| Charles Dickens |
 |
| Born |
Charles John Huffam Dickens
(1812-02-07)7 February 1812
Landport, Portsmouth, England |
| Died |
9 June 1870(1870-06-09) (aged 58)
Gad's Hill Place, Higham, Kent, England |
| Resting place |
Poets' Corner, Westminster Abbey |
| Occupation |
Writer |
| Ethnicity |
English |
| Citizenship |
UK |
| Notable work(s) |
The Pickwick Papers, Oliver Twist, A Christmas Carol, David Copperfield, Bleak House, Hard Times, A Tale of Two Cities, Great Expectations |
| Spouse(s) |
Catherine Thomson Hogarth |
| Children |
Charles Dickens, Jr., Mary Dickens, Kate Perugini, Walter Landor Dickens, Francis Dickens, Alfred D'Orsay Tennyson Dickens, Sydney Smith Haldimand Dickens, Henry Fielding Dickens, Dora Annie Dickens, and Edward Dickens |
|
| Signature |
 |
Charles John Huffam Dickens (
/ˈtʃɑrlz ˈdɪkɪnz/; 7 February 1812 – 9 June 1870) was an English writer and social critic who is generally regarded as the greatest novelist of the Victorian period and the creator of some of the world's most memorable fictional characters.[1] During his lifetime Dickens' works enjoyed unprecedented popularity and fame, but it was in the twentieth century that his literary genius was fully recognized by critics and scholars. His novels and short stories continue to enjoy an enduring popularity among the general reading public.[2][3]
Born in Portsmouth, England, Dickens left school to work in a factory after his father was thrown into debtors' prison. Though he had little formal education, his early impoverishment drove him to succeed. He edited a weekly journal for 20 years, wrote 15 novels and hundreds of short stories and non-fiction articles, lectured and performed extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, education, and other social reforms.
Dickens rocketed to fame with the 1836 serial publication of The Pickwick Papers. Within a few years he had become an international literary celebrity, celebrated for his humour, satire, and keen observation of character and society. His novels, most published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication.[4][5] The instalment format allowed Dickens to evaluate his audience's reaction, and he often modified his plot and character development based on such feedback.[5] For example, when his wife's chiropodist expressed distress at the way Miss Mowcher in David Copperfield seemed to reflect her disabilities, Dickens went on to improve the character with positive lineaments.[6] Fagin in Oliver Twist apparently mirrors the famous fence, Ikey Solomon;[7] His caricature of Leigh Hunt in the figure of Mr Skimpole in Bleak House was likewise toned down on advice from some of his friends, as they read episodes:[8] In the same novel, both Lawrence Boythorne and Mooney the beadle are drawn from real life – Boythorne from Walter Savage Landor) and Mooney from a certain 'Looney', a beadle at Salisbury Square.[9] Though his plots were carefully constructed, Dickens would often weave in elements harvested from topical events into his narratives.[10] Masses of the illiterate poor chipped in ha'pennies to have each new monthly episode read to them, opening up and inspiring a new class of readers.[11]
Dickens was regarded as the 'literary colossus' of his age.[12] His 1843 novella, A Christmas Carol, is one of the most influential works ever written, and it remains popular and continues to inspire adaptations in every artistic genre. His creative genius has been praised by fellow writers—from Leo Tolstoy to G. K. Chesterton and George Orwell—for its realism, comedy, prose style, unique characterisations, and social criticism. On the other hand Oscar Wilde, Henry James and Virginia Woolf complained of a lack of psychological depth, loose writing, and a vein of saccharine sentimentalism.
2 Ordnance Terrace,
Chatham, Dickens's home 1817–1822
Charles Dickens was born on 7 February 1812, at Landport in Portsea, the second of eight children to John and Elizabeth Dickens. His father was a clerk in the Navy Pay Office and was temporarily on duty in the district. Very soon after the birth of Charles the family moved to Norfolk Street, Bloomsbury, and then, when he was four, to Chatham, Kent, where he spent his formative years until the age of 11. His early years seem to have been idyllic, though he thought himself a "very small and not-over-particularly-taken-care-of boy".[13]
Illustration by Fred Bernard of Dickens at work in a shoe-blacking factory after his father had been sent to the
Marshalsea, published in the 1892 edition of
Forster's
Life of Dickens[14]
Charles spent time outdoors, but also read voraciously, especially the picaresque novels of Tobias Smollett and Henry Fielding. He retained poignant memories of childhood, helped by a near-photographic memory of the people and events, which he used in his writing.[15] His father's brief period as a clerk in the Navy Pay Office afforded him a few years of private education, first at a dame-school, and then at a school run by William Giles, a dissenter, in Chatham.[16]
This period came to an abrupt end when, because of financial difficulties, the Dickens family moved from Kent to Camden Town in London in 1822. Prone to living beyond his means,[17] John Dickens was eventually imprisoned in the Marshalsea debtors' prison in Southwark London in 1824. Shortly afterwards, his wife and the youngest children joined him there, as was the practice at the time. Charles, then 12 years old, was boarded with Elizabeth Roylance, a family friend, in Camden Town.[18] Mrs. Roylance was "a reduced [impoverished] old lady, long known to our family", whom Dickens later immortalised, "with a few alterations and embellishments", as "Mrs. Pipchin", in Dombey and Son. Later, he lived in a back-attic in the house of an agent for the Insolvent Court, Archibald Russell, "a fat, good-natured, kind old gentleman ... with a quiet old wife" and lame son, in Lant Street in The Borough.[19] They provided the inspiration for the Garlands in The Old Curiosity Shop.[20]
On Sundays—with his sister Frances, free from her studies at the Royal Academy of Music—he spent the day at the Marshalsea.[21] Dickens would later use the prison as a setting in Little Dorrit. To pay for his board and to help his family, Dickens was forced to leave school and work ten-hour days at Warren's Blacking Warehouse, on Hungerford Stairs, near the present Charing Cross railway station, where he earned six shillings a week pasting labels on pots of boot blacking. The strenuous and often cruel working conditions deeply impressed Dickens and later influenced his fiction and essays, becoming the foundation of his interest in the reform of socio-economic and labour conditions, the rigors of which he believed were unfairly borne by the poor. He would later write that he wondered "how I could have been so easily cast away at such an age".[22] As he recalled to John Forster (from The Life of Charles Dickens):
The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old grey rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist.[22]
After only a few months in Marshalsea, John Dickens's paternal grandmother, Elizabeth Dickens, died and bequeathed him the sum of £450. On the expectation of this legacy, Dickens was granted release from prison. Under the Insolvent Debtors Act, Dickens arranged for payment of his creditors, and he and his family left Marshalsea,[23] for the home of Mrs. Roylance.
