Connectivity gap

Charles John Huffam Dickens (/ˈdɪkɪnz/; 7 February 1812 – 9 June 1870) was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era.[1] His works enjoyed unprecedented popularity during his lifetime and, by the 20th century, critics and scholars had recognised him as a literary genius. His novels and short stories are widely read today.[2][3] Born in Portsmouth, Dickens left school at the age of 12 to work in a boot-blacking factory when his father was incarcerated in a debtors' prison. After three years he returned to school, before he began his literary career as a journalist. Dickens edited a weekly journal for 20 years, wrote 15 novels, five novellas, hundreds of short stories and non-fiction articles, lectured and performed readings extensively, was an indefatigable letter writer, and campaigned vigorously for children's rights, for education, and for other social reforms. Dickens's literary success began with the 1836 serial publication of The Pickwick Papers, a publishing phenomenon—thanks largely to the introduction of the character Sam Weller in the fourth episode—that sparked Pickwick merchandise and spin-offs. Within a few years Dickens had become an international literary celebrity, famous for his humour, satire and keen observation of character and society. His novels, most of them published in monthly or weekly instalments, pioneered the serial publication of narrative fiction, which became the dominant Victorian mode for novel publication.[4][5] Cliffhanger endings in his serial publications kept readers in suspense.[6] 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 own disabilities, Dickens improved the character with positive features.[7] His plots were carefully constructed and he often wove elements from topical events into his narratives.[8] Masses of the illiterate poor would individually pay a halfpenny to have each new monthly episode read to them, opening up and inspiring a new class of readers.[9] His 1843 novella A Christmas Carol remains especially popular and continues to inspire adaptations in every artistic genre. Oliver Twist and Great Expectations are also frequently adapted and, like many of his novels, evoke images of early Victorian London. His 1859 novel A Tale of Two Cities (set in London and Paris) is his best-known work of historical fiction. The most famous celebrity of his era, he undertook, in response to public demand, a series of public reading tours in the later part of his career.[10] The term Dickensian is used to describe something that is reminiscent of Dickens and his writings, such as poor social or working conditions, or comically repulsive characters. Dickens's approach to the novel is influenced by various things, including the picaresque novel tradition,[158] melodrama[159] and the novel of sensibility.[160] According to Ackroyd, other than these, perhaps the most important literary influence on him was derived from the fables of The Arabian Nights.[161] Satire and irony are central to the picaresque novel.[162] Comedy is also an aspect of the British picaresque novel tradition of Laurence Sterne, Henry Fielding and Tobias Smollett. Fielding's Tom Jones was a major influence on the 19th-century novelist including Dickens, who read it in his youth[163] and named a son Henry Fielding Dickens after him.[164][165] Influenced by Gothic fiction—a literary genre that began with The Castle of Otranto (1764) by Horace Walpole—Dickens incorporated Gothic imagery, settings and plot devices in his works.[166] Victorian gothic moved from castles and abbeys into contemporary urban environments: in particular London, such as Dickens's Oliver Twist and Bleak House. The jilted bride Miss Havisham from Great Expectations is one of Dickens' best-known gothic creations; living in a ruined mansion, her bridal gown effectively doubles as her funeral shroud.[167] No other writer had such a profound influence on Dickens as William Shakespeare. On Dickens's veneration of Shakespeare, Alfred Harbage wrote "No one is better qualified to recognise literary genius than a literary genius"— A Kind of Power: The Shakespeare-Dickens Analogy (1975).[168] Regarding Shakespeare as "the great master" whose plays "were an unspeakable source of delight", Dickens's lifelong affinity with the playwright included seeing theatrical productions of his plays in London and putting on amateur dramatics with friends in his early years.[168] In 1838 Dickens travelled to Stratford-upon-Avon and visited the house in which Shakespeare was born, leaving his autograph in the visitors' book. Dickens would draw on this experience in his next work, Nicholas Nickleby (1838–39), expressing the strength of feeling experienced by visitors to Shakespeare's birthplace: the character Mrs Wititterly states, "I don't know how it is, but after you've seen the place and written your name in the little book, somehow or other you seem to be inspired; it kindles up quite a fire within one."[169] Dickens's writing style is marked by a profuse linguistic creativity.[170] 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.[171] 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.[170] To cite one of numerous examples, the name Mr Murdstone in David Copperfield conjures up twin allusions to murder and stony coldness.[172] 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 briefed 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".[173] Dickens employs Cockney English in many of his works, denoting working-class Londoners. Cockney grammar appears in terms such as ain't, and consonants in words are frequently omitted, as in 'ere (here) and wot (what).