"The little narrow, crooked town of Dover hid itself away from the beach, and ran its head into the chalk cliffs like a marine ostrich. The beach was a desert of heaps of sea and stones tumbling wildly about, and the sea did what it liked, and what it liked was destruction. It thundered at the town, and thundered at the cliffs, and brought the coast down, madly. The air among the houses was of so strong a piscatory flavour that one might have supposed sick fish went up to be dipped in it, as sick people went down to be dipped in the sea. A little fishing was done in the port, and a quantity of strolling about by night, and looking seaward: particularly at those times when the tide made, and was near flood. Small tradesmen, who did no business whatever, sometimes unaccountably realized large fortunes, and it was remarkable that nobody in the neighbourhood could endure a lamplighter."
It was to Dover that Dickens went when he was labouring with unusual difficulty over Bleak House, and lamenting his inability to "grind sparks out of this dull anvil". At Dover, on his Second Series of Readings, he found "the audience with the greatest sense of humour", and "they laughed with such really cordial enjoyment, when Squeers read the boy's letters, that the contagion" was irresistible even to Dickens himself.
Deal, as it was in 1853, is rapidly but vigorously sketched in chapter xlv of Bleak House. Esther Summerson arrives from a night journey by coach, eager and anxious to help, if possible, Richard Carstone, the unhappy victim of the fatal chancery lawsuit:
"At last we came into the narrow streets of Deal; and very gloomy they were, upon a raw misty morning. The long flat beach, with its little irregular houses, wooden and brick, and its litter of capstans, and great boats, and sheds, and bare upright poles with tackle and blocks, and loose gravelly waste places overgrown with grass and weeds, wore as dull an appearance as any place I ever saw. The sea was heaving under a thick white fog; and nothing else was moving but a few early rope-makers, who, with the yarn twisted round their bodies, looked as if, tired of their present state of existence, they were twisting themselves into cordage. But when we got into a warm room in an excellent hotel, and sat down, comfortably washed and dressed, to an early breakfast (for it was too late to think of going to bed), Deal began to look more cheerful.... Then the fog began to rise like a curtain; and numbers of ships, that we had had no idea were near, appeared. I don't know how many sail the waiter told us were then lying in the Downs. Some of these vessels were of grand size: one was a large Indiaman, just come home; and when the sun shone through the clouds, making silvery pools in the dark sea, the way in which these ships brightened, and shadowed, and changed, amid a bustle of boats putting off from the shore to them, and from them to the shore, and a general life and motion in themselves and everything around them, was most beautiful."
That Dickens was essentially a "Kentish Man", in spite of the absence of a birth qualification, in spite, too, of his long residence in London, and of his peculiarly intimate knowledge of the byways and nooks and corners of London, ample proof has by this time been given. To this, however, may be added Forster's significant statement that, "Excepting always the haunts and associations of his childhood, Dickens had no particular sentiment of locality, and any special regard for houses he had lived in was not a thing noticeable in him". This was not surprising. The conditions of life in a modern capital under most circumstances, but especially for anyone who has made many removes, tend to produce the impression that a man's rooftree only represents the transient shelter of a caravanserai, rather than an abiding habitation on which memory has stamped indelible traces. Nor can even the most extended associations of maturity take the place of the imperishable links forged in the most susceptible years of fresh and sensitive childhood. For Dickens this vital distinction was emphasized both by natural idiosyncrasy and by the pressure of events which shaped his destiny.
"If it should appear," he says, speaking of himself under the mask of David Copperfield, "from anything I may set down in this narrative, that I was a child of close observation, or that as a man I have a strong memory of my childhood, I undoubtedly lay claim to both of these characteristics."
The change from Chatham and Rochester to London was indissolubly connected in his mind with a change in the family fortunes that deprived him of the ordinary advantages and pleasures open to any average boy of even the lower middle classes. It ushered in a period of misery and degradation that he could never recall without acute suffering. The few years of happiness which he enjoyed before he was carried away to London in the stage coach "Commodore", at the age of nine, were divided from a strenuous and successful manhood by so dark a gulf as to concentrate all the powers of recollection upon them with a desperate kind of intensity. It was the realization of a childish ambition conceived in that halcyon era which drew him to Gadshill, and he returned again and again to the contemplation of his earliest dreams and imaginings. He wrote from Gadshill of his old nurse—the original, it can hardly be doubted, of Peggotty:—
"I feel much as I used to do when I was a small child, a few miles off [i.e. at Ordnance Terrace, Chatham], and somebody—who, I wonder, and which way did she go when she died?—hummed the evening hymn, and I cried on the pillow—either with the remorseful consciousness of having kicked somebody else, or because still somebody else had hurt my feelings in the course of the day".
For the second number of Household Words, when he "felt an uneasy sense of there being a want of something tender, which would apply to some universal household knowledge", he composed a little paper about "a child's dream of a star". It was the story of a brother and sister, constant child companions, who used to make friends of a star, watching it together until they knew when and where it would rise, and always bidding it good-night, so that when the sister dies, the lonely brother still connects her with the star, which he then sees opening as a sea of light, and its rays making a shining pathway from earth to heaven. It was his sister Fanny, who had often wandered with him at night in St. Mary's Churchyard, near their home at Chatham, looking up at the stars, and her death, shortly before the paper was written, had revived the fancy of childhood. In The Uncommercial Traveller he revisits "Dullborough", and the first discovery he makes is that the station has swallowed up the playing field of the school to which he went during his last two years at Chatham.
"It was gone. The two beautiful hawthorn trees, the hedge, the turf, and all those buttercups and daisies, had given place to the stoniest of jolting roads; while, beyond the station, an ugly dark monster of a tunnel kept its jaws open, as if it had swallowed them and were ravenous for more destruction. The coach that had carried me away, was melodiously called Timpson's Blue-eyed Maid [it was really called the 'Commodore'], and belonged to Timpson, at the coach office up street; the locomotive engine that had brought me back was called severely No. 97, and belonged to S.E.R., and was spitting ashes and hot water over the blighted ground.... Here, in the haymaking time, had I been delivered from the dungeons of Seringapatam, an immense pile (of haycock), by my countrymen, the victorious British (boy next door and his two cousins), and had been recognized with ecstasy by my affianced one (Miss Green), who had come all the way from England (second house in the terrace) to ransom me and marry me."