Charles Dickens - Hardcover

Charles Dickens was a public man and a famous man, and he assumed both of these slightly different roles in his early twenties. His first sketch, "A Dinner at Poplar Walk," was published in the Monthly Magazine in December 1833. Dickens, born on February 7, 1812, was only twenty-one, but because of his work as a parliamentary reporter (he had taught himself shorthand and was able to take down speeches word for word), he was already familiar with seeing his name in print. Nevertheless, he related later that "I walked down to Westminster Hall, and turned into it for half an hour, because my eyes were so dimmed with joy and pride, that they could not bear the street, and were not fit to be seen there." Further sketches published in monthly and weekly magazines over the following months attracted considerable notice, and when Sketches by Boz appeared in volume form in February and December 1836, they were well reviewed. What everyone, including Dickens himself, considered especially remarkable was their breadth of scope, and in particular the variety of lower-class characters and scenes depicted, perhaps a first in English literature. One reviewer called them "a perfect picture of the morals, manners, and habits of a great portion of English Society."

At only twenty-four, Dickens found himself in an advantageous authorial position-he was invited to contribute the text for a series of sporting engravings to be published by the firm of Chapman and Hall. They offered Dickens £14 per month (it is impossible to know exactly what this would be equivalent to in modern dollars, but it is useful to multiply any Dickensian sum by 35, which would make his fee about $500). The artist, Robert Seymour, was successful and famous, and it was he who was supposed to take the lead in conceiving and guiding the collaboration. The arrangement lasted two months, until Seymour committed suicide. In even this short a time, though, Dickens was able to assert his own resolve that he should direct the project, and by the time another artist, Hablot Browne, was hired, Dickens had gotten himself a raise, increased the proportion of the writing to the illustrations, and turned the whole endeavor into The Pickwick Papers, which was destined to become a publishing phenomenon.

The Pickwick Papers was published between March 1836 and November 1837. From that time to the end of his life, Charles Dickens was a figure of whom everyone had something to say, so it is appropriate to take a look at him upon his first real entrance into the condition of celebrity. First and foremost, friends and acquaintances noted his lively presence, his charm, his good looks, and his colorful style of dress. Though rather short, and even slight, Dickens was extremely straight in his bearing, and his friend and future biographer John Forster recalled "the quickness, keenness, and practical power, the eager, restless, energetic outlook....Light and motion flashed from every part of it." Forster asserted that humor, "habitual, unbounded, and resistless," was his most essential characteristic, but everyone he knew expressed astonishment at Dickens's level of activity, whether the object of that activity was work, games, exercise, amateur acting and play production, charitable projects, or anything else. He was good company and he loved all sociable amusements. He later commented that at this time of his life he was going out to the theater sometimes every night of the week-not only to see the more respectable offerings at Covent Garden and Drury Lane, but to any and all sorts of shows, spectacles, pageants, and performances. Himself adept at declaiming, singing, and performing, he was invited everywhere and participated fully in all forms of the social life of the time-parties and "at homes," nights on the town with groups of male friends, dinners, jaunts, impromptu adventures. Already, though, observers were finding something uncanny about his manner. As astute as he was charming, he often gave people the sense that they were being "scanned" from top to bottom. Extant portraits and photographs certainly fail to reveal the Dickens that his contemporaries knew, especially in the early years, since for various technical reasons subjects were never pictured or photographed smiling. It is especially important, therefore, to be mindful that what the twenty-first century is able to see of Dickens is the merest brittle shell of how he appeared to those around him.

The Pickwick Papers sold fewer than 500 copies of the first monthly number. The fourth number sold 4,000, the eleventh 14,000, and the last numbers around 40,000. Once published in volume form, it sold well for the rest of Dickens's life and after. By 1878, it had sold 1.6 million copies in various editions.

The success of his literary efforts enabled Dickens to progress in his private life, and on the second of April 1836, he married Catherine Hogarth, the daughter of George Hogarth, the editor of the newly established Evening Chronicle, a journal to which Dickens contributed twenty pieces. The Hogarths were Scottish, and before becoming a journalist George had been a lawyer in Edinburgh and the legal adviser and intimate friend of Walter Scott, an author Dickens very much admired. Catherine was the eldest of nine children, and the Hogarths were a lively, clever family. George himself was an accomplished musician and served as music critic of another newspaper that Dickens had written for, the Morning Chronicle.

