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form under the title of Sketches by Boz in 1836, and the following year.

      These Sketches at once attracted notice, and the public looked with something more than curiosity for the time when the successful author should throw off his mask and proclaim himself to the world. To adopt the phrase of an epigram which appeared in the Carthusian,

      ‘Who the Dickens “Boz” could be

      ‘Puzzled many a learned elf;

      ‘But time unveiled the mystery,

      ‘And “Boz” appeared as Dickens’ self.’

      Almost simultaneously with these Sketches appeared a comic opera from his pen, entitled The Village Coquettes.

      The graphic power of describing the ordinary scenes of common life, more especially in their more ludicrous aspects, did not escape the notice of Messrs. Chapman and Hall, then of the Strand, but now of Piccadilly, and they accordingly requested ‘Boz’ to write for them a serial story in monthly parts; the result was the publication of the Posthumous Papers of the Pickwick Club. It is said that a portion of the rough outline of the work was the result of a suggestion thrown out by Mr. Hall, one of the firm above-mentioned; but be that as it may, the subject was treated by ‘Boz’ in a manner at once so easy, so graphic, and so natural, and yet with such a flow of genuine humour, that the author found himself raised almost at a single step to the highest pinnacle of literary fame. Illustrated at first by poor Seymour, and afterwards by Mr. Hablot K. Brown (‘Phiz’), the Pickwick Papers found an enormous sale from their first appearance, and Mr. Charles Dickens presented himself to the world as their author in 1838.

      The great success of Pickwick naturally led to offers being made to Mr. Dickens by the London publishers; but the author wisely consulted his own reputation, and confined himself to the production of Nicholas Nickleby in a similar style and form. The work was written to expose in detail the cruelties which were practised upon orphans and other neglected children at small and cheap schools, where the sum charged for the board of hungry and growing lads, with everything included, ranges from 16l. to 20l. a year. Mr. Dickens tells us, in the preface to this book, as it stands republished in the collective edition of his works, that it was the result of a personal visit of inspection paid by himself to some nameless ‘Dotheboys’-hall’ amid the wolds of Yorkshire; and the reader who has carefully studied it will with difficulty be persuaded that Mr. Squeers and Mr. John Browdie are not taken from living examples. The work was published in 1839.

      About the same time he commenced in the pages of Bentley’s Miscellany, of which he was the first editor, a tale of a very different cast. Oliver Twist lets the reader into the secrets of life as it was, and, perhaps, still is, to be found too often in workhouses and in the ‘slums’ of London. When finished it was republished as a novel in three volumes, and in that shape too enjoyed an extensive sale. The following year Mr. Dickens undertook the production of a collection of stories in weekly numbers. The series was entitled Master Humphrey’s Clock, and it contained, among other tales, those since republished under the names of The Old Curiosity Shop – famous for its touching episode of ‘Little Nell,’ – and of Barnaby Rudge, which carries the reader back to the days of the Gordon Riots.

      The pen of Mr. Charles Dickens was henceforth almost incessantly at work. About the time of the publication of Master Humphrey’s Clock appeared his Memoirs of Joseph Grimaldi, the celebrated Clown, almost his only production which deals with the plain prose of facts, and with everyday life divested of all imagination. Though much interest attaches to the work, we shall not be suspected of any intention of depreciating the author’s reputation when we say that his imaginative powers rank far higher than his skill as a biographer. In fact, while Pickwick and Nickleby live, Grimaldi is forgotten. After completing Master Humphrey’s Clock Mr. Dickens visited America, where he was received with extraordinary honours. On his return, in 1842, he published the materials which he had collected in the United States under the title ‘American Notes for General Circulation.’ Many of its statements, however, were controverted by American pens in a book entitled Change for American Notes.

      In 1844 he published Martin Chuzzlewit in numbers, like Pickwick and Nicholas Nickleby, and in the summer of the same year visited Italy and Rome. An account of much that he saw and heard in this tour he gave afterwards to the world in the columns of the Daily News, of which he became the first editor. Its first number appeared on January 1, 1846; but after a few months Mr. Dickens withdrew from the editorship, and returned to his former line of humorous serial publications, varying, however, their monthly appearances with occasional stories of a more strictly imaginative cast, called ‘Christmas Books.’ Of these the first, A Christmas Carol, was published so far back as 1843; the second, the Chimes, appeared at Christmas, 1845; the third, the Cricket on the Hearth, followed in 1846; the fourth, the Battle of Life in 1847; and the fifth, the Haunted Man and the Ghost’s Bargain, in 1848.

      Besides these Mr. Dickens has published Dealings with the Firm of Dombey and Son, the History of David Copperfield, Bleak House, Little Dorrit, A Tale of Two Cities, Our Mutual Friend, the Uncommercial Traveller, Great Expectations, and last of all the Mystery of Edwin Drood, of which only three numbers have appeared. In 1850 Mr. Dickens projected a cheap weekly periodical which he called Household Words, and which was published by Messrs. Bradbury and Evans;but, difficulties having arisen between author and publisher, it was discontinued in 1859, and Mr. Dickens commenced in its stead its successor, All the Year Round, which he continued to conduct to the last.

      Mr. Dickens was one of the founders of the Guild of Literature, and was an ardent advocate of reforms in the administration of the Literary Fund. He was also an accomplished amateur performer, and often took part in private theatricals for charitable objects. Of late years he had frequently appeared before the public as a ‘reader’ of the most popular portions of his own works, of which he showed himself to be a most vivid and dramatic interpreter. He retired from this work only in March last, when his reputation stood at its highest. His renderings of his best creations, both humorous and pathetic, of his most stirring scenes and warmest pictures of life, will not readily be forgotten. Men and women, persons and places, we knew all before in the brilliant pages of his novels; but the characters lived with a new life, and the scenes took the shape of reality in the readings of the master. America had an opportunity of appreciating his powers in this direction on the second visit he paid to that country in 1868. That is all over now; but Mr. Dickens, in bidding his last audience farewell, consoled them with the promise that his retirement would be devoted all the more to his original and higher art. His words have scarcely had time to allow of their fulfilment in the way and in the degree in which, doubtless, he hoped to be able to fulfil them. It may be well here to place on record his parting speech on the occasion of his last reading at St. James’s-hall:-

      ‘Ladies and Gentlemen, – It would be worse than idle, it would he hypocritical and unfeeling, if I were to disguise that I close this episode in my life with feelings of very considerable pain. For some 15 years, in this hall and in many kindred places, I have had the honour of presenting my own cherished ideas before you for your recognition; and, in closely observing your reception of them, have enjoyed an amount of artistic delight and enjoyment which, perhaps, it is given to few men to know. In this task, and in every other I have ever undertaken as a faithful servant of the public, always imbued with a sense of duty to them, and always striving to do his best, I have been uniformly cheered by the readiest response, the most generous sympathy, and the most stimulating support. Nevertheless, I have thought it well at the full floodtide of your favour to retire upon those older associations between us which date from much further back than these, and henceforth to devote myself exclusively to the art that first brought us together. Ladies and gentlemen, in but two short weeks from this time I hope that you may enter, in your own homes, on a new series of readings at which my assistance will be indispensable, but from these garish lights I vanish now for evermore, with one heartfelt, grateful, respectful, and affectionate farewell.’

      While Pickwick charms us with its broad humour, it is in Nicholas Nickleby and Oliver

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