MINISTRY OF HIGHER AND SECONDARY SPECIAL EDUCATION OF THE REPUBLIC OF UZBEKISTAN
GULISTAN STATE UNIVERSITY
«Stylistic Features of Charles Dickens’s works»
Gulistan‑2008
1. Charles Dicken’s works
1.1 General Notes on Charles Dicken’s works
Charles Dickens was born at Land-port, then a suburb of Portsmouth, where his father held a clerkship in the Navy Pay Office. He spent his youth at Chatham and London where he had to submit to a life of great hardship. His father being imprisoned for debt, the boy was, for a time, packer in a London blacking warehouse. Later he was placed in a solicitor's office, where he acquired the knowledge of legal affairs afterwards displayed in his novels. The boy's education was mainly achieved by extensive reading and keen observation of people and things around him. In 1831 Dickens obtained an engagement as parliamentary reporter. Before long he tried his hand at original composition, and wrote short descriptive essays on the London scenes familiar to him, collected as Sketches by Boz in 1835. The success of the Sketches decided the course of his life. The immense popularity of his next publication The Posthumous Papers of tlie Pickwick Club (1836–37) spread his fame all over Europe. The remainder of his life's story is a record of literary triumphs and of his visits to America (1842 and 1867), Italy, France and Switzerland. In 1858 Dickens began to give public readings from his works, which, due to his great histrionic talent, proved an extraordinary success.
Dickens created a series of novels, specially notable for critical and for comic talent, for critical treatment of Victorian England. All Dickens's great works – Oliver Twist (1837–38), Life and Adventures of Nicholas Nickleby (1838–39), The Old Curiosity Shop (1843–44), Mar-tin Chuzzlewit (1843–44), Dealings with the Firm of Dombey and Son (1846–48), The Personal History of David Copperfield (1849–50), Bleak House (1852–53), Hard Times for These Times (1854), Little Dorrit (1855–57), A Tale of Two Cities (1859), Great Expectations (1860–61) – carry a profound moral message. At the same time Dickens is bent on Correcting public grievances, like the defects of the new outrageous Poor Law and the workhouse system, the miseries of the debtors' prisons, the clumsiness and injustice of the governmental and legal systems. Dickens-is at his best at depicting low and middle-class life and at inventing unforgettable striking characters. A great many of them have become recognized types in English fiction.
Dickens also tried his hand at the historical novel, as in Barnaby Radge (1840–41) and A Tale of Two Cities, at a vast number of short stories and also at writing for the stage. His last novels include Our Mutual Friend (1864–65) and the unfinished detective story of The Mystery of Edwin Drood (1870).
Among the most popular and productive novelist as Charles Dickens, whose combined social Critism with comedy and sentiment to create a tone that the world identifies as Victorian lake chancer and Shakespeare before him. Dickens enjoyed inviting or vast array of memorable character in novels such as «Olive Twist (1837 -39), «A Tale of Two Cities» (1899) and «Great expectative (1860–61) His heart felt Critism helped to change British institution that badly needed reform, especially prisons and schools Charles Dickens was the most popular British author of the Victorian Age, the more than a hundred years after his death his work is still popular both in print and in dramatic and musical versions. The magic that millions still find in Dickens novels can be traced at least in part to the eccentric, colorful array of characters that he created, the gullible Rickwick of «The Rickwick Papers». (1836–37) the villainous Fagin of «Oliver Twist» (1837–39) the pathetic little Nell of «The Old Curiosity Shop (1840–41) the misetly zeroage of «A Christmas Card» (1843) the Shiffles Micarofer of «David Copperfield» (1849–50), the bite Miss Havisham of «Great Expectations» (1860–1861).
The basis for many of these characters lies in Dickens own experience. In fact many people believe that his father was the model for Micawber and his mother inspired Mrs Nickleby in «Nicholas Rickelby» (1838–39).Dickens was born in Portsmouth in Southern England, the second of eight children. His father was a clerk who worked or the navy. The family repeatedly moved in order to escape creditors. When his father was finally sent to a debtor’s prison Charles, then twelve begun working in a warehouse pasting labels on pots of shoe blacking. After a sudden inheritance improved the family’s fortunes, Charles found work at a lawyer’s clerk and then as a reporter. His literary career begum with the success of «Secteles by Bor», a collection of vulgates about life in the city that he wrote for a London newspaper:» Bor» led to «The Pickwick Paper» his first novel.
While Dickens has entertained millions with his novels, he also intended them as mean of social reform, Human welfare could not keep place with the technological advances of his time, and Dickens did much to expose evil by products of industrializing: child labor, debtors prisons, ruinous financial speculation, inhuman legal procedures, and mismanagement of schools, orphanages, prisons, and hospitals.
Dickens many novels add up to a vast panorama of human nature and specifically of Victorian life. One except from one novel is very small simple indeed.