The twenty-four-year-old Dickens embraced the Hogarth family and, in turn, was embraced by them. He was impressed with their cultural connections, their liveliness, and their talents, especially the musical ones, which Dickens had a particular affinity for, being himself a performer and ready singer of popular songs, and he treated not only George but also Mrs. Hogarth with great affection. It may have seemed to him that he had found the one family that perfectly reflected his own aspirations to a hardworking prominence that was both artistic and bourgeois. An earlier suit had failed. His beloved, a young woman named Maria Beadnell, daughter of a banker, whom he had courted obsessively for four years, had finally rejected him (or her connections had broken off the relationship-the circumstances remain unclear) in May 1833.

Catherine Hogarth was a placid and gentle young woman of twenty quite unlike Maria Beadnell. Dickens's letters to her show that he felt affectionate toward Catherine, though not especially passionate, and that he took directing and molding her as seriously as he took pleasing and courting her-he was moving eagerly into the accepted Victorian role of paterfamilias. He also grew quite fond of, and intimate with, Catherine's younger sister Mary, who moved in with the young couple. His marriage and his relationship with the Hogarths, then, nicely expressed who he thought himself to be at the time, as well as his ideal of family life-a sort of cozy, busy, fecund, sociable, and comfortable household where people with imagination, energy, and considerable social mobility could gather and find both enjoyment and stimulation. The family formed by Charles, Catherine, and Mary seems to have suited all of them, and for Dickens it was as close as he ever came to domestic happiness. The gentle and affectionate, but somewhat languid Catherine satisfied the role of wife and mother, while the quicker Mary offered a more virginal and intellectual form of female companionship.

By the age of twenty-four, Dickens had already been working for nine years. He had applied himself to every task with vigor, and through a mixture of indefatigable endeavor, talent, imagination, charm, and focus, he had succeeded at nearly everything he tried. Only his great passion for acting had been stymied: on the day of his audition as a professional actor, he had fallen ill with a cold. Publication, of course, and the huge success of Pickwick fixed his professional course, but he could never be said to have "failed" at acting-he came back to it over and over, in amateur theatricals and other performances, and always received excellent reviews. In addition, in this same period, he became friends with William Charles Macready, one of the greatest actors of the Victorian period, a man who did much to rehabilitate the plays of William Shakespeare from the corrupted versions common in the eighteenth century.

Foremost among Dickens's friends was John Forster, another literary bon vivant and another ambitious and self-made man. Dickens and Forster were close associates in every way for the rest of Dickens's life, in personal, artistic, and public affairs. Forster handled many of Dickens's business matters, was his artistic and editorial adviser on many projects, and at last wrote the first and in some ways the most exhaustive (though discreet) Dickens biography. There were plenty of other friends, mostly artists, authors, and other men of the artistic/public sort.

Dickens's own family was like an unsuccessful version of the Hogarth family. John Dickens was a skilled journalist, also of a convivial temperament, and considered to be a man of some charm. Of Elizabeth Dickens, too, it was said that she was vivacious and winning. But the elder Dickenses had led a life of such improvidence, marked by so many changes in circumstances, that Charles Dickens's attitude toward them, both together and individually, was at the very least extremely complex and in some ways a contrast to his general charitableness. In the early years of his marriage and professional success, he was tormented by the fecklessness as well as the importunities of his parents and his brothers. With success and marriage, he had separated himself from the life he had led with them (a life that he hardly ever spoke of), but he could not as easily separate himself from his relations themselves. He attempted to find them work, to find them places to live (sometimes at quite a distance), to keep them at arm's length, but he repeatedly found himself bailing them out of financial difficulties. This was especially true of his father, and Dickens often spoke of his parents with exasperation in letters to friends. Even so, for fifteen months, it seemed as though Charles and Catherine Dickens were especially favored in every way-Dickens was busy, rich, and popular. He knew at once and without being told how interconnected fame, money, influence, and artistic independence were, and he asserted himself almost immediately to sustain all four of them through hard work, aggressive business dealings, and self-promotion. And, of course, the exercise of genius.