[174] An example of this usage is in Oliver Twist. The Artful Dodger uses cockney slang which is juxtaposed with Oliver's 'proper' English, when the Dodger repeats Oliver saying "seven" with "sivin". Museums and festivals celebrating Dickens's life and works exist in many places with which Dickens was associated. These include the Charles Dickens Museum in London, the historic home where he wrote Oliver Twist, The Pickwick Papers and Nicholas Nickleby; and 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's friend John Forster are held at the Victoria and Albert Museum.[240] Dickens's will stipulated that no memorial be erected in his honour; nonetheless, a life-size bronze statue of Dickens entitled Dickens and Little Nell, cast in 1891 by Francis Edwin Elwell, stands in Clark Park in the Spruce Hill neighbourhood of Philadelphia, Pennsylvania. Another life-size statue of Dickens is located at Centennial Park, Sydney, Australia.[241] In 1960 a bas-relief sculpture of Dickens, notably featuring characters from his books, was commissioned from sculptor Estcourt J Clack to adorn the office building built on the site of his former home at 1 Devonshire Terrace, London.[242][243] In 2014, a life-size statue was unveiled near his birthplace in Portsmouth on the 202nd anniversary of his birth; this was supported by his great-great-grandsons, Ian and Gerald Dickens.[244][245] A Christmas Carol is most probably 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.[246] 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.[247] Its archetypal figures (Scrooge, Tiny Tim, the Christmas ghosts) entered into Western cultural consciousness. "Merry Christmas", a prominent phrase from the tale, was popularised following the appearance of the story.[248] The term Scrooge became a synonym for miser, and his exclamation "Bah! Humbug!'", a dismissal of the festive spirit, likewise gained currency as an idiom.[249] The Victorian era novelist William Makepeace Thackeray called the book "a national benefit, and to every man and woman who reads it a personal kindness".[246] Dickens was commemorated on the Series E £10 note issued by the Bank of England that circulated between 1992 and 2003. His portrait appeared on the reverse of the note accompanied by a scene from The Pickwick Papers. The Charles Dickens School is a high school in Broadstairs, Kent. 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. To celebrate the 200th anniversary of the birth of Charles Dickens in 2012, the Museum of London held the UK's first major exhibition on the author in 40 years.[250] In 2002, Dickens was number 41 in the BBC's poll of the 100 Greatest Britons.[251] American literary critic Harold Bloom placed Dickens among the greatest Western writers of all time.[252] In the 2003 UK survey The Big Read carried out by the BBC, five of Dickens's books were named in the Top 100.[253] Actors who have portrayed Dickens on screen include Anthony Hopkins, Derek Jacobi, Simon Callow and Ralph Fiennes, the latter playing the author in The Invisible Woman (2013) which depicts Dickens's secret love affair with Ellen Ternan which lasted for thirteen years until his death in 1870.[254] Dickens and his publications have appeared on a number of postage stamps in countries including: the United Kingdom (1970, 1993, 2011 and 2012 issued by the Royal Mail—their 2012 collection marked the bicentenary of Dickens' birth),[255] the Soviet Union (1962), Antigua, Barbuda, Botswana, Cameroon, Dubai, Fujairah, St Lucia and Turks and Caicos Islands (1970), St Vincent (1987), Nevis (2007), Alderney, Gibraltar, Jersey and Pitcairn Islands (2012), Austria (2013), and Mozambique (2014).[256] In 1976, a crater on the planet Mercury was named in his honour.[257] In November 2018 it was reported that a previously lost portrait of a 31-year-old Dickens, by Margaret Gillies, had been found in Pietermaritzburg, South Africa. Gillies was an early supporter of women's suffrage and had painted the portrait in late 1843 when Dickens, aged 31, wrote A Christmas Carol. It was exhibited, to acclaim, at the Royal Academy of Arts in 1844.[80] The Charles Dickens Museum is reported to have paid £180,000 for the portrait. Dickens was the most popular novelist of his time,[211] and remains one of the best-known and most-read of English authors. His works have never gone out of print,[212] and have been adapted continually for the screen since the invention of cinema,[213] with at least 200 motion pictures and TV adaptations based on Dickens's works documented.[214] Many of his works were adapted for the stage during his own lifetime – early productions included The Haunted Man and the Ghost's Bargain which was performed in the West End's Adelphi Theatre in 1848 – and, as early as 1901, the British silent film Scrooge, or, Marley's Ghost was made by Walter R. Booth.[215] Contemporaries such as publisher Edward Lloyd cashed in on Dickens's popularity with cheap imitations of his novels, resulting in his own popular 'penny dreadfuls'.[216] From the beginning of his career in the 1830s, Dickens's achievements in English literature were compared to those of Shakespeare.[168] Dickens created some of the world's best-known fictional characters and is regarded by many as the greatest British novelist of the Victorian era.[1] His literary reputation, however began to decline with the publication of Bleak House in 1852–53. Philip Collins calls Bleak House 'a crucial item in the history of Dickens's reputation. Reviewers and literary figures during the 1850s, 1860s and 1870s, saw a "drear decline" in Dickens, from a writer of "bright sunny comedy ... to dark and serious social" commentary.[217] The Spectator called Bleak House "a heavy book to read through at once ... dull and wearisome as a serial"; Richard Simpson, in The Rambler, characterised Hard Times as "this dreary framework"; Fraser's Magazine thought Little Dorrit "decidedly the worst of his novels".