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Charles Dickens

Charles Dickens was a British author who penned the beloved classics Oliver Twist , A Christmas Carol , David Copperfield , and Great Expectations .

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Who Was Charles Dickens?

Charles Dickens was a British author, journalist, editor, illustrator, and social commentator who wrote the beloved classics Oliver Twist , A Christmas Carol , and Great Expectations . His books were first published in monthly serial installments, which became a lucrative source of income following a childhood of abject poverty. Dickens wrote 15 novels in total, including Nicholas Nickleby , David Copperfield , and A Tale of Two Cities . His writing provided a stark portrait of poor and working class people in the Victorian era that helped to bring about social change. Dickens died in June 1870 at age 58 and is remembered as one of the most important and influential writers of the 19 th century.

Quick Facts

Early life and education, life as a journalist, editor, and illustrator, personal life: wife and children, charles dickens’ books: 'oliver twist,' 'great expectations,' and more, travels to the united states, 'a christmas carol' and other works, pop culture adaptations.

FULL NAME: Charles John Huffam Dickens BORN: February 7, 1812 DIED: June 9, 1870 BIRTHPLACE: Portsmouth, England SPOUSE: Catherine Thomson Hogarth (1836-1870) CHILDREN: Charles Jr., Mary, Kate, Walter, Francis, Alfred, Sydney, Henry, Dora, and Edward ASTROLOGICAL SIGN: Aquarius

Charles John Huffam Dickens was born on February 7, 1812, in Portsmouth on the southern coast of England. He was the second of eight children born to John Dickens, a naval clerk who dreamed of striking it rich, and Elizabeth Barrow, who aspired to be a teacher and school director. Despite his parents’ best efforts, the family remained poor but nevertheless happy in the early days.

In 1816, they moved to Chatham, Kent, where young Dickens and his siblings were free to roam the countryside and explore the old castle at Rochester. Dickens was a sickly child and prone to spasms, which prevented him from playing sports. He compensated by reading avidly, including such books as Robinson Crusoe, Tom Jones , Peregrine Pickle , and The Arabian Nights , according to The World of Charles Dickens by Fido Martin.

In 1822, the Dickens family moved to Camden Town, a poor neighborhood in London. By then, the family’s financial situation had grown dire, as Charles’ father had a dangerous habit of living beyond the family’s means. Eventually, John was sent to prison for debt in 1824, when Charles was just 12 years old. He boarded with a sympathetic family friend named Elizabeth Roylance, who later inspired the character Mrs. Pipchin in Dickens’ 1847 novel Dombey and Son , according to Dickens: A Biography by Fred Kaplan.

Following his father’s imprisonment, Dickens was forced to leave school to work at a boot-blacking factory alongside the River Thames. At the run-down, rodent-ridden factory, Dickens earned 6 shillings a week labeling pots of “blacking,” a substance used to clean fireplaces. It was the best he could do to help support his family, and the strenuous working conditions heavily influenced his future writing and his views on treatment of the poor and working class.

Much to his relief, Dickens was permitted to go back to school when his father received a family inheritance and used it to pay off his debts. He attended the Wellington House Academy in Camden Town, where he encountered what he called “haphazard, desultory teaching [and] poor discipline,” according to The World of Charles Dickens by Angus Wilson. The school’s sadistic headmaster was later the inspiration for the character Mr. Creakle in Dickens’ semi-autobiographical novel David Copperfield .

When Dickens was 15, his education was pulled out from under him once again. In 1827, he had to drop out of school and work as an office boy to contribute to his family’s income. However, as it turned out, the job became a launching point for his writing career. Within a year of being hired, Dickens began freelance reporting at the law courts of London. Just a few years later, he was reporting for two major London newspapers.

In 1833, he began submitting sketches to various magazines and newspapers under the pseudonym “Boz,” which was a family nickname. His first published story was “A Dinner at Poplar Walk,” which ran in London’s Monthly Magazine in 1833. Seeing his writing in print made his eyes “overflow with joy and pride,” according to Dickens: A Biography . In 1836, his clippings were published in his first book, Sketches by Boz.

Dickens later edited magazines including Household Words and All the Year Round , the latter of which he founded. In both, he promoted and originally published some of his own work such as Oliver Twist and A Tale of Two Cities .

Dickens married Catherine Hogarth in 1836, soon after the publication of his first book, Sketches by Boz . She was the daughter of George Hogarth, the editor of the Evening Chronicle . Dickens and Hogarth went on to have 10 children between 1837 and 1852, according to biographer Fred Kaplan. Among them were magazine editor Charles Dickens Jr., painter Kate Dickens Perugini, barrister Henry Fielding Dickens, and Edward Dickens, who entered into politics after immigrating to the Australia.

In 1851, Dickens suffered two devastating losses: the deaths of his infant daughter, Dora, and his father, John. He also separated from his wife in 1858. Dickens slandered Catherine publicly and struck up an intimate relationship with a young actor named Ellen “Nelly” Ternan. Sources differ on whether the two started seeing each other before or after Dickens’ marital separation. It is also believed that he went to great lengths to erase any documentation alluding to Ternan’s presence in his life. These major losses and challenges seeped into Dickens’ writing in his “dark novel” period.

Best known for his fiction writing, Dickens wrote a total of 15 novels between 1836 and 1870. His first was The Posthumous Papers of the Pickwick Club , and his last was The Mystery of Edwin Drood , which went unfinished due to his death.

