The Paris Sketch Book of Mr. M. A. Titmarsh; and the Irish Sketch Book — A Reader’s Guide

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In Category - Geography
Thackeray, William Makepeace, 1811-1863 Project Gutenberg 2013 Not confirmed
Ireland -- Description and travel; Paris (France) -- Description and travel Readers of public-domain and historical texts
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Edition facts

Words 263,938
Reading time 1148 min
Text sections 26

The source record for The Paris Sketch Book of Mr. M. A. Titmarsh; and the Irish Sketch Book — A Reader’s Guide measures this digital text at 263,938 words, 19 hr 8 min estimated reading time, and 26 detected text sections.

The text analysis averages about 28.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Ireland -- Description and travel,” connecting these edition facts with the source record’s subject description.

Thackeray's twin travel books, under the pseudonym Mr. M. A. Titmarsh, contrast Parisian art and society with Irish rural life, using a first-person narrator who blends observation, irony, and digressive commentary.
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eclared, at once, that the lady was one of _his_ beauties; in fact, when he spoke to us about her, he said, ‘She’s a slap-up thing, I tell you; a reg’lar good one; _one of my sort_!’ And such was Pogson’s credit in all commercial rooms, that one of _his_ sort was considered to pass all other sorts.

During dinner-time, Mr. Pogson was profoundly polite and attentive to the lady at his side, and kindly communicated to her, as is the way with the best-bred English on their first arrival ‘on the Continent,’ all his impressions regarding the sights and persons he had seen. Such remarks having been made during half an hour’s ramble about the ramparts and town, and in the course of a walk down to the custom-house, and a confidential communication with the commissionaire, must be, doubtless, very valuable to Frenchmen in their own country: and the lady listened to Pogson’s opinions, not only with benevolent attention, but actually, she said, with pleasure and delight. Mr. Pogson said that there was no such thing as good meat in France, and that’s why they cooked their victuals in this queer way: he had seen many soldiers parading about the place, and expressed a true Englishman’s abhorrence of an armed force; not that he feared such fellows as these--little whipper-snappers--our men would eat them. Hereupon the lady admitted that our Guards were angels, but that Monsieur must not be too hard upon the French; ‘her father was a General of the Emperor.’

Pogson felt a tremendous respect for himself, at the notion that he was dining with a General’s daughter, and instantly ordered a bottle of champagne to keep up his consequence.

‘Mrs. Bironn, ma’am,’ said he, for he had heard the waiter call her by some such name, ‘if you _will_ accept a glass of champagne, ma’am, you’ll do me, I’m sure, great _h_onour: they say it’s very good, and a precious sight cheaper than it is on our side of the way, too--not that I care for money. Mrs. Bironn, ma’am, your health, ma’am.’

The lady smiled very graciously, and drank the wine.

‘Har you any relation, ma’am, if I may make so bold; har you anyways connected with the family of our immortal bard?’

‘Sir, I beg your pardon.’

‘Don’t mention it, ma’am: but Bi_ronn_ and _By_ron are hevidently the same names, only you pronounce in the French way; and I thought you might be related to his lordship: his horigin, ma’am, was of French extraction:’ and here Pogson began to repeat:

‘Hare thy heyes like thy mother’s, my fair child, Hada! sole daughter of my ouse and art.’

‘Oh!’ said the lady, laughing, ‘you speak of _Lor_ Byron.’

‘Hauthor of _Don Juan_, _Child Arold_, and _Cain, a Mystery,’_ said Pogson: ‘I do; and hearing the waiter calling you Madam la Bironn, took the liberty of hasking whether you were connected with his lordship;--that’s hall;’ and my friend here grew dreadfully red, and began twiddling his long ringlets in his fingers, and examining very eagerly the contents of his plate.

‘Oh no: Madame la Baronne means Mistress Baroness; my husband was Baron, and I am Baroness.’

‘What! ‘ave I the honour--I beg your pardon, ma’am--is your ladyship a Baroness, and I not know it; pray excuse me for calling you ma’am.’

The Baroness smiled most graciously--with such a look as Juno cast upon unfortunate Jupiter when she wished to gain her wicked ends upon him--the Baroness smiled; and, stealing her hand into a black velvet bag, drew from it an ivory card-case, and from the ivory card-case extracted a glazed card, printed in gold; on it was engraved a coronet, and under the coronet the words--

BARONNE DE FLORVAL-DELVAL,

NÉE DE MELVAL-NORVAL.

