Coordinates: 51°30′26″N 0°03′40″W / 51.5073°N 0.0610°W / 51.5073; -0.0610

Wapping
The Prospect of Whitby is a Wapping landmark.
Wapping  Wapping shown within Greater London
OS grid reference	TQ345805
London borough	Tower Hamlets
Ceremonial county	Greater London
Region	London
Country	England
Sovereign state	United Kingdom
Post town	LONDON
Postcode district	E1W
Dialling code	020
Police	Metropolitan
Fire	London
Ambulance	London
EU Parliament	London
UK Parliament	Poplar and Limehouse
London Assembly	City and East
List of places: UK • England • London

Wapping (/ˈwɒpɪŋ/ WOP-ing) is a place in the London Borough of Tower Hamlets which forms part of the Docklands to the east of the City of London. It is situated between the north bank of the River Thames and the ancient thoroughfare simply called The Highway. Wapping's proximity to the river has given it a strong maritime character, which it retains through its riverside public houses and steps, such as the Prospect of Whitby and Wapping Stairs.

Many of the original buildings were demolished during the construction of the London Docks and Wapping was further seriously damaged during the Blitz. As the London Docklands declined after the Second World War, the area became run down, with the great warehouses left empty. The area's fortunes were transformed during the 1980s by the London Docklands Development Corporation when the warehouses started to be converted into luxury flats.

Rupert Murdoch moved his News International printing and publishing works into Wapping in 1986, resulting in a trade union dispute that became known as the "Battle of Wapping".

History[link]

Origins[link]

The area was first settled by Saxons, from whom it takes its name (meaning literally "[the place of] Wæppa's people").^[1] It developed along the embankment of the Thames, hemmed in by the river to the south and the now-drained Wapping Marsh to the north. This gave it a peculiarly narrow and constricted shape, consisting of little more than the axis of Wapping High Street and some north-south side streets. John Stow, the 16th century historian, described it as a "continual street, or a filthy strait passage, with alleys of small tenements or cottages, built, inhabited by sailors' victuallers".^[2]

Wapping by James McNeill Whistler

Wapping's proximity to the river gave it a strong maritime character for centuries, well into the 20th century. It was inhabited by sailors, mastmakers, boat-builders, blockmakers, instrument-makers, victuallers and representatives of all the other trades that supported the seafarer. Wapping was also the site of 'Execution Dock', where pirates and other water-borne criminals faced execution by hanging from a gibbet constructed close to the low water mark. Their bodies would be left dangling until they had been submerged three times by the tide.^[2]

The Bell Inn, by execution dock was run by Samuel Batts. His daughter, Elizabeth, married James Cook in 1762 at Barking, after the Royal Navy captain had stayed at the Inn.^[3] The couple initially settled in Shadwell, attending St Paul's church, but later moved to Mile End. Although they had six children together, much of their married life was spent apart, with Cook absent on his voyages and, after his murder in 1779 at Kealakekua Bay, she survived until 1835.

Dockland area[link]

Said to be England's first, the Marine Police Force was formed in 1798 by magistrate Patrick Colquhoun and a Master Mariner, John Harriott, to tackle theft and looting from ships anchored in the Pool of London and the lower reaches of the river. Its base was (and remains) in Wapping High Street and it is now known as the Marine Support Unit.^[4] The Thames Police Museum, dedicated to the history of the Marine Police Force, is currently housed within the headquarters of the Marine Support Unit, and is open to the public by appointment.^[5]

In 1811, the horrific Ratcliff Highway murders took place nearby at The Highway and Wapping Lane.^[6]

The area's strong maritime associations changed radically in the 19th century when the London Docks were built to the north and west of the High Street. Wapping's population plummeted by nearly 60% during that century, with many houses destroyed by the construction of the docks and giant warehouses along the riverfront. Squeezed between the high walls of the docks and warehouses, the district became isolated from the rest of London, although some relief was provided by Brunel's Thames Tunnel to Rotherhithe. The opening of Wapping tube station on the East London Line in 1869 provided a direct rail link to the rest of London.

Modern times[link]

Gun Wharves, Wapping. Now home to luxury flats.