Dickens’ books were originally published in monthly serial installments that sold for 1 shilling each. The affordable price meant everyday citizens could follow along, though wealthier readers, such as Queen Victoria , were also among Dickens’ fans. Once complete, the stories were published again in novel form.

Dickens’ books provided a stark portrait of poor and working class people in the Victorian era that helped to bring about social change. In the 1850s, following the death of his father and infant daughter, as well as his separation from his wife, Dickens’ novels began to express a darkened worldview. His so-called dark novels are Bleak House (1853), Hard Times (1854), and Little Dorrit (1857). They feature more complicated, thematically grim plots and more complex characters, though Dickens didn’t stray from his typical societal commentary.

Read more about each of Charles Dickens’ novels below:

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Serial Publication: April 1836 to November 1837 Novel Publication: 1837

In 1836, the same year his first book of illustrations released, Dickens started publishing The Posthumous Papers of the Pickwick Club . His series, originally written as captions for artist Robert Seymour’s humorous sports-themed illustrations, took the form of monthly serial installments. It was wildly popular with readers, and Dickens’ captions proved even more popular than the illustrations they were meant to accompany.

Oliver Twist

Serial Publication: February 1837 to March 1839 Novel Publication: November 1838

While still working on The Posthumous Papers of the Pickwick Club , Dickens began Oliver Twist, or The Parish Boy’s Progress , which would prove to be one of his most popular novels. The book follows the life of an orphan living in the streets of London, where he must get by on his wits and falls in with a gang of juvenile pickpockets led by the dastardly Fagin.

Oliver Twist unromantically portrayed the mistreatment of London orphans, and the slums and poverty described in the novel made for biting social satire. Although very different from the humorous tone of the Pickwick Papers , Oliver Twist was extremely well-received in both England and America, and dedicated readers eagerly anticipated each next monthly installment, according to the biography Charles Dickens by Harold & Miriam Maltz. Even the young Queen Victoria was an avid reader of  Oliver Twist , describing it as “excessively interesting.”

Nicholas Nickleby

Serial Publication: April 1838 to October 1839 Novel Publication: 1839

As Dickens was still finishing Oliver Twist , he again began writing his follow-up work in The Life and Adventures of Nicholas Nickleby . It tells the story of the title character, who must support his mother and sister following the loss of their comfortable lifestyle when his father dies and the family loses all of their money.

The Old Curiosity Shop

Serial Publication: April 1840 to February 1841 Novel Publication: 1841

Taking a few months between projects this time, Dickens’ next serial was The Old Curiosity Shop . Protagonist Nell Trent lives with her grandfather, whose gambling costs them the titular shop. The pair struggles to survive after into hiding to avoid a money lender.

Barnaby Rudge

Serial Publication: February to November 1841 Novel Publication: 1841

Right on the heels of The Old Curiosity Shop came Barnaby Rudge . The historical fiction novel, Dickens’ first, follows Barnaby and depicts the chaos of mob violence. The author originated the idea years prior but is thought to have temporarily abandoned it due to a dispute with his publisher.

Martin Chuzzlewit

Serial Publication: January 1843 to July 1844 Novel Publication: 1844

After his first American tour, Dickens wrote The Life and Adventures of Martin Chuzzlewit . The story is about a man’s struggle to survive on the ruthless American frontier.

Dombey and Son

Serial Publication: October 1846 to April 1848 Novel Publication: 1848

After an uncharacteristic break, Dickens returned with Dombey and Son , which centers on the theme of how business tactics affect a family’s personal finances. Published as a novel in 1848, it takes a dark view of England and is considered pivotal to Dickens’ body of work in that it set the tone for his future novels.

David Copperfield

Serial Publication: May 1849 to November 1850 Novel Publication: November 1850

Dickens wrote his most autobiographical novel to date with David Copperfield by tapping into his own personal experiences in his difficult childhood and his work as a journalist. The book follows the life of its title character from his impoverished childhood to his maturity and success as a novelist. It was the first work of its kind: No one had ever written a novel that simply followed a character through his everyday life.

David Copperfield is considered one of Dickens’ masterpieces, and it was his personal favorite of his works; he wrote in the book’s preface, “Like many fond parents, I have in my heart of hearts a favourite child. And his name is David Copperfield.” It also helped define the public’s expectations of a Dickensian novel. In The Life of Charles Dickens , biographer John Forster wrote “Dickens never stood so high in reputation as at the completion of Copperfield ,” and biographer Fred Kaplan called the novel “an exploration of himself through his art more direct, more honest, more resolute than in his earlier fiction.”

Bleak House

Serial Publication: 1852 to 1853 Novel Publication: 1853

His next work, Bleak House , dealt with the hypocrisy of British society. The first of his “dark novels,” it was considered his most complex novel yet. Drawing upon his brief experiences as a law clerk and court reporter, the novel is built around a long-running legal case involving several conflicting wills and was described by biographer Fido Martin as “England’s greatest satire on the law’s incompetence and delays.” Dickens’ satire was so effective that it  helped support  a successful movement toward legal reform in the 1870s.

Serial Publication: April to August 1854 Novel Publication: 1854

Dickens followed Bleak House with Hard Times , which takes place in an industrial town at the peak of economic expansion. Hard Times focuses on the shortcomings of employers as well as those who seek change.

Little Dorrit

Serial Publication: December 1855 and June 1857 Novel Publication: 1857

Another novel from Dickens’ darker period is Little Dorrit , a fictional study of how human values conflict with the world’s brutality.