Catherine Dickens gave birth to Charles junior on January 2, 1837, and in April the couple moved out of their rooms into a house. Then, on May 7, after an illness of only a few days, seventeen-year-old Mary Hogarth died suddenly. She died in Dickens's arms, and he was so undone by the loss that he had to put off completing the installment of The Pickwick Papers that he was working on. He wore one of her rings on his finger for the rest of his life and kept a lock of her hair and her clothes. When, five years later, one of her brothers died and was buried with her, Dickens wrote that "the thought of being excluded from her dust" was like "losing her a second time." Over the course of the next thirty years, he thought of her constantly and did not think that the influence of her spirit over him could be exaggerated. She is often said to have inspired several of Dickens's female characters of a certain type, of which Agnes, in David Copperfield, is an example-virtuous, compliant, and virginal, voiceless in a sense, and almost always too good for this world. Catherine could never take her place or fill, by herself, the two roles that Dickens needed filled by the women in his life.

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The Pickwick Papers is not a book that holds much appeal for the modern reader. Episodic sporting adventures, however, were quite popular at the time, and a large part of their appeal was in the accompanying illustrations. The "novel" has the looseness and digressiveness of many eighteenth-century works like Tom Jones and Tristram Shandy, both of which Dickens admired. Dickens had not at that point developed his particular social vision, especially the darker, angrier parts of it, and his style, though already distinct, does not have the incandescent and concentrated ironic power that he achieved in later works. What he does have, full grown, and what readers noticed almost at once, is that facility in drawing characters that are not only entertaining but unique. An early example is Alfred Jingle, who joins Pickwick's party of friends and at first seems benign enough. His characteristic mode of expression is a sort of word-association utterance of disjointed cant phrases: "Splendid-capital. Kent, sir-everybody knows Kent-apples, cherries, hops, and women. Glass of wine, sir?" And a few moments later: "'Beg your pardon, sir,' said the stranger, 'bottle stands-pass it round-way of the sun-through the button-hole-no heeltaps.'" The Pickwickians are deceived by Jingle's bonhomie and apparent savoir faire, until he attempts to elope with the sister of their host. Only when he is being bought off by the man's lawyer does he speak in coherent sentences. When the lawyer suggests that £50 is a "good round sum-a man like you could treble it in no time-great deal to be done with fifty pounds, my dear sir," Jingle has no trouble responding "coolly," "More to be done with a hundred and fifty." Jingle's mode of expression is funny in itself, partly because it is mechanical and repetitive in rhythm and partly because the associated phrases are unexpected, and the shift to a more normal speech pattern reveals and underscores Jingle's duplicity. This is the absolute heart of Charles Dickens's idiosyncratic genius: what Jingle communicates to the reader, and what Dickens communicates through him, accumulates meanings and layers with every piece of dialogue and is simultaneously interesting and economical. And Jingle's style stands in contrast with the narrator's and the Pickwickians' more discursive manner, adding yet another layer.

Throughout his life, Dickens had a superb talent for mimicry, for speaking in voices, that almost amounted to allowing the voices all around him to speak through him. It was a talent he cultivated, but also himself marveled at, telling Forster that his characters came to him and spoke through him. David Lodge, one of the foremost comic novelists of our own day, and an experienced theorist, has written in After Bakhtin that the only way successfully to come to terms with the variety and scope of the novel is through analyzing it as a chorus of individual voices speaking in varying styles and tones, rather than as a single rhetorical expression. This is certainly true of Dickens as much as or more than any other novelist. But it is important to remember, too, that all of these voices are filtered through Dickens's consciousness, that every character is Dickens, whoever happened to be the original inspiration. Otherwise it is impossible to come to any comprehension of the variety, and variability, of the man himself.

Perhaps the most famous and best-loved character in The Pickwick Papers is Sam Weller. In the first few numbers of The Pickwick Papers, Dicken...