It's interesting to me that this not does not specify between Mr. or Mrs. Snagsby. We get plenty of both in the chapter "Moving On." For Mr. Snagsby, we get more insight into his caring nature towards Jo. For Mrs. Snagsby, we see that she is surprised that her husband knows Jo. This shock plays a role later in the narrative, when Mrs. Snagsby convinces herself that Jo is Mr. Snagsby's illegitimate son.

We see Mr. Guppy appear at the Snagsby's residence when they and the Chadbands are having dinner together. He appears because of the police arresting Jo and bringing him to Snagsby's, and he has an interest in knowing Jo's story. Jo explains to him about the woman who paid him a sovereign to show her all the places associated with Nemo's death -- we later learn that woman is Lady Dedlock. This interest in investigating the woman that Jo mentions sets up Mr. Guppy's later investigation into Esther's parentage.

Another moment within this chapter of the installment that is meant to draw parallels between Esther and Lady Dedlock.

"Is it not dangerous to sit in so exposed a place?" "O no, Esther dear!" said Ada, quietly. Ada said it to me; but I had not spoken.

Even Ada, who is Esther's closest friend, mistakes Lady Dedlock's voice for Esther's. So not only do they resemble each other physically, as Guppy notices during his investigation, but they also sound similar as well. This was another hint at their familial relationship.

These two characters disagree on everything, and reading their discussion that takes place from pages 293 and 294 only emphasize how they are complete opposites. It provides insight into both of the character's views on the world as well as provides some comic relief after the pivotal moment of Esther locking eyes with Lady Dedlock at the church.

We get a good amount of Rosa appearing in the "Lady Dedlock" chapter. We have Esther and Ada asking Mr. Boythorn if she and Mr. Rouncewell (Mrs. Rouncewell's grandson) are engaged, as well as seeing her in the church with Lady Dedlock. She is also introduced as an unwitting rival to Hortense in the scene where they both arrive to pick up Lady Dedlock after the storm. Perhaps her appearance and significance outside her potential romantic relationship is why her name is underlined but not the others.

It seems that Dickens knew that the majority of the chapter "Esther's Narrative" and the beginning of the chapter "Lady Dedlock" would be dedicated to fleshing out his indecisive and unreliable nature that has been brought on by the case Jarndyce and Jarndyce. We got the smallest hint at his carelessness with money when he convinced Esther to help him pay Skimpole's debt, but here we see his twisted money logic reappear:

"...Because I gave eight pounds odd (or whatever it was) for a certain neat waistcoat and button a few days ago. Now, if I had stayed at Badger's I should have been obliged to spend twelve pounds at a blow, for some heart-breaking lecture-fees. So I make four pounds -- in a lump -- by the transaction!"

Esther mentions he would need Fortunatus's purse to make his logic sound, and as readers we are inclined to agree.

The change in ink colors for the notes for this installment may indicate that Dickens wrote the notes for the chapters at different times. It's interesting to note that there is a pretty significant time skip also reflected within the narrative between "Esther's Narrative" and "Lady Dedlock." Did he move the plot along in a time skip because he had written these notes at two different times?

This is the first hint of Mr. Woodcourt's romantic feelings toward Esther. He leaves them for her after he and his mother visit, supposedly because his mother wouldn't approve of the match -- a fact that comes into play much later in the novel, when Mrs. Woodcourt comes to visit Esther and imply that she is not worthy of marrying her son. It's a significant gift because no one could interpret it as anything other than a romantic gesture -- even Esther asks Caddy if the flowers are from Prince because she thinks they are so implicitly romantic.

This small phrase is a significant theme throughout this chapter of the installment. It refers to the endless cycle of "moving on" but never solving anything, such as the cases within the Chancery and the problems with poverty within London, as exemplified by Jo and his struggles throughout the novel. We also have Miss Rachael, who has moved on from her role in Esther's life to her new role as Mr. Chadband's husband.

This phrase is a key component within Dickens's overall political satire throughout the entirety of the novel Bleak House.

