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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..93b6e45 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #61760 (https://www.gutenberg.org/ebooks/61760) diff --git a/old/61760-0.txt b/old/61760-0.txt deleted file mode 100644 index 32e6d42..0000000 --- a/old/61760-0.txt +++ /dev/null @@ -1,1966 +0,0 @@ -The Project Gutenberg EBook of Charles Dickens, by -G. K. Chesterton and Frederick George Kitton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Charles Dickens - -Author: G. K. Chesterton - Frederick George Kitton - -Release Date: April 5, 2020 [EBook #61760] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS *** - - - - -Produced by Tim Lindell, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - - - _BY THE SAME AUTHOR._ - - _Both Reduced to 1s. net._ - - Greybeards at Play. - - Literature and Art for Old Gentlemen. - - Rhymes and Sketches, with Cover Design in Nursery Colours. - - By G. K. 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Chesterton is a master of paradox.”--_Dundee Advertiser._ - - “A series of breezy and thoughtful essays.”--_Christian._ - - “Mr. G. K. Chesterton is always interesting and amusing.”--_Echo._ - - “Time and again in reading it we have had to lay it down and lie - back in our chair and laugh. And yet, perhaps, its dominant note is - its noble seriousness.”--_Sheffield Telegraph._ - - “Sufficiently epigrammatic to be piquant.”--_County Gentleman._ - - “The excruciating joy of reading the Essays.”--_Daily News._ - - “Mr. Chesterton has a style that is all his own, a pretty wit and a - happy knack of putting things, combined with a dry humour that - never fails to make the most unlikely subject - interesting.”--_Aberdeen Journal._ - - _Second Edition Ready._ - MORE MATTER. HALF PRICE. - - - R. BRIMLEY JOHNSON, 8, York Buildings, Adelphi, W.C. - - * * * * * - - “THE BOOKMAN” BOOKLETS. - - _A SERIES OF POPULAR - ILLUSTRATED MONOGRAPHS - ON GREAT WRITERS._ - - With half-tone Photogravure - Frontispiece, - Price =1-= each, net. - - - 1. THOMAS CARLYLE. - 2. ROBERT LOUIS STEVENSON. - 3. LEO TOLSTOY. - 4. CHARLES DICKENS. - - - LONDON: HODDER & STOUGHTON, 27, PATERNOSTER ROW, E.C. - - * * * * * - - _“THE BOOKMAN” DIRECTORY FOR 1903_. - - “THE BOOKMAN” DIRECTORY. - - _Edited by - =J. E. Hodder Williams.=_ - - _OF BOOKSELLERS, PUBLISHERS, - AND AUTHORS._ - Revised to date. Small 4to, =3 6= net. - - * * * * * - - THE BOOKMAN A Monthly Journal for Bookreaders, - Bookbuyers, and Booksellers. - - -=_The Bookman_= is edited by Dr. Robertson Nicoll, and is published during -the first week of every month, price =6d.= net. It is the only monthly -magazine devoted exclusively to the interests of book readers. =_The -Bookman_= chronicles the literary life of the day in pictures as well as -letterpress, and is the best illustrated guide to the best books of the -day. =_The Bookman_= makes appeal to every one who is interested in -current literature. It is not a dry-as-dust magazine for specialists. -Every line and every picture it contains is of peculiar interest to the -great and ever increasing public that delights in books. - - - LONDON: HODDER & STOUGHTON, 27, PATERNOSTER ROW, E.C. - -[Illustration: CHARLES DICKENS] - - - - - CHARLES DICKENS - - - BY - - G. K. CHESTERTON - - AND - - F. G. KITTON - - - WITH NUMEROUS ILLUSTRATIONS - - - LONDON - HODDER AND STOUGHTON - 27, PATERNOSTER ROW - 1903 - - - PRINTED BY - HAZELL, WATSON AND VINEY, LD., - LONDON AND AYLESBURY. - - - - -LIST OF ILLUSTRATIONS - - - PAGE - -CHARLES DICKENS _Frontispiece_ - -THE CORN EXCHANGE, ROCHESTER HIGH STREET 1 - -“BOZ” (CHARLES DICKENS). From a Drawing by S. Laurence 2 - -THE BIRTHPLACE OF DICKENS: NO. 387, COMMERCIAL ROAD, LANDPORT, -PORTSEA 3 - -NO. 15, FURNIVAL’S INN, HOLBORN 4 - -THE “LEATHER BOTTLE,” COBHAM 5 - -CHARLES DICKENS IN 1839 (from the Picture by Daniel Maclise, R.A.) 7 - -THE GRAVE OF LITTLE NELL 8 - -THE OLD CURIOSITY SHOP 9 - -CHARLES DICKENS READING “THE CHIMES” TO HIS FRIENDS AT 58, LINCOLN’S -INN FIELDS, MONDAY, THE 2ND OF DECEMBER, 1844 10 - -CHARLES DICKENS, HIS WIFE, AND HER SISTER (from a Pencil Drawing by -Daniel Maclise, R.A., in 1843) 11 - -DOTHEBOYS HALL, 1841 12 - -CHARLES DICKENS AS CAPTAIN BOBADIL IN “EVERY MAN IN HIS HUMOUR” 12 - -A PORTRAIT OF CHARLES DICKENS IN 1842. By Count D’Orsay 13 - -CHARLES DICKENS IN 1851 14 - -DICKENS’S FAVOURITE RAVEN 15 - -CHARLES DICKENS IN 1855 (from the Painting by Ary Scheffer) 16 - -TAVISTOCK HOUSE, TAVISTOCK SQUARE 17 - -EASTGATE HOUSE, ROCHESTER (THE ORIGINAL OF THE NUNS’ HOUSE IN “THE -MYSTERY OF EDWIN DROOD”) 18 - -CHARLES DICKENS IN 1844 19 - -CHARLES DICKENS AT WORK 20 - -NO. 1, DEVONSHIRE TERRACE (Dickens’s Residence from 1839 to 1850) 22 - -CHARLES DICKENS IN 1859 (after the Painting by W. P. Frith, A.R.A.) 23 - -CHARLES DICKENS GIVING A READING, 1861 24 - -CHARLES DICKENS DRIVING WITH MEMBERS OF HIS FAMILY 25 - -GAD’S HILL PLACE, NEAR ROCHESTER, KENT 26 - -MRS. CHARLES DICKENS 27 - -RESTORATION HOUSE (THE “SATIS HOUSE” OF “GREAT EXPECTATIONS”) 28 - -THE BULL HOTEL, ROCHESTER 28 - -A PORTRAIT OF CHARLES DICKENS ABOUT THE AGE OF 50 29 - -CHARLES DICKENS, _circa_ 1864 30 - -CHARLES DICKENS, _circa_ 1864 31 - -A PORTION OF DICKENS’S MS. TAKEN FROM “THE CHRISTMAS CAROL” 32 - -CHARLES DICKENS (from a Photograph) 33 - -THE GATEHOUSE, ROCHESTER 34 - -THE HOUSE OF THE SIX POOR TRAVELLERS AT ROCHESTER 35 - -CHARLES DICKENS IN 1861 37 - -THE GRAVE OF CHARLES DICKENS IN WESTMINSTER ABBEY (from a Water-colour -Drawing by S. Luke Fildes, R.A.) 38 - - - - -CHARLES DICKENS - - -[Illustration: - - _From a photo by Walter Dexter_ - -THE CORN EXCHANGE, ROCHESTER HIGH STREET - -Showing the “Moon-faced” Clock] - -Considered merely as literary fashions, romanticism and realism are both -tricks, and tricks alone. The only advantage lies with romanticism, -which is a little less artificial and technical than realism. For the -great majority of people here and now do naturally write romanticism, as -we see it in a love-letter, or a diary, or a quarrel, and nobody on -earth naturally writes realism as we see it in a description by -Flaubert. But both are technical dodges and realism only the more -eccentric. It is a trick to make things happen harmoniously always, and -it is a trick to make them always happen discordantly. It is a trick to -make a heroine, in the act of accepting a lover, suddenly aureoled by a -chance burst of sunshine, and then to call it romance. But it is quite -as much of a trick to make her, in the act of accepting a lover, drop -her umbrella, or trip over a hassock, and then call it the bold plain -realism of life. If any one wishes to satisfy himself as to how -excessively little this technical realism has to do, I do not say with -profound reality, but even with casual truth to life, let him make a -simple experiment offered to him by the history of literature. Let him -ask what is of all English books the book most full of this masterly -technical realism, most full of all these arresting details, all these -convincing irrelevancies, all these impedimenta of prosaic life; and -then as far as truth to life is concerned he will find that it is a -story about men as big as houses and men as small as dandelions, about -horses with human souls and an island that flew like a balloon. - -[Illustration: - -“BOZ” - -(CHARLES DICKENS) - -_From a drawing -by S. Laurence, in the -possession of Horace N. Pym_ - -Rischgitz Collection] - -[Illustration: THE BIRTHPLACE OF DICKENS: No. 387, COMMERCIAL ROAD, -LANDPORT, PORTSEA - -(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)] - -We can never understand a writer of the old romantic school, even if he -is as great and splendid as Dickens is great and splendid, until we -realise this preliminary fact to which I have drawn attention. The fact -that these merely technical changes are merely technical, and have -nothing whatever to do with the force and truth behind. We are bound to -find a considerable amount of Dickens’s work, especially the pathetic -and heroic passages, artificial and pompous. But that is only because we -are far enough off his trick or device to see that it is such. Our own -trick and device we believe to be as natural as the eternal hills. It is -no more natural, even when compared with the Dickens devices, than a -rockery is natural, even when compared with a Dutch flower bed. The time -will come when the wildest upheaval of Zolaism, when the most abrupt and -colloquial dialogue of Norwegian drama, will appear a fine old piece of - -[Illustration: No. 15, FURNIVAL’S INN, HOLBORN - -Charles Dickens lived in 1836 - -(Reproduced by kind permission of Messrs. Methuen & Co.)] - -charming affectation, a stilted minuet of literature, like little Nell -in the churchyard, or the repentance of the white-haired Dombey. All -their catchwords will have become catchwords; the professor’s - -[Illustration: THE “LEATHER BOTTLE,” COBHAM - -(Reproduced from the “Pickwick Papers,” by kind permission of Messrs. -Methuen & Co.)] - -explanations of heredity will have the mellow, foolish sound of the -villain’s curses against destiny. And in that time men will for the -first time become aware of the real truth and magnificence of Zola and -Ibsen, just as we, if we are wise, are now becoming aware of the real -truth and magnificence of Dickens. - -This is even more true if we look first at that fundamental optimistic -feeling about life, which as it has been often and truly said is the -main essence of Dickens. If Dickens’s optimism had merely been a matter -of happy endings, reconciliations, and orange flowers, it would be a -mere superficial art or craft. But it would not, as in the case -discussed above, be in any way more superficial than the pessimism of -the modern episode, or short story, which is an affair of bad endings, -disillusionments, and arsenic. The truth about life is that joy and -sorrow are mingled in an almost rhythmical alternation like day and -night. The whole of optimistic technique consists in the dodge of -breaking off the story at dawn, and the whole of pessimistic technique -in the art of breaking off the story at dusk. But wherever and whenever -mere artists choose to consider the matter ended, the matter is never -ended, and trouble and exultation go on in a design larger than any of -ours, neither vanishing at all. Beyond our greatest happiness there lie -dangers, and after our greatest dangers there remaineth a rest. - -But the element in Dickens which we are forced to call by the foolish -and unmanageable word optimism is a very much deeper and more real -matter than any question of plot and conclusion. If Mr. Pickwick had -been drowned when he fell through the ice; if Mr. Dick Swiveller had -never recovered from the fever, these catastrophes might have been -artistically inappropriate, but they would not have sufficed to make the -stories sad. If Sam Weller had committed suicide from religious -difficulties, if Florence Dombey had been murdered (most justly -murdered) by Captain Cuttle, the stories would still be the happiest -stories in the world. For their happiness is a state of the soul; a -state in which our natures are full of the wine of an ancient youth, in -which banquets last for ever, and roads lead everywhere, where all -things are under the exuberant leadership of faith, hope, and charity, -the three gayest of the virtues. - -[Illustration: CHARLES DICKENS IN 1839 - -From the picture by Daniel Maclise, R.A. Exhibited at the Royal Academy -in 1840, and now in the National Portrait Gallery - -Rischgitz Collection] - -[Illustration: _From a drawing by G. Cattermole in the South Kensington -Museum_ - -THE GRAVE OF LITTLE NELL - -Rischgitz Collection] - -There is, of course, an optimism which is evil and debasing, and to this -it must be confessed that Dickens sometimes descends. The worst optimism -is that which, in making things comfortable, prevents them from becoming -joyful; it bears the same relation to an essential and true optimism -that the pleasure of sitting in an arm-chair bears to the pleasure of -sitting on a galloping horse. It is the optimism which denies that -burning hurts a martyr. More profoundly considered, it may be called the -optimism which, in order to give a being more life, denies him his -individual life; in order to give him more pleasure, denies him his -especial pleasure. It offers the hunter repose, and the student -pleasure, and the poet an explanation. Dickens, as I have said, -sometimes fell into this. Nothing could be more atrocious, for