A Tale of Two Cities

Serial Publication: April to November 1959 Novel Publication: 1859

Coming out of his “dark novel” period, Dickens published A Tale of Two Cities in the periodical he founded, All the Year Round . The historical novel takes place during the French Revolution in Paris and London. Its themes focus on the need for sacrifice, the struggle between the evils inherent in oppression and revolution, and the possibility of resurrection and rebirth.

A Tale of Two Cities was a tremendous success and remains Dickens’ best-known work of historical fiction. Biographer Fido Martin called the novel “pure Dickens, but essentially a Dickens we have never seen before. This is a Dickens who has at last captured in prose fiction the stage heroics he adored.”

Great Expectations

Serial Publication: December 1860 to August 1861 Novel Publication: October 1861

Many people consider Great Expectations Dickens’ greatest literary accomplishment. The story—Dickens’ second that’s narrated in the first person—focuses on the lifelong journey of moral development for the novel’s protagonist, an orphan named Pip. With extreme imagery and colorful characters, the well-received novel touches on wealth and poverty, love and rejection, and good versus evil. The novel was a financial success and received nearly universal acclaim, with readers responding positively to the novel’s themes of love, morality, social mobility, and the eventual triumph of good over evil.

Our Mutual Friend

Serial Publication: May 1864 to November 1865 Novel Publication: 1865

In June 1865, Dickens was a passenger on a train that plunged off a bridge in Kent, according to biographer Fred Kaplan. He tended to the wounded and even saved the lives of some passengers before assistance arrived, and he was able to retrieve his unfinished manuscript for his next novel, Our Mutual Friend , from the wreckage. That book, a satire about wealth and the Victorian working class, wasn’t received as well as Dickens’ other works, with some finding the plot too complex and disorganized.

The Mystery of Edwin Drood

Serial Publication: April 1870 Novel Publication: 1870

Dickins’ final novel, The Mystery of Edwin Drood , began its monthly serialized publication in April 1870. However, Dickens died less than two months later, leaving the novel unfinished. Only six of a planned 12 installments of his final work were completed at the time of his death, according to biographer Fido Martin.

In 1842, Dickens and his wife, Catherine, embarked on a five-month lecture tour of the United States. Dickens spoke of his opposition to slavery and expressed his support for additional reform. His lectures, which began in Virginia and ended in Missouri, were so widely attended that ticket scalpers gathered outside his events. Biographer J.B. Priestley wrote that during the tour, Dickens enjoyed “the greatest welcome that probably any visitor to America has ever had.”

“They flock around me as if I were an idol,” bragged Dickens, a known show-off. Although he enjoyed the attention at first, he eventually resented the invasion of privacy. He was also annoyed by what he viewed as Americans’ gregariousness and crude habits, as he later expressed in American Notes for General Circulation (1842). The sarcastic travelogue, which Dickens’ penned upon his return to England, criticized American culture and materialism.

After his criticism of the American people during his first tour, Dickens later launched a second U.S. tour from 1867 to 1868, where he hoped to set things right with the public and made charismatic speeches promising to praise the United States in reprints of American Notes for General Circulation and Martin Chuzzlewit , his 1844 novel set in the American frontier.

On December 19, 1843, Dickens published A Christmas Carol , one of his most timeless and beloved works. The book features the famous protagonist Ebenezer Scrooge, a curmudgeonly old miser who—with the help of the Ghosts of Christmas Past, Present, and Yet to Come—finds the holiday spirit. Dickens penned the book in just six weeks, beginning in October and finishing just in time for Christmas celebrations. Like his earlier works, it was intended as a social criticism, to bring attention to the hardships faced by England’s poorer classes.

The book was a roaring success, selling more than 6,000 copies upon publication. Readers in England and America were touched by the book’s empathetic emotional depth; one American entrepreneur reportedly gave his employees an extra day’s holiday after reading it. Despite its incredible success, the high production costs and Dickens’ disagreements with the publisher meant he received relatively few profits for A Christmas Carol , according to Kaplan, which were further reduced when Dickens was forced to take legal action against the publishers for making illegal copies.

A Christmas Carol was Dickens’ most popular book in the United States, selling more than two million copies in the century after its first publication there, according to Charles Dickens: A Life by Claire Tomalin. It is also one of Dickens’ most adapted works, and Ebenezer Scrooge has been portrayed by such actors as Michael Caine, Albert Finney, Patrick Stewart, Tim Curry, and Jim Carrey .

Dickens published several other Christmas novellas following A Christmas Carol , including The Chimes (1844) The Cricket on the Hearth (1845), The Battle of Life (1846), and The Haunted Man and the Ghost ’s Bargain (1848). In 1867, he wrote a stage play titled No Thoroughfare .

On June 8, 1870, Dickens had a stroke at his home in Kent, England, after a day of writing The Mystery of Edwin Drood . He died the next day at age 58.

At the time, Edwin Drood had begun its serial publication; it was never finished. Only half of the planned installments of his final novel were completed at the time of Dickens’ death, according to Fido.

Dickens was buried in Poet’s Corner at Westminster Abbey , with thousands of mourners gathering at the beloved author’s gravesite.

When 48 Doughty Street in London—which was Dickens’ home from 1837 to 1839—was threatened with demolition, it was saved by the Dickens Fellowship and renovated, becoming the Dickens House Museum . Open since 1925, it appears like a middle-class Victorian home exactly as Dickens lived in it, and it houses a significant collection related to Dickens and his works.

Many of Dickens’ major works have been adapted for movies and stage plays, with some, like A Christmas Carol , repackaged in various forms over the years. Reginald Owen portrayed Ebenezer Scrooge in one of the earliest Hollywood adaptations of the novella in 1938, while Albert Finney played the character alongside Alec Guinness as Marley’s ghost in the 1970 film Scrooge .

