By Sterling Professor of the Humanities Harold Bloom

This sequence presents entire studying and research publications for many of the world's most vital literary masterpieces.

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Scrooge is tormented by the irreversible nature of each word spoken, each deed done in the earthly life. The scene ends in Scrooge’s pathetic (but also almost comical) failure to extinguish the light used by the ghost to bring all these moments back into view. ╯. ╯. Itself constantly metamorphosing, the Ghost has come to disturb Scrooge into a recognition—first painful then joyous—of his true multifaceted self: surrogate father, uncle, child, businessman, pledged to live in the Past, the Present, and the Future.

He ‘feels pity for his former self’ and the pity brings with it the first movement of imaginative self-criticism. (The Moral Art of Dickens, 35) “The first movement of imaginative self-criticism”: This is an essential component of the conversion process that Scrooge must undertake to avoid Marley’s fate. Hardy’s specific reference here is to the boy singing the carol. The next scene from Scrooge’s past takes place in the warehouse where he apprenticed. It is another Christmas season, and in this vignette young Scrooge is the subodinate and Fezziwig the boss.

Itself constantly metamorphosing, the Ghost has come to disturb Scrooge into a recognition—first painful then joyous—of his true multifaceted self: surrogate father, uncle, child, businessman, pledged to live in the Past, the Present, and the Future. (Charles Dickens and His Performing Selves, 259) Stave III: The Second of the Three Spirits A warier and more prepared Scrooge awaits the arrival of the next spirit. ╯. ” But Scrooge thinks he is ready for what is coming next, and then, as happens so often, the moment he thinks he has figured things out, something quite unexpected happens, which, in this moment for Scrooge, is nothing.

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