Charles Dickens: Frasi in inglese (pagina 2)

“"Wal'r, my boy," replied the Captain, "in the Proverbs of Solomon you will find the following words, 'May we never want a friend in need, nor a bottle to give him!'”

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Charles Dickens libro Dombey e Figlio

When found, make a note of."
Origine: Dombey and Son (1846-1848), Ch. 15

“The difficulty of writing English is most tiresome to me. My God! If only we could write this beautiful language of France at all times!”

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Charles Dickens

La difficulté d'écrire l'anglais m'est extrêmement ennuyeuse. Ah, mon Dieu! si l'on pouvait toujours écrire cette belle langue de France!
Letter to John Foster (7 July 1850)

“I revere the memory of Mr. F. as an estimable man and most indulgent husband, only necessary to mention Asparagus and it appeared or to hint at any little delicate thing to drink and it came like magic in a pint bottle; it was not ecstasy but it was comfort.”

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Charles Dickens libro La piccola Dorrit

Bk. I, Ch. 24
Little Dorrit (1855-1857)

“Jarndyce and Jarndyce drones on. This scarecrow of a suit, has, in course of time, become so complicated that no man alive knows what it means. The parties to it understand it least; but it has been observed that no two Chancery lawyers can talk about it for five minutes, without coming to total disagreement as to all the premises.”

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Charles Dickens libro Casa Desolata

Origine: Bleak House (1852-1853), Ch. 1

“The dignity of his office is never impaired by the absence of efforts on his part to maintain it.”

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Charles Dickens libro Sketches by Boz

Our Parish, Ch. 1 : The Beadle. The Parish Engine. The Schoolmaster.
Sketches by Boz (1836-1837)

“Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open.”

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Charles Dickens libro Great Expectations

Origine: Great Expectations (1860-1861), Ch. 1

“You are part of my existence, part of myself. You have been in every line I have ever read since I first came here, the rough common boy whose poor heart you wounded even then. You have been in every prospect I have ever seen since, — on the river, on the sails of the ships, on the marshes, in the clouds, in the light, in the darkness, in the wind, in the woods, in the sea, in the streets. You have been the embodiment of every graceful fancy that my mind has ever become acquainted with. The stones of which the strongest London buildings are made are not more real, or more impossible to be displaced by your hands, than your presence and influence have been to me, there and everywhere, and will be. Estella, to the last hour of my life, you cannot choose but remain part of my character, part of the little good in me, part of the evil. But, in this separation, I associate you only with the good; and I will faithfully hold you to that always, for you must have done me far more good than harm, let me feel now what sharp distress I may. O God bless you, God forgive you!”

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Charles Dickens libro Great Expectations

Origine: Great Expectations (1860-1861), Ch. 44

“And if it's proud to have a heart that never hardens, and a temper that never tires, and a touch that never hurts," Miss Jenny struck in, flushed, "she is proud.”

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Charles Dickens libro Il nostro comune amico

Bk. III, Ch. 2
Our Mutual Friend (1864-1865)

“Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving — HOW NOT TO DO IT.”

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Charles Dickens libro La piccola Dorrit

Bk. I, Ch. 10
Little Dorrit (1855-1857)
Variante: Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving — HOW NOT TO DO IT.