Some adaptations have taken unique approaches to the source material. Michael Caine portrayed Scrooge in The Muppet Christmas Carol (1992), with members of the Muppets playing other characters from the story, and Gonzo the Great portraying Dickens as a narrator. Bill Murray played a version of Scrooge in a modern-day comedic take on the classic story. Several animated versions of A Christmas Carol have also been adapted, with Jim Carrey playing Scrooge in a 2009 computer-generated film that used motion-capture animation to create the character.

Several more of Dickens’ works have been similarly adapted. Famed director David Lean made celebrated adaptations of both Great Expectations (1946) and Oliver Twist (1948). The latter novel was also adapted into a successful 1960 stage musical called Oliver! , and a 1968 movie version—directed by Carol Reed—of that same musical won the Academy Award for Best Picture and Director.

More recently, The Personal History of David Copperfield (2019) put a comedic spin on Dickens’ personal favorite of his own works, with Dev Patel performing the title role. Barbara Kingsolver also adapted the novel in her Pulitzer Prize winner Demon Copperhead (2022).

• The English are, as far as I know, the hardest worked people on whom the sun shines. Be content if in their wretched intervals of leisure they read for amusement and do no worse.
• I write because I can’t help it.
• Literature cannot be too faithful to the people, cannot too ardently advocate the cause of their advancement, happiness, and prosperity.
• An author feels as if he were dismissing some portion of himself into the shadowy world, when a crowd of the creatures of his brain are going from him forever.
• Nobody has done more harm in this single generation than everybody can mend in 10 generations.
• If I were soured [on writing], I should still try to sweeten the lives and fancies of others; but I am not—not at all.
• Well, the work is hard, the climate is hard, the life is hard: but so far the gain is enormous.
• Who that has ever reflected on the enormous and vast amount of leave-taking there is in life can ever have doubted the existence of another?
• I never knew what it was to feel disgust and contempt, till I traveled in America.
• My great ambition is to live in the hearts and homes of home-loving people and to be connected with the truth of the truthful English life.

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Charles Dickens

• Classic Literature
• Classic Authors

Charles Dickens Biography

Dickens, Charles John Huffam (1812-1870), probably the best-known and, to many people, the greatest English novelist of the 19th century. A moralist, satirist, and social reformer, Dickens crafted complex plots and striking characters that capture the panorama of English society.

Dickens's novels criticize the injustices of his time, especially the brutal treatment of the poor in a society sharply divided by differences of wealth. But he presents this criticism through the lives of characters that seem to live and breathe. Paradoxically, they often do so by being flamboyantly larger than life: The 20th-century poet and critic T. S. Eliot wrote, "Dickens's characters are real because there is no one like them." Yet though these characters range through the sentimental, grotesque, and humorous, few authors match Dickens's psychological realism and depth. Dickens's novels rank among the funniest and most gripping ever written, among the most passionate and persuasive on the topic of social justice, and among the most psychologically telling and insightful works of fiction. They are also some of the most masterful works in terms of artistic form, including narrative structure, repeated motifs, consistent imagery, juxtaposition of symbols, stylization of characters and settings, and command of language.

Dickens established (and made profitable) the method of first publishing novels in serial instalments in monthly magazines. He thereby reached a larger audience including those who could only afford their reading on such an instalment plan. This form of publication soon became popular with other writers in Britain and the United States.

II Early Years

Dickens was born in Portsmouth, on England's southern coast. His father was a clerk in the British Navy pay office a respectable position, but with little social status. His paternal grandparents, a steward (property manager) and a housekeeper, possessed even less status, having been servants, and Dickens later concealed their background. Dickens's mother supposedly came from a more respectable family. Yet two years before Dickens's birth, his mother's father was caught embezzling and fled to Europe, never to return.

The family's increasing poverty forced Dickens out of school at age 12 to work in Warren's Blacking Warehouse, a shoe-polish factory, where the other working boys mocked him as "the young gentleman." His father was then imprisoned for debt. The humiliations of his father's imprisonment and his labor in the blacking factory formed Dickens's greatest wound and became his deepest secret. He could not confide them even to his wife, although they provide the unacknowledged foundation of his fiction.

Soon after his father's release from prison, Dickens got a better job as errand boy in law offices. He taught himself shorthand to get an even better job later as a court stenographer and as a reporter in Parliament. At the same time, Dickens, who had a reporter's eye for transcribing the life around him, especially anything comic or odd, submitted short sketches to obscure magazines. The first published sketch, "A Dinner at Poplar Walk" (later retitled "Mr. Minns and His Cousin") brought tears to Dickens's eyes when he discovered it in the pages of The Monthly Magazine in 1833. From then on his sketches, which appeared under the pen name "Boz" (rhymes with "rose") in The Evening Chronicle, earned him a modest reputation. Boz originated as a childhood nickname for Dickens's younger brother Augustus.

Dickens became a regular visitor at the home of George Hogarth, editor of The Evening Chronicle, and in 1835 became engaged to Hogarth's daughter Catherine. Publication of the collected Sketches by Boz in 1836 gave Dickens sufficient income to marry Catherine Hogarth that year. The marriage proved unhappy.