The grand Pitt diamond--the Queen’s own star of the garter--a sample of otto-of-roses at a guinea a drop, would not be handled more curiously, or more respectfully, than this porcelain card of the Baroness. Trembling he put it into his little Russia-leather pocket-book: and when he ventured to look up, and saw the eyes of the Baroness de Florval-Delval, née de Melval-Norval, gazing upon him with friendly and serene glances, a thrill of pride tingled through Pogson’s blood: he felt himself to be the very happiest fellow ‘on the Continent.’

The Paris Sketch Book opens with a dedicatory letter to a tailor, a mock-heroic address that immediately establishes Thackeray's ironic voice: 'It becomes every man in his station to acknowledge and praise virtue wheresoever he may find it.' The narrator, Mr. M. A. Titmarsh, presents himself as a flâneur and critic, moving from the Fêtes of July to French painting, fashionable novels, and caricature. The Irish Sketch Book shifts to a more straightforward travelogue, beginning with 'A Summer Day in Dublin' and proceeding through country houses, farms, and towns. The two works are bound by a common persona—a traveler who is both amused and earnest, prone to digressions and moral asides.

The Persona of Mr. Titmarsh

The narrator is not Thackeray himself but a constructed character: Mr. M. A. Titmarsh, a name that suggests both a scribbler and a small bird. In the Paris section, Titmarsh adopts a knowing, slightly cynical tone, as when he describes the 'Fêtes of July' with a mixture of spectacle and skepticism. In the Irish section, he becomes a more patient observer, noting the neatness of a landlord's farm and the 'good-humoured resolution' of prosperous men. The voice is consistent in its self-deprecation: 'A more practical person would have seen, no doubt, and understood much more than a mere citizen could.' This persona allows Thackeray to critique both French and Irish society without committing to a single stance.

Structure and Digression

The Paris Sketch Book is a collection of essays and stories, ranging from art criticism ('On the French School of Painting') to tales like 'The Painter’s Bargain' and 'The Devil’s Wager.' The Irish Sketch Book is a continuous travel narrative in thirty-two chapters, each headed by a place name. Yet both works share a digressive habit: a discussion of guano and turnips leads to reflections on charity and prosperity; a visit to a school prompts a note on religious segregation. Thackeray often interrupts description with anecdote or moral commentary, as when he praises a landlord's system of rent-free cottages. The reader should expect the narrative to wander, following the author's eye rather than a strict itinerary.

Recurring Details: The Landlord and the Farm

In the Irish section, a detailed account of a model farm appears: 'a fine village of corn and hay ricks,' a forge, a flower-garden, and a kennel of pointers. Thackeray emphasizes the landlord's claim that neatness comes from the labourers themselves, not from his supervision. The passage includes a mini-essay on prosperity as a virtue: 'cheerfulness, simplicity, shrewdness, perseverance, honesty, good health.' This set-piece is typical of Thackeray's method—he uses a concrete scene to explore abstract ideas about economy and character. The same impulse appears in the Paris section, where a description of a painting or a caricature leads to a broader judgment about French society.

The Role of the Reader

Thackeray frequently addresses the reader directly, as in the dedicatory letter to the tailor, or in asides like 'would that all labourers in the empire had as much!' The reader is positioned as a companion on the journey, invited to share in the narrator's observations and opinions. This intimacy is reinforced by the use of the first person and by the informal, conversational style. The reader is also expected to recognize irony: when Titmarsh praises a landlord's system, he adds a qualifier—'I could not help fancying they were pet cottages erected under the landlord’s own superintendence'—which undercuts the praise. The reader must stay alert to shifts between sincerity and satire.

Reading these two sketch books together reveals Thackeray's range as a travel writer: the Paris book is more essayistic and cosmopolitan, the Irish book more observational and pastoral. Both are united by the voice of Mr. Titmarsh, who is by turns witty, sentimental, and critical. The excerpts suggest that Thackeray is less interested in comprehensive description than in capturing the character of a place through telling details and personal reflection. A first-time reader should follow the digressions and note the recurring themes of work, charity, and national character.

Reading about Titmarsh wandering through strange towns brought back a rainy afternoon when I followed the old coaching roads myself, tracing signs of lives long gone. It felt the same as when I first turned the pages of The Portsmouth Road and Its Tributaries: To-Day and in Days of Old — Reading Notes. That quiet company of a curious observer, noticing small things, made the present seem gently haunted.

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