Our Mutual Friend · Chapter
A Happy Return of the Day explained
The Wilfer family observes the anniversary of Mr.
What happens
The Wilfer family observes the anniversary of Mr. and Mrs. Wilfer's wedding day. Bella arrives in the Boffin carriage with fowls for the celebration, and despite her mother's disapproval, insists on cooking. She explores John Rokesmith's room, finding a portrait that she interprets as a slight. The family dinner is marked by Mrs. Wilfer's stiff formality and her pointed remarks about tallness, which discomfort the guest George Sampson. Bella's playful spirit contrasts with her mother's solemnity.
Themes in this chapter
Social Class and Mobility
Bella's arrival in the Boffin chariot and her mother's concern about the 'equipage' highlight the tension between the Wilfers' modest station and Bella's new elevated status.
Love and Marriage
The anniversary dinner exposes the strained dynamics of the Wilfer marriage, with Mrs. Wilfer's condescension and Mr. Wilfer's apologetic demeanor.
Characters to notice
- Bella Wilfer
Arrives in the Boffin chariot, insists on cooking, explores Rokesmith's room, and playfully teases her father during dinner.
- Mrs. Wilfer
Presides over the anniversary with majestic solemnity, suffering from a mysterious toothache, and delivers oratorical remarks about tallness.
- Reginald Wilfer
The cherubic father, apologetic and good-natured, tries to ensure his wife is enjoying herself and is put in mortal terror by Bella's teasing.
- Lavinia Wilfer
Assists with table-setting reluctantly, makes irreverent comments about her mother, and supports Bella's mischievous behavior.
- John Rokesmith
Offers his sitting-room for the celebration but declines to attend, citing a particular engagement; Bella inspects his room and finds a portrait.
- George Sampson
A guest at the dinner, visibly discomforted by Mrs. Wilfer's stern looks and remarks about tallness.
Key passages
“Bella happened to know that he had no engagement out of his own room at Mr. Boffin's, but she approved of his staying away. 'We should only have put one another out of countenance,' she thought, 'and we do that quite often enough as it is.'”
Bella knew Rokesmith was free but was glad he declined, thinking they would only make each other uncomfortable.
Bella's awareness of Rokesmith's excuse and her relief at his absence reveal her self-consciousness about their interactions.
“Peeping about here and there, she came upon a print, a graceful head of a pretty woman, elegantly framed, hanging in the corner by the easy chair. 'Oh, indeed, sir!' said Bella, after stopping to ruminate before it. 'Oh, indeed, sir! I fancy I can guess whom you think that's like. But I'll tell you what it's much more like—your impudence!'”
Bella found a framed portrait of a pretty woman and, suspecting Rokesmith thought it resembled her, she angrily called it impudent.
Bella's reaction to the portrait shows her pride and sensitivity to Rokesmith's possible admiration.
“The stately woman would then, with a meritorious appearance of devoting herself to the general good, pursue her dinner as if she were feeding somebody else on high public grounds.”
Mrs. Wilfer ate with an air of self-sacrifice, as if performing a duty for the public benefit.
Dickens satirizes Mrs. Wilfer's exaggerated dignity and martyrdom during the family meal.
“'My face might be a martyrdom, but what would that import, or who should know it, if I smiled?' And she did smile; manifestly freezing the blood of Mr. George Sampson by so doing.”
Mrs. Wilfer claimed her smile could hide any suffering, but her actual smile so terrified George Sampson that it chilled him.
The ironic contrast between Mrs. Wilfer's words and the effect of her smile underscores her oppressive presence.
