Titlebook: Dramatic Dickens; Carol Hanbery MacKay (Professor of English) Book 1989 Palgrave Macmillan, a division of Macmillan Publishers Limited 198

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Functional Properties of Receptor StructuresIn 1858, Dickens wrote to John Forster in wonder at the nineteen-year-old transvestite actress, Marie Wilton. Her ‘saucy and amusing’ portrayal of the boy Pippo in H. J. Byron’s burlesque, ., did not merely simulate masculinity: it stole the thing itself. Such thefts entranced Dickens, though he punished his own thieving characters unremittingly.

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Dickens and Acting Women,In 1858, Dickens wrote to John Forster in wonder at the nineteen-year-old transvestite actress, Marie Wilton. Her ‘saucy and amusing’ portrayal of the boy Pippo in H. J. Byron’s burlesque, ., did not merely simulate masculinity: it stole the thing itself. Such thefts entranced Dickens, though he punished his own thieving characters unremittingly.

Induction

,Dickens’s Theatre of Self-Knowledge,luminates more generally our desires to ‘play’ ourselves and to keep control of the production of play. Fascinated with himself to an extraordinary degree and eager to share with potential biographers his insights into what made him ‘inimitable’, Dickens struggled to articulate the contradictions of

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Pecksniff and Pratfalls,e with advertising agents, theatrical producers and ordinary people everywhere. Some of his contemporaries regarded him as an uncultivated crowd-pleaser and spoke of him in the same terms as Pimlico and Reynolds, but even they could not deny that Dickens’s vulgarity was capable of invoking moods and

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