III Literary Career

Soon after Sketches by Boz appeared, the fledgling publishing firm of Chapman and Hall approached Dickens to write a story in monthly instalments. The publisher intended the story as a backdrop for a series of woodcuts by the then-famous artist Robert Seymour, who had originated the idea for the story. With characteristic confidence, Dickens, although younger and relatively unknown, successfully insisted that Seymour's pictures illustrate his own story instead. After the first instalment, Dickens wrote to the artist he had displaced to correct a drawing he felt was not faithful enough to his prose. Seymour made the change, went into his backyard, and expressed his displeasure by blowing his brains out. Dickens and his publishers simply pressed on with a new artist. The comic novel, The Posthumous Papers of the Pickwick Club, appeared serially in 1836 and 1837 and was first published in book form The Pickwick Papers in 1837.

The runaway success of The Pickwick Papers , as it is generally known today, clinched Dickens's fame. There were Pickwick coats and Pickwick cigars, and the plump, spectacled hero, Samuel Pickwick, became a national figure. Four years later, Dickens's readers found Dolly Varden, the heroine of Barnaby Rudge (1841), so irresistible that they named a waltz, a rose, and even a trout for her. The widespread familiarity today with Ebenezer Scrooge and his proverbial hard-heartedness from A Christmas Carol (1843) demonstrate that Dickens's characters live on in the popular imagination.

Dickens published 15 novels, one of which was left unfinished at his death. These novels are, in order of publication with serialization dates given first: The Posthumous Papers of the Pickwick Club (1836-1837; 1837); The Adventures of Oliver Twist (1837-1839; 1838); The Life and Adventures of Nicholas Nickleby (1838-1839; 1839); The Old Curiosity Shop (1840-1841; 1841); Barnaby Rudge (1841); Life and Adventures of Martin Chuzzlewit (1843-1844; 1844); Dombey and Son (1846-1848; 1848); The Personal History of David Copperfield (1849-1850; 1850); Bleak House (1852-1853; 1853); Hard Times (1854); Little Dorrit (1855-1857; 1857); A Tale of Two Cities (1859); Great Expectations (1860-1861; 1861); Our Mutual Friend (1864-1865; 1865); and The Mystery of Edwin Drood (unfinished; 1870).

Through his fiction Dickens did much to highlight the worst abuses of 19th-century society and to prick the public conscience. But running through the main plot of the novels are a host of subplots concerning fascinating and sometime ludicrous minor characters. Much of the humor of the novels derives from Dickens's descriptions of these characters and from his ability to capture their speech mannerisms and idiosyncratic traits.

A Early Fiction

Dickens was influenced by the reading of his youth and even by the stories his nursemaid created, such as the continuing saga of Captain Murderer. These childhood stories, as well as the melodramas and pantomimes he saw in the theater as a boy, fired Dickens's imagination throughout his life. His favorite boyhood readings included picaresque novels such as Don Quixote by Spanish writer Miguel de Cervantes and Tom Jones by English novelist Henry Fielding, as well as the Arabian Nights. In these long comic works, a roguish hero's exploits and adventures loosely link a series of stories.

The Pickwick Papers , for example, is a wandering comic epic in which Samuel Pickwick acts as a plump and cheerful Don Quixote, and Sam Weller as a cockney version of Quixote's knowing servant, Sancho Panza. The novel's preposterous characters, high spirits, and absurd adventures delighted readers.

After Pickwick, Dickens plunged into a bleaker world. In Oliver Twist , he traces an orphan's progress from the workhouse to the criminal slums of London. Nicholas Nickleby , his next novel, combines the darkness of Oliver Twist with the sunlight of Pickwick. Rascality and crime are part of its jubilant mirth.

The Old Curiosity Shop broke hearts across Britain and North America when it first appeared. Later readers, however, have found it excessively sentimental, especially the pathos surrounding the death of its child-heroine Little Nell. Dickens's next two works proved less popular with the public.

Barnaby Rudge , Dickens's first historical novel, revolves around anti-Catholic riots that broke out in London in 1780. The events in Martin Chuzzlewit become a vehicle for the novel's theme: selfishness and its evils. The characters, especially the Chuzzlewit family, present a multitude of perspectives on greed and unscrupulous self-interest. Dickens wrote it after a trip to the United States in 1842.

B Mature Fiction

Many critics have cited Dombey and Son as the work in which Dickens's style matures and he succeeds in bringing multiple episodes together in a tight narrative. Set in the world of railroad-building during the 1840s, Dombey and Son looks at the social effects of the profit-driven approach to business. The novel was immediately successful.

Dickens always considered David Copperfield to be his best novel and the one he most liked. The beginning seems to be autobiographical, with David's childhood experiences recalling Dickens's own in the blacking factory. The unifying theme of the book is the "undisciplined heart" of the young David, which leads to all his mistakes, including the greatest of them, his mistaken first marriage.

Bleak House ushers in Dickens's final period as a satirist and social critic. A court case involving an inheritance forms the mainspring of the plot, and ultimately connects all of the characters in the novel. The dominant image in the book is fog, which envelops, entangles, veils, and obscures. The fog stands for the law, the courts, vested interests, and corrupt institutions. Dickens had a long-standing dislike of the legal system and protracted lawsuits from his days as a reporter in the courts.

A novel about industry, Hard Times , followed Bleak House in 1854. In Hard Times , Dickens satirizes the theories of political economists through exaggerated characters such as Mr. Bounderby, the self-made man motivated by greed, and Mr. Gradgrind, the schoolmaster who emphasizes facts and figures over all else. In Bounderby's mines, lives are ground down; in Gradgrind's classroom, imagination and feelings are strangled.