Although Dickens eventually attended the Wellington House Academy in North London, his mother Elizabeth Dickens did not immediately remove him from the boot-blacking factory. The incident may have done much to confirm Dickens's view that a father should rule the family, a mother find her proper sphere inside the home. "I never afterwards forgot, I never shall forget, I never can forget, that my mother was warm for my being sent back". His mother's failure to request his return was no doubt a factor in his dissatisfied attitude towards women.[24]
Righteous anger stemming from his own situation and the conditions under which working-class people lived became major themes of his works, and it was this unhappy period in his youth to which he alluded in his favourite, and most autobiographical, novel, David Copperfield:[25] "I had no advice, no counsel, no encouragement, no consolation, no assistance, no support, of any kind, from anyone, that I can call to mind, as I hope to go to heaven!" The Wellington House Academy was not a good school. "Much of the haphazard, desultory teaching, poor discipline punctuated by the headmaster's sadistic brutality, the seedy ushers and general run-down atmosphere, are embodied in Mr. Creakle's Establishment in David Copperfield."[26]
Dickens worked at the law office of Ellis and Blackmore, attorneys, of Holborn Court, Gray's Inn, as a junior clerk from May 1827 to November 1828. Then, having learned Gurney's system of shorthand in his spare time, he left to become a freelance reporter. A distant relative, Thomas Charlton, was a freelance reporter at Doctors' Commons, and Dickens was able to share his box there to report the legal proceedings for nearly four years.[27][28] This education was to inform works such as Nicholas Nickleby, Dombey and Son, and especially Bleak House—whose vivid portrayal of the machinations and bureaucracy of the legal system did much to enlighten the general public and served as a vehicle for dissemination of Dickens's own views regarding, particularly, the heavy burden on the poor who were forced by circumstances to "go to law".
In 1830, Dickens met his first love, Maria Beadnell, thought to have been the model for the character Dora in David Copperfield. Maria's parents disapproved of the courtship and effectively ended the relationship by sending her to school in Paris.[29]
In 1832, at age 20, Dickens was energetic, full of good humour, enjoyed mimicry and popular entertainment, and lacked a clear sense of what he wanted to become, yet knowing he wanted to be famous. He was drawn to the theatre and landed an acting audition a Covent Garden, for which he prepared meticulously but which he missed because of a cold, ending his aspirations for a career on the stage. A year later he submitted his first story, A Dinner at Poplar Walk to the London periodical, Monthly Magazine.[30] He rented rooms at Furnival's Inn becoming a political journalist, reporting on parliamentary debate and travelling across Britain to cover election campaigns for the Morning Chronicle. His journalism, in the form of sketches in periodicals, formed his first collection of pieces Sketches by Boz—Boz being a family nickname he employed as a pseudonym for some years—published in 1836.[31][32][nb 1] He continued to contribute to and edit journals throughout his literary career.[30]
The success of these sketches led to a proposal from publishers Chapman and Hall for Dickens to supply text to match Robert Seymour's engraved illustrations in a monthly letterpress. Seymour committed suicide after the second instalment and Dickens, who wanted to write a connected series or sketches, hired "Phiz" to provide the engravings (which were reduced from four to two per instalment) to enhance the story. The resulting story was the The Pickwick Papers with the final instalment selling 40,000 copies.[30]
In November 1836 Dickens accepted the job of editor of Bentley's Miscellany, a position he held for three years, until he fell out with the owner.[33] In 1836 as he finished the last instalments of The Pickwick Papers he began writing the beginning instalments of Oliver Twist—writing as many as 90 pages a month—while continuing work on Bentley's, writing four plays, the production of which he oversaw. Oliver Twist, published in 1838, became one of Dicken's better known stories, with dialogue that transferred well to the stage (most likely because he was writing stage plays at the same time) and more importantly, it was the first Victorian with a child protagonist.[34]
On 2 April 1836, after a one year engagement during which he wrote The Pickwick Papers, he married Catherine Thomson Hogarth (1816–1879), the daughter of George Hogarth, editor of the Evening Chronicle.[35] After a brief honeymoon in Chalk, Kent, they returned to lodgings at Furnival's Inn.[36] The first of ten children, Charley, was born in January 1837, and a few months later the family set up home in Bloomsbury at 48 Doughty Street, London, (on which Charles had a three year lease at £80 a year) from 25 March 1837 until December 1839.[35][37] Dickens's younger brother Frederick and Catherine's 17-year-old sister Mary moved in with them. Dickens became very attached to Mary, and she died in his arms after a brief illness in 1837. Dickens idealised her and is thought to have drawn on memories of her for his later descriptions of Rose Maylie, Little Nell and Florence Dombey.[38] He grief was so great that he was unable to make the deadline for the June instalment of Pickwick Papers and had to cancel the Oliver Twist instalment that month as well.[34]
At the same time, his success as a novelist continued, Nicholas Nickleby (1838–39), The Old Curiosity Shop and, finally, Barnaby Rudge: A Tale of the Riots of 'Eighty as part of the Master Humphrey's Clock series (1840–41)—all published in monthly instalments before being made into books.[39]
In 1842, Dickens and his wife made his first trip to the United States and Canada. At this time Georgina Hogarth, another sister of Catherine, joined the Dickens household, now living at Devonshire Terrace, Marylebone, to care for the young family they had left behind.[40] She remained with them as housekeeper, organiser, adviser and friend until Dickens's death in 1870.[41]
He described his impressions in a travelogue entitled American Notes for General Circulation. Some of the episodes in Martin Chuzzlewit (1843–44) also drew on these first-hand experiences. Dickens includes in Notes a powerful condemnation of slavery, which he had attacked as early as The Pickwick Papers, correlating the emancipation of the poor in England with the abolition of slavery abroad.[42] During his visit, Dickens spent a month in New York City, giving lectures and raising the question of international copyright laws and the pirating of his work in America.[43][44] He persuaded twenty five writers, headed by Washington Irving to sign a petition for him to take to congress, but the press were generally hostile to this saying that he should be grateful for his popularity and that it was mercenary to complain about his work being pirated.[45]
In the early 1840s Dickens showed an interest in Unitarian Christianity, although he never strayed from his attachment to popular lay Anglicanism.[46] Soon after his return to England, Dickens began work on the first of his Christmas stories, A Christmas Carol, written in 1843, which was followed by The Chimes in 1844 and The Cricket on the Hearth in 1845. Of these A Christmas Carol was most popular and, tapping in to an old tradition, did much promote a renewed enthusiasm for the joys of Christmas in Britain and America.[47] The seeds for the story were planted in Dickens's mind during a trip to Manchester to witness conditions of the manufacturing workers there. This, along with scenes he had recently witnessed at the Field Lane Ragged School, caused Dickens to resolve to "strike a sledge hammer blow" for the poor. As the idea for the story took shape and the writing began in earnest, Dickens became engrossed in the book. He wrote that as the tale unfolded he "wept and laughed, and wept again" as he "walked about the black streets of London fifteen or twenty miles many a night when all sober folks had gone to bed."[48]
After living briefly abroad in Italy (1844) Dickens travelled to Switzerland (1846); it was here he began work on Dombey and Son (1846–48). This and David Copperfield (1849–50) mark a significant artistic break in Dickens's career as his novels became more serious in theme and more carefully planned than his early works.