instance, -than his course of action in concluding “David Copperfield” with an -account of the great Micawber at last finding wealth and success as a -mayor in Australia. Micawber would never succeed; never ought to -succeed; his kingdom was not of this world. His mind to him a kingdom -was; he was one of those splendid and triumphant poor, who have the -faculty of capturing, without a coin of money or a stroke of work, that -ultimate sense of possessing wealth and luxury, which is the only reward -of the toils and crimes of the rich. It is but a sentiment after all, -this idea of money, and a poor man who is also a poet, like Micawber, -may find a short end to it. To make such a man, after a million mental -triumphs over material circumstances, become the mere pauper and -dependent of material success, is something more than an artistic -blunder: it is a moral lapse; it is a wicked and blasphemous thing to -have done. The end of “David Copperfield” is not a happy ending; it is a -very miserable ending. To make Micawber a mayor is about as satisfying a -termination as it would be to make Sir Lancelot after Arthur’s death -become a pork butcher or a millionaire, or to make Enoch Arden grow fat -and marry an heiress. There is a satisfaction that is far more -depressing than any tragedy. And the essence of it, as I have said, lies -in the fact that it violates the real and profound philosophical -optimism of the universe, which has given to each thing its -incommunicable air and its strange reason for living. It offers instead, -another joy or peace which is alien and nauseous; it offers grass to the -dog and fire to the fishes. It is, indeed, in the same tradition as that -cruel and detestable kindness to animals, which has been one of the -disgraces of humanity: from the modern lady who pulls a fat dog on a -chain through a crowded highway, back to the Roman Cæsar who fed his -horse on wine, and made it a political magistrate. - -[Illustration: - - _From a photo by Walter Dexter_ - -THE OLD CURIOSITY SHOP] - -The same error in an even more irreverent form occurs, of course, in the -same book. The essence of the Dickens genius was - -[Illustration: - - _From an engraving by C. H. Jeens, after the original sketch by - Daniel Maclise, R.A._ - -CHARLES DICKENS READING “THE CHIMES” TO HIS FRIENDS AT 58, LINCOLN’S INN -FIELDS, MONDAY, THE 2nd OF DECEMBER, 1844 - -Rischgitz Collection] - -exaggeration, and in that general sense Dora, in “David Copperfield,” -may be called an exaggerated character; but she is an extremely real and -an extremely agreeable character for all that. She is supposed to be -very weak and ineffectual, but she has about a hundred times more -personal character than all Dickens’s waxwork heroines put together, the -unendurable Agnes by no means excluded. It almost passes comprehension -how a man who could conceive such a character should so insult it, as -Dickens does, in making Dora recommend her husband’s second marriage -with Agnes. Dora, who stands for the profound and exquisite -irrationality of simple affection, is made the author of a piece of -priggish and dehumanised rationalism which is worthy of Miss Agnes -herself. One could easily respect such a husband when he married again, - -[Illustration: CHARLES DICKENS, HIS WIFE, AND HER SISTER - -_From an engraving by C. H. Jeens after the original sketch by Daniel -Maclise, R.A., in 1843_ - -Rischgitz Collection] - -but surely not such a wife when she desired it. The truth is, of course, -that here again Dickens is following his evil genius which bade him make -those he loved comfortable instead of happy. It may seem at first sight -a paradox to say that the special fault of optimism is a lack of faith -in God: but so it is. There are some whom we should not seek to make -comfortable: their appeasement is in more awful hands. There are -conflicts, the reconciliation of which lies beyond the powers not only -of human effort but of human rational conception. One of them is the -reconciliation between good and evil themselves in the scheme of nature; -another is the reconciliation of Dora and Agnes. To say that we know -they will be reconciled is faith; to say that we see that they will be -reconciled is blasphemy. - -[Illustration: _From a drawing by Miss Ryland, in the South Kensington -Museum_ - -DOTHEBOYS HALL, 1841 - -Rischgitz Collection] - -[Illustration: _From the painting by C. R. Leslie, R.A. Exhibited in the -Royal Academy in 1846_ - -CHARLES DICKENS AS CAPTAIN BOBADIL IN “EVERY MAN IN HIS HUMOUR” - -(Reproduced from _The Sketch_, by kind permission of the London -Electrotype Agency)] - -Dickens was, of course, as is repeated _ad nauseam_, a caricaturist, and -when we have understood this word we have understood the whole matter; -but in truth the word, caricaturist, is commonly misunderstood; it is -even, in the case of men like Dickens, used as implying a reproach. -Whereas it has no more reproach in it than the word organist. Caricature -is not merely an important form of art; it is a form of art which is -often most useful for purposes of profound philosophy and powerful -symbolism. The age of scepticism put caricature into ephemeral -feuilletons; but the ages of faith built - -[Illustration: _From a lithograph, after the drawing by Alfred Count -D’Orsay_ - -A PORTRAIT OF CHARLES DICKENS IN 1842 - -Reproduced from _The Magazine of Art_, by kind permission of Messrs. -Cassell & Co., Ltd.] - -caricatures into their churches of everlasting stone. One extraordinary -idea has been constantly repeated, the idea that it is very easy to make -a mere caricature of anything. As a matter of fact it is - -[Illustration: - - _From an etching after a daguerreotype by Mayall_ - -CHARLES DICKENS IN 1851] - -[Illustration: DICKENS’S FAVOURITE RAVEN - -The original of “Grip” in “Barnaby Rudge.” After death the famous bird -was stuffed, and when sold at the Dickens Sale it realised £126 - -(Reproduced by kind permission of the London Stereoscopic Co.)] - -extraordinarily difficult, for it implies a knowledge of what part of a -thing to caricature. To reproduce the proportions of a face, exactly as -they are, is a comparatively safe adventure; to arrange those features -in an entirely new proportion, and yet retain a resemblance, argues a -very delicate instinct for what features are really the characteristic -and essential ones. Caricature is only easy when it so happens that the -people depicted, like Cyrano de Bergerac, are more or less caricatures -themselves. In other words caricature is only easy when it does not -caricature very much. But to see an ordinary intelligent face in the -street, and to know that, with the nose three times as long and the head -twice as broad, it will still be a startling likeness, argues a profound -insight into truth. “Caricature,” said Sir Willoughby Patterne, in his -fatuous way, “is rough truth.” It is not; it is subtle truth. This is -what gives Dickens his unquestionable place among artists. He realised -thoroughly a certain phase or atmosphere of existence, and he knew the -precise strokes and touches that would bring it home to the reader. That -Dickens phase or atmosphere may be roughly defined as the phase of a -vivid sociability in which every - -[Illustration: - - _From the painting by Ary Scheller, in the National Portrait - Gallery_ - -CHARLES DICKENS IN 1855 - -Rischgitz Collection] - -[Illustration: TAVISTOCK HOUSE, TAVISTOCK SQUARE - - Where Dickens resided for nearly nine years, dating from November, - 1851. - - (From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind - permission of Messrs. S. T. Freemantle & Co.)] - -man becomes unusually and startlingly himself. A good caricature will -sometimes seem more like the original than the original: so it is in the -greatest moments of social life. He is an unfortunate man; a man -unfitted to value life and certainly unfitted to value Dickens, who has -not sat at some table or talked in some company in which every one was -in character, each a beautiful caricature of himself. - -G. K. CHESTERTON. - -[Illustration: EASTGATE HOUSE, ROCHESTER (THE ORIGINAL OF THE NUNS’ -HOUSE IN “THE MYSTERY OF EDWIN DROOD”) - -(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)] - - - - -CHARLES DICKENS - -A BIOGRAPHICAL SKETCH - - -The asseveration that “Dickens” is “a name to conjure with” seems almost -a truism. The innumerable editions of his works so constantly pouring -from the press abundantly testify to the continued and unabated -popularity of the most famous writer of fiction of the Victorian epoch. -As regards the circumstances appertaining to his career the start in -life under harassing conditions, the brilliant success attending his -initial efforts in authorship, the manner in which he took the world by -storm and retained his grip of the public by the sheer force of -genius--there is, I venture to believe, no parallel in the history of -literature. Born in a humble station of life, his early years spent in -the midst of an uncongenial (not to say demoralising) environment, his -natural gifts, combined with almost superhuman powers of perseverance, -enabled him to overcome obstacles which would have deterred ordinary -men, with the result that he rapidly attained the topmost rung of the -ladder of fame, and remained there. - -[Illustration: CHARLES DICKENS IN 1844 - - _From a Miniature by Miss Margaret Gillies exhibited in the Royal - Academy, 1844. Engraved on wood by R. Taylor for “The Magazine of - Art”_ - -(Reproduced from _The Magazine of Art_, by kind permission of Messrs. -Cassell & Co., Ltd.)] - -Although the leading incidents in the life of Charles Dickens are -generally familiar, thanks to the various biographies of him published -from time to time, a few facts, briefly stated, will not, I hope, be -devoid of interest. The novelist first saw the light at No. 387, -Commercial Road, Mile End, Landport, in the Island of Portsea. Like -David Copperfield, he was born on a Friday, the natal day being February -7th, 1812. The baptismal register of Portsea Parish Church (St. Mary’s, -Kingston), where he was christened, records that three names were -bestowed upon him, Charles John Huffam, the second being that of his -father, and the third the cognomen of his godfather, Christopher Huffam, -a “Rigger to his Majesty’s Navy,” who lived at Limehouse Hole, on the -north bank of the Thames. The birthplace in Landport--still existing is -an unpretentious tenement of two storeys, surmounted by a dormer window, -and fronted by a small railed-in garden. John Dickens, the father of -Charles, had filled a clerical - -[Illustration: - - _From a photo by Fradelle & Young_ - -CHARLES DICKENS AT WORK] - -position in the Navy Pay Office, Somerset House, whence he was -transferred to a similar post at Portsea. About four years after the -birth of Charles (the second child), the Dickens family removed to -Chatham, residing there until the boy was eleven years old. It was at -Chatham where he first went to school, and where he, being endowed with -exceptional powers of observation, imbibed his earliest impressions of -humanity, to be subsequently made available as material for his -inimitable sketches. - -London, however, was again to be the home of John Dickens--the mighty -metropolis which, with its phantasmagoria of life in its every aspect, -its human comedies and tragedies, ever attracted the great writer, whose -magic pen revelled in the delineation of them. It was in 1823 that the -Dickens family took up their residence in Bayham Street, Camden -Town--then the poorest part of the London suburbs. There had come a -crisis in the affairs of the elder Dickens which necessitated the -strictest economy, and the house in Bayham Street (which may still be -seen at No. 141) was nothing but “a mean tenement, with a wretched -little back garden abutting on a squalid court.” This was the beginning -of a sad and bitter experience in the life of Charles Dickens. Here he -seemed to fall into a solitary condition, apart from all other boys of -his own age, and, recalling the circumstances in after years, he -observed to Forster: “As I thought, in the little back-garret in Bayham -Street, of all I had lost in losing Chatham, what would I have given, if -I had had anything to give, to have been sent back to any other school, -to have been taught something anywhere?” Not only did the exceptionally -intelligent lad miss the pleasures of association with his schoolfellows -and playmates at Chatham, but he no longer had recourse to the famous -books whose acquaintance he had made there.