Life.—The first of the great Victorian novelists to make his mark was Charles Dickens. This great portrayer of child life had a sad painful childhood. He was born in 1812 at Landport, a district of the city of Portsmouth, Hampshire, where his father was a clerk in the Navy Pay Office. John Dickens, the prototype of Mr. Micawber, was a kind, well-intentioned man, who knew far better how to harangue his large household of children than how to supply it with the necessities of life. He moved from place to place, sinking deeper into poverty and landing finally in a debtors' prison.
The dreams of a fine education and a brilliant career, which the future novelist had fondly cherished in his precocious little brain, had to be abandoned. At the age of eleven the delicate child was called upon to do his part toward maintaining the family. He was engaged, at six-pence a week, to paste labels on blacking bottles. He was poorly clothed, ill fed, forced to live in the cheapest place to be found, and to associate with the roughest kind of companions. This experience was so bitter and galling to the sensitive boy that years after, when he was a successful, happy man, he could not look back upon it without tears in his eyes. Owing to a rupture between his employer and the elder Mr. Dickens, Charles was removed from this place and sent to school. At fifteen, however, he had to seek work again. This time he was employed in an attorney's office at Gray's Inn.
It was impossible, of course, for this ambitious boy to realize that he was receiving an education in the dirty streets, the warehouses, the tenements, and the prisons. Yet, for his peculiar bent of mind, these furnished far richer stores of learning than either school or college could have given. He had marvelous powers of observation. He noted everything, from the saucy street waif to the sorrowful prison child, from the poor little drudge to the brutal schoolmaster, and he transplanted them from life to fiction, in such characters as Sam Weller, Little Dorrit, the Marchioness, Mr. Squeers, and a hundred others.
While in the attorney's office, Dickens began to study shorthand, in order to become a reporter. This was the beginning of his success. His reports were accurate and racy, even when they happened to be written in the pouring rain, in a shaking stagecoach, or by the light of a lantern. They were also promptly handed in at the office, despite the fact that the stages sometimes broke down and left their passengers to plod on foot through the miry roads leading into London. These reports and newspaper articles soon attracted attention; and Dickens received an offer for a series of humorous sketches, which grew into the famous Pickwick Papers, and earned £20,000 for the astonished publishers. He was able to make his own terms for his future novels. Fame came to him almost at a bound. He was loved and toasted in England and America before he had reached the age of thirty. When, late in life, he made lecture tours through his own country, or through Scotland or America, they were like triumphal marches.
In his prime Dickens was an energetic, high-spirited, fun-loving man. He made a charming host, and was never happier than when engineering theatrical entertainments at his delightful home, Gads Hill. He was esteemed by all the literary men of London, and idolized by his children and friends. As his strong personality was communicated to his audiences and his readers, his death in 1870 was felt as a personal loss throughout the English-speaking world.
[Illustration: DICKENS'S HOME, GADS HILL.]
Works.—Pickwick Papers (1836-1837), Dickens's first long story, is one of his best. Mr. Pickwick, with his genial nature, his simple philosophy, and his droll adventures, and Sam Weller, with his ready wit, his acute observations, and his almost limitless resources, are amusing from start to finish. The book is brimful of its author's high spirits. It has no closely knit plot, but merely a succession of comical incidents, and vivid caricatures of Mr. Pickwick and his friends. Yet the fun is so good-natured and infectious, and the looseness of design is so frankly declared that the book possesses a certain unity arising from its general atmosphere of frolic and jollity.
Oliver Twist (1837-1838) is a powerful story, differing widely from Pickwick Papers. While the earlier work is delightful chiefly for its humor, Oliver Twist is strong in its pictures of passion and crime. Bill Sykes the murderer, Fagin the Jew, who teaches the boys deftness of hand in stealing, and poor Nancy, are drawn with such power that they seem to be still actually living in some of London's dark alleys. Little Oliver, born in the poor-house, clothed by charity, taught by the evil genius of the streets, starved in body and soul, is one of the many pathetic portraits of children drawn with a sure and loving hand by Dickens. There are some improbable features about the plot and some overwrought sentimental scenes in this story. Dickens reveled in the romantic and found it in robbers' dens, in bare poverty, in red-handed crime. The touching pathos and thrilling adventures of Oliver Twist make a strong appeal to the reader's emotions.
With the prodigality of a fertile genius, Dickens presented his expectant and enthusiastic public with a new novel on an average of once a year for fourteen years; and, even after that, his productivity did not fall off materially. The best and most representative of these works are Nicholas Nickleby (1838-1839), Barnaby Rudge (1841), Martin Chuzzlewit (1843-1844), Dombey and Son (1846-1848), David Copperfield (1849-1850), Bleak House (1852-1853), Hard Times (1854), A Tale of Two Cities (1859), and Our Mutual Friend (1864).
Of these, David Copperfield is at once Dickens's favorite work and the one which the world acclaims as his masterpiece. The novel is in part an autobiography. Some incidents are taken directly from Dickens's early experiences and into many more of David's childish sorrows, boyish dreams, and manly purposes, Dickens has breathed the breath of his own life. David Copperfield is thus a vitally interesting and living character. The book contains many of Dickens's most human men and women. Petted Little Em'ly with her pathetic tragedy is handled with deep sympathy and true artistic delicacy. Peggotty and Mrs. Steerforth are admirably drawn and contrasted. Mrs. Gummidge's thoughtful care of Peggotty exhibits Dickens's fine perception of the self-sacrificing spirit among the very poor. Uriah Heep remains the type of the humble sycophant, and Mr. Micawber, the representative of the man of big words and pompous manners. These various characters and separate life histories are bound in same way to the central story of David. General Characteristics.—England has produced no more popular novelist than Charles Dickens. His novels offer sound and healthy entertainment, hearty laughter, a wide range of emotions, and a wonderful array of personalities. He presents the universal physical experiences of life that are understood by all men, and irradiates this life with emotion and romance. He keeps his readers in an active state of feeling. They laugh at the broad humor in Sam Weller's jokes; they chuckle over the sly exposure of Mr. Pecksniff in Martin Chuzzlewit; they weep in Dombey and Son over poor Paul crammed with grown-up learning when he wanted to be just a child; they rejoice over David Copperfield's escape from his stepfather into the loving arms of whimsical, clever Aunt Betsey Trotwood; they shiver with horror in Our Mutual Friend during the search for floating corpses on the dark river; and they feel more kindly toward the whole world after reading A Christmas Carol and taking Tiny Tim into their hearts.