[218] All the same, despite these "increasing reservations amongst reviewers and the chattering classes, 'the public never deserted its favourite'". Dickens's popular reputation remained unchanged, sales continued to rise, and Household Words and later All the Year Round were highly successful.[218] As his career progressed, Dickens's fame and the demand for his public readings were unparalleled. In 1868 The Times wrote, "Amid all the variety of 'readings', those of Mr Charles Dickens stand alone."[10] A Dickens biographer, Edgar Johnson, wrote in the 1950s: "It was [always] more than a reading; it was an extraordinary exhibition of acting that seized upon its auditors with a mesmeric possession."[10] Juliet John backed the claim for Dickens "to be called the first self-made global media star of the age of mass culture."[219] Comparing his reception at public readings to those of a contemporary pop star, The Guardian states, "People sometimes fainted at his shows. His performances even saw the rise of that modern phenomenon, the 'speculator' or ticket tout (scalpers) – the ones in New York City escaped detection by borrowing respectable-looking hats from the waiters in nearby restaurants."[220] Among fellow writers, there was a range of opinions on Dickens. Poet laureate, William Wordsworth (1770–1850), thought him a "very talkative, vulgar young person", adding he had not read a line of his work, while novelist George Meredith (1828–1909), found Dickens "intellectually lacking".[221] In 1888 Leslie Stephen commented in the Dictionary of National Biography that "if literary fame could be safely measured by popularity with the half-educated, Dickens must claim the highest position among English novelists".[222] Anthony Trollope's Autobiography famously declared Thackeray, not Dickens, to be the greatest novelist of the age. However, both Leo Tolstoy and Fyodor Dostoyevsky were admirers. Dostoyevsky commented: "We understand Dickens in Russia, I am convinced, almost as well as the English, perhaps even with all the nuances. It may well be that we love him no less than his compatriots do. And yet how original is Dickens, and how very English!"[223] Tolstoy referred to David Copperfield as his favourite book, and he later adopted the novel as "a model for his own autobiographical reflections".[224] French writer Jules Verne called Dickens his favourite writer, writing his novels "stand alone, dwarfing all others by their amazing power and felicity of expression".[225] Dutch painter Vincent van Gogh was inspired by Dickens's novels in several of his paintings like Vincent's Chair and in an 1889 letter to his sister stated that reading Dickens, especially A Christmas Carol, was one of the things that was keeping him from committing suicide.[226] Oscar Wilde generally disparaged his depiction of character, while admiring his gift for caricature.[227] 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",[228] betrayed a "cavalier organisation".[229] Joseph Conrad described his own childhood in bleak Dickensian terms, noting he had "an intense and unreasoning affection" for Bleak House dating back to his boyhood. The novel influenced his own gloomy portrait of London in The Secret Agent (1907).[224] Virginia Woolf had a love-hate relationship with Dickens, finding his novels "mesmerizing" while reproving him for his sentimentalism and a commonplace style.[230] Around 1940–41, the attitude of the literary critics began to warm towards Dickens – led by George Orwell in Inside the Whale and Other Essays (March 1940), Edmund Wilson in The Wound and the Bow (1941) and Humphry House in Dickens and his World.[231] However, even in 1948, F. R. Leavis, in The Great Tradition, asserted that "the adult mind doesn't as a rule find in Dickens a challenge to an unusual and sustained seriousness"; Dickens was indeed a great genius, "but the genius was that of a great entertainer",[232] though he later changed his opinion with Dickens the Novelist (1970, with Q. D. (Queenie) Leavis): "Our purpose", they wrote, "is to enforce as unanswerably as possible the conviction that Dickens was one of the greatest of creative writers".[233] In 1944, Soviet film director and film theorist Sergei Eisenstein wrote an essay on Dickens's influence on cinema, such as cross-cutting – where two stories run alongside each other, as seen in novels such as Oliver Twist.[234] In the 1950s, "a substantial reassessment and re-editing of the works began, and critics found his finest artistry and greatest depth to be in the later novels: Bleak House, Little Dorrit, and Great Expectations – and (less unanimously) in Hard Times and Our Mutual Friend".[235] Dickens was a favourite author of Roald Dahl; the best-selling children's author would include three of Dickens's novels among those read by the title character in his 1988 novel Matilda.[236] An avid reader of Dickens, in 2005, Paul McCartney named Nicholas Nickleby his favourite novel. On Dickens he states, "I like the world that he takes me to. I like his words; I like the language", adding, "A lot of my stuff – it's kind of Dickensian."[237] Screenwriter Jonathan Nolan's screenplay for The Dark Knight Rises (2012) was inspired by A Tale of Two Cities, with Nolan calling the depiction of Paris in the novel "one of the most harrowing portraits of a relatable, recognisable civilisation that completely folded to pieces".[238] On 7 February 2012, the 200th anniversary of Dickens's birth, Philip Womack wrote in The Telegraph: "Today there is no escaping Charles Dickens. Not that there has ever been much chance of that before. He has a deep, peculiar hold upon us".