--“Don Quixote,” “Robinson -Crusoe,” “The Arabian Nights,” _et hoc genus omne_--which, as admirers -of his works will remember, he was so fond of quoting. The account given -by Forster of the Bayham Street days is painful reading, and we are -told that, thus living under circumstances of a hopeless and struggling -poverty, the extreme sensitiveness of the boy caused him to experience -acute mental suffering. - -[Illustration: - - _From a photo by Ellis & Wallery_ - -No. 1. DEVONSHIRE TERRACE - -Dickens’s residence from 1839 to 1850, where much of his best work was -done - -(Reproduced from _The Windsor Magazine_ by kind permission of the -Editor)] - -After a short residence in Bayham Street, the family removed their -belongings to Gower Street North (the identical house was demolished a -few years ago), and an effort was made to bring grist to the mill by an -attempt on the part of Mrs. Dickens to start a school for young ladies; -but the venture proved abortive, notwithstanding the fact that Charles -did his utmost to aid the project by leaving “at a great many doors, a -great many circulars,” calling attention to the advantages of the -establishment. John Dickens’s financial difficulties increased, -tradesmen became pertinacious in their claims for a settlement of -long-standing debts, which could not be met, until at last the father -was arrested, and lodged in a debtors prison--events - -[Illustration: - - _After the painting by W. P. Frith, A.R.A., in the Forster - Collection at the South Kensington Museum_ - -CHARLES DICKENS IN 1859 - -Rischgitz Collection] - -which the novelist afterwards vividly recalled, and which will be found -duly set forth in “David Copperfield.” - -[Illustration: CHARLES DICKENS GIVING A READING, 1861 - -_From a photo by Fradelle & Young_] - -It was at this awkward juncture that some relatives of the family, named -Lamert, realising that an opportunity should be given to the poor -neglected lad of earning a livelihood, found him an occupation in their -blacking-manufactory (started in opposition to the famous Warren), and -here he earned a few shillings a week by covering and labelling pots of -paste blacking! While infinitely preferable to a state of enforced -idleness under demoralising conditions, the boy’s experience during what -is usually referred to as “the blacking-bottle period” for ever remained -a terrible nightmare, and the novelist pointedly referred to that -unhappy time when in “David Copperfield” he observed that no one could -express “the secret agony” of his soul as he sank into the companionship -of those by whom he was then surrounded, and felt his “early hopes of -growing up to be a learned and distinguished man” crushed in his breast. -In respect of a miserable and neglected boyhood, Alphonse Daudet -suffered as did Charles Dickens, and, phœnix-like, both emerged -triumphantly from the ashes of what to them appeared to be a cruel -conflagration of their desires and aspirations. - -[Illustration: CHARLES DICKENS DRIVING WITH MEMBERS OF HIS FAMILY - -Reproduced from _The Favourite Magazine_, by kind permission of Messrs. -Paul Naumann, Ltd.] - -There is no doubt that the ordeal of poverty, with its unhappy -accompaniments, had counteracting advantages in the case of Charles -Dickens: his natural abilities were sharpened, as well as his powers of -observation, his excellent memory enabling him in after years to record -those actualities of life which render his books a perpetual joy and -delight. Fortunately, brighter days were in store. The elder Dickens (in -whom it is easy to detect glimpses of Mr. Micawber) was in a position -to send Charles to a reputable school in the Hampstead Road, known as -Wellington House Academy (still standing), where he remained two years, -and on leaving it he entered another scholastic establishment near -Brunswick Square, there completing his studies, rudimentary at the best. - -[Illustration: GAD’S HILL PLACE, NEAR ROCHESTER, KENT. - -The last residence of Charles Dickens - -(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)] - -The year 1827 proved a memorable one for the subject of this sketch, for -then it was that he, in his fifteenth year, “began life,” first as a -clerk in a lawyer’s office in Lincoln’s Inn, and then acting in a -similar capacity for a firm of attorneys in Gray’s Inn, where his weekly -salary amounted to something under a sovereign. As was his wont, he made -mental memoranda of his environment, noting the manners, customs, and -peculiarities of lawyers, their clerks and clients, for the result of -which one needs only to turn to the pages of the immortal “Pickwick.” -His father, who had left the Navy Pay Office, turned his attention to -journalism, and at this time had become a newspaper parliamentary -reporter. Charles, craving for a similar occupation, in which he -believed there might be an opening for greater things, resolutely -determined to study shorthand, and became an assiduous attendant at the -British Museum. His persevering struggle with the mysteries of -stenography was recalled when recording David Copperfield’s -experience--a struggle resulting in ultimate victory. Following in his -father’s footsteps, he, at the age of nineteen, succeeded in obtaining -an appointment as a reporter in the Press Gallery at the House of -Commons, where he was presently acknowledged to be the most skilful -shorthand writer among the many so engaged there. - -[Illustration: - - _From a photo by C. Watkins_ - -MRS. CHARLES DICKENS - -The Novelist’s widow died in 1879] - -Dickens had just attained his majority when, in 1833, he essayed to -venture into the realm of fiction. He has himself related how, one -evening at twilight, he stealthily entered “a dark court” in Fleet -Street (it was Johnson’s Court), and with fear and trembling dropped -into “a dark letter-box” the manuscript of his first paper--a humorous -sketch entitled “A Dinner at Poplar Walk” (afterwards called “Mr. Minns -and his Cousin”); and how, when it “appeared in all the glory of print,” -he walked down to Westminster Hall, and turned into it for half an hour, -because (he explains) his eyes “were so dimmed with joy and pride, that -they could not bear the street, and were not fit to be seen there.” To -this initial effort (which was published in the old _Monthly Magazine_, -December, 1833) there is a slight reference in the forty-second chapter -of “David Copperfield,” where the youthful hero intimates that he -“wrote a little something, in secret, and sent it to a magazine, and it -was published in the magazine.” His journeys across country by coach or -postchaise, when reporting for his newspaper (the _Morning Chronicle_), -proved invaluable from a literary standpoint, inasmuch as those -expeditions by day and night and in all seasons afforded him special -opportunities of studying human idiosyncrasies, as he necessarily came -into contact with “all sorts and conditions of men.” - -[Illustration: - - _From a photo by Walter Dexter_ - -RESTORATION HOUSE (THE “SATIS HOUSE” OF “GREAT EXPECTATIONS”)] - -[Illustration: - - _From a photo by Walter Dexter_ - -THE BULL HOTEL, ROCHESTER - -“Good house--nice beds....” _Vide_ “Pickwick”] - -The success of his little paper in the _Monthly Magazine_ induced him to -try his hand at others, for gratuitous publication in the same journal. -They bore no signature until the sixth sketch appeared, when he adopted -the curious pseudonym of “Boz”: this had for some time previously been -to him - -[Illustration: - - _From a photo by Mason & Co._ - -A PORTRAIT OF CHARLES DICKENS AT ABOUT THE AGE OF 50 - -Rischgitz Collection] - -a familiar household word, as it was the nickname of his youngest -brother, Augustus, whom (in honour of “The Vicar of Wakefield,” one of -his favourite books) he had dubbed Moses, which, being facetiously -pronounced through the nose, became Boses, and being shortened became -Boz. - -[Illustration: CHARLES DICKENS, _circa_ 1864 - -(Reproduced from _The Favourite Magazine_, by kind permission of Messrs. -Paul Naumann, Ltd.)] - -The time had now arrived when he considered himself justified in -endeavouring to increase his stipend as a reporter for the _Morning -Chronicle_ by offering to contribute to its pages a similar series of -sketches, for which he should be remunerated, and the proposal was -acceded to. Accordingly we find several papers signed “Boz” in the -_Evening Chronicle_, an offshoot of the _Morning Chronicle_. Some of his -sketches of “Scenes and Characters” (signed “Tibbs”) appeared -simultaneously in _Bell’s Life in London_, and a couple also in “The -Library of Fiction,” edited by Charles Whitehead. Early in 1836 Dickens -collected together a number of these bright little articles and stories, -and sold the copyright for £100 to Macrone, who published them in two -volumes under the title of “Sketches by Boz.” - -Although remarkable for their humour and originality, the “Boz” sketches -were presently to be eclipsed by a work which immediately took the world -by storm, and upon which the reputation of Dickens securely rests. I -allude to the ever fascinating “Pickwick Papers,” and perhaps the most -extraordinary circumstance in connection therewith is the fact that the -author was then only three-and-twenty. - -[Illustration: CHARLES DICKENS, _circa_ 1864 - -(Reproduced from _The Favourite Magazine_, by kind permission of Messrs. -Paul Naumann, Ltd.)] - -his book rapidly achieving a degree of popularity which we cannot but -regard as astounding even in these days of large editions. The “Pickwick -Papers” originated in this way. The junior partner of what was then a -young publishing house, Messrs. Chapman & Hall (now a leading London -firm), called upon the rising author at his rooms in Furnival’s Inn with -a proposition that he should furnish the letterpress for a “monthly -something” that should be a vehicle for certain sporting-plates by a -humorous draughtsman named Seymour. The first idea of a sort of Nimrod -Club did not appeal to Dickens, for the excellent reason that he was no -sportsman, and it was therefore eventually decided that, having agreed -to supply the text, he should exercise a free hand, allowing the -illustrations to arise naturally from the text. To give a complete -history of the “Pickwick Papers” would occupy considerable space. -Suffice it to say that the book was issued in shilling monthly parts -(1836-37), then a favourite method of publishing novels, and -consistently adopted by Dickens; that it was illustrated by means of -etchings; that the sale of the first few numbers was so small that both -publishers and author were in despair; and that the success of the work -was assured as soon as Sam Weller made his first bow to the public--a -character which, by reason of its freshness and originality, called -forth such admiration that the sale of ensuing numbers increased until -a circulation of forty thousand copies was attained! The creation of -Sam Weller, therefore, was the turning-point in Dickens’s fortune, and -so great became the popularity of the book that the name of “Pickwick” -was bestowed by enterprising tradesmen upon their newest goods, while -portraits of Dickens himself were in the ascendant. People of every -degree, young and old, revelled in the pages of the “Pickwick -Papers”--judges on the bench as well as boys in the street; and we are -reminded of Carlyle’s anecdote of a solemn clergyman who, as he left the -room of a sick person to whom he had been administering ghostly -consolation, heard the invalid ejaculate, “Well, thank God, ‘Pickwick’ -[the monthly number] will be out in ten days, anyway!” - -[Illustration: A PORTION OF DICKENS’S MS. TAKEN FROM “THE CHRISTMAS -CAROL”] - -The identity of the author of “Pickwick,” by-the-bye, was not disclosed -until that work was nearly completed. It had given rise to much -conjecture until the name of the young writer was at length revealed, -when the following “Impromptu” appeared in _Bentley’s Miscellany_: - - Who the _dickens_ “Boz” could be - Puzzled many a learned elf, - Till time revealed the mystery, - And “Boz” appeared as _Dickens_’ self. - -[Illustration: - - _From a photo by Fradelle & Young_ - -CHARLES DICKENS] - -[Illustration: - - _From a photo by Walter Dexter_ - -THE GATEHOUSE, ROCHESTER - -Where Jasper lived with the Verger Tope (“Edwin Drood”)] - -As soon as the first number of the “Pickwick Papers” was launched (that -is, in April, 1836), its author took unto himself a wife, the bride -being Miss Catherine