The pervading image of Little Dorrit is the jail. Dickens's memory of his own father's time in debtors' prison adds an autobiographical touch to the novel. Little Dorrit also contains Dickens's invention of the Circumlocution Office, the archetype of all bureaucracies, where nothing ever gets done. Through this critique and others, such as the circular legal system in Bleak House , Dickens also investigated the ways in which art makes meaning and the workings of his own narrative style.

A Tale of Two Cities is set in London and Paris during the French Revolution (1789-1799). It stands out among the novels as a work driven by incident and event rather than by character and is critical both of the violence of the mob and of the abuses of the aristocracy, which prompted the revolution. The successful Tale of Two Cities was soon followed by Great Expectations , which marked a return to the more familiar Dickensian style of character-driven narrative. Its main character, Pip, tells his own story. Pip's "great expectations" are to lead an idle life of luxury. Through Pip, Dickens exposes that ideal as false.

Dickens's last complete novel is the dark and powerful Our Mutual Friend . A tale of greed and obsession, it takes place in an ill-lit and dirty London, with images of darkness and decay throughout. Only 6 of the 12 intended parts of Edwin Drood had been completed by the time Dickens died. He intended it as a mystery story concerning the disappearance of the title character.

IV Final Years

The end of Dickens's life was emotionally scarred by his separation from his dutiful wife, Catherine, as the result of his involvement with a young actress, Ellen Ternan. Catherine bore him ten children during their 22-year marriage, but he found her increasingly dull and unsympathetic. Against the advice of editors, Dickens published a letter vehemently justifying his actions to his readers, who would otherwise have known nothing about them.

Following the separation, Dickens continued his hectic schedule of novel, story, essay, and letter writing (his collected letters alone stretch thousands of pages); reform activities; amateur theatricals and readings; in addition to nightly social engagements and long midnight walks through London. His energy had always seemed to his friends inhuman, but he maintained this activity in his later years in disregard of failing health. Dickens died of a stroke shortly after his farewell reading tour, while writing The Mystery of Edwin Drood .

V Achievement

Dickens's social critique in his novels was sharp and pointed. As his biographer Edgar Johnson observed in Charles Dickens: His Tragedy and Triumph (1952), Dickens's criticism was aimed not just at "the cruelty of the workhouse and the foundling asylum, the enslavement of human beings in mines and factories, the hideous evil of slums where crime simmered and proliferated, the injustices of the law, and the cynical corruption of the lawmakers" but also at "the great evil permeating every field of human endeavour: the entire structure of exploitation on which the social order was founded."

British writer George Orwell felt that Dickens was not a revolutionary, however, despite his criticism of society's ills. Orwell points out that Dickens "has no constructive suggestions, not even a clear grasp of the nature of the society he is attacking, only an emotional perception that something is wrong." That instinctive feeling becomes so moving in the novels because Dickens made the injustices he hated concrete and specific, not abstract and general. His readers feel the abuses of 19th-century society as real through the life of his characters. Underlying and reinforcing that illusion of reality, however, is a rich and complicated system of symbolic imagery resulting from superb artistry.

Through his characters, Dickens also touched a range of readers, which was perhaps his greatest talent. As his friend John Forster wrote, his stories enthralled "judges on the bench and boys in the street" alike. The illiterate, often too poor to buy instalments themselves, pooled their pennies and got someone to read aloud to them.

Near the end of the serialization of The Old Curiosity Shop , crowds thronged to a New York pier to await the ship from London carrying the latest instalment. As it came to the dock people roared, "Is Little Nell dead?" The pathetic death of the novel's child-heroine, Nell Trent, became one of the most celebrated scenes in 19th-century fiction. Such public concern over Little Nell's end guaranteed that Dickens's social message would be heard, not only by his avid readers, but also by those in power.

Dickens was a careful craftsman, with a strong sense of design; his books were strictly outlined. Any current notions that Dickens's novels are long because he was paid by the word, or sloppy because he wrote them under pressure of monthly deadlines, are simply untrue. What organizes Dickens's stories is sometimes not apparent at first glance, although it makes sense in novels that emphasize character. It is the logic of psychology, the tensions and contradictions of our drives and emotions, which Dickens plumbed, laying side by side the best and the worst of the human heart. This is a very different logic from the order of realism that rests on common sense. Dickens detested common sense, seeing in its seeming obviousness a form of tyranny.

The theater was a crucial influence on Dickens's work. As a young man Dickens tried to go on stage, but he missed his audition because of a cold. Not only did Dickens later write comic plays, melodramas, and libretti (words for musical dramas), he was also often involved in amateur theatricals for good causes, and spent his last two decades reading his own stories to packed audiences. Dickens's readings were as much a sensation in England and America as was his writing, and they proved as profitable. The readings revealed the part of the man that made him a practiced magician and hypnotist as well.

Dickens's love of the theatrical makes his works lend themselves readily to media adaptations. Motion-picture or television versions exist for almost every one of them. A Christmas Carol was one of the earliest to be adapted, first appearing as the silent film Scrooge (1901), directed by Walter R. Booth. The most notable adaptations include A Christmas Carol (1938), directed by Edwin L. Marin and starring Reginald Owen, and, probably the most famous of all, A Christmas Carol (1951), directed by Brian Desmond Hart and starring Alastair Sim. A later production titled Scrooged (1988) was directed by Richard Donner and starred Bill Murray. David Lean directed the most famous of the many versions of Great Expectations (1946). The film Oliver! (1968), a musical based on Oliver Twist and directed by Carol Reed, won six Academy Awards. Nowadays people are probably more familiar with the many BBC television miniseries productions of Dickens's works.