The following selection from «Oliver Twist «, however, can be read as a serial installment. When Charles Dickens was ten years old his taken to prison for dept.
Little Charles Dickens was the second of eight children had to go to work in a blacking factory, where he worked from early morning till late at night. When his father came out school. But at15 he left school to work as or clerk in lawyer’s office. As a reporter in Parliament made him acquainted with the government, and aroused in him or deep contempt for the English parliamentary systems contempt that lasted all his life and reflected in many of his life and reflected in many of his works becoming with «The Pickwick Club» (1836–37).In his work there is much humor. But flu humor is often turned info irony and satire. Which the author used as powerful weapon with which to criticize and expose various evils in English social and political life, the capitalist exploiting system of workhouses in «Oliver Twist» (1838), bourses, so-called education in «Nicholas Nicely «(1839)» David Copperfield» (1850) and others, capitalist cruelty and injustice in all his works. In 1836 dickens was asked by a firm of publishers to write a letter for a series of etchings. His work exceeded the stimulated task and thus «The Dartmouth Papers of the «Pickwick Club «solo publications. This work at once lifted Dickens info the foremast rank as popular writers of fictions. He followed up this triumph with a quick succession of costuming novels in which he mastery depicted the life of contemporary society. His «Oliver Twist «deals with social problems. The novel ends in a happy issue which has become a characteristic feature of the greater part of Dickens works. His next novel «The book deals with another burning question of the day that of the education of children in English private schools. Immediately after the publication of the novel Dickens was bombarded with letters protesting the statement. But the facts being ascertained, a school reform was carried out in England. Dickens next publication was «The old Curiosity Shop «.
In 1841 he visited the USA and Canada to lecture on his works on his works. On his return he wrote «American Notes «and a novel «Martin Chuzzlewit «.In these two books Dickens gives a highly realistic picture of American bourgeoisie society its hypsography, ignorance and greed. He shows the disgusting in influence of money and directs all the force of his satire against False American democracy against slavery, and the corruption of the American press.
Although Dickens never rose to the revolutionary level he was one of those writers who all his life used his pen in the fight against the evils of the capitalist system.
1.2 Charles Dickens' periods
Much of our modern difficulty, in religion and other things, arises merely from this: that we confuse the word «indefinable» with the word «vague.» If some one speaks of a spiritual fact as «indefinable» we promptly picture something misty, a cloud with indeterminate edges. But this is an error even in commonplace logic. The thing that cannot be defined is the first thing; the primary fact. It is our arms and legs, our pots and pans, that are indefinable. The indefinable is the indisputable. The man next door is indefinable, because he is too actual to be defined. And there are some to whom spiritual things have the same fierce and practical proximity; some to whom God is too actual to be defined.
But there is a third c] ass of primary terms. There are popular expressions which every one uses and no one can explain; which the wise man will accept and reverence, as he reverences desire or darkness or any elemental thing. The prigs of the debating club will demand that he should define his terms. And, being a wise man, he will flatly refuse. This first inexplicable term is the most important term of all. The word that has no definition is the word that has no substitute. If a man falls back again and again on some such word as «vulgar» or «manly,» do not suppose that the word means nothing because he cannot say what it means. If he could say what the word means he would say what it means instead of saying the word. When the Game Chicken (that fine thinker) kept on saying to Mr. Toots, «It's mean. That's what it is – it's mean,» he was using language in the wisest possible way. For what else could he say? There is no word for mean except mean. A man must be very mean himself before he comes to defining meanness. Precisely because the word is indefinable, the word is indispensable.
In everyday talk, or in any of our journals, we may find the loose but important phrase, «Why have we no great men to-day? Why have we no great men like Thackeray, or Carlyle, or Dickens?» Do not let us dismiss this expression, because it appears loose or arbitrary. «Great» does mean something, and the test of its actuality is to be found by noting how instinctively and decisively we do apply it to some men and not to others; above all, how instinctively and decisively we do apply it to four or five men in the Victorian era, four or five men of whom Dickens was not the least. The term is found to fit a definite thing. Whatever the word «great» means, Dickens was what it means. Even the fastidious and unhappy who cannot read his books without a continuous critical exasperation, would use the word of him without stopping to think. They feel that Dickens is a great writer even if he is not a good writer. He is treated as a classic; that is, as a king who may now be deserted, but who cannot now be dethroned. The atmosphere of this word clings to him; and the curious thing is that we cannot get it to cling to any of the men of our own generation. «Great» is the first adjective which the most supercilious modern critic would apply to Dickens. And «great» is the last adjective that the most supercilious modern critic would apply to himself We dare not claim to be great men, even when we claim to be superior to them.