Thomson Hogarth, eldest daughter of Mr. George -Hogarth, his fellow-worker on the _Morning Chronicle_. By her he had -several children, and among those surviving are Mrs. Kate Perugini, a -clever painter, and Mr. Henry Fielding Dickens, the eminent K.C. Mrs. -Dickens survived her husband nine years and five months. - -Before the last of the twenty numbers of “Pickwick “ was launched, the -author became a public favourite. Certain sage prophets foretold that as -“Boz” had risen like a rocket, he would of a surety fall like the stick. -But, as events proved, they were wrong, for Dickens not only became the -most popular novelist of the ’thirties and ’forties, but, by the sheer -strength of his genius, maintained that supremacy. Story after story -flowed from his pen, each characterised by originality of conception, -each instinct with a love of humanity in its humblest form, each -noteworthy for its humour and its pathos, and nearly every one “a novel -with a purpose,” having in view the exposure of some great social evil -and its ultimate suppression. - -Following “Pickwick” came “Oliver Twist,” attacking the Poor Laws and -“Bumbledom”; “Nicholas Nickleby,” marking down the cheap -boarding-schools of Yorkshire; “The Old Curiosity Shop” and “Barnaby -Rudge”; “Martin Chuzzlewit”; “Dombey & Son”; “David Copperfield”; -“Bleak House,” holding up to ridicule and contempt the abuse of Chancery -practice; “Little Dorrit”; “A Tale of Two Cities”; “Great Expectations”; -“Our Mutual Friend”; and, finally, the unfinished fragment of “The -Mystery of Edwin Drood,” to which Longfellow referred as “certainly one -of his most beautiful works, if not the most beautiful of all.” - -[Illustration: - - _From a photo by Walter Dexter_ - -THE HOUSE OF THE SIX POOR TRAVELLERS AT ROCHESTER] - -Of his many minor writings, special mention should be made of the -attractive series of Christmas Books, the first of which, “A Christmas -Carol,” has become almost a text-book; and we know that, by the reading -aloud of this touching little allegory to enthusiastic audiences, Sir -Squire Bancroft has afforded substantial aid to many deserving -charities. Dickens is appropriately termed “the Apostle of Christmas,” -and it is undoubtedly true that his Yuletide stories were the pioneers -of Christmas literature. - -Having thus briefly reviewed the literary career of Charles Dickens, it -becomes almost essential to consider him from a personal and social -point of view, in order to thoroughly realise what manner of man he was. -Referring to his personal characteristics, Forster says that to his -friends (and their name was legion) Dickens was “the pleasantest of -companions, with whom they forgot that he had ever written anything, and -felt only the charm which a nature of such capacity for supreme -enjoyment causes every one around it to enjoy. His talk was unaffected -and natural, never bookish in the smallest degree. He was quite up to -the average of well-read men; but as there was no ostentation of it in -his writing, so neither was there in his conversation. This was so -attractive because so keenly observant, and lighted up with so many -touches of humorous fancy; but with every possible thing to give relish -to it, there were not many things to bring away.” He thoroughly endorsed -the axiom that “what is worth doing at all is worth doing well.” He was -most methodical in his habits, and energetic to a degree. “In quick and -varied sympathy, in ready adaptation to every whim and humour, in help -to any mirth or game, he stood for a dozen men.... His versatility made -him unique.” - -Concerning the novelist’s personality, the following testimony has -recently been placed on record by Mr. Percy Fitzgerald, a surviving -member of the “Dickens Brigade” of young men who revered him as “the -Master”: “I say advisedly, there was, and never could be, so genial, -amiable, unaffected, and untiring a person in his treatment of friends -and guests. He was always eager to listen rather than to speak--to take -a second or third place; more anxious to hear, rather than to tell, an -amusing story. His very presence was enough, with the bright, radiant -face, the glowing, searching eyes, which had a language of their own, -and the expressive mouth. You could see the gleam of a humorous thought, -first twinkling there, and had a certain foretaste and even -understanding of what was coming; then it spread downwards the mobile -muscles of his cheek began to quiver; then it came lower, to the -expressive mouth, working under shelter of the grizzled moustache; then, -finally, thus prepared for, came the humorous utterance itself!” - -Dickens was intensely fond of the Drama, as evidenced not only by the -frequent reference in his writings to theatres and actors, but by the -fact that he himself was an actor of an exceptionally - -[Illustration: CHARLES DICKENS IN 1861 - -_From a Photograph by J. Watkins_ - -Rischgitz Collection] - -high order, and it is conceded that had he adopted the stage as a -profession he would have attained first rank. Indeed, it was by the -merest accident that he did not enter the profession, for when he was -about twenty he applied for an engagement to the stage-manager at Covent -Garden Theatre, and an appointment was made, which Dickens failed to -keep on account of a terribly bad cold. After that he never resumed the -idea. In later years he became the leading spirit of a wonderful -company of amateur actors, who, on one occasion, performed before her -late Majesty Queen Victoria, by special request. Sir John Tenniel is now -the sole survivor of that merry confraternity. - -[Illustration: THE GRAVE OF CHARLES DICKENS IN WESTMINSTER ABBEY - -_From a water-colour drawing, by S. Luke Fildes, R.A._ - -Reproduced by special permission of the Artist.] - -As a reader, too, Dickens stood pre-eminent. It has lately transpired -that his very first public reading took place, early in the fifties, at -Chatham, in aid of the Rochester and Chatham Mechanics’ Institution, and -the subject of the reading was the “Christmas Carol.” He gave public -readings from his own works both in Great Britain and America, and an -entertaining account of these tours may be found in Mr. George Dolby’s -volume, “Charles Dickens as I Knew Him.” There can be no doubt that the -mental tension caused by these readings (which covered a period of some -fifteen years), supplemented by the strain of literary and editorial -labours, curtailed the brilliant career of England’s greatest novelist. -It was at his charming rural retreat, Gad’s Hill Place, near Rochester -(his home from 1856), that Charles Dickens breathed his last, on June -9th, 1870, in his fifty-ninth year. “Before the news of his death even -reached the remoter parts of England,” says Forster, “it had been -flashed across Europe; was known in the distant continents of India, -Australia, and America; and not in English-speaking communities only, -but in every country of the civilised earth, had awakened grief and -sympathy. In his own land it was as if a personal bereavement had -befallen everyone.” Although he himself would have preferred to lie in -the small graveyard under the ancient wall of Rochester Castle, or in -the pretty Kentish churchyard of Cobham or Shorne, public sentiment -favoured the suggestion that the mortal remains of Charles Dickens -should be interred in Westminster Abbey; and there, in Poets’ Corner, -they were laid to rest, quietly and unostentatiously. What Carlyle said -of him, a few days later, will meet with universal acceptance:-- - -“The good, the gentle, high gifted, ever friendly, noble Dickens,--every -inch of him an Honest Man.” - -F. G. KITTON. - - - - -NOTES ON THE ILLUSTRATIONS - -[Sidenote: =The Birthplace of Charles Dickens, No. 387, Commercial Road, -Landport, Portsea= - -_see page 3_] - -[Sidenote: =Rochester High Street, showing the “moon-faced” clock= - -_see page 1_] - - -Charles Dickens was born at No. 387, Commercial Road, Landport, Portsea, -on Friday, February 7th, 1812. He was the second son of John Dickens, a -clerk in the Navy Pay office, who married Miss Elizabeth Barrow, and had -a family of eight children, two of whom died in childhood. Of his very -earliest days Charles Dickens retained many distinct and durable -impressions. He even recollected the small front garden of the house at -Portsea, from which he was taken away at the age of two years, and where -he played with his elder sister whilst watched by a nurse through the -kitchen window on a level with the gravel walk. Referring to these early -memories, he described “how he thought the Rochester High Street must be -at least as wide as Regent Street, which he afterwards discovered to be -little better than a lane, how the public clock in it, supposed to be -the finest clock in the world, turned out to be as moon-faced and weak a -clock as a man’s eyes ever saw; and how, in its town hall, which had -appeared to him once so glorious a structure that he had set it up in -his mind as the model on which the genie of the lamp built the palace -for Aladdin, he had painfully to recognise a mere mean little heap of -bricks, like a chapel gone demented.” In “The Seven Poor Travellers” -Dickens gave another picture of the same spot. “The silent High Street -of Rochester is full of gables, with old beams and timbers carved into -strange faces. It is oddly garnished with a queer old clock that -projects over the pavement out of a grave red brick building as if Time -carried on business there and hung out his sign.” - -[Sidenote: =No. 15, Furnival’s Inn, Holborn= - -_see page 4_] - -In 1836 Charles Dickens lived at 15, Furnival’s Inn, and it was here -that he “thought of Mr. Pickwick, and wrote the first number,” which was -published March 31st, 1837. Two days later the author married Miss -Catherine Hogarth, and after spending their honeymoon in the village of -Chalk, near Gad’s Hill, the young couple continued to reside for some -time in apartments on the top floor of this house. - -[Sidenote: =“The Leather Bottle,” Cobham= - -_see page 5_] - -“The Leather Bottle,” immortalised in “The Pickwick Papers,” is situated -at Cobham, opposite the church. “‘And really,’ added Mr. Pickwick, after -half an hour’s walking had brought them to the village, ‘really, for a -misanthrope’s choice, this is one of the prettiest and most desirable -places of residence I ever met with.’ - -“In this opinion also both Mr. Winkle and Mr. Snodgrass expressed their -concurrence; and, having been directed to the ‘Leather Bottle,’ a clean -and commodious village ale-house, the three travellers entered, and at -once inquired for a gentleman of the name of Tupman.” - -[Sidenote: =The Old Curiosity Shop= - -_see page 9_] - -The Old Curiosity Shop in Portugal Street, said to be the house assigned -by the novelist for the residence of Little Nell and her grandfather, -was “one of those receptacles for old and curious things, which seem to -crouch in odd corners of this town, and to hide their musty treasure -from the public eye in jealousy and distrust.” It is possibly the best -known among the landmarks of places made famous by Dickens. - -[Sidenote: =The Grave of Little Nell= - -_see page 8_] - -“They saw the vault covered and the stone fixed down. Then, when the -dusk of evening had come on, and not a sound disturbed the sacred -stillness of the place when the bright moon poured in her light on tomb -and monument, on pillar, wall, and arch, and most of all (it seemed to -them) upon her quiet grave in that calm time, when all outward things -and inward thoughts teem with assurances of immortality, and worldly -hopes and fears are humbled in the dust before them--then, with tranquil -and submissive hearts, they turned away, and left the child with God.” - -Dotheboys Hall, in “Nicholas Nickleby,” is said to have borne a close -resemblance to Shaw’s Academy at Bowes, Yorkshire; but Dickens in his - -[Sidenote: =Dotheboys Hall at Bowes, Yorkshire= - -_see page 12_] - -preface to the book disclaimed his intention of identifying the infamous -Mr. Squeers with the master of any particular school by his words, “Mr. -Squeers is the representative of a class and not of an individual.” -“‘The fact is it ain’t a Hall,’ observed Squeers, drily.... ‘We call it -a hall up in London because it sounds better, but they don’t know it by -that name in these parts. A man may call his house an island if he -likes; there’s no Act of Parliament against that, I believe.’ ... The -school was a long cold-looking house, one storey high, with a few -straggling outbuildings behind and a barn and stable adjoining.” - -[Sidenote: =Dickens’s Favourite Raven= - -_see page 15_] - -This raven was the original of “Grip” in “Barnaby Budge.” To the great -grief of Dickens the bird died, after it had been ailing only a few -days, on March 12th, 1841. After death the famous raven was stuffed, and -when sold at the Dickens sale realised £126. - -“‘I make _him_ come?’ cried Barnaby, pointing to the bird. ‘Him, who -never goes to sleep, or so much as winks! Why, any time of night, you -may see his eyes in my dark room, shining like two sparks. And every -night, and all night too, he’s broad awake, talking to himself, thinking -what he shall do to-morrow, where we shall go, and what he shall steal, -and hide, and bury. _I_ make _him_ come! Ha, ha, ha!’” - -[Sidenote: =No. 1, Devonshire Terrace= - -_see page 22_] - -In 1839 Dickens removed from Doughty Street to No. 1, Devonshire -Terrace, a handsome house with a garden of considerable size, shut out -from the New Road by a high brick wall facing the York Gate into -Regent’s Park. The house is entered at the side, and the front looks -into Marylebone Road. The windows of the lower and first-floor rooms are -largely bowed, and Dickens described it as “a house of great promise -(and great premium), undeniable situation, and excessive splendour.” He -lived here until 1850, and in these years much of his best work was -done, including “Master Humphrey’s Clock,” “The Old Curiosity Shop.” -“Barnaby Budge,” “American Notes,” “Martin Chuzzlewit,” “A Christmas -Carol,” “The Cricket on the Hearth,” “Dombey and Son,” “The Haunted -Man,” and “David Copperfield.” - -[Sidenote: =Tavistock House, Tavistock Square= - -_see page 17_] - -After leaving Devonshire Terrace, Dickens resided for nearly nine years, -dating from November 1851, at Tavistock House, which has of late been -demolished. During this period he wrote “Bleak House,” “Hard Times,” a -part of “Little Dorrit,” and “A Tale of Two Cities.” - -Hans Christian Andersen, after visiting Dickens in Tavistock House, gave -the following description of his home:-- - -“In Tavistock Square stands Tavistock House. This and the strip of -garden in front of it are shut out from the thoroughfare by an iron -railing. A large garden, with a grass plat and high trees, stretches -behind the house, and gives it a countrified look in the midst of this -coal and gas steaming London. In the passage from street to garden hung -pictures and engravings. On the first floor was a rich library, with a -fireplace and a writing-table, looking out on the garden; and here it -was that in winter Dickens and his friends acted plays to the -satisfaction of all parties.” - -[Sidenote: =Eastgate House, Rochester= - -_see page 18_] - -Eastgate House, the original of the Nuns’ House in “The Mystery of Edwin -Drood,” forms one of the most picturesque bits of the Rochester High -Street, one side of the old building being half hidden from the roadway -by overhanging trees. “Cloisterham” in “Edwin Drood,” of course, -represents Rochester. - -“In the midst of Cloisterham stands the Nuns’ House: a veritable brick -edifice, whose present appellation is doubtless derived from the legends -of its conventual uses. On the trim gate enclosing its courtyard is a -resplendent brass plate flashing forth the legend: ‘Seminary for Young -Ladies. Miss Twinkleton.’ The house front is so old and worn, and the -brass plate is so shining and staring, that the general result has -reminded imaginative strangers of a battered old beau with a large -modern eyeglass stuck in his blind eye.” - -[Sidenote: =Gad’s Hill Place, near Rochester= - -_see page 26_] - -Gad’s Hill Place was the novelist’s last residence, where he wrote “The -Uncommercial Traveller,” “Great Expectations,” “Our Mutual Friend,” and -“The Mystery of Edwin Drood.” - -On this house Dickens had fixed his choice in his boyish days. It had -always held a prominent place amid the recollections connected with his -childhood. Forster wrote of Dickens that “upon first seeing it as he -came from Chatham with his father, and looking up at it with admiration, -he had been promised that he might live in it himself, or some such -house, when he came to be a man, if he would only work hard enough.” It -is pleasant to record that this ambition was gratified in after life, -when the dream of his boyhood was realised. - -[Sidenote: =Restoration House, Rochester= - -_see page 28_] - -Restoration House, Rochester, is of interest as being the “Satis House” -of “Great Expectations,” in which Miss Havisham lived. Restoration House -must not, however, be confused with Satis House, Rochester, from which -Dickens took the name. - -“‘Enough House!’ said I. ‘That’s a curious name, miss.’ - -“‘Yes,’ she replied; ‘but it meant more than it said. It meant, when it -was given, that whoever had this house could want nothing else. They -must have been easily satisfied in those days, I should think.’ - -“To be sure, it was a deserted place, down to the pigeon-house in the -brewery-yard, which had been blown crooked on its pole by some high -wind, and would have made the pigeons think themselves at sea, if there -had been any pigeons there to be rocked by it. But there were no pigeons -in the dovecot, no horses in the stables, no pigs in the sty....” - -[Sidenote: =The Bull Hotel, Rochester= - -_see page 28_] - -The Bull Hotel is a commodious establishment of ancient and respectable -repute, and the principal posting-house of Rochester. It is the -celebrated inn where the Pickwickians stayed on the occasion of their -first visit to Rochester, and which Mr. Jingle so laconically summed up -in the phrase, “good house--nice beds.” - -The house itself has changed very little. A fine oak staircase leads up -to the ball-room, where Mr. Jingle masqueraded in Mr. Winkle’s -dress-suit with extraordinary results. - -[Sidenote: =The Gatehouse, Rochester= - -_see page 34_] - -In “The Mystery of Edwin Drood” Dickens described the Old Gatehouse at -Rochester, facing Pump Lane, with its archway, which stands angle-wise -in the street. There is a small postern at the back of the gate. This -building was the residence of Mr. Tope, “chief verger and showman” of -the Cathedral, with whom lodged Mr. John Jaspar, the uncle of Edwin -Drood. The house is a gabled wooden structure, two storeys high, built -over the stone gateway. Dickens pictured it as “an old stone gatehouse -crossing the Close, with an arched thoroughfare passing beneath it.” - -[Sidenote: =Watts’s Charity, The House of the Six Poor Travellers, -Rochester= - -_see page 35_] - -This house formed the basis for a short story called, “The Seven Poor -Travellers,” which appeared in the Christmas number of _Household Words_ -for 1854. The inscription over the doorway of this striking-looking -building runs as follows:-- - - RICHARD WATTS, ESQ., - - BY HIS WILL DATED 22 AUGUST, 1579, - FOUNDED THIS CHARITY - FOR SIX POOR TRAVELLERS. - WHO NOT BEING ROGUES, OR PROCTORS, - MAY RECEIVE GRATIS FOR ONE NIGHT, - LODGING, ENTERTAINMENT, - AND FOUR-PENCE EACH. - -Dickens called it “a clean white house of a staid and venerable air, -with a quaint old door (an arched door), choice, little, long, low -lattice windows, and a roof of three gables.” - -[Sidenote: =The Grave of Dickens in Westminster Abbey. From a painting by -S. Luke Fildes, R.A.= - -_see page 38_] - -Charles Dickens died on the 9th of June, 1870. Five days later he was -buried in Westminster Abbey, with, according to Forster, only such -ceremonial as would strictly obey all injunctions of privacy. The -solemnity lost nothing by its simplicity. “All day long,” wrote Dean -Stanley, two days after the funeral, “there was a constant pressure to -the spot, and many flowers were strewn upon it by unknown hands, many -tears shed by unknown eyes.” On the stone are inscribed the words: - -CHARLES DICKENS, - -BORN FEBRUARY THE SEVENTH, 1812. DIED JUNE THE NINTH, 1870. - - - - -SOME PORTRAITS OF CHARLES DICKENS - - -[Sidenote: =“Boz” (Charles Dickens). From a drawing by S. Laurence; in -the possession of Mr. Horace N. Pym= - -_see page 2_] - -In 1837 Dickens sat for his portrait to his friend Samuel Laurence, an -artist distinguished for remarkable skill in the art of -portrait-sketching. Shortly after the death of Mr. Laurence in 1884, his -drawings were disposed of by auction at the sale of his effects on June -12th, and the “Boz” portrait which is here reproduced then became the -property of Mr. Horace N. Pym, the editor of “Caroline Fox’s Journal.” -Of this portrait Mr. F. G, Kitton writes in “Charles Dickens by Pen and -Pencil”: “The artist has admirably succeeded in rendering with -marvellous skill the fire and beauty of the eyes--the sensitiveness and -mobility of the mouth.” - -[Sidenote: =Charles Dickens in 1839. From the picture by Daniel Maclise, -R.A.= - -_see page 7_] - -This painting was exhibited at the Royal Academy in 1840, and is now in -the National Portrait Gallery. Thackeray referred to it in terms of the -highest praise. “Look at the portrait of Mr. Dickens,” he wrote, “well -arranged as a picture, good in colour and light and shadow, and as a -likeness perfectly amazing; a looking-glass could not render a better -_fac-simile_. Here we have the real identical man Dickens; the artist -must have understood the inward ‘Boz’ as well as the outward before he -made this admirable representation of him. What cheerful intellectuality -is about the man’s eyes, and a large forehead! The mouth is too large -and full, too eager and active, perhaps; the smile is very sweet and -generous.” - -[Sidenote: =Charles Dickens reading “The Chimes” to his friends at 58, -Lincoln’s Inn Fields, Monday, the 2nd of Dec., 1844= - -_see page 10_] - -A portrait, reproduced from an engraving by C. H. Jeens after the -original sketch by Daniel Maclise, R. A., which is now in the South -Kensington Museum. Forster called it “An occasion rather memorable in -which was the germ of those readings to larger audiences, by which, as -much as by his books, the world knew him in his later life.” With -reference to Maclise’s pencil-drawing he continued, “It will tell the -reader all he can wish to know. He will see of whom the party consisted; -and may be assured (with allowance for a touch of caricature to which I -may claim to be considered myself as the chief and very marked victim) -that in the grave attention of Carlyle, the eager interest of Stanfield -and Maclise, the keen look of poor Laman Blanchard, Fox’s rapt -solemnity, Jerrold’s skyward gaze, and the tears of Harness and Dyce, -the characteristic points of the scene are sufficiently rendered.” - -[Sidenote: =Charles Dickens, his wife, and her sister= - -_see page 11_] - -The original of this pencil drawing by Daniel Maclise, R.A., which was -executed in 1843, a few years after the marriage of Dickens, is now in -the South Kensington Museum. It was engraved by C. H. Jeens and dated by -error 1842. “Never did a touch so light carry with it more truth of -observation,” wrote Forster. “The likenesses of all are excellent.... -Nothing ever done of Dickens himself has conveyed more vividly his look -and hearing at this yet youthful time. He is in his most pleasing -aspect; flattered if you will; but nothing that is known to me gives a -general impression so lifelike and true of the then frank, eager, -handsome face.” - -[Sidenote: =Charles Dickens as Captain Bobadil, in “Every Man in his -Humour.” From a painting by C. R. Leslie, R.A.