Autograph manuscript signed, December 1843
Purchased by Pierpont Morgan before 1900
Compelled by personal financial difficulties, Dickens wrote A Christmas Carol in only six weeks, during a period of intense creativity in fall 1843. The original manuscript of A Christmas Carol reveals Dickens's method of composition, allowing us to see the author at work. The pace of writing and revision, apparently contiguous, is urgent, rapid, and boldly confident. Deleted text is struck out with a cursive and continuous looping movement of the pen and replaced with more active verbs—to achieve greater vividness or immediacy of effect— and fewer words for concision. This heavily revised sixty-six-page draft—the only manuscript of the story—was sent to the printer in order for the book to be published on 19 December, just in time for the Christmas market.
done in a minute. Every moveable was packed off, as if it were dismissed from public life for evermore; the floor was swept and watered, the lamps were trimmed, fuel was heaped up on the fire; and the warehouse was as snug and warm and dry and bright a ball-room, as you would desire to see upon a winter's night.
In came a fiddler with a music book, and went up to the lofty desk, and made an orchestra of it, and tuned like fifty stomach aches. In came Mrs. Fezziwig, one vast substantial smile. In came the three Miss Fexziwigs, beaming and loveable. In came the six young followers whose hearts they broke. In came all the young men and women employed in the business. In came the housemaid with her cousin the baker. In came the cook with her brother's particular friend, the milkman. In came the boy from over the way who was suspected of not having board enough from his master; trying to hide himself behind the girl from next door but one, who was proved to have had her ears pulled by her missis. In they all came one after another, some shyly, some boldly, some gracefully, some awkwardly, some pushing, some pulling; in they all came, anyhow and everyhow. Away they all went twenty couple at once, hands half round and back again the other way; down the middle and up again; round and round in various stages of affectionate grouping; old top couple always turning up in the wrong place; new top couple starting off again, as soon as they got there; all top couples at last, and not a bottom one to help them. When this result was brought about, old Fezziwig, clapping his hands to stop the dance, cried out "Well done!" and the fiddler plunged his hot face into a pot of porter, especially provided for that purpose. But scorning rest upon his reappearance, he instantly began again though there were no dancers yet, as if the other fiddler had been carried home, exhausted, on a shutter; and he a bran-new man resolved to beat him out of sight, or perish.
There were more dances, and there were forfeits, and more dances and there was cake, and there was negus, and there was a great piece of cold roast, and there was a great piece of cold boiled, and there were mince pies and plenty of beer. But the great effect of the evening came after the roast and boiled, when the fiddler (an artful dog, mind! The sort of man who knew his business better than you or I could have told it him!) struck up Sir Roger de Coverley. Then old Fezziwig stood out to dance with Mrs. Fezziwig. Top couple too, with a good stiff piece of work cut out for them; three or four and twenty pair of partners; people who were not to be trifled with; who would dance, and had no notion of walking.
But if they had been twice as many—ah four times—old Fezziwig would have been a match for them; and so would Mrs. Fezziwig. As
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