Is there, then, any vital meaning in this idea of «greatness» or in our laments over its absence in our own time? Some people say, indeed, that this sense of mass is but a mirage of distance, and that men always think dead men great and live men small. They seem to think that the law of perspective in the mental world is the precise opposite to the law of perspective in the physical world. They think that figures grow larger as they walk away. But this theory cannot be made to correspond with the facts. We do not lack great men in our own day because we decline to look for them in our own day; on the contrary, we are looking for them all day long. We are not, as a matter of fact, mere examples of those who stone the prophets and leave it to their posterity to build their sepulchers'. If the world would only produce our perfect prophet, solemn, searching, universal, nothing would give us keener pleasure than to build his sepulcher. In our eagerness we might even bury him alive. Nor is it true that the great men of the Victorian era were not called great in their own time. By many they were called great from the first. Charlotte Brontë held this heroic language about Thackeray. Ruskin held it about Carlyle. A definite school regarded Dickens as a great man from the first days of his fame: Dickens certainly belonged to this school.
In reply to this question, «Why have we no great men to-day?» many modern explanations are offered. Advertisement, cigarette-smoking, the decay of religion, the decay of agriculture, too much humanitarianism, too little humanitarianism, the fact that people are educated insufficiently, the fact that they are educated at all, all these are reasons given. If I give my own explanation, it is not for its intrinsic value; it is because my answer to the question, «Why have we no great men?» is a short way of stating the deepest and most catastrophic difference between the age in which we live and the early nineteenth century; the age under the shadow of the French Revolution, the age in which Dickens was born.
The soundest of the Dickens critics, a man of genius, Mr. George Gissing, opens his criticism by remarking that the world in which Dickens grew up was a hard and cruel world. He notes its gross feeding, its fierce sports, its fighting and foul humour, and all this he summaries in the words hard and cruel. It is curious how different are the impressions of men. To me this old English world seems infinitely less hard and cruel than the world described in Gissing's own novels. Coarse external customs are merely relative, and easily assimilated. A man soon learnt to harden his hands and harden his head. Faced with the world of Gissing, he can do little but harden his heart. But the fundamental difference between the beginning of the nineteenth century and the end of it is a difference simple but enormous. The first period was full of evil things, but it was full of hope. The second period, the fin de siécle, was even full (in some sense) of good things. But it was occupied in asking what was the good of good things. Joy itself became joyless; and the fighting of Cobbett was happier than the feasting of Walter Pater. The men of Cobbett's day were sturdy enough to endure and inflict brutality; but they were also sturdy enough to alter it. This «hard and cruel» age was, after all, the age of reform. The gibbet stood up black above them; but it was black against the dawn.
This dawn, against which the gibbet and all the old cruelties stood out so black and clear, was the developing idea of liberalism, the French Revolution. It was a clear and a happy philosophy. And only against such philosophies do evils appear evident at all. The optimist is a better reformer than the pessimist; and the man who believes life to be excellent is the man who alters it most. It seems a paradox, yet the reason of it is very plain. The pessimist can be enraged at evil. But only the optimist can be surprised at it. From the reformer is required a simplicity of surprise. He must have the faculty of a violent and virgin astonishment. It is not enough that he should think injustice distressing; he must think injustice absurd, an anomaly in existence, a matter less for tears than for a shattering laughter. On the other hand, the pessimists at the end of the century could hardly curse even the blackest thing; for they could hardly see it against its black and eternal background. Nothing was bad, because everything was bad. Life in prison was infamous – like life anywhere else. The fires of persecution were vile – like the stars. We perpetually find this paradox of a contented discontent. Dr. Johnson takes too sad a view of humanity, but he is also too satisfied a Conservative. Rousseau takes too rosy a view of humanity, but he causes a revolution. Swift is angry, but a Tory. Shelley is happy, and a rebel. Dickens, the optimist, satirises the Fleet, and the Fleet is gone. Gissing, the pessimist, satirises Suburbia, and Suburbia remains.
Mr. Gissing's error, then, about the early Dickens period we may put thus: in calling it hard and cruel he omits the wind of hope and humanity that was blowing through it. It may have been full of inhuman institutions, but it was full of humanitarian people. And this humanitarianism was very much the better (in my view) because it was a rough and even rowdy humanitarianism. It was free from all the faults that cling to the name. It was, if you will, a coarse humanitarianism. It was a shouting, fighting, drinking philanthropy – a noble thing. But, in any case, this atmosphere was the atmosphere of the Revolution; and its main idea was the idea of human equality. I am not concerned here to defend the egalitarian idea against the solemn and babyish attacks made upon it by the rich and learned of to-day. I am merely concerned to state one of its practical consequences. One of the actual and certain consequences of the idea that all men are equal is immediately to produce very great men. I would say superior men, only that the hero thinks of himself as great, but not as superior. This has been hidden from us of late by a foolish worship of sinister and exceptional men, men without comrade-ship, or any infectious virtue. This type of Cesar does exist. There is a great man who makes every man feel small. But the real great man is the man who makes every man feel great.