File:Eugene's bedside (Oct., 1865).jpg

The scene captured in the thirty-seventh illustration is established at the very opening of the chapter: the presence at the bedside of Mortimer Lightwood and at the foot of the bed Jenny Wren. What is not clear for some paragraphs is that Lizzie is present, but this the illustration makes clear. Marcus Stone has added the one important element lacking in the text: Lizzie's loving look of concern for Eugene, propped up on an enormous pillow and passing in and out of consciousness. Everything else is almost as Dickens describes, including Jenny's work-table, the assortment medicines, and the position of Lightwood. What the illustrator has adjusted in order to render the scene more compact is Jenny's location: in the text, she is clearly at the foot of the bed, so that Eugene can make ready eye-contact with her, but Stone has moved Jenny and her table to Mortimer's side in order to reduce the picture's width. The enormous, four-poster bed and its hangings dwarf the sufferer, who is rigid and expressionless, while the other characters — except the clergyman — have more animated expressions and postures. Thus, although the illustration reveals that Lizzie is present and puzzles the reader with the presence of the fifth figure, it does not reveal whether Eugene will live or die, but renders credible Lizzie's decision to marry above her class the man whom she loves.

Scanned image and text by Philip V. Allingham.

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