather in the light of old and constant friends, than as mere chairs and tables which a little money could replace at will.
Chief and first among all these is my Clock,—my old, cheerful, companionable Clock. How can I ever convey to others an idea of the comfort and consolation that this old Clock has been for years to me!
It is associated with my earliest recollections. It stood upon the staircase at home (I call it home still mechanically), nigh sixty years ago. I like it for that; but it is not on that account, nor because it is a quaint old thing in a huge oaken case curiously and richly carved, that I prize it as I do. I incline to it as if it were alive, and could understand and give me back the love I bear it.
And what other thing that has not life could cheer me as it does? what other thing that has not life (I will not say how few things that have) could have proved the same patient, true, untiring friend? How often have I sat in the long winter evenings feeling such society in its cricket-voice, that raising my eyes from my book and looking gratefully towards it, the face reddened by the glow of the shining fire has seemed to relax from its staid expression and to regard me kindly! how often in the summer twilight, when my thoughts have wandered back to a melancholy past, have its regular whisperings recalled them to the calm and peaceful present! how often in the dead tranquillity of night has its bell broken the oppressive silence, and seemed to give me assurance that the old clock was still a faithful watcher at my chamber-door! My easy-chair, my desk, my ancient furniture, my very books, I can scarcely bring myself to love even these last like my old clock.
It stands in a snug corner, midway between the fireside and a low arched door leading to my bedroom. Its fame is diffused so extensively throughout the neighbourhood, that I have often the satisfaction of hearing the publican, or the baker, and sometimes even the parish-clerk, petitioning my housekeeper (of whom I shall have much to say by-and-by) to inform him the exact time by Master Humphrey’s clock. My barber, to whom I have referred, would sooner believe it than the sun. Nor are these its only distinctions. It has acquired, I am happy to say, another, inseparably connecting it not only with my enjoyments and reflections, but with those of other men; as I shall now relate.
I lived alone here for a long time without any friend or acquaintance. In the course of my wanderings by night and day, at all hours and seasons, in city streets and quiet country parts, I came to be familiar with certain faces, and to take it to heart as quite a heavy disappointment if they failed to present themselves each at its accustomed spot. But these were the only friends I knew, and beyond them I had none.
It happened, however, when I had gone on thus for a long time, that I formed an acquaintance with a deaf gentleman, which ripened into intimacy and close companionship. To this hour, I am ignorant of his name. It is his humour to conceal it, or he has a reason and purpose for so doing. In either case, I feel that he has a right to require a return of the trust he has reposed; and as he has never sought to discover my secret, I have never sought to penetrate his. There may have been something in this tacit confidence in each other flattering and pleasant to us both, and it may have imparted in the beginning an additional zest, perhaps, to our friendship. Be this as it may, we have grown to be like brothers, and still I only know him as the deaf gentleman.
I have said that retirement has become a habit with me. When I add, that the deaf gentleman and I have two friends, I communicate nothing which is inconsistent with that declaration. I spend many hours of every day in solitude and study, have no friends or change of friends but these, only see them at stated periods, and am supposed to be of a retired spirit by the very nature and object of our association.
We are men of secluded habits, with something of a cloud upon our early fortunes, whose enthusiasm, nevertheless, has not cooled with age, whose spirit of romance is not yet quenched, who are content to ramble through the world in a pleasant dream, rather than ever waken again to its harsh realities. We are alchemists who would extract the essence of perpetual youth from dust and ashes, tempt coy Truth in many light and airy forms from the bottom of her well, and discover one crumb of comfort or one grain of good in the commonest and least-regarded matter that passes through our crucible. Spirits of past times, creatures of imagination, and people of to-day are alike the objects of our seeking, and, unlike the objects of search with most philosophers, we can insure their coming at our command.
The deaf gentleman and I first began to beguile our days with these fancies, and our nights in communicating them to each other. We are now four. But in my room there are six old chairs, and we have decided that the two empty seats shall always be placed at our table when we meet, to remind us that we may yet increase our company by that number, if we should find two men to our mind. When one among us dies, his chair will always be set in its usual place, but never occupied again; and I have caused my will to be so drawn out, that when we are all dead the house shall be shut up, and the vacant chairs still left in their accustomed places. It is pleasant to think that even then our shades may, perhaps, assemble together as of yore we did, and join in ghostly converse.
Dickens introduces Master Humphrey's Clock as a frame narrative, a device that allows him to present multiple tales under a single conceit. The opening address and preface reveal his deliberate intention to knit together stories and readers through weekly installments. The clock itself becomes a character, its voice promising to 'scatter a few slight flowers in the Old Mower’s path.' This gentle, personified tone contrasts sharply with the gothic suspense of the excerpted tale, where Will Marks waits beneath a gibbet, chains creaking in the wind. The juxtaposition of cozy frame and eerie story is a structural choice that shapes the reader's experience.