In May 1846 Angela Burdett Coutts, heir to the Coutts banking fortune, approached Dickens about setting up a home for the redemption of fallen women from the working class. Coutts envisioned a home that would replace the punitive regimes of existing institutions with a reformative environment conducive to education and proficiency in domestic household chores. After initially resisting, Dickens eventually founded the home, named "Urania Cottage", in the Lime Grove section of Shepherds Bush, which he was to manage for ten years,[49] setting the house rules and reviewing the accounts and interviewing prospective residents.[50] Emigration and marriage were central to Dickens' agenda for the women on leaving Urania Cottage, from which it is estimated that about 100 women graduated between 1847 and 1859.[51]
In late November 1851, Dickens moved into Tavistock House where he would write Bleak House (1852–53), Hard Times (1854) and Little Dorrit (1857).[52] It was here he indulged in the amateur theatricals which are described in Forster's "Life".[53] In 1856, the income he was earning from his writing allowed him to buy Gad's Hill Place in Higham, Kent. As a child, Dickens had walked past the house and dreamed of living in it. The area was also the scene of some of the events of Shakespeare's Henry IV, Part 1 and this literary connection pleased him.[54]
In 1857, Dickens hired professional actresses for the play The Frozen Deep, which he and his protégé Wilkie Collins had written. Dickens fell deeply in love with one of the actresses, Ellen Ternan, which was to last the rest of his life.[55] Dickens was 45 and Ternan 18 when he made the decision, which went strongly against Victorian convention, to separate from his wife, Catherine, in 1858—divorce was still unthinkable for someone as famous as he was. When Catherine left, never to see her husband again, she took with her one child, leaving the other children to be raised by her sister Georgina who chose to stay at Gad's Hill.[41]
During this period, whilst pondering about giving public readings for his own profit, Dickens was approached by Great Ormond Street Hospital to help it survive its first major financial crisis through a charitable appeal. His 'Drooping Buds’ essay in Household Words earlier in 3 April 1852 was considered by the hospital’s founders to have been the catalyst for the hospital’s success.[56] Dickens, whose philanthropy was well-known, was asked by his friend, the hospital's founder Charles West, to preside and he threw himself into the task, heart and soul.[57] Dickens' public readings secured sufficient funds for an endowment to put the hospital on a sound financial footing — one of February 9, 1858 alone raised £3,000.[58][59][60]
After separating from Catherine,[61] Dickens undertook a series of hugely popular and remunerative reading tours which, together with his journalism, were to absorb most of his creative energies for the next decade, in which he was to write only two more novels.[62] His first reading tour, lasting from April 1858 to February 1859, consisted of 129 appearances in 49 different towns throughout England, Scotland and Ireland.[63] Dickens' continued fascination with the theatrical world was written into the theatre scenes in Nicholas Nickleby, but more importantly he found an outlet in public readings. In 1866, he undertook a series of public readings in England and Scotland, with more the following year in England and Ireland.
Major works, A Tale of Two Cities (1859); and Great Expectations (1861) soon followed and would prove resounding successes. During this time he was also the publisher and editor of, and a major contributor to, the journals Household Words (1850–1859) and All the Year Round (1858–1870).[64]
In early September 1860, in a field behind Gad's Hill, Dickens made a great bonfire of almost his entire correspondence—only those letters on business matters were spared. Since Ellen Ternan also destroyed all of his letters to her,[65] the extent of the affair between the two remains speculative.[66] In the 1930s, Thomas Wright recounted that Ternan had unburdened herself with a Canon Benham, and gave currency to rumours they had been lovers.[67] That the two had a son who died in infancy was alleged by Dickens' daughter, Kate Perugini, whom Gladys Storey had interviewed before her death in 1929, and published her account in Dickens and Daughter,[68][69] although no contemporary evidence exists. On his death, Dickens settled an annuity on Ternan which made her a financially independent woman. Claire Tomalin's book, The Invisible Woman, argues that Ternan lived with Dickens secretly for the last 13 years of his life. The book was subsequently turned into a play, Little Nell, by Simon Gray.
In the same period, Dickens furthered his interest in the paranormal, becoming one of the early members of The Ghost Club.[70]
On 9 June 1865, while returning from Paris with Ternan, Dickens was involved in the Staplehurst rail crash. The first seven carriages of the train plunged off a cast iron bridge under repair. The only first-class carriage to remain on the track was the one in which Dickens was travelling. Before rescuers arrived, Dickens tended and comforted the wounded and the dying with a flask of brandy and a hat refreshed with water and saved some lives. Before leaving, he remembered the unfinished manuscript for Our Mutual Friend, and he returned to his carriage to retrieve it.[71] Dickens later used this experience as material for his short ghost story, "The Signal-Man", in which the central character has a premonition of his own death in a rail crash. He also based the story on several previous rail accidents, such as the Clayton Tunnel rail crash of 1861.
Dickens managed to avoid an appearance at the inquest to avoid disclosing that he had been travelling with Ternan and her mother, which would have caused a scandal. Although physically unharmed, Dickens never really recovered from the trauma of the Staplehurst crash, and his normally prolific writing shrank to completing Our Mutual Friend and starting the unfinished The Mystery of Edwin Drood.
On 9 November 1867, Dickens sailed from Liverpool for his second American reading tour. Landing at Boston, he devoted the rest of the month to a round of dinners with such notables as Ralph Waldo Emerson, Henry Wadsworth Longfellow and his American publisher James Thomas Fields. In early December, the readings began—he was to 76 readings, netting £19,000, from December 1867 to April 1868[72]—and Dickens spent the month shuttling between Boston and New York, where alone he gave 22 readings at Steinway Hall for this period. Although he had started to suffer from what he called the "true American catarrh", he kept to a schedule that would have challenged a much younger man, even managing to squeeze in some sleighing in Central Park.
Poster promoting a reading by Dickens in
Nottingham dated 4 February 1869, two months before he suffered a mild stroke
.
During his travels, he saw a significant change in the people and the circumstances of America. His final appearance was at a banquet the American Press held in his honour at Delmonico's on 18 April, when he promised never to denounce America again. By the end of the tour, the author could hardly manage solid food, subsisting on champagne and eggs beaten in sherry. On 23 April, he boarded his ship to return to Britain, barely escaping a Federal Tax Lien against the proceeds of his lecture tour.[73]
Between 1868 and 1869, Dickens gave a series of "farewell readings" in England, Scotland, and Ireland, beginning on the 6th October. He managed, of a contracted 100 readings, to deliver 75 in the provinces, with a further 12 in London.[72] As he pressed on he was affected by giddiness and fits of paralysis and collapsed on 22 April 1869, at Preston in Lancashire, and on doctor's advice, the tour was cancelled.[74] After further provincial readings were cancelled, he began work on his final novel, The Mystery of Edwin Drood. It was fashionable in the 1860s to 'do the slums' and, in company, Dickens visited opium dens in Shadwell, where he witnessed an elderly addict known as "Laskar Sal", who formed the model for the "Opium Sal" subsequently featured in his mystery novel, Edwin Drood.[75]
When he had regained sufficient strength, Dickens arranged, with medical approval, for a final series of readings at least partially to make up to his sponsors what they had lost due to his illness. There were to be 12 performances, running between 11 January and 15 March 1870, the last taking place at 8:00 pm at St. James's Hall in London. Although in grave health by this time, he read A Christmas Carol and The Trial from Pickwick. On 2 May, he made his last public appearance at a Royal Academy Banquet in the presence of the Prince and Princess of Wales, paying a special tribute to the passing of his friend, illustrator Daniel Maclise.[76]
On 8 June 1870, Dickens suffered another stroke at his home, after a full day's work on Edwin Drood. He never regained consciousness, and the next day, on 9 June, five years to the day after the Staplehurst rail crash (9 June 1865), he died at Gad's Hill Place. Contrary to his wish to be buried at Rochester Cathedral "in an inexpensive, unostentatious, and strictly private manner,"[79] he was laid to rest in the Poets' Corner of Westminster Abbey. A printed epitaph circulated at the time of the funeral reads: "To the Memory of Charles Dickens (England's most popular author) who died at his residence, Higham, near Rochester, Kent, 9 June 1870, aged 58 years. He was a sympathiser with the poor, the suffering, and the oppressed; and by his death, one of England's greatest writers is lost to the world."[80] His last words were: "On the ground", in response to his daughter Georgina's request that he lie down.[81][nb 3]
On Sunday, 19 June 1870, five days after Dickens was buried in the Abbey, Dean Arthur Penrhyn Stanley delivered a memorial elegy, lauding "the genial and loving humorist whom we now mourn", for showing by his own example "that even in dealing with the darkest scenes and the most degraded characters, genius could still be clean, and mirth could be innocent." Pointing to the fresh flowers that adorned the novelist's grave, Stanley assured those present that "the spot would thenceforth be a sacred one with both the New World and the Old, as that of the representative of literature, not of this island only, but of all who speak our English tongue."[82]
Dickens loved the style of the 18th century picaresque novels which he found in abundance on his father's shelves. According to Ackroyd, other than these, perhaps the most important literary influence on him was derived from the fables of The Arabian Nights.[83]
His writing style is marked by a profuse linguistic creativity.[84] Satire, flourishing in his gift for caricature is his forte. An early reviewer compared him to Hogarth for his keen practical sense of the ludicrous side of life, though his acclaimed mastery of varieties of class idiom may in fact mirror the conventions of contemporary popular theatre.[85] Dickens worked intensively on developing arresting names for his characters that would reverberate with associations for his readers, and assist the development of motifs in the storyline, giving what one critic calls an "allegorical impetus" to the novels' meanings.[84] To cite one of numerous examples, the name Mr. Murdstone in David Copperfield conjures up twin allusions to "murder" and stony coldness.[86] His literary style is also a mixture of fantasy and realism. His satires of British aristocratic snobbery—he calls one character the "Noble Refrigerator"—are often popular. Comparing orphans to stocks and shares, people to tug boats, or dinner-party guests to furniture are just some of Dickens's acclaimed flights of fancy.