Contributed By: Laurie Langbauer, B.A., M.A., Ph.D. Professor of English, University of North Carolina. Author of Novels of Everyday Life: The Series in English Fiction, 1850-1930.

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Being Charles Dickens

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By David Gates

• Nov. 3, 2011

Robert DOUGLAS-FAIRHURST, the Oxford scholar who is one of Charles Dickens’s two new biographers, rightly calls his subject “at once the most central and most eccentric literary figure” of his age, and the investigations into the dark corners of that eccentric life began with Dickens himself. In 1849 he showed a short account of his early years to his close friend John Forster, revealing a story he never told his own family: the shame-inducing months he spent, while his father was in a debtor’s prison, as a 12-year-old “laboring hind” in a factory that bottled shoe-blacking. The first volume of the biography he’d wanted Forster to write — which made the ­blacking-factory episode public — appeared in 1872, two years after Dickens died at the age of 58, and its successors keep coming. The Dickens biographies published just in the past 25 years make an impressive stack. Given his uncanny genius and the vivid complexity of his life, that’s not a complaint.

Still, in all these books, the most memorable moments come from the accounts of those who saw him in person. I’d trade a whole pile of biographies for a video clip of the young Dickens, while courting Catherine Hogarth, his wife-to-be, leaping unannounced through the French windows of her family’s house in a sailor suit, dancing a hornpipe, leaping out again, then walking in at the door “as sedately as though quite innocent of the prank.” And I’d trade that clip, plus the biographies, for footage of Dickens’s face-to-face interview with his admirer Fyodor Dostoyevsky in 1862. “He told me,” Dostoyevsky recalled in a letter written years later, “that all the good, simple people in his novels . . . are what he wanted to have been, and his villains were what he was (or rather, what he found in himself), his cruelty, his attacks of causeless enmity towards those who were helpless and looked to him for comfort, his shrinking from those whom he ought to love. . . . There were two people in him, he told me: one who feels as he ought to feel and one who feels the opposite. From the one who feels the opposite I make my evil characters, from the one who feels as a man ought to feel, I try to live my life.”

Claire Tomalin, the other new biographer, who quotes this confession in “Charles Dickens: A Life,” calls it “amazing” — though it’s only amazing because it’s the image-conscious Dickens himself coming out and saying what anybody familiar with his work and his life has always intuited. “It is as though with Dostoyevsky he could drop the appearance of perfect virtue he felt he had to keep up before the English public.”

As Tomalin notes, this “must be Dickens’s most profound statement about his inner life,” and it seems to be one of the few crucial bits of Dickensiana that’s relatively fresh. Both Tomalin and Michael Slater, who cites the same passage in his 2009 biography, “Charles Dickens,” found the newly translated Dostoyevsky letter in a 2002 article in The Dickensian. Neither Fred Kaplan (“Dickens: A Biography,” 1988) nor Peter Ackroyd (“Dickens,” 1991) seems to have known about it. Mostly, the recent biographies are remixes of familiar episodes and anecdotes; their interest lies largely in what’s included and what’s left out, how deeply the biographer goes into unpublished or unfamiliar work, and what’s adduced from further research into the world in which Dickens lived and worked.

Neither Tomalin nor Douglas-Fairhurst, in “Becoming Dickens: The Invention of a Novelist,” sees fit to show us Dickens dancing the hornpipe in his sailor suit, though Ackroyd and Slater apparently found it a charming, perhaps significant, glimpse of the young man at play. And how could Tomalin have resisted the story of Dickens’s first love, Maria Beadnell (affectionately evoked as Dora in “David Copperfield,” then cruelly caricatured as Flora Finching in “Little Dorrit”), near the end of her life, drunkenly kissing the place on her couch where he’d once sat? Maria’s former nursemaid published the account in 1912; Douglas-Fairhurst retells it, and while Slater didn’t include it in his biography, he’d already used it in an earlier book, “Dickens and Women.” Yet only an obsessive would worry too much about which anecdote didn’t make whose cut: an ideal life of Dickens would just stick in everything, and probably no publisher would touch it.

After Tomalin’s much-praised biographies of Jane Austen, Thomas Hardy and Samuel Pepys, it’s no surprise to find her portrait of Dickens at least as thorough as Kaplan’s or Slater’s, though she gives us no introduction explaining why previous biographies have made hers necessary, and sometimes teases us with flat summary where we want meat. (If, for instance, “the critics were merciless” about his 1846 Christmas book, “The Battle of Life,” why not quote them?) Her book lacks the rich texture and empathetic intimacy of Ackroyd’s far longer work. On the other hand, Tomalin would never indulge in zaniness like Ackroyd’s interpolated self-interview or his scene in which Dickens meets his own characters or the imagined encounter between Dickens and a biographer, presumably Ackroyd himself. And Tomalin’s treatment of the great secret of Dickens’s life — his relationship with the actress Ellen Ternan, for whom he left his marriage in 1858, when he was 46 and she was 19 — seems more credible, even when it’s necessarily speculative. In 1990 she devoted an entire book, “The Invisible Woman,” to exploring this secret — whose existence Dickensians have known about at least since the 1930s.