The Frame as a Narrative Device
Dickens explicitly states his three objects in the preface: to establish a periodical, to produce tales in weekly numbers, and to maintain each story's integrity for future separate publication. The characters of Master Humphrey and his three friends, along with the clock, are 'the results of these considerations.' This meta-narrative layer is not merely decorative; it influences the pacing and tone. The frame's domestic tranquility—Master Humphrey's earnest hope that readers find 'something agreeable'—sets a baseline of comfort. When the narrative shifts to the witch-hunt tale, the contrast amplifies the horror. Dickens also revives Mr. Pickwick and his humble friends, not to reopen an 'exhausted and abandoned mine,' but to connect them with 'the tranquil enjoyments of Master Humphrey.' This choice ties the new work to familiar characters, creating continuity for his audience.
Diction of Suspense and Superstition
In the witch-hunt excerpt, Dickens builds suspense through precise diction and sensory detail. The night is 'dark and threatening,' with 'a rumbling of distant thunder, and a low sighing of wind among the trees, which was very dismal.' The townspeople's fear is rendered physically: they 'trod upon his toes, or stumbled against his ankles, or nearly tripped up his heels,' and their teeth chattered 'so with fear, that he seemed to be accompanied by a dirge of castanets.' This simile—comparing chattering teeth to a musical instrument—is both vivid and slightly comic, a Dickensian touch that leavens the tension. Will Marks himself is described with a mix of bravado and realism: his cap is 'not quite so much on one side as it had been before,' a small detail that signals his shift from swagger to alertness. The gibbet's chains 'swung mournfully to and fro,' and later 'creaked' in the wind, reinforcing the gothic atmosphere.
Voice and Characterization Through Dialogue
Dickens differentiates characters through their speech patterns. The farrier's dialogue is colloquial and repetitive: 'certainly Will Marks was a good horseman, nobody should ever say he denied that: but he was rash, very rash, and there was no telling what the end of it might be; what did he go for, that was what he wanted to know?' The repetition of 'rash' and the rhetorical question capture his anxious, hedging nature. In contrast, Will's replies are terse and bold: 'Yes,' he replied. 'What then?' This brevity underscores his courage and impatience with the townspeople's fear. The grave functionaries speak in formal, instructive tones, giving Will 'a great quantity of wholesome advice' and a good supper—a dryly humorous juxtaposition. These vocal contrasts not only define character but also create a social hierarchy: the cautious, superstitious townsfolk versus the daring, practical young man.
Setting as a Psychological Mirror
The setting in the witch-hunt tale is not merely backdrop but actively reflects the characters' psychological states. The lonely, desolate space where the gibbet stands is described as 'a black object at some distance,' and the townspeople point to it before fleeing. Will's careful survey of the area—choosing to face the town, with his back to the wind, and ensuring his sword handle is free—shows his methodical bravery. The monotony of waiting becomes 'more disconcerting to Will than the most furious uproar would have been,' a telling inversion that reveals his preference for action over suspense. The wind's 'howling' and the chains' 'creaking' are the only sounds, emphasizing isolation. This use of setting to externalize inner tension is a hallmark of Dickens's descriptive style, grounding supernatural fears in tangible, physical details.
Dickens's authorial choices in Master Humphrey's Clock—the frame narrative, the revival of Pickwick, the blend of cozy and gothic tones—reveal a writer experimenting with structure while honing his descriptive and dialogic craft. Readers attentive to the shifts in diction between the frame and the embedded tale will notice how Dickens calibrates suspense and comfort. The excerpts offer a focused sample of his method: precise, sensory language, characterful speech, and settings that mirror emotion. These elements reward close reading, even without knowledge of the full work.
That rainy afternoon, Master Humphrey’s clock felt less like a mechanism and more like a heartbeat, its ticking pulling me through witch-hunts and cozy corners alike. I kept thinking about the storytellers circling the fire, their voices layering over each other. Later, almost without deciding, I reached for The Spinners' Book of Fiction — Context and Discussion, and found the same warm hum of voices, spinning their own quiet webs.
Harper Rivera
3 weeks agoSamuel Young
3 weeks ago-
Eric Mcpherson - 1 month ago
{'review_type': 'Positive', 'content': "A masterpiece of storytelling from the inimitable Dickens. 'Master Humphrey's Clock' is a fascinating frame narrative that weaves together tales of mystery, humor, and pathos. The interconnected stories are brilliantly crafted, showcasing Dickens' unmatched ability to create vivid characters and intricate plots. This collection is a treasure trove for anyone who appreciates classic literature and the art of storytelling."} -
Jonathan Rodriguez - 1 month ago
{'review_type': 'Negative', 'content': "This work feels like a collection of lesser stories hastily put together. The frame narrative is tedious and interrupts the flow of the tales. Many of the stories are overwrought and slow, lacking the punch of Dickens' more celebrated works. If you're new to Dickens, start elsewhere; this is for completionists only."} -
Robert Robinson - 2 weeks ago
{'review_type': 'Neutral', 'content': "For Dickens enthusiasts, this collection offers a glimpse into his storytelling genius, with memorable characters and atmospheric settings. The framing device is intriguing, but some tales are stronger than others, and the pace can be uneven. It's a good addition to any Dickens collection, but not the best starting point for newcomers."}
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Michael Mitchell
4 weeks ago