What originally he meant to express by Mrs. Clennam in the same story has narrower limits, and a character less repellent, in the Memoranda than it assumed in the book. "Bed-ridden (or room-ridden) twenty—five-and-twenty—years; any length of time. As to most things, kept at a standstill all the while. Thinking of altered streets as the old streets—changed things as the unchanged things—the youth or girl I quarrelled with all those years ago, as the same youth or girl now. Brought out of doors by an unexpected exercise of my latent strength of character, and then how strange!"
One of the people of the same story who becomes a prominent actor in it, Henry Gowan, a creation on which he prided himself as forcible and new, seems to have risen to his mind in this way. "I affect to believe that I would do anything myself for a ten-pound note, and that anybody else would. I affect to be always book-keeping in every man's case, and posting up a little account of good and evil with every one. Thus the greatest rascal becomes 'the dearest old fellow,' and there is much less difference than you would be inclined to suppose between an honest man and a scoundrel. While I affect to be finding good in most men, I am in reality decrying it where it really is, and setting it up where it is not. Might not a presentation of this far from uncommon class of character, if I could put it strongly enough, be likely to lead some men to reflect, and change a little? I think it has never been done."
In Little Dorrit also will be found a picture which seems to live with a more touching effect in his first pleasing fancy of it. "The ferryman on a peaceful river, who has been there from youth, who lives, who grows old, who does well, who does ill, who changes, who dies—the river runs six hours up and six hours down, the current sets off that point, the same allowance must be made for the drifting of the boat, the same tune is always played by the rippling water against the prow."
Here was an entry made when the thought occurred to him of the close of old Dorrit's life. "First sign of the father failing and breaking down. Cancels long interval. Begins to talk about the turnkey who first called him the Father of the Marshalsea—as if he were still living. 'Tell Bob I want to speak to him. See if he is on the Lock, my dear.'" And here was the first notion of Clennam's reverse of fortune. "His falling into difficulty, and himself imprisoned in the Marshalsea. Then she, out of all her wealth and changed station, comes back in her old dress, and devotes herself in the old way."
He seems to have designed, for the sketches of society in the same tale, a "Full-length portrait of his lordship, surrounded by worshippers;" of which, beside that brief memorandum, only his first draft of the general outline was worked at. "Sensible men enough, agreeable men enough, independent men enough in a certain way;—but the moment they begin to circle round my lord, and to shine with a borrowed light from his lordship, heaven and earth how mean and subservient! What a competition and outbidding of each other in servility."
The last of the Memoranda hints which were used in the story whose difficulties at its opening seem first to have suggested them, ran thus: "The unwieldy ship taken in tow by the snorting little steam tug"—by which was prefigured the patriarch Casby and his agent Panks.
In a few lines are the germ of the tale called Hunted Down: "Devoted to the Destruction of a man. Revenge built up on love. The secretary in the Wainewright case, who had fallen in love (or supposed he had) with the murdered girl."—The hint on which he worked in his description of the villain of that story, is also in the Memoranda. "The man with his hair parted straight up the front of his head, like an aggravating gravel-walk. Always presenting it to you. 'Up here, if you please. Neither to the right nor left. Take me exactly in this direction. Straight up here. Come off the grass—'"
His first intention as to the Tale of Two Cities was to write it upon a plan proposed in this manuscript book. "How as to a story in two periods—with a lapse of time between, like a French Drama? Titles for such a notion. Time! The Leaves of the Forest. Scattered Leaves. The Great Wheel. Round and Round. Old Leaves. Long Ago. Far Apart. Fallen Leaves. Five and Twenty Years. Years and Years. Rolling Years. Day after Day. Felled Trees. Memory Carton. Rolling Stones. Two Generations." That special title of Memory Carton shows that what led to the greatest success of the book as written was always in his mind; and another of the memoranda is this rough hint of the character itself. "The drunken?—dissipated?—What?—Lion—and his Jackall and Primer, stealing down to him at unwonted hours."
The studies of Silas Wegg and his patron as they exist in Our Mutual Friend, are hardly such good comedy as in the form which the first notion of them seems to have intended. "Gibbon's Decline and Fall. The two characters. One reporting to the other as he reads. Both getting confused as to whether it is not all going on now." In the same story may be traced, more or less clearly, other fancies which had found their first expression in the Memoranda. A touch for Bella Wilfer is here. "Buying poor shabby—father?—a new hat. So incongruous that it makes him like African King Boy, or King George; who is usually full dressed when he has nothing upon him but a cocked hat or a waistcoat." Here undoubtedly is the voice of Podsnap. "I stand by my friends and acquaintances;—not for their sakes, but because they are my friends and acquaintances. I know them, I have licensed them, they have taken out my certificate. Ergo, I champion them as myself." To the same redoubtable person another trait clearly belongs. "And by denying a thing, supposes that he altogether puts it out of existence." A third very perfectly expresses the boy, ready for mischief, who does all the work there is to be done in Eugene Wrayburn's place of business. "The office boy for ever looking out of window, who never has anything to do."
The poor wayward purposeless good-hearted master of the boy, Eugene himself, is as evidently in this: "If they were great things, I, the untrustworthy man in little things, would do them earnestly—But O No, I wouldn't!" What follows has a more direct reference; being indeed almost literally copied in the story. "As to the question whether I, Eugene, lying ill and sick even unto death, may be consoled by the representation that coming through this illness, I shall begin a new life, and have energy and purpose and all I have yet wanted: 'I hope I should, but I know I shouldn't. Let me die, my dear.'"