The author worked closely with his illustrators, supplying them with a summary of the work at the outset and thus ensuring that his characters and settings were exactly how he envisioned them. He would brief the illustrator on plans for each month's instalment so that work could begin before he wrote them. Marcus Stone, illustrator of Our Mutual Friend, recalled that the author was always "ready to describe down to the minutest details the personal characteristics, and ... life-history of the creations of his fancy."[87]
Dickens's biographer Claire Tomalin regards him as the greatest creator of character in English fiction after Shakespeare.[88] Dickensian characters, especially so because of their typically whimsical names, are amongst the most memorable in English literature. The likes of Ebenezer Scrooge, Tiny Tim, Jacob Marley, Bob Cratchit, Oliver Twist, The Artful Dodger, Fagin, Bill Sikes, Pip, Miss Havisham, Charles Darnay, David Copperfield, Mr. Micawber, Abel Magwitch, Daniel Quilp, Samuel Pickwick, Wackford Squeers, Uriah Heep are so well known as to be part and parcel of British culture, and in some cases have passed into ordinary language: a scrooge, for example, is a miser.
His characters were often so memorable that they took on a life of their own outside his books. Gamp became a slang expression for an umbrella from the character Mrs. Gamp and Pickwickian, Pecksniffian, and Gradgrind all entered dictionaries due to Dickens's original portraits of such characters who were quixotic, hypocritical, or vapidly factual. Many were drawn from real life: Mrs Nickleby is based on his mother, though she didn't recognize herself in the portrait,[89] just as Mr Micawber is constructed from aspects of his father's 'rhetorical exuberance':[90] Harold Skimpole in Bleak House, is based on James Henry Leigh Hunt: his wife's dwarfish chiropodist recognized herself in Miss Mowcher in David Copperfield.[91][92] Perhaps Dickens' impressions on his meeting with Hans Christian Andersen informed the delineation of Uriah Heep.[93]
Virginia Woolf maintained that "we remodel our psychological geography when we read Dickens" as he produces "characters who exist not in detail, not accurately or exactly, but abundantly in a cluster of wild yet extraordinarily revealing remarks."[94]
One "character" vividly drawn throughout his novels is London itself. From the coaching inns on the outskirts of the city to the lower reaches of the Thames, all aspects of the capital are described over the course of his body of work.
Authors frequently draw their portraits of characters from people they've known in real life. David Copperfield is regarded as strongly autobiographical. The scenes in Bleak House of interminable court cases and legal arguments reflect Dickens's experiences as law clerk and court reporter, and in particular his direct experience of the law's procedural delay during 1844 when he sued publishers in Chancery for breach of copyright.[95] Dickens's own father was sent to prison for debt, and this became a common theme in many of his books, with the detailed depiction of life in the Marshalsea prison in Little Dorrit resulting from Dickens's own experiences of the institution.[96] Lucy Stroughill, a childhood sweetheart may have affected several of Dickens' portraits of girls such as Little Em'ly in David Copperfield and Lucie Manette in A Tale of Two Cities.[97][nb 4] Dickens may have drawn on his childhood experiences, but he was also ashamed of them and would not reveal that this was where he gathered his realistic accounts of squalor. Very few knew the details of his early life until six years after his death when John Forster published a biography on which Dickens had collaborated. Even figures based on real people can, at the same time, represent at the same time elements of the writer's own personality. Though Skimpole brutally sends up Leigh Hunt, some critics have detected in his portrait features of Dickens' own character, which he sought to exorcise by self-parody.[98]
Most of Dickens's major novels were first written in monthly or weekly instalments in journals such as Master Humphrey's Clock and Household Words, later reprinted in book form. These instalments made the stories cheap, accessible and the series of regular cliff-hangers made each new episode widely anticipated. When The Old Curiosity Shop was being serialized, American fans even waited at the docks in New York, shouting out to the crew of an incoming ship, "Is little Nell dead?"[99] Part of Dickens's great talent was to incorporate this episodic writing style but still end up with a coherent novel at the end.
"Charles Dickens as he appears when reading." Wood engraving from
Harper's Weekly, 7 December 1867
Another important impact of Dickens's episodic writing style resulted from his exposure to the opinions of his readers and friends. His friend Forster had a significant hand, reviewing his drafts, that went beyond matters of punctation. He toned down melodramatic and sensationalist exaggerations, cut long passages, (such as the episode of Quilp's drowning in The Old Curiosity Shop), and made suggestions about plot and character. It was he who suggested that Charley Bates should be redeemed in Oliver Twist. Dickens had not thought of killing Little Nell, and it was Forster who advised him to entertain this possibility as necessary to his conception of the heroine.[100]
Dickens's novels were, among other things, works of social commentary. He was a fierce critic of the poverty and social stratification of Victorian society. In a New York address, he expressed his belief that, "Virtue shows quite as well in rags and patches as she does in purple and fine linen".[101] Dickens's second novel, Oliver Twist (1839), shocked readers with its images of poverty and crime: it destroyed middle class polemics about criminals, making any pretence to ignorance about what poverty entailed impossible.[102] spurred the clearing of the actual London slum, Jacob's Island, that was the basis of the story.[103] In addition, with the character of the tragic prostitute, Nancy, Dickens "humanised" such women for the reading public; women who were regarded as "unfortunates", inherently immoral casualties of the Victorian class/economic system. Bleak House and Little Dorrit elaborated expansive critiques of the Victorian institutional apparatus: the interminable lawsuits of the Court of Chancery that destroyed people's lives in Bleak House and a dual attack in Little Dorrit on inefficient, corrupt patent offices and unregulated market speculation.