Despite Dickens’s discreet, intermittent cohabitation with Ternan, Ackroyd found it “almost inconceivable” that the two actually went to bed together: he argued that their idyll was merely “the realization of one of his most enduring fictional fantasies. That of sexless marriage with a young, idealized virgin.” Few other scholars agree — not even Edgar Johnson, whose two-volume “Charles Dickens: His Tragedy and Triumph,” published in 1952, was the first major modern biography. As Tomalin notes, Dickens was a sexual creature: he fathered 10 children with his wife, and after they separated he apparently sought treatment for a venereal infection. Had he been such a prude as his fiction and his public persona sometimes suggested — after news of his separation got around, Forster had to talk him out of calling a new start-up magazine Household Harmony — he would hardly have remained close friends with sophisticated sexual outlaws like the artists Frank Stone and Daniel Maclise, the novelist Wilkie Collins and the Count d’Orsay, the French dandy whom he made godfather to his son Alfred. Hearsay and circumstantial evidence even suggest that Ternan might have borne Dickens a son, who died within a year.

We can only guess about certain aspects of Dickens’s relationship with Ternan, but Tomalin does build a convincing case. She’s less convincing when she suggests that Dickens’s fatal stroke might have happened while he was off with Ternan, and that he might have been sneaked back into his own house, unconscious, to be officially discovered. This reads like some of the wilder theories about the assassination of John F. Kennedy, but, to Tomalin’s credit, she doesn’t insist on it.

Douglas-Fairhurst’s “Becoming Dickens” takes us only through 1839 and the completion of “Oliver Twist,” Dickens’s second novel — and the first whose title page he dignified with his own name rather than “Boz,” the cockney-ish alias under which he first became popular with “Sketches by Boz” and “The Pickwick Papers.” Douglas-Fairhurst’s is a far more lively and detailed book — a more Dickensian book — than Tomalin’s, though not always to its advantage. When his painstaking research combines with an overactive fancy, we get such passages as this description of Dickens taking a curtain call after his now-forgotten 1836 operetta “The Village Coquettes”: “The curtains of St. James’s Theatre were green” — how did he find that out? — “as were the covers of ‘Pickwick,’ so in coming onstage Dickens would have looked strangely like the author himself emerging from his writing.”

Yet more often Douglas-Fairhurst serves as a sharp-eyed, sharp-witted, yet sympathetic tour guide to the young Dickens’s strange world and equally strange sensibility. He performs deft deconstructions of such arcana as a labored comic poem to Maria Beadnell: “Telling a new girlfriend what you would feel like if she were dead is certainly an unusual seduction technique.” He discusses the trash Dickens read as a boy (from “The Terrific Register” to a comic miscellany called “Broad Grins”), a probable inspiration for Oliver Twist’s benefactor Mr. Brownlow (a man of the same name was secretary of the Foundling Hospital “a few hundred yards from Dickens’s home”) and a precursor of the rapid-fire tale-spinning of Jingle in “Pickwick” (the monologues of the comedian Charles Mathews, “Dickens’s favorite solo performer”). His research extends to the pirates and imitators who ripped off Dickens’s early work — including one G. M. W. Reynolds, whose “Pickwick in India” “abruptly ceased publication after seven chapters when the author . . . wrote himself into a corner with a gloating description of Mr. Pickwick being devoured by a shark.” And it’s Douglas-Fairhurst, not the sober-sided Tomalin, who sees the humor in this icky irrelevancy: Dickens’s publisher had wanted to give his first book the Elmer Fuddian title “Bubbles From the Bwain of Boz.”

In fairness to Tomalin, the story she’s obliged to tell of her subject’s later life would temper anybody’s sense of fun. The leaping, hornpiping young man aged badly. In his 50s he often hobbled around with a gouty foot, and sometimes had to be helped onstage during the obsessive and exhausting reading tours that may have hastened his death — a malign redirecting of the manic energy that had once enabled him to work on two serialized novels simultaneously while also editing a monthly magazine. Twenty-eight times between January 1869 and March 1870, Dickens performed the horrifying episode in “Oliver Twist” in which Bill Sikes murders the prostitute Nancy. After it, Dickens had to lie down, unable to speak; when his manager tried to get him to do quieter readings, he threw a tantrum and burst into tears.

Tomalin accurately describes Dickens’s treatment of the abandoned Catherine as shameful: he went so far as to publish a letter accusing her of “a mental disorder,” and he wrote to a friend that she was glad to be rid of their children, “and they are glad to be rid of her.” His daughter Katey recalled that after the separation, “my father was like a madman. . . . He did not care a damn what happened to any of us.”

Dickens had a premonitory stroke in 1869, and at his final public reading, in March 1870, he was unable to pronounce the name “Pickwick.” On June 8, he had another stroke, and the next day the unconscious Dickens “gave a sigh, a tear appeared in his right eye and ran down his cheek, and he stopped breathing.” That tear was the last of Dickens’s many gifts to his biographers — of all the recent retellings of the death scene, only Michael Slater’s version omits it — and here’s hoping we’ll see it again and again and again until the ideal, the impossible life is written at last.

CHARLES DICKENS

By Claire Tomalin

Illustrated. 527 pp. The Penguin Press. $36

BECOMING DICKENS

The invention of a novelist.

By Robert Douglas-Fairhurst

Illustrated. 389 pp. The Belknap Press/Harvard University Press. $29.95

A review on Nov. 6 about “Becoming Dickens: The Invention of a Novelist,” by Robert Douglas-Fairhurst, and “Charles Dickens,” by Claire Tomalin, recounted an anecdote in Tomalin’s book in which Dostoyevsky told of meeting Dickens. While others have also written of such a meeting and of a letter in which Dostoyevsky was said to have described it, some scholars have questioned the authenticity of the letter and whether the meeting ever occurred.

How we handle corrections

David Gates’s most recent book is “The Wonders of the Invisible World,” a collection of stories.

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