"Does it look like that sort of thing?" Is a sentence repeated by three different characters with three different connotations. This line comes into play when Caddy, Ada, and Esther are all spending time together after Mr. Woodcourt's visit. Caddy enters the room with the flowers, and Esther asks if they are from Prince. Caddy replies with "do they look like that sort of thing?" with a knowing laugh. Esther replies, "Do they look like that sort of thing!" with an incredulous tone at Caddy for even asking such a question, because before she knew they were for her, she knew that this bouquet had romantic implications. Then, when Ada is rejoying with Esther about this romantic gift, she says, "Do they look like that sort of thing?" as a cheerful rhetorical question, answering with "O, very like it indeed, my dear!" (280). The fact that it was repeated by three different characters in three different ways leads me to think that it was emphasized that way so the reader would understand the importance of this moment. Mr. Woodcourt was not gone forever as we see later in the novel, and Esther does indeed get her happy ending with him.

This is where the political satire of this piece begins to reach beyond the Chancery and extend to the lower and poorer parts of London. Jo is brought to the Snagsby residence by a police officer because he "won't move on," to which Jo replies, "Where can I move on to!" (308).

Dickens writes a paragraph in which the narrator seems to speak directly to Jo on this very topic of 'moving on,' saying:

Do you hear, Jo? It is nothing to you or to any one else, that the great lights of the parliamentary sky have failed for some few years, in this business, to set you the example of moving on. The one grand recipe remains for you -- the be-all and end-all of your strange existence on Earth. Move on! You are by no means to move off, Jo, for the great lights can't all agree about that. Move on! (308)

The comparison on the Chancery not moving forward with justice reflects how this police officer isn't solving the problem, just perpetuating it by telling Jo to "move on."

This is where we get an image that represents Jo's hopelessness and inability to intergrate himself into the better society and life of the London residents who have tried to bring him up, namely Mr. Chadband (especially in this chapter of the installment). Jo reflects on the image of the cross of St. Paul's:

And there he sits, munching and gnawing, and looking up at the great Cross on the summit of St. Paul's Cathedral, glittering above a red and violet-tinted cloud of smoke. From the boy's face one might suppose that sacred emblem to be, in his eyes, the crowning confusion of the great, confusing city; so golden, so high up, so far out of his reach.

This is the explicit metaphor that Dickens invokes with the image of the golden cross.

It is here we learn that Mistress Rachael, Esther's caretaker before her godmother died, is once again being brought back into the narrative of Esther's life, though it seems that she has no love nor respect for Esther.

This is the caption to the image that we are provided with for this chapter of the installment.

It is also the setting for Lady Dedlock and Esther's first encounter. I think the church setting is significant as well, given that the line that the preacher says before Esther notices Lady Dedlock is this:

"Enter not into judgement with thy servant, O Lord, for in thy sight--" (290).

It almost seems like a warning from the universe not to judge Lady Dedlock to harshly for her past actions -- of course, the conversation between Lady Dedlock and Esther doesn't happen until about halfway through the novel, but this seems to set the tone for their whole connection.

Mrs. Badger's two previous husbands, and her current husband's objects of admiration and repute. The mention of these two previous husbands over and over again, by both Mr. and Mrs. Badger, provides some comic relief in the story right before the point when plot lines begin to emerge (Richard's unreliability) and converge (Esther and Lady Dedlock's first meeting).

This is introducing the negative effect that the case of Jarndyce and Jarndyce is having on Richard and his choices in life. This line actually appears verbatim in the final manuscript:

"O yes, I hope so," returned Richard, carelessly tossing his hair from his forehead. "After all, it may be only a kind of probation till our suit is -- I forgot though. I am not to mention the suit. Forbidden ground! O yes, it's all right enough. Let us talk about something else" (269).

The phrase 'all right enough' in particular is one to examine closely here. Richard cannot find any passion or feel much responsibility for creating his own future due to the looming settlement of the lawsuit that could leave him the beneficiary of a significant amount of money. Unable to see that waiting for the lawsuit's resolution is pointless, like Mr. Jarndyce, he is letting himself entertain the thought that he doesn't need to find a profession he can dedicate himself to.