= - -_see page 12_] - -Dickens had the title to be called a born comedian, declared Forster, -but his strength was rather in the vividness and variety of his -assumptions, than in the completeness, finish, or ideality he could give -to any part of them. The rendering of the novelist as Bobadil by C. R. -Leslie, R.A., was exhibited in the Royal Academy in 1846. The artist has -represented Dickens seated upon a sofa, dressed as a bearded -swashbuckler and braggadocio, just at the moment when Tib enters to -announce the arrival of a visitor and Captain Bobadil declares: “A -gentleman! Odds so, I am not within.” - -[Sidenote: =Charles Dickens in 1842. From a drawing by Alfred Count -D’Orsay= - -_see page 13_] - -Of this drawing, which is reproduced from a lithograph after a sketch by -Alfred Count D’Orsay, Mr. F. G. Kitton writes in “Charles Dickens by Pen -and Pencil”: “As compared with other portraits belonging to this period, -the features look pinched and small, although due justice has been done -to the luxuriant hair and the fashionable style of coat and stock -peculiar to that day.” - -[Sidenote: =Charles Dickens in 1851. From an etching after a -daguerreotype by Mayall= - -_see page 14_] - -The first practitioner of daguerreotype portraiture in England was Mr. -John Mayall, sen., who left America in 1845 and established himself in -Regent Street, London. He soon numbered among his _clientèle_ many -celebrities of the day, including Charles Dickens, who paid his first -visit shortly after returning from the Continent. During a period of -several years Dickens sat to Mr. Mayall, the first of these portraits -being taken while he was writing “David Copperfield.” - -[Sidenote: =Charles Dickens in 1855. From the painting by Ary Scheffer= - -_see page 16_] - -This famous portrait was exhibited in 1856 in the Royal Academy, and in -July 1870 was purchased by the trustees of the National Portrait -Gallery, where it now hangs. Dickens himself considered it “a fine -spirited head, painted at his [Scheffer’s] very best, and with a very -easy and natural appearance in it. But it does not look to me at all -like, nor does it strike me that if I saw it in a gallery, I should -suppose myself to be the original.... As a work of art, I see in it -spirit combined with perfect ease, and yet I don’t see myself. So I come -to the conclusion that I never _do_ see myself.” - -[Sidenote: =Charles Dickens in 1844. From a miniature by Miss Margaret -Gillies= - -_see page 19_] - -The interesting miniature by Miss Margaret Gillies has mysteriously -disappeared, and is not improbably buried in some private collection. It -was exhibited in the Royal Academy in 1844. - -[Sidenote: =Charles Dickens in 1859. After the painting by W. P. Frith, -A.R.A.= - -_see page 23_] - -Mr. Frith’s painting was exhibited in the Royal Academy in the spring of -1860, and afterwards included in the Forster Collection at South -Kensington, where it now finds a worthy resting-place. Dickens wrote of -this picture in a letter from Tavistock House, dated May 31st, 1859: “It -has received every conceivable pains at Frith’s hands, and ought, on his -account, to be good. It is a little too much (to my thinking) as if my -next-door neighbour were my deadly foe, uninsured, and had just received -tidings of his house being afire; otherwise very good.” - -[Sidenote: =Charles Dickens giving a Reading, 1861= - -_see page 24_] - -Dickens gave his paid public Readings successively, with brief -intervals, at four several periods--viz., in 1858-9, in 1861-3, in -1866-7, and in 1868-70. - -“I must say [he wrote] that the intelligence and warmth of the audience -are an immense sustainment, and one that always sets me up. Sometimes, -before I go down to read (especially when it is in the day) I am so -oppressed by having to do it that I feel perfectly unequal to the task. -But the people lift me out of this directly, and I find that I have -quite forgotten everything but them and the book, in a quarter of an -hour.” - -[Sidenote: =Charles Dickens in 1861. From a photograph by J. Watkins= - -_see page 37_] - -A full-face likeness of the novelist by Watkins has attained deservedly -a large degree of popularity. The best remembered copy is a beautiful -lithographic drawing by R. J. Lane which was exhibited at the Royal -Academy in 1864. It is said to have been an especial favourite with -Charles Lever. - - - - - -End of the Project Gutenberg EBook of Charles Dickens, by -G. K. 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K. Chesterton and Frederick George Kitton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Charles Dickens - -Author: G. K. Chesterton - Frederick George Kitton - -Release Date: April 5, 2020 [EBook #61760] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK CHARLES DICKENS *** - - - - -Produced by Tim Lindell, Chuck Greif and the Online -Distributed Proofreading Team at https://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive/American Libraries.) - - - - - - -</pre> - -<hr class="full" /> - -<div class="figcenter"> -<img src="images/cover.jpg" alt="[Image of -the book's cover unavailable.]" /> -</div> - -<table border="0" cellpadding="0" cellspacing="0" summary="" -style="border: 2px black solid;margin:1em auto 1em auto;max-width:50%; -padding:1%;"> -<tr><td> -<p class="c"><a href="#CHARLES_DICKENS">Charles Dickens<br /> -A Biographical Sketch</a></p> -<p class="c"><a href="#LIST_OF_ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers] -clicking on the image will bring up a larger version.)</span></p> -<p class="c"><a href="#NOTES_ON_THE_ILLUSTRATIONS">Notes on the Illustrations</a><br /> -<a href="#SOME_PORTRAITS_OF_CHARLES_DICKENS">Some Portraits of Charles Dickens</a></p> -<p class="c">(etext transcriber's note)</p></td></tr> -</table> - -<p class="ills"><a name="ill_1" id="ill_1"></a></p> -<div class="figcenter"> -<a href="images/i_frontispiece_lg.jpg"> -<img src="images/i_frontispiece_sml.jpg" -style="padding:.5em;border:3px double gray;" -width="372" height="500" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS</p></div> -</div> - -<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span></p> - -<h1><big>C</big>HARLES <big>D</big>ICKENS</h1> - -<p class="c"> -<small>BY</small><br /><br /> -G. K. CHESTERTON<br /><br /> -<small>AND</small><br /><br /> -F. G. KITTON<br /><br /> - -WITH NUMEROUS ILLUSTRATIONS<br /><br /> - -LONDON<br /> -HODDER AND STOUGHTON<br /> -27, PATERNOSTER ROW<br /> -1903 -<span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span> - -<br /><br /><br /><small>s -PRINTED BY -HAZELL, WATSON AND VINEY, LD., -LONDON AND AYLESBURY.</small></p> - -<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> - -<h2><a name="LIST_OF_ILLUSTRATIONS" id="LIST_OF_ILLUSTRATIONS"></a>LIST OF ILLUSTRATIONS</h2> - -<table border="0" cellpadding="2" cellspacing="0" summary=""> - -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> -<tr><td valign="top" class="indd"><a href="#ill_1"><span class="smcap">Charles Dickens</span></a></td><td class="rt" valign="bottom"><a href="#ill_1"><i>Frontispiece</i></a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_2"><span class="smcap">The Corn Exchange, Rochester High Street</span></a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_3"><span class="smcap">“Boz”</span> (<span class="smcap">Charles Dickens</span>). From a Drawing by S. Laurence</a></td><td class="rt" valign="bottom"><a href="#page_2">2</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_4"><span class="smcap">The Birthplace of Dickens: No. 387, Commercial Road, Landport, Portsea</span></a></td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_5"><span class="smcap">No. 15, Furnival’s Inn, Holborn</span></a></td><td class="rt" valign="bottom"><a href="#page_4">4</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_6"><span class="smcap">The “Leather Bottle,” Cobham</span></a></td><td class="rt" valign="bottom"><a href="#page_5">5</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_7"><span class="smcap">Charles Dickens in 1839</span> (from the Picture by Daniel Maclise, R.A.)</a></td><td class="rt" valign="bottom"><a href="#page_7">7</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_8"><span class="smcap">The Grave of Little Nell</span></a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_9"><span class="smcap">The Old Curiosity Shop</span></a></td><td class="rt" valign="bottom"><a href="#page_9">9</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_10"><span class="smcap">Charles Dickens reading “The Chimes” to his Friends at 58, Lincoln’s Inn Fields, Monday, the 2nd of December, 1844</span></a></td><td class="rt" valign="bottom"><a href="#page_10">10</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_11"><span class="smcap">Charles Dickens, his Wife, and her Sister</span> (from a Pencil Drawing by Daniel Maclise, R.A., in 1843)</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_12"><span class="smcap">Dotheboys Hall, 1841</span></a></td><td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_13"><span class="smcap">Charles Dickens as Captain Bobadil in “Every Man in his Humour”</span></a></td><td class="rt" valign="bottom"><a href="#page_12">12</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_14"><span class="smcap">A Portrait of Charles Dickens in 1842.</span> By Count D’Orsay</a></td><td class="rt" valign="bottom"><a href="#page_13">13</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_15"><span class="smcap">Charles Dickens in 1851</span></a></td><td class="rt" valign="bottom"><a href="#page_14">14</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_16"><span class="smcap">Dickens’s Favourite Raven</span></a></td><td class="rt" valign="bottom"><a href="#page_15">15</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_17"><span class="smcap">Charles Dickens in 1855</span> (from the Painting by Ary Scheffer)</a></td><td class="rt" valign="bottom"><a href="#page_16">16</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_18"><span class="smcap">Tavistock House, Tavistock Square</span></a></td><td class="rt" valign="bottom"><a href="#page_17">17</a></td></tr> - -<tr><td valign="top" class="indd"> -<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span> -<a href="#ill_19"><span class="smcap">Eastgate House, Rochester</span> (<span class="smcap">the Original of the Nuns’ House in “The Mystery of Edwin Drood”</span>)</a></td><td class="rt" valign="bottom"><a href="#page_18">18</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_20"><span class="smcap">Charles Dickens in 1844</span></a></td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_21"><span class="smcap">Charles Dickens at work</span></a></td><td class="rt" valign="bottom"><a href="#page_20">20</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_22"><span class="smcap">No. 1, Devonshire Terrace</span> (Dickens’s Residence from 1839 to 1850)</a></td><td class="rt" valign="bottom"><a href="#page_22">22</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_23"><span class="smcap">Charles Dickens in 1859</span> (after the Painting by W. P. Frith, A.R.A.)</a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_24"><span class="smcap">Charles Dickens giving a Reading, 1861</span></a></td><td class="rt" valign="bottom"><a href="#page_24">24</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_25"><span class="smcap">Charles Dickens driving with Members of his Family</span></a></td><td class="rt" valign="bottom"><a href="#page_25">25</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_26"><span class="smcap">Gad’s Hill Place, near Rochester, Kent</span></a></td><td class="rt" valign="bottom"><a href="#page_26">26</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_27"><span class="smcap">Mrs. Charles Dickens</span></a></td><td class="rt" valign="bottom"><a href="#page_27">27</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_28"><span class="smcap">Restoration House</span> (<span class="smcap">the “Satis House” of “Great Expectations”</span>)</a></td><td class="rt" valign="bottom"><a href="#page_28">28</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_29"><span class="smcap">The Bull Hotel, Rochester</span></a></td><td class="rt" valign="bottom"><a href="#page_28">28</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_30"><span class="smcap">A Portrait of Charles Dickens about the Age of 50</span></a></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_31"><span class="smcap">Charles Dickens</span>, <i>circa</i> 1864</a></td><td class="rt" valign="bottom"><a href="#page_30">30</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_32"><span class="smcap">Charles Dickens</span>, <i>circa</i> 1864</a></td><td class="rt" valign="bottom"><a href="#page_31">31</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_33"><span class="smcap">A Portion of Dickens’s MS. taken from “The Christmas Carol”</span></a></td><td class="rt" valign="bottom"><a href="#page_32">32</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_34"><span class="smcap">Charles Dickens</span> (from a Photograph)</a></td><td class="rt" valign="bottom"><a href="#page_33">33</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_35"><span class="smcap">The Gatehouse, Rochester</span></a></td><td class="rt" valign="bottom"><a href="#page_34">34</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_36"><span class="smcap">The House of the Six Poor Travellers at Rochester</span></a></td><td class="rt" valign="bottom"><a href="#page_35">35</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_37"><span class="smcap">Charles Dickens in 1861</span></a></td><td class="rt" valign="bottom"><a href="#page_37">37</a></td></tr> - -<tr><td valign="top" class="indd"><a href="#ill_38"><span class="smcap">The Grave of Charles Dickens in Westminster Abbey</span> (from a Water-colour Drawing by S. Luke Fildes, R.A.)