Dickens is often described as using 'idealised' characters and highly sentimental scenes to contrast with his caricatures and the ugly social truths he reveals. The story of Nell Trent in The Old Curiosity Shop (1841) was received as extraordinarily moving by contemporary readers but viewed as ludicrously sentimental by Oscar Wilde. "You would need to have a heart of stone", he declared in one of his famous witticisms, "not to laugh at the death of little Nell."[104] G. K. Chesterton, stating that "It is not the death of little Nell, but the life of little Nell, that I object to", argued that the maudlin effect of his description of her life owed much to the gregarious nature of Dickens' grief, his 'despotic' use of pedople's feelings to move them to tears in works like this.[105]
In Oliver Twist Dickens provides readers with an idealised portrait of a boy so inherently and unrealistically 'good' that his values are never subverted by either brutal orphanages or coerced involvement in a gang of young pickpockets. While later novels also centre on idealised characters (Esther Summerson in Bleak House and Amy Dorrit in Little Dorrit), this idealism serves only to highlight Dickens's goal of poignant social commentary. Many of his novels are concerned with social realism, focusing on mechanisms of social control that direct people's lives (for instance, factory networks in Hard Times and hypocritical exclusionary class codes in Our Mutual Friend).[citation needed] Dickens' fiction, reflecting what he believed to be true of his own life, scintillates with coincidences.[106] Oliver Twist turns out to be the lost nephew of the upper class family that randomly rescues him from the dangers of the pickpocket group). Such coincidences are a staple of 18th-century picaresque novels, such as Henry Fielding's Tom Jones that Dickens enjoyed reading as a youth.[107]
Dickens was the most popular novelist of his time,[108] and remains one of the best known and most read of English authors. His works have never gone out of print.[109] and have been adapted continuously for the screen since the invention of cinema,[110] with at least 200 motion pictures and TV adaptations based on Dickens's works documented.[111] Many of his works were adapted for the stage during his own lifetime and as early as 1913, a silent film of The Pickwick Papers was made.
Among fellow writers, Dickens has been both lionized and mocked. Leo Tolstoy, G. K. Chesterton and George Orwell praised his realism, comic voice, prose fluency, and genius for satiric caricature, as well as his passionate advocacy on behalf of children and the poor. On the other hand, Oscar Wilde generally disparaged his depiction of character, whiloe admiring his gift for caricature;[112] Henry James denied him a premier position, calling him, "the greatest of superficial novelists": Dickens failed to endow his characters with psychological depth and the novels, "loose baggy monsters"[113] betrayed a "cavalier organisation";[114] Virginia Woolf had a love-hate relationship with his works, finding his novels "mesmerizing" while reproving him for his sentimentalism and a commonplace style.[115]
It is likely that A Christmas Carol stands as his best-known story, with frequent new adaptations. It is also the most-filmed of Dickens's stories, with many versions dating from the early years of cinema.[116] According to the historian Ronald Hutton, the current state of the observance of Christmas is largely the result of a mid-Victorian revival of the holiday spearheaded by A Christmas Carol. Dickens catalysed the emerging Christmas as a family-centred festival of generosity, in contrast to the dwindling community-based and church-centred observations, as new middle-class expectations arose.[117] Its archetypal figures (Scrooge, Tiny Tim, the Christmas ghosts) entered into Western cultural consciousness. A prominent phrase from the tale, 'Merry Christmas', was popularised following the appearance of the story.[118] The term Scrooge became a synonym for miser, and his dismissive put-down exclamation 'Bah! Humbug!' likewise gained currency as an idiom.[119] Novelist William Makepeace Thackeray called the book "a national benefit, and to every man and woman who reads it a personal kindness".[116]
At a time when Britain was the major economic and political power of the world, Dickens highlighted the life of the forgotten poor and disadvantaged within society. Through his journalism he campaigned on specific issues—such as sanitation and the workhouse—but his fiction probably demonstrated its greatest prowess in changing public opinion in regard to class inequalities. He often depicted the exploitation and oppression of the poor and condemned the public officials and institutions that not only allowed such abuses to exist, but flourished as a result. His most strident indictment of this condition is in Hard Times (1854), Dickens's only novel-length treatment of the industrial working class. In this work, he uses both vitriol and satire to illustrate how this marginalised social stratum was termed "Hands" by the factory owners; that is, not really "people" but rather only appendages of the machines that they operated. His writings inspired others, in particular journalists and political figures, to address such problems of class oppression. For example, the prison scenes in The Pickwick Papers are claimed to have been influential in having the Fleet Prison shut down. Karl Marx asserted that Dickens" ... issued to the world more political and social truths than have been uttered by all the professional politicians, publicists and moralists put together".[120] George Bernard Shaw even remarked that Great Expectations was more seditious than Marx's own Das Kapital.[120] The exceptional popularity of his novels, even those with socially oppositional themes (Bleak House, 1853; Little Dorrit, 1857; Our Mutual Friend, 1865) underscored not only his almost preternatural ability to create compelling storylines and unforgettable characters, but also ensured that the Victorian public confronted issues of social justice that had commonly been ignored. It has been argued that his technique of flooding his narratives with an 'unruly superfluity of material' that, in the gradual dénouement, yields up an unsuspected order, influenced the organisation of Charles Darwin's The Origin of the Species.[121]
His fiction, with often vivid descriptions of life in 19th-century England, has inaccurately and anachronistically come to symbolise on a global level Victorian society (1837 – 1901) as uniformly "Dickensian", when in fact, his novels' time scope spanned from the 1770s to the 1860s. In the decade following his death in 1870, a more intense degree of socially and philosophically pessimistic perspectives invested British fiction; such themes stood in marked contrast to the religious faith that ultimately held together even the bleakest of Dickens's novels. Dickens clearly influenced later Victorian novelists such as Thomas Hardy and George Gissing; their works display a greater willingness to confront and challenge the Victorian institution of religion. They also portray characters caught up by social forces (primarily via lower-class conditions), but they usually steered them to tragic ends beyond their control.
Stamp in "The Centenary Edition of The Works of Charles Dickens in 36 Volumes."
Museums and festivals celebrating Dickens's life and works exist in many places with which Dickens was associated, such as the Charles Dickens Birthplace Museum in Portsmouth, the house in which he was born. The original manuscripts of many of his novels, as well as printers' proofs, first editions, and illustrations from the collection of Dickens' friend John Forster are held at the Victoria and Albert Museum.[122] Dickens's will stipulated that no memorial be erected in his honour. The only life-size bronze statue of Dickens, cast in 1891 by Francis Edwin Elwell, can be found in Clark Park in the Spruce Hill neighbourhood of Philadelphia.
Dickens was commemorated on the Series E £10 note issued by the Bank of England that was in circulation in the UK between 1992 and 2003. His portrait appeared on the reverse of the note accompanied by a scene from The Pickwick Papers. A theme park, Dickens World, standing in part on the site of the former naval dockyard where Dickens's father once worked in the Navy Pay Office, opened in Chatham in 2007, and to celebrate the 200th anniversary of the birth of Charles Dickens in 2012, the Museum of London will the UK's first major exhibition on the author in 40 years.[123] In the UK survey entitled The Big Read carried out by the BBC in 2003, five of Dickens's books were named in the Top 100.[124]
Charles Dickens published over a dozen major novels, a large number of short stories (including a number of Christmas-themed stories), a handful of plays, and several non-fiction books. Dickens's novels were initially serialised in weekly and monthly magazines, then reprinted in standard book formats.
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- Dombey and Son (Monthly serial, October 1846 to April 1848)
- David Copperfield (Monthly serial, May 1849 to November 1850)
- Bleak House (Monthly serial, March 1852 to September 1853)
- Hard Times: For These Times (Weekly serial in Household Words, 1 April 1854, to 12 August 1854)
- Little Dorrit (Monthly serial, December 1855 to June 1857)
- A Tale of Two Cities (Weekly serial in All the Year Round, 30 April 1859, to 26 November 1859)
- Great Expectations (Weekly serial in All the Year Round, 1 December 1860 to 3 August 1861)
- Our Mutual Friend (Monthly serial, May 1864 to November 1865)
- The Mystery of Edwin Drood (Monthly serial, April 1870 to September 1870. Only six of twelve planned numbers completed)
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Christmas numbers of Household Words magazine:
- What Christmas Is, as We Grow Older (1851)
- A Round of Stories by the Christmas Fire (1852)
- (1852) كتاب السقط فى الحساس
- Another Round of Stories by the Christmas Fire (1853)
- The Seven Poor Travellers (1854)
- The Holly-Tree Inn (1855)
- The Wreck of the "Golden Mary" (1856)
- The Perils of Certain English Prisoners (1857)
- A House to Let (1858)
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Christmas numbers of All the Year Round magazine:
- The Haunted House (1859)
- A Message from the Sea (1860)
- Tom Tiddler's Ground (1861)
- Somebody's Luggage (1862)
- Mrs. Lirriper's Lodgings (1863)
- Mrs. Lirriper's Legacy (1864)
- Doctor Marigold's Prescriptions (1865)
- Mugby Junction (1866)
- No Thoroughfare (1867)
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Painting of Dickens in Boston 1842.
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Charles Dickens 1850.jpg
Photograph of Dickens, c. 1850.
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Dickens may 1852.jpg
Photograph of Dickens 1853.
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Footnotes
- ^ Glancy (1999) writes that Dickens adopted it from the nickname Moses which he had given to his youngest brother Augustus Dickens, after a character in Oliver Goldsmith's The Vicar of Wakefield. In the small boy's pronunciation this became Boses, then shortened to Boz. When playfully pronounced through the nose 'Moses' became 'Boses', and was later shortened to Boz. Dickens own name was considered "queer" by a contemporary critic, who wrote in 1849: "Mr Dickens, as if in revenge for his own queer name, does bestow still queerer ones upon his fictitious creations." The name Dickens was used in interjective exclamations like "What the Dickens!" as a substitute for "devil". It was recorded in the OED as originating from Shakespeare's The Merry Wives of Windsor. It was also used in the phrase "to play the Dickens" in the meaning "to play havoc/mischief".Bowen 2003, p. 37.
- ^ Fildes had been commissioned to illustrate "Edwin Drood", and this engraving, occasioned by news of the author's death, shows Dickens' empty chair in his study at Gads Hill Place.[77] It appeared in the Christmas 1870 edition of the The Graphic and moved bereaved Dickensians everywhere. Vincent van Gogh deeply admired the print, and it influenced his own compositions on chairs.[78]
- ^ A contemporary obituary in The Times, alleged that Dickens's last words were: "Be natural my children. For the writer that is natural has fulfilled all the rules of Art." reprinted from The Times, London, August 1870 in Bidwell 1870, p. 223.
- ^ Slater detects also Ellen Ternan in the portrayal of Lucie Manette.
- ^ Dickens wrote to John Forster of the experience: "I can scarcely express how uneasy and unsettled it makes me to sit, sit, sit, with Little Dorrit on my mind."
Notes
- ^ Black 2007, p. 735.
- ^ Mazzeno 2008, p. 76.
- ^ Chesterton 2007, pp. 100–126.
- ^ Grossman 2012, p. 54
- ^ a b Lodge 2002, p. 118.
- ^ Ziegler 2007, pp. 46–47.
- ^ Hawes 1998, p. 75.
- ^ Hayes 1998, p. 214.
- ^ Ackroyd 1990, pp. 652–653.
- ^ Stone 1987, pp. 267–268.
- ^ Hauser 1999, p. 116.
- ^ Cain 2008, p. 1.
- ^ Forster 2006, p. 13.
- ^ Schlicke 1999, p. 158.
- ^ Ackroyd 1990, pp. 22–24:29–30.
- ^ Ackroyd 1990, p. 41.
- ^ Ackroyd 1990, p. 76:'recklessly improvident'.
- ^ Pope-Hennessy 1945, p. 11.
- ^ Forster 2006, p. 27.
- ^ Ackroyd 1990, p. 76.
- ^ Wilson 1972, p. 53.
- ^ a b Forster 2006, pp. 23–24.
- ^ Schlicke 1999, p. 157.
- ^ Wilson 1972, p. 58.
- ^ Cain 2008, p. 91.
- ^ Wilson 1972, p. 61.
- ^ Pope-Hennessy 1945, p. 18.
- ^ Wilson 1972, p. 64.
- ^ Davis 1998, p. 23.
- ^ a b c Patten 2001, pp. 16–18.
- ^ Ackroyd 1990, pp. 174–176.
- ^ Glancy 1999, p. 6.
- ^ Ackroyd 1990, pp. 201, 278–279.
- ^ a b Smiley 2001, pp. 12–14.
- ^ a b Schlicke 1999, p. 160.
- ^ Ackroyd 1990, pp. 162,181–182.
- ^ Ackroyd 1990, p. 221.
- ^ Ackroyd 1990, pp. 225–229:p=227.
- ^ Schlicke 1999, p. 514.
- ^ Jones 2004, p. 7
- ^ a b Smith 2001, pp. 10–11.
- ^ Moore 2004, pp. 44–45.
- ^ Ackroyd 1990, pp. 345–346.
- ^ Tomalin 2011, p. 127.
- ^ Tomalin 2011, pp. 128–132.
- ^ Colledge 2009, p. 87.
- ^ Callow 2009, pp. 146–148.
- ^ Schlicke 1999, p. 98.
- ^ Nayder 2011, p. 148.
- ^ Ackroyd 1990, pp. 249; 530–538; 549–550; 575.
- ^ Hartley 2009, pp. ?.
- ^ Ackroyd 1990, pp. 628; 634–638.
- ^ Ackroyd 1990, pp. 648; 686–687; 772–773.
- ^ Ackroyd 1990, pp. 32:723:750.
- ^ Ackroyd 1990, pp. 788–799.
- ^ Furneaux 2011, pp. 190–191.
- ^ Page 1999, p. 261.
- ^ Jones 2004, pp. 80–81.
- ^ Ackroyd 1990, pp. 801, 804.
- ^ Page, pp. 260–263 for excerpts from the speech.
- ^ Ackroyd 1990, pp. 809–814.
- ^ Sutherland 1990, p. 185.
- ^ Hobsbaum 1998, p. 270.
- ^ Ackroyd 1990, pp. 589–95; 848–852.
- ^ Tomalin 2011, pp. 332
- ^ Ackroyd 1990, pp. 881–883.
- ^ Ackroyd 1990, pp. 914–917.
- ^ Nisbet 1952, p. 37.
- ^ Tomlin 1992, pp. 142–143.
- ^ Henson 2004, p. 113.
- ^ Ackroyd 1990, pp. 959–961.