Wapping was devastated by German bombing in World War II^[7] and by the post-war closure of the docks. It remained a run-down and derelict area into the 1980s, when the area was transferred to the management of the London Docklands Development Corporation, a government quango with the task of redeveloping the Docklands. The London Docks were largely filled in and redeveloped with a variety of commercial, light industrial and residential properties.

In 1986, Rupert Murdoch's News International built a new £80m printing and publishing works in the north of Wapping. This became the scene of violent protests after News International's UK operation moved from Fleet Street to Wapping, with over 5,000 print workers being sacked when new technology was introduced.

Wapping dispute[link]

The "Wapping dispute" or "Battle of Wapping" was, along with the miners' strike of 1984-85, a significant turning point in the history of the trade union movement and of UK industrial relations. It started on 24 January 1986 when some 6,000 newspaper workers went on strike after protracted negotiation with their employer, News International (parent of Times Newspapers and News Group Newspapers, and chaired by Rupert Murdoch). News International had built and clandestinely equipped a new printing plant for all its titles in Wapping, and when the print unions announced a strike it activated this new plant with the assistance of the Electrical, Electronic, Telecommunications and Plumbing Union (EETPU).

The plant was nicknamed "Fortress Wapping" when the sacked print workers effectively besieged it, mounting round-the-clock pickets and blockades in an ultimately unsuccessful attempt to thwart the move. In 2005, News International announced the intention to move the print works to regional presses based in Broxbourne (the world's largest printing plant, opened March 2008),^[8] Liverpool and Glasgow. The editorial staff were to remain, however, and there was talk of redeveloping the sizeable plot that makes up the printing works.^[9]

Landmarks[link]

Wapping old stairs

Perhaps Wapping's greatest attraction is the Thames foreshore itself, and the venerable public houses that face onto it. A number of the old 'stairs', such as Wapping Old Stairs and Pelican Stairs (by the Prospect of Whitby) give public access to a littoral zone (for the Thames is tidal at this point) littered with flotsam, jetsam and fragments of old dock installations. Understandably it is popular with amateur archaeologists and treasure hunters - it is surprisingly easy for even a casual visitor to pick up a centuries-old shard of pottery here.

St George in the East[link]

St George in the East on Cannon Street Road is one of six Hawksmoor churches in London, built from 1714 to 1729, with funding from the Commission for Building Fifty New Churches.

When the church was hit by a bomb during the Blitz the original interior was destroyed by the fire, but the walls and distinctive "pepper-pot" towers stayed up. In 1964 a modern church interior was constructed inside the existing walls for the active congregation, and a new flat built under each corner tower.

Behind the church lies St George's Gardens, the original cemetery, which was passed to Stepney Council to maintain as a public park in mid-Victorian times.

At the outbreak of the World War II the crypt of the church was used as a public air raid shelter and was fully occupied when the aforementioned bomb struck. There were no casualties and everyone was evacuated safely (thanks to the air raid wardens and fire brigade).

Execution Dock[link]

Wax figure of a pirate hanged at Execution Dock. Madame Tussauds, London

The "Execution Dock" was located on the Thames. It was used by the Admiralty for over 400 years (as late as 1830) to hang pirates that had been convicted and sentenced to death by the Admiralty court.

The Admiralty only had jurisdiction over crimes on the sea, so the dock was located within their jurisdiction by being located far enough offshore as to be beyond the low-tide mark. It was used to kill the notorious Captain Kidd.^[10] Many prisoners would be executed together as a public event in front of a crowd of onlookers after being paraded from the Marshalsea Prison across London Bridge and past the Tower of London to the dock.

Public houses[link]

This unreferenced section requires citations to ensure verifiability.

Though Execution Dock is long gone, this gibbet is still maintained on the Thames foreshore by the Prospect of Whitby public house

Three venerable public houses are located near Stairs. By Pelican Stairs is the Prospect of Whitby, which has a much-disputed claim to be the oldest Thames-side public house still in existence. Be that as it may, there has been an inn on the site since the reign of Henry VIII, and it is certainly one of the most famous public houses in London. It is named after a then-famous collier that used to dock regularly at Wapping. A replica of the old Execution Dock gibbet is maintained on the adjacent foreshore, although the actual site of Execution Dock was nearer to the Town of Ramsgate. This also is on the site of a 16th century inn and is located next to Wapping Old Stairs to the west of the Prospect; by Wapping Pier Head — the former local headquarters of the Customs and Excise.