</a></td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr> - -</table> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span> </p> - -<h1>CHARLES DICKENS</h1> - -<p class="ills"><a name="ill_2" id="ill_2"></a></p> - -<div class="figleft" style="width: 257px;"> -<a href="images/i_001_lg.jpg"> -<img src="images/i_001_sml.jpg" width="257" height="329" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>THE CORN EXCHANGE, ROCHESTER HIGH STREET</p> - -<p>Showing the “Moon-faced” Clock</p></div> -</div> - -<p class="nind"><span class="letra">C</span>ONSIDERED merely as literary fashions, romanticism and realism are both -tricks, and tricks alone. The only advantage lies with romanticism, -which is a little less artificial and technical than realism. For the -great majority of people here and now do naturally write romanticism, as -we see it in a love-letter, or a diary, or a quarrel, and nobody on -earth naturally writes realism as we see it in a description by -Flaubert. But both are technical dodges and realism only the more -eccentric. It is a trick to make things happen harmoniously always, and -it is a trick to make them always happen discordantly. It is a trick to -make a heroine, in the act of accepting a lover, suddenly aureoled by a -chance burst of sunshine, and then to call it romance. But it is quite -as much of a trick to make her, in the act of accepting a lover, drop -her umbrella, or trip over a hassock, and then call it the bold plain -realism of life. If any one wishes to satisfy himself as to how -excessively little this technical realism has to do, I do not say with -profound reality, but even with casual truth to life, let him make a -simple experiment offered to him<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> by the history of literature. Let him -ask what is of all English books the book most full of this masterly -technical realism, most full of all these arresting details, all these -convincing irrelevancies, all these impedimenta of prosaic life; and -then as far as truth to life is concerned he will find that it is a -story about men as big as houses and men as small as dandelions, about -horses with human souls and an island that flew like a balloon.</p> - -<p class="ills"><a name="ill_3" id="ill_3"></a></p> - -<div class="figcenter" style="width: 514px;"> -<a href="images/i_002_lg.jpg"> -<img src="images/i_002_sml.jpg" width="514" height="514" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<p> -“BOZ” -<br /> -(<span class="smcap">Charles Dickens</span>)<br /> -<br /> -<i>From a drawing<br /> -by S. Laurence, in the<br /> -possession of Horace N. Pym</i><br /> -<br /> -Rischgitz Collection<br /> -</p> -</div> -</div> - -<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<p class="ills"><a name="ill_4" id="ill_4"></a></p> - -<div class="figright" style="width: 364px;"> -<a href="images/i_003_lg.jpg"> -<img src="images/i_003_sml.jpg" width="364" height="434" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE BIRTHPLACE OF DICKENS: No. 387, COMMERCIAL ROAD, -LANDPORT, PORTSEA</p> - -<p>(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)</p></div> -</div> - -<p>We can never understand a writer of the old romantic school, even if he -is as great and splendid as Dickens is great and splendid, until we -realise this preliminary fact to which I have drawn attention. The fact -that these merely technical changes are merely technical, and have -nothing whatever to do with the force and truth behind. We are bound to -find a considerable amount of Dickens’s work, especially the pathetic -and heroic passages, artificial and pompous. But that is only because we -are far enough off his trick or device to see that it is such. Our own -trick and device we believe to be as natural as the eternal hills. It is -no more natural, even when compared with the Dickens devices, than a -rockery is natural, even when compared with a Dutch flower bed. The time -will come when the wildest upheaval of Zolaism, when the most abrupt and -colloquial dialogue of Norwegian drama, will appear a fine old piece of<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span></p> - -<p class="ills"><a name="ill_5" id="ill_5"></a></p> - -<div class="figcenter" style="width: 511px;"> -<a href="images/i_004_lg.jpg"> -<img src="images/i_004_sml.jpg" width="511" height="605" alt="[Image unavailable.]" /></a> -<div class="caption"><p>No. 15, FURNIVAL’S INN, HOLBORN</p> - -<p>Charles Dickens lived in 1836</p> - -<p>(Reproduced by kind permission of Messrs. Methuen & Co.)</p></div> -</div> - -<p class="nind">charming affectation, a stilted minuet of literature, like little Nell -in the churchyard, or the repentance of the white-haired Dombey. All -their catchwords will have become catchwords; the professo<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span>r’s</p> - -<p class="ills"><a name="ill_6" id="ill_6"></a></p> - -<div class="figcenter" style="width: 513px;"> -<a href="images/i_005_lg.jpg"> -<img src="images/i_005_sml.jpg" width="513" height="604" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE “LEATHER BOTTLE,” COBHAM</p> - -<p>(Reproduced from the “Pickwick Papers,” by kind permission of Messrs. -Methuen & Co.)</p></div> -</div> - -<p class="nind">explanations of heredity will have the mellow, foolish sound of the -villain’s curses against destiny. And in that time men will for the -first time become aware of the real truth and magnificence of Zola<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> and -Ibsen, just as we, if we are wise, are now becoming aware of the real -truth and magnificence of Dickens.</p> - -<p>This is even more true if we look first at that fundamental optimistic -feeling about life, which as it has been often and truly said is the -main essence of Dickens. If Dickens’s optimism had merely been a matter -of happy endings, reconciliations, and orange flowers, it would be a -mere superficial art or craft. But it would not, as in the case -discussed above, be in any way more superficial than the pessimism of -the modern episode, or short story, which is an affair of bad endings, -disillusionments, and arsenic. The truth about life is that joy and -sorrow are mingled in an almost rhythmical alternation like day and -night. The whole of optimistic technique consists in the dodge of -breaking off the story at dawn, and the whole of pessimistic technique -in the art of breaking off the story at dusk. But wherever and whenever -mere artists choose to consider the matter ended, the matter is never -ended, and trouble and exultation go on in a design larger than any of -ours, neither vanishing at all. Beyond our greatest happiness there lie -dangers, and after our greatest dangers there remaineth a rest.</p> - -<p>But the element in Dickens which we are forced to call by the foolish -and unmanageable word optimism is a very much deeper and more real -matter than any question of plot and conclusion. If Mr. Pickwick had -been drowned when he fell through the ice; if Mr. Dick Swiveller had -never recovered from the fever, these catastrophes might have been -artistically inappropriate, but they would not have sufficed to make the -stories sad. If Sam Weller had committed suicide from religious -difficulties, if Florence Dombey had been murdered (most justly -murdered) by Captain Cuttle, the stories would still be the happiest -stories in the world. For their happiness is a state of the soul; a -state in which our natures are full of the wine of an ancient youth, in -which banquets last for ever, and roads lead everywhere, where all -things are under the exuberant leadership of faith, hope, and charity, -the three gayest of the virtues.<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p> - -<p class="ills"><a name="ill_7" id="ill_7"></a></p> - -<div class="figcenter" style="width: 511px;"> -<a href="images/i_007_lg.jpg"> -<img src="images/i_007_sml.jpg" width="511" height="675" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS IN 1839</p> - -<p>From the picture by Daniel Maclise, R.A. Exhibited at the Royal Academy -in 1840, and now in the National Portrait Gallery</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p><span class="pagenum"><a name="page_8" id="page_8">{8}</a></span></p> - -<p class="ills"><a name="ill_8" id="ill_8"></a></p> - -<div class="figleft" style="width: 323px;"> -<a href="images/i_008_lg.jpg"> -<img src="images/i_008_sml.jpg" width="323" height="264" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>From a drawing by G. Cattermole in the South Kensington -Museum</i></p> - -<p>THE GRAVE OF LITTLE NELL</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p>There is, of course, an optimism which is evil and debasing, and to this -it must be confessed that Dickens sometimes descends. The worst optimism -is that which, in making things comfortable, prevents them from becoming -joyful; it bears the same relation to an essential and true optimism -that the pleasure of sitting in an arm-chair bears to the pleasure of -sitting on a galloping horse. It is the optimism which denies that -burning hurts a martyr. More profoundly considered, it may be called the -optimism which, in order to give a being more life, denies him his -individual life; in order to give him more pleasure, denies him his -especial pleasure. It offers the hunter repose, and the student -pleasure, and the poet an explanation. Dickens, as I have said, -sometimes fell into this. Nothing could be more atrocious, for instance, -than his course of action in concluding “David Copperfield” with an -account of the great Micawber at last finding wealth and success as a -mayor in Australia. Micawber would never succeed; never ought to -succeed; his kingdom was not of this world. His mind to him a kingdom -was; he was one of those splendid and triumphant poor, who have the -faculty of capturing, without a coin of money or a stroke of work, that -ultimate sense of possessing wealth and luxury, which is the only reward -of the toils and crimes of the rich. It is but a sentiment after all, -this idea of money,<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> and a poor man who is also a poet, like Micawber, -may find a short end to it. To make such a man, after a million mental -triumphs over material circumstances, become the mere pauper and -dependent of material success, is something more than an artistic -blunder: it is a moral lapse; it is a wicked and blasphemous thing to -have done. The end of “David Copperfield” is not a happy ending; it is a -very miserable ending. To make Micawber a mayor is about as satisfying a -termination as it would be to make Sir Lancelot after Arthur’s death -become a pork butcher or a millionaire, or to make Enoch Arden grow fat -and marry an heiress. There is a satisfaction that is far more -depressing than any tragedy. And the essence of it, as I have said, lies -in the fact that it violates the real and profound philosophical -optimism of the universe, which has given to each thing its -incommunicable air and its strange reason for living. It offers instead, -another joy or peace which is alien and nauseous; it offers grass to the -dog and fire to the fishes. It is, indeed, in the same tradition as that -cruel and detestable kindness to animals, which has been one of the -disgraces of humanity: from the modern lady who pulls a fat dog on a -chain through a crowded highway, back to the Roman Cæsar who fed his -horse on wine, and made it a political magistrate.</p> - -<p class="ills"><a name="ill_9" id="ill_9"></a></p> - -<div class="figright" style="width: 330px;"> -<a href="images/i_009_lg.jpg"> -<img src="images/i_009_sml.jpg" width="330" height="253" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>THE OLD CURIOSITY SHOP</p></div> -</div> - -<p>The same error in an even more irreverent form occurs, of course, in the -same book. The essence of the Dickens genius was<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p> - -<p class="ills"><a name="ill_10" id="ill_10"></a></p> - -<div class="figcenter" style="width: 518px;"> -<a href="images/i_010_lg.jpg"> -<img src="images/i_010_sml.jpg" width="518" height="334" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From an engraving by C. H. Jeens, after the original sketch by -Daniel Maclise, R.A.