- ^ a b Hobsbaum 1998, p. 271.
- ^ Jackson 1995, p. 333.
- ^ Ackroyd 1990, pp. 1043–1044.
- ^ Foxcroft 2007, p. 53.
- ^ Ackroyd 1990, pp. 1069–1070.
- ^ Sutherland 1990, p. 226.
- ^ Waller 2006, p. 194, n.96.
- ^ Forster 2006, p. 628.
- ^ Hughes 1891, p. 226.
- ^ Ackroyd 1990, pp. 1077–1078.
- ^ Stanley 1870, pp. 144–147:146.
- ^ Ackroyd 1990, pp. 44–45.
- ^ a b Mee 2010, p. 20.
- ^ Vlock 1998, p. 30.
- ^ Stone 1987, pp. xx–xxi.
- ^ Cohen 1980, p. 206.
- ^ Jones 2012.
- ^ Ziegler 2007, p. 45.
- ^ Hayes 1998, p. 153.
- ^ Ziegler 2007, p. 46.
- ^ Hawes 1998, p. 158.
- ^ Hawes 1998, p. 109.
- ^ Woolf 1986, p. 286.
- ^ Polloczek 1999, p. 133.
- ^ Ackroyd 1990.
- ^ Slater 1983, pp. 43, 47.
- ^ Ackroyd 1990, p. 653.
- ^ Glancy 1999, p. 34.
- ^ Davies 1983, pp. 166–169.
- ^ Ackroyd 1990, p. 345.
- ^ Raina 1986, p. 25.
- ^ Bodenheimer 2011, p. 147.
- ^ Ellman 1988, p. 441:In conversation with Ada Leverson.
- ^ Chesterton 1911, pp. 54–55.
- ^ Marlow 1994, pp. 149–150.
- ^ Ackroyd 1990, p. 44.
- ^ Trollope 2007, p. 62.
- ^ Swift 2007
- ^ Sasaki 2011, p. 67.
- ^ Morrison 2012.
- ^ Ellmann 1988, pp. 25,359.
- ^ Kucich & Sadoff 2006, p. 162.
- ^ Mazzeno 2008, pp. 23–4.
- ^ Mazzeno 2008, p. 67.
- ^ a b Callow 2009, p. 39.
- ^ Hutton 2001, p. 188.
- ^ Cochrane 1996, p. 126.
- ^ Robinson 2005, p. 316.
- ^ a b Kucich & Sadoff 2006, p. 155.
- ^ Atkinson 1990, p. 48, citing Gillian Beer's Darwin's Plots(1983, p.8).
- ^ Jones 2004, p. 104.
- ^ Werner 2011.
- ^ The Big Read: Top 100 Books BBC Retrieved 2 April 2011
- ^ Johnson 1969 for the serial publication dates.
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- Levine, Gary Martin (2003). The merchant of modernism: the economic Jew in Anglo-American Literature, 1864–1939. London: Routledge. ISBN 978-0-415-94109-9. http://books.google.com/books?id=5NflN2bI9KkC&pg=PA23. Retrieved 21 April 2012.
- Lodge, David (2002). Consciousness and the Novel. Harvard, Massachusetts: Harvard University Press. ISBN 978-0-674-00949-3. http://books.google.com.au/books?id=IuPzOOXEBJQC&pg=PA118. Retrieved 6 April 2012.
- Marlow, James E. (1994). Charles Dickens: The Uses of Time. Susquehanna University Press. ISBN 978-0-945636-48-9. http://books.google.com.au/books?id=p7wvLUBMt1wC&pg=PA150. Retrieved 21 April 2012.
- Mazzeno, Laurence W. (2008). The Dickens industry: critical perspectives 1836–2005. Studies in European and American literature and culture. Literary criticism in perspective. Camden House. ISBN 978-1-57113-317-5. http://books.google.com.au/books?id=4k3ZL8Pf0SQC&pg=PA76. Retrieved 6 April 2012.
- Mee, Jon (2010). The Cambridge Introduction to Charles Dickens. Cambridge Introductions to Literature. Cambridge University Press. ISBN 978-0-521-67634-2. http://books.google.com.au/books?id=VxPryDIAQXAC&pg=PA20. Retrieved 24 April 2012.
- Mendelsohn, Ezra (1996). Literary Strategies: Jewish Texts and Contexts. Studies in Contemporary Jewry. 12. Oxford University Press. ISBN 978-0-19-511203-0. http://books.google.com.au/books?id=4k3ZL8Pf0SQC&pg=PA76. Retrieved 6 April 2012.
- Moore, Grace (2002). "Reappraising Dickens's 'Noble Savage'". The Dickensian 98 (458): 236–243.
- Moore, Grace (2004). Dickens and Empire:Discourses of Class, Race and Colonialism in the Works of Charles Dickens. Ashgate Publishing. ISBN 978-0-7546-3412-6. http://books.google.com.au/books?id=ZUxw0x84cGwC&pg=PA53. Retrieved 6 April 2012.
- Nayder, Lillian (2002). Unequal Partners: Charles Dickens, Wilkie Collins, and Victorian Authorship. Cornell University Press. ISBN 978-0-8014-3925-4. http://books.google.com/books?id=2Ah4gw9lZwgC&pg=PA96. Retrieved 24 April 2012.
- Nayder, Lillian (2011). The other Dickens: a life of Catherine Hogarth. Cornell University Press. ISBN 978-0-8014-4787-7. http://books.google.com.au/books?id=fb9Dn3yHmJMC. Retrieved 7 April 2012.
- Nisbet, Ada (1952). Dickens & Ellen Ternan. University of California Press. http://books.google.com.au/books?id=jZsFp7cE82MC&pg=PA37. Retrieved 20 April 2012.
- Page, Norman (1999). Charles Dickens:Family History. Routledge. ISBN 978-0-415-22233-4. http://books.google.com.au/books?id=xf2QqVI19b8C&pg=PA261. Retrieved 6 April 2012.
- Patten, Robert L. (2001). "From Sketches to Nickleby". In Jordan, John O. The Cambridge Companion to Charles Dickens. Cambridge University Press. ISBN 978-0-521-66964-1.
- Dickens, Charles (1978). "Introduction". In Patten, Robert L.. The Pickwick Papers. Penguin Books. ISBN 978-0-415-22233-4. http://books.google.com.au/books?id=xf2QqVI19b8C&pg=PA261. Retrieved 21 April 2012.
- Pointer, Michael (1996). Charles Dickens on the screen: the film, television, and video adaptations. Scarecrow Press. ISBN 978-0-8108-2960-2. http://books.google.com.au/books?id=031aAAAAMAAJ. Retrieved 21 April 2012.
- Dieter, Polloczek (1999). "Aporias of Retribution and questions of responsibility: the legacy of incarceration in Dickens's Bleak House". Literature and Legal Discourse: Equity and Ethics from Sterne to Conrad. Cambridge University Press. pp. 124–201. ISBN 978-0-521-65251-3. http://books.google.com.au/books?id=d4HI0Man5qUC&pg=PA124. Retrieved 1 May 2012.
- Pope-Hennessy, Una (1945). Charles Dickens 1812–1870. Chatto and Windus.
- Raina, Badri (1986). Dickens and the Dialectic of Growth. University of Wisconsin Press. ISBN 978-0-299-10610-2. http://books.google.it/books?id=GxKRxDP4ujkC&pg=PA25. Retrieved 27 April 2012.