We get the smallest view into Hortense's personality and relationship with Lady Dedlock in the "Lady Dedlock" chapter of this installment. We get a hint that she is passionate and vengeful, particularly through her stunt of walking home through the wet grass shoeless after being shunned by Lady Dedlock. Introducing that conflict in this installment sets up Hortense to be the villain of the latter parts of the novel, framing Lady Dedlock for the murder of Mr. Tulkinghorn.

This is the image we end this chapter of the installment on -- Hortense walking barefoot home through the rain-soaked grass. This is the justification we are provided with:

I suppose there is nothing Pride can so little bear with, as Pride itself, and that she was punished for her imperious manner. Her retaliation was the most singular I could have imagined. She remained perfectly still until the carriage had turned into the drive, and then, without the least discomposure of countenance, slipped off her shoes, left them on the ground, and walked deliberately in the same direction, through the wettest of the wet grass (299).

This gives us insight onto Hortense's motivations as well as how she has a single-minded and stubborn view on retaliating against those who wrong her. This sets her up perfectly for the actions she takes later in the novel against Lady Dedlock and Mr. Tulkinghorn.

The readers are finally provided with a name for Lady Dedlock's French maid. We also get some interesting insights into her and Lady Dedlock's relationship, as well as her personality. We see Lady Dedlock injure Hortense's pride by leaving her behind to walk home, and we see how Hortense responds to it -- with passionate fury that leaves her walking home shoeless through the rain-soaked grass. This tension between the two of them could indicate some of the motive Hortense had for framing Lady Dedlock for Mr. Tulkinghorn's murder later in the novel.

We also get the keeper mentioning aspects of Hortense's personality, saying:

"...She's mortal high and passionate -- powerful high and passionate" as well as saying that she isn't insane, that she "has as good a head-piece as the best" (299-300).

This is interesting if we look at the novel's events as a whole, with Hortense murdering Mr. Tulkinghorn.

This is where the potential romantic connect between Allan Woodcourt and Esther is brought to light. The interesting part is that this is also the installment where Woodcourt leaves the country on a voyage to China and India on a ship. We haven't seen very much of him before this, but here we are saying goodbye to him. His exit is almost necessary for the future relationship between Mr. Jarndyce and Esther to even have a chance at beginning -- if Woodcourt had been there all along, through everything (like Esther's illness), Mr. Jarndyce may not have even proposed to Esther in the first place. So, moving his piece off the chessboard of this novel's narrative was significant in itself. We also have hints that Esther's relationship with Woodcourt is more significant than she's letting on.

Her narrative voice shows she has trouble looking at Woodcourt in an unbiased way; for example, she says things like:

"I believe -- at least I know -- that he is not rich" as well as "I think -- I mean, he told us -- that he had been in practice three or four years..." (277).

This obvious attempt to remove herself from the narrative is consistent with her character, but it also shows that her first thought is to portray him the way she subjectively views him, and she must force herself to be more removed.

This word in itself can stand for both the literal weather in the scene as well as the internal state of Esther's thoughts and emotions during this chapter of the installment.

This storm takes place a week after Esther and Lady Dedlock first see each other at the church. The storm is what forces the unlikely group of Mr. Jarndyce, Ada, Esther, and Lady Dedlock to take refuge in the lodge together and facilitates the first conversation between Esther and Lady Dedlock.

This is the point of the novel where Lady Dedlock and Esther meet for the first time. This is an extremely significant point in the novel, as they are mother and daughter -- but neither of them know it yet. Dickens had this connection planned out between them since the first installment (If you look at the working notes for the first installment, he writes as much), so this meeting was incredibly significant to the rest of the plot and the novel. The fact that its underlined three times is no coincidence. Esther's parentage and Lady Dedlock's past are both significant mysteries within Bleak House, and since their interactions can shed some light on both of those mysteries, there's no wonder Dickens underlined it three times in comparison to the one and two underlines he uses on the rest of this page.

This is the installment where Dickens also begins to hint that there may be a familial relationship between the two. Esther comments on how Lady Dedlock reminds her of both herself and her late godmother (who we later learn is Lady Dedlock's sister and Esther's aunt).