Barnaby Rudge

On that same night--events so crowd upon each other in convulsed and distracted times, that more than the stirring incidents of a whole life often become compressed into the compass of four-and-twenty hours--on that same night, Mr Haredale, having strongly bound his prisoner, with the assistance of the sexton, and forced him to mount his horse, conducted him to Chigwell.

Maypole mystery, the five-year gap, and Gordon riot surge form dual mystery-and-riot architecture; looser than later Dickens but propelled by crowd compression, so plot scores 86.

It was for the moment an inexpressible relief to Dolly, to recognise in the person who forced himself into the path so abruptly, and now stood directly in her way, Hugh of the Maypole, whose name she uttered in a tone of delighted surprise that came from her heart.

Barnaby, Dolly, Gabriel, Hugh, Chester, and Haredale are typed yet warmly present — simpleton and raven against locksmith household — without flattening into chronicle names only, so cast scores 87.

From the workshop of the Golden Key, there issued forth a tinkling sound, so merry and good-humoured, that it suggested the idea of some one working blithely, and made quite pleasant music. No man who hammered on at a dull monotonous duty, could have brought such cheerful notes from steel and iron.

Eighty-one chapters with long Maypole prelude; locksmith cheer dilates before riot tempo, then night-long surges compress — uneven but designed, so pace scores 84.

In the year 1775, there stood upon the borders of Epping Forest, at a distance of about twelve miles from London--measuring from the Standard in Cornhill… a house of public entertainment called the Maypole; which fact was demonstrated to all such travellers as could neither read nor write… by the emblem reared on the roadside over against the house.

Early historical Dickens — Maypole topography, Golden Key tinkling, riot compression — vigorous and pictorial rather than late-lyric, so prose scores 88.

…so humble an example as the ‘No Popery’ riots of Seventeen Hundred and Eighty. However imperfectly those disturbances are set forth in the following pages, they are impartially painted by one who has no sympathy with the Romish Church, though he acknowledges, as most men do, some esteemed friends among the followers of its creed.

Epping Maypole, Golden Key, Westminster and Newgate under Gordon banners — 1780 London as inn, workshop, and burning street, so world scores 89.

…a house of public entertainment called the Maypole; which fact was demonstrated to all such travellers as could neither read nor write (and at that time a vast number both of travellers and stay-at-homes were in this condition) by the emblem reared on the roadside over against the house, which, if not of those goodly proportions that Maypoles were wont to present in olden times, was a fair young ash, thirty feet in height, and straight as any arrow that ever came from a quiver.

The roadside Maypole emblem establishes place and period before mystery and riot — inviting in topography rather than shock, so hook scores 86.

…events so crowd upon each other in convulsed and distracted times, that more than the stirring incidents of a whole life often become compressed into the compass of four-and-twenty hours…

Gordon Riots as national trauma and crowd-time compression fused with domestic Gothic — early English riot novel design, so innov scores 87.

…the bird himself advanced with fantastic steps to the very door of the bar, and there cried, ‘I’m a devil, I’m a devil, I’m a devil!’ with extraordinary rapture. From that period… he constantly practised and improved himself in the vulgar tongue; and, as he was a mere infant for a raven when Barnaby was grey, he has very probably gone on talking to the present time.

Haredale aged at Bristol and Grip's comic coda settle aftermath more than seal climax — morally quieting but diffuse, so ending scores 85.