- Robinson, David J. (2005). Disordered personalities (3 ed.). Rapid Psychler Press,. ISBN 978-1-894328-09-8. http://books.google.com.au/books?id=7s9rAAAAMAAJ. Retrieved 21 April 2012.
- Sasaki, Toru (2011). "Modern screen adaptations". In Ledger, Sally; Furneaux, Holly. Dickens in Context. Cambridge University Press. pp. 67–73. ISBN 978-0-521-88700-7. http://books.google.com.au/books?id=j5c9GqZ_7BMC&pg=PA67. Retrieved 8 April 2012.
- Schlicke, Paul, ed. (1999). Oxford Reader's Companion to Dickens. Oxford University Press. ISBN 978-0-19-866213-6.
- Slater, Michael (1983). Dickens and Women. Stanford University Press. ISBN 978-0-8047-1180-7. http://books.google.com.au/books?id=GyuH6-eZZaQC&pg=PA47. Retrieved 21 April 2012.
- Slater, Michael (2009). Charles Dickens: A Life Defined by Writing. New Haven/London: Yale University Press. ISBN 978-0-300-11207-8. http://books.google.com.au/books?id=GPHkiefalPUC&dq. Retrieved 21 April 2012.
- Smiley, Jane (2002). Charles Dickens. Penguin. ISBN 0-670-03077-5.
- Smith, Grahame (2001). "The Life and Times of Charles Dickens". In Jordan, John O. The Cambridge Companion to Charles Dickens. Cambridge University Press. ISBN 978-0-521-66964-1.
- Stanley, Arthur Penrhyn (1870). "Dean Stanley on Charles Dickens". Speeches, letters, and sayings of Charles Dickens. Harper. http://books.google.com.au/books?id=90ApAQAAIAAJ&pg=PA146. Retrieved 20 April 2012.
- Stone, Harry (1987). Dickens' working notes for his novels. Chicago: University of Chicago Press. ISBN 978-0-226-14590-7. http://books.google.com.au/books?id=85bNed2YLcIC&pg=PA268. Retrieved 6 April 2012.
- Sutherland, John (1990). The Stanford Companion to Victorian Fiction. Stanford, California: Stanford University Press. ISBN 978-0-8047-1842-4. http://books.google.com.au/books?id=QzJ3yNVVqtUC&pg=PA185. Retrieved 8 April 2012.
- Swift, Simon (18 April 2007). "What the Dickens?". The Guardian. http://www.guardian.co.uk/books/2007/apr/18/classics.travelnews. Retrieved 21 April 2012.
- Tomalin, Claire (2011). Charles Dickens: A Life. Viking. ISBN 978-0-670-91767-9.
- Tomalin, Claire (1992). The invisible woman: the story of Nelly Ternan and Charles Dickens. Vintage Books. ISBN 978-0-679-73819-0. http://books.google.com.au/books?id=yJDWAAAAMAAJ. Retrieved 20 April 2012.
- Trollope, Anthony (2007). "Charles Dickens". In Bloom, Harold. Charles Dickens. Bloom's Classic Critical Views. Infobase Publishing. ISBN 978-0-7910-9558-4. http://books.google.com.au/books?id=gW0hlzvh_RMC&pg=PA62. Retrieved 21 April 2012.
- Vlock, Deborah (1998). Dickens, Novel Reading, and the Victorian Popular Theatre. Cambridge Studies in Nineteenth-Century Literature and Culture. 19. Oxford University Press. ISBN 978-0-521-64084-8. http://books.google.com.au/books?id=StwqgB7C9cYC&pg=PA30. Retrieved 24 April 2012.
- Douglas-Fairhurst, Robert, "Becoming Dickens 'The Invention of a Novelist'", London: Harvard University Press, 2011
- Johnson, Edgar, Charles Dickens: his tragedy and triumph, New York: Simon and Schuster, 1952. In two volumes.
- Manning, Mick & Granström, Brita, Charles Dickens: Scenes From An Extraordinary Life, Frances Lincoln Children's Books, 2011.
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| Christmas books |
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| Short stories |
- The Lamplighter (1838)
- A Child's Dream of a Star (1850)
- Captain Murderer
- The Long Voyage (1853)
- The Lazy Tour of Two Idle Apprentices (1857) (with Wilkie Collins)
- Hunted Down (1859)
- The Signal-Man (1866)
- George Silverman's Explanation (1868)
- Holiday Romance (1868)
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Christmas
short stories |
- A Christmas Tree (1850)
- What Christmas is, as We Grow Older (1851)
- The Poor Relation's Story (1852)
- The Child's Story (1852)
- The Schoolboy's Story (1853)
- Nobody's Story (1853)
- Going into Society (1858)
- Somebody's Luggage (1862)
- Mrs Lirriper's Lodgings (1863)
- Mrs Lirriper's Legacy (1864)
- Doctor Marigold's Prescriptions (1865)
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Short story
collections |
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| Non-fiction |
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| Poetry & plays |
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| Journalism |
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| Collaborations |
- Household Words
- The Seven Poor Travellers (1854) (with Wilkie Collins, Adelaide Proctor, George Sala and Eliza Linton)
- The Holly-tree Inn (1855) (with Wilkie Collins, William Howitt, Harriet Parr, and Adelaide Procter)
- The Wreck of the Golden Mary (1856) (with Wilkie Collins, Adelaide Proctor, Harriet Parr, Percy Fitzgerald and Rev. James White)
- The Perils of Certain English Prisoners (1857) (with Wilkie Collins)
- A House to Let (1858) (with Wilkie Collins, Elizabeth Gaskell and Adelaide Procter)
- All the Year Round
- The Haunted House (1859) (with Wilkie Collins, Elizabeth Gaskell, Adelaide Procter, George Sala, and Hesba Stretton)
- A Message from the Sea (1860) (with Wilkie Collins, Robert Buchanan, Charles Allston Collins, Amelia Edwards, and Harriet Parr)
- Tom Tiddler's Ground (1861) (with Wilkie Collins, John Harwood, Charles Allston Collins, and Amelia Edwards)
- The Trial for Murder (1865) (with Charles Allston Collins)
- Mugby Junction (1866) (with Andrew Halliday, Charles Allston Collins, Hesba Stretton and Amelia Edwards)
- No Thoroughfare (1867) (with Wilkie Collins)
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| Articles & essays |
- A Visit to Newgate (1836)
- Epitaph of Charles Irving Thornton (1842)
- In Memoriam W. M. Thackeray (1850)
- A Coal Miner's Evidence (1850)
- Frauds on the Fairies (1853)
- The Lost Arctic Voyagers (1854)
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| Categories |
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| Persondata |
| Name |
Dickens, Charles |
| Alternative names |
Dickens, Charles John Huffam; Boz; Dickens, Karol; Dickens, Charlz; Sparks, Timothy; Dickens, Charles Huffam |
| Short description |
English novelist |
| Date of birth |
7 February 1812 |
| Place of birth |
Portsmouth, Hampshire, England |
| Date of death |
9 June 1870 |
| Place of death |
Gad's Hill Place, Higham, Kent, England |
![WHAT A DIFFERENCE A DAY MADE [ JAMIE CULLUM ].](http://web.archive.org./web/20130526204140im_/http://i.ytimg.com/vi/VG1NjKiOg-A/default.jpg "WHAT A DIFFERENCE A DAY MADE [ JAMIE CULLUM ].")
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