Situated half way between the two is the Captain Kidd, named after the Scottish privateer William Kidd. He was hanged on the Wapping foreshore in 1701 after being found guilty of murder and piracy. Although the pub occupies a 17th century building, it was established only in the 1980s.

Literary and cultural references[link]

Wapping has been used as the setting for a number of works of fiction, including The Long Good Friday; the Doctor Who episode "The Talons of Weng-Chiang";^[11] the Ruby In The Smoke novel in the Sally Lockhart series by Phillip Pullman;^[12] the BBC sitcom Till Death Us Do Part, in which the central character, Alf Garnett, shares his name with Garnet Street in Wapping;^[13] and the brothel in The Threepenny Opera, in which Mack the Knife is betrayed by Jenny Diver. The Darlings of Wapping Wharf Launderette is a compilation album by East End group the Small Faces.^[14]

Fictional residents also include Bernard Cornwell's Richard Sharpe, an officer in the British Army during the Napoleonic Wars; and Dr. Lemuel Gulliver, the title character of Johnathan Swift's Gulliver's Travels who, in the novel, lived in Wapping before going to sea.

In the best-selling PlayStation 2 game Stuntman the first 'film' the player takes part in is entitled 'Toothless in Wapping.'

Notable people[link]

Among the people born in Wapping are W.W. Jacobs, author of The Monkey's Paw. The American painter James McNeill Whistler, well known for his Thames views, painted Wapping when he lived at Wapping between October 1860 and 1864.^[15] The painting is permanently displayed at the National Gallery of Art Washington

John Newton, Anglican clergyman and author of many hymns including Amazing Grace was born here.^[16]

During the 1990s, Wapping was home to American entertainer Cher. TV presenter Graham Norton, currently (as of 2010) lives in the locality.^[17]

Education[link]

Transport[link]

The Thames Tunnel, the world's first underwater tunnel.

Nearby areas

• Bermondsey
• Whitechapel
• Rotherhithe
• Shadwell
• Stepney
• Bethnal Green
• Ratcliffe

Opened in June 2010, the nearest London Overground station is Wapping railway station.

See also[link]

• London Docks
• Shadwell Basin
• Tobacco Dock
• Wapping Hydraulic Power Station
• Stepney Historical Trust

References[link]

Notes[link]

Bibliography[link]

• Martha Leigh, Memories of Wapping 1900-1960: Couldn't Afford the Eels, The History Press Ltd (4 July 2008), ISBN 0-7524-4709-2
• Madge Darby, Waeppa's People: History of Wapping, Connor & Butler (Dec 1988), ISBN 0-947699-10-4
• National Council for Civil Liberties, No Way in Wapping: Effect of the Policing of the News International Dispute on Wapping Residents, Civil Liberties Trust (May 1986), ISBN 0-946088-27-6

External links[link]

• Local government site
• ExploringEastLondon - Wapping
• Thames Police Museum website
• What's in Wapping - Local community website

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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.

Life[link]

Early years[link]

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]

Journalism and early novels[link]

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]

Catherine Hogarth Dickens by Samuel Lawrence (1838).

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]

An 1839 portrait of a young Charles Dickens by Daniel Maclise

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]

First visit to the United States[link]

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.

Philanthropy[link]

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]

Middle years[link]

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]

Ellen Ternan, 1858.

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.

At his desk in 1858

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]

Last years[link]

Crash scene after the Staplehurst rail crash

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.

Second visit to the United States[link]

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]

Farewell readings[link]

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]

Death[link]

Samuel Luke Fildes – The Empty Chair. ^{[nb 2]}

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]

Literary style[link]

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]

Dickens' Dream by Robert William Buss, portraying Dickens at his desk at Gads Hill Place surrounded by many of his characters

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]

Characters[link]

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.