The Second of The Three Spirits.
Awaking in the middle of a prodigiously tough snore, and sitting up in bed to get his thoughts together, Scrooge had no occasion to be told that the bell was again upon the stroke of One. He felt that he was restored to consciousness in the right nick of time, for the especial purpose of holding a conference with the second messenger despatched to him through Jacob Marley's intervention. But finding that he turned uncomfortably cold when he began to wonder which of his curtains this new Spectre would draw back, he put them every one aside with his own hands—and lying down again, established a sharp look-out all round the bed. For he wished to challenge the Spirit on the moment of its appearance, and did not wish to be taken by surprise and made nervous.
Gentlemen of the free and easy sort who plume themselves on being acquainted with a move or two, and being usually equal to the time of day, express the wide range of their capacity for adventure, by observing that they are good for anything from pitch and toss to manslaughter; between which opposite extremes, no doubt there lies a tolerably wide and comprehensive range of subjects. Without venturing for Scrooge quite as hardily as this, I don't mind calling on you to believe that he was ready for a good broad field of strange appearances, and that nothing between a baby and a Rhinoceros would have astonished him very much.
Now, being prepared for almost anything, he was not by any means prepared for nothing; and, consequently, when the Bell struck One and no shape appeared, he was taken with a violent fit of trembling. Five minutes, ten minutes, a quarter of an hour went by, yet nothing came. All this time, he lay upon his bed, the very core and centre of a blaze of ruddy light which streamed upon it when the clock proclaimed the hour; and which being only light, was more alarming than a dozen ghosts, as he was powerless to make out what it meant, or would be at and was sometimes apprehensive that he might be at that very moment, an interesting case of spontaneous combustion, without having the consolation to know it.
At last, however, he began to think—as you or I would have thought at first; for it is always the person not in the predicament who knows what ought to have been done in it, and would unquestionably have done it too—at last, I say, he began to think that the source and secret of this ghostly light might be in the adjoining room: from
Charles Dickens (1812–1870)
Autograph manuscript signed, December 1843
Purchased by Pierpont Morgan before 1900; MA 97
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.