</i></p></div> - -<p>CHARLES DICKENS READING “THE CHIMES” TO HIS FRIENDS AT 58, LINCOLN’S INN -FIELDS, MONDAY, THE 2nd OF DECEMBER, 1844</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p class="nind">exaggeration, and in that general sense Dora, in “David Copperfield,” -may be called an exaggerated character; but she is an extremely real and -an extremely agreeable character for all that. She is supposed to be -very weak and ineffectual, but she has about a hundred times more -personal character than all Dickens’s waxwork heroines put together, the -unendurable Agnes by no means excluded. It almost passes comprehension -how a man who could conceive such a character should so insult it, as -Dickens does, in making Dora recommend her husband’s second marriage -with Agnes. Dora, who stands for the profound and exquisite -irrationality of simple affection, is made the author of a piece of -priggish and dehumanised rationalism which is worthy of Miss Agnes -herself. One could easily respect such a husband when he married again,<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p> - -<p class="ills"><a name="ill_11" id="ill_11"></a></p> - -<div class="figcenter" style="width: 507px;"> -<a href="images/i_011_lg.jpg"> -<img src="images/i_011_sml.jpg" width="507" height="479" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS, HIS WIFE, AND HER SISTER</p> - -<p><i>From an engraving by C. H. Jeens after the original sketch by Daniel -Maclise, R.A., in 1843</i></p> - -<p>Rischgitz Collection</p></div> -</div> - -<p class="nind">but surely not such a wife when she desired it. The truth is, of course, -that here again Dickens is following his evil genius which bade him make -those he loved comfortable instead of happy. It may seem at first sight -a paradox to say that the special fault of optimism is a lack of faith -in God: but so it is. There are some whom we should not seek to make -comfortable: their appeasement is in more awful hands. There are -conflicts, the reconciliation of which lies beyond the powers not only -of human effort but of human rational conception. One of them is the<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> -reconciliation between good and evil themselves in the scheme of nature; -another is the reconciliation of Dora and Agnes. To say that we know -they will be reconciled is faith; to say that we see that they will be -reconciled is blasphemy.</p> - -<p class="ills"><a name="ill_12" id="ill_12"></a></p> - -<div class="figleft" style="width: 307px;"> -<a href="images/i_012-a_lg.jpg"> -<img src="images/i_012-a_sml.jpg" width="307" height="232" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>From a drawing by Miss Ryland, in the South Kensington -Museum</i></p> - -<p>DOTHEBOYS HALL, 1841</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p class="ills"><a name="ill_13" id="ill_13"></a></p> - -<div class="figleft" style="width: 305px;"> -<a href="images/i_012-b_lg.jpg"> -<img src="images/i_012-b_sml.jpg" width="305" height="245" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>From the painting by C. R. Leslie, R.A. Exhibited in the -Royal Academy in 1846</i></p> - -<p>CHARLES DICKENS AS CAPTAIN BOBADIL IN “EVERY MAN IN HIS HUMOUR”</p> - -<p>(Reproduced from <i>The Sketch</i>, by kind permission of the London -Electrotype Agency)</p></div> -</div> - -<p>Dickens was, of course, as is repeated <i>ad nauseam</i>, a caricaturist, and -when we have understood this word we have understood the whole matter; -but in truth the word, caricaturist, is commonly misunderstood; it is -even, in the case of men like Dickens, used as implying a reproach. -Whereas it has no more reproach in it than the word organist. Caricature -is not merely an important form of art; it is a form of art which is -often most useful for purposes of profound philosophy and powerful -symbolism. The age of scepticism put caricature into ephemeral -feuilletons; but the ages of faith built<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p> - -<p class="ills"><a name="ill_14" id="ill_14"></a></p> - -<div class="figcenter" style="width: 452px;"> -<a href="images/i_013_lg.jpg"> -<img src="images/i_013_sml.jpg" width="452" height="558" alt="[Image unavailable.]" /></a> -<div class="caption"><p><i>From a lithograph, after the drawing by Alfred Count -D’Orsay</i></p> - -<p>A PORTRAIT OF CHARLES DICKENS IN 1842</p> - -<p>Reproduced from <i>The Magazine of Art</i>, by kind permission of Messrs. -Cassell & Co., Ltd.</p></div> -</div> - -<p class="nind">caricatures into their churches of everlasting stone. One extraordinary -idea has been constantly repeated, the idea that it is very easy to make -a mere caricature of anything. As a matter of fact it is<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span></p> - -<p class="ills"><a name="ill_15" id="ill_15"></a></p> - -<div class="figcenter" style="width: 346px;"> -<a href="images/i_014_lg.jpg"> -<img src="images/i_014_sml.jpg" width="346" height="449" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From an etching after a daguerreotype by Mayall</i></p></div> - -<p>CHARLES DICKENS IN 1851</p></div> -</div> - -<p><span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<p class="ills"><a name="ill_16" id="ill_16"></a></p> - -<div class="figright" style="width: 404px;"> -<a href="images/i_015_lg.jpg"> -<img src="images/i_015_sml.jpg" width="404" height="276" alt="[Image unavailable.]" /></a> -<div class="caption"><p>DICKENS’S FAVOURITE RAVEN</p> - -<p>The original of “Grip” in “Barnaby Rudge.” After death the famous bird -was stuffed, and when sold at the Dickens Sale it realised £126</p> - -<p>(Reproduced by kind permission of the London Stereoscopic Co.)</p></div> -</div> - -<p class="nind">extraordinarily difficult, for it implies a knowledge of what part of a -thing to caricature. To reproduce the proportions of a face, exactly as -they are, is a comparatively safe adventure; to arrange those features -in an entirely new proportion, and yet retain a resemblance, argues a -very delicate instinct for what features are really the characteristic -and essential ones. Caricature is only easy when it so happens that the -people depicted, like Cyrano de Bergerac, are more or less caricatures -themselves. In other words caricature is only easy when it does not -caricature very much. But to see an ordinary intelligent face in the -street, and to know that, with the nose three times as long and the head -twice as broad, it will still be a startling likeness, argues a profound -insight into truth. “Caricature,” said Sir Willoughby Patterne, in his -fatuous way, “is rough truth.” It is not; it is subtle truth. This is -what gives Dickens his unquestionable place among artists. He realised -thoroughly a certain phase or atmosphere of existence, and he knew the -precise strokes and touches that would bring it home to the reader. That -Dickens phase or atmosphere may be roughly defined as the phase of a -vivid sociability in which every<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p> - -<p class="ills"><a name="ill_17" id="ill_17"></a></p> - -<div class="figcenter" style="width: 458px;"> -<a href="images/i_016_lg.jpg"> -<img src="images/i_016_sml.jpg" width="458" height="590" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From the painting by Ary Scheller, in the National Portrait -Gallery</i></p></div> - -<p>CHARLES DICKENS IN 1855</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p> - -<p class="ills"><a name="ill_18" id="ill_18"></a></p> - -<div class="figcenter" style="width: 510px;"> -<a href="images/i_017_lg.jpg"> -<img src="images/i_017_sml.jpg" width="510" height="492" alt="[Image unavailable.]" /></a> -<div class="caption"><p>TAVISTOCK HOUSE, TAVISTOCK SQUARE</p> - -<div class="blockquot"><p>Where Dickens resided for nearly nine years, dating from November, -1851.</p> - -<p>(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)</p></div> -</div> -</div> - -<p class="nind">man becomes unusually and startlingly himself. A good caricature will -sometimes seem more like the original than the original: so it is in the -greatest moments of social life. He is an unfortunate man; a man -unfitted to value life and certainly unfitted to value Dickens, who has -not sat at some table or talked in some company in which every one was -in character, each a beautiful caricature of himself.</p> - -<p class="r"> -<span class="smcap">G. K. Chesterton.</span><br /> -<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<p class="ills"><a name="ill_19" id="ill_19"></a></p> - -<div class="figcenter" style="width: 481px;"> -<a href="images/i_018_lg.jpg"> -<img src="images/i_018_sml.jpg" width="481" height="343" alt="[Image unavailable.]" /></a> -<div class="caption"><p>EASTGATE HOUSE, ROCHESTER (THE ORIGINAL OF THE NUNS’ -HOUSE IN “THE MYSTERY OF EDWIN DROOD”)</p> - -<p>(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)</p></div> -</div> - -<h2><a name="CHARLES_DICKENS" id="CHARLES_DICKENS"></a><b><big>CHARLES DICKENS</big></b><br /><br /> -A BIOGRAPHICAL SKETCH</h2> - -<p class="nind"><span class="letra">T</span>HE asseveration that “Dickens” is “a name to conjure with” seems almost -a truism. The innumerable editions of his works so constantly pouring -from the press abundantly testify to the continued and unabated -popularity of the most famous writer of fiction of the Victorian epoch. -As regards the circumstances appertaining to his career the start in -life under harassing conditions, the brilliant success attending his -initial efforts in authorship, the manner in which he took the world by -storm and retained his grip of the public by the sheer force of -genius—there<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> is, I venture to believe, no parallel in the history of -literature. Born in a humble station of life, his early years spent in -the midst of an uncongenial (not to say demoralising) environment, his -natural gifts, combined with almost superhuman powers of perseverance, -enabled him to overcome obstacles which would have deterred ordinary -men, with the result that he rapidly attained the topmost rung of the -ladder of fame, and remained there.</p> - -<p class="ills"><a name="ill_20" id="ill_20"></a></p> - -<div class="figright" style="width: 216px;"> -<a href="images/i_019_lg.jpg"> -<img src="images/i_019_sml.jpg" width="216" height="343" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS IN 1844</p> - -<div class="blockquot"><p><i>From a Miniature by Miss Margaret Gillies exhibited in the Royal -Academy, 1844. Engraved on wood by R. Taylor for “The Magazine of -Art”</i></p></div> - -<p>(Reproduced from <i>The Magazine of Art</i>, by kind permission of Messrs. -Cassell & Co., Ltd.)</p></div> -</div> - -<p>Although the leading incidents in the life of Charles Dickens are -generally familiar, thanks to the various biographies of him published -from time to time, a few facts, briefly stated, will not, I hope, be -devoid of interest. The novelist first saw the light at No. 387, -Commercial Road, Mile End, Landport, in the Island of Portsea. Like -David Copperfield, he was born on a Friday, the natal day being February -7th, 1812. The baptismal register of Portsea Parish Church (St. Mary’s, -Kingston), where he was christened, records that three names were -bestowed upon him, Charles John Huffam, the second being that of his -father, and the third the cognomen of his godfather, Christopher Huffam, -a “Rigger to his Majesty’s Navy,” who lived at Limehouse Hole, on the -north bank of the Thames. The birthplace in Landport—still existing is -an unpretentious tenement of two storeys, surmounted by a dormer window, -and fronted by a small railed-in garden. John Dickens, the father of -Charles, had filled a clerical<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span></p> - -<p class="ills"><a name="ill_21" id="ill_21"></a></p> - -<div class="figcenter" style="width: 504px;"> -<a href="images/i_020_lg.jpg"> -<img src="images/i_020_sml.jpg" width="504" height="661" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Fradelle & Young</i></p></div> - -<p>CHARLES DICKENS AT WORK</p></div> -</div> - -<p><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p> - -<p class="nind">position in the Navy Pay Office, Somerset House, whence he was -transferred to a similar post at Portsea. About four years after the -birth of Charles (the second child), the Dickens family removed to -Chatham, residing there until the boy was eleven years old. It was at -Chatham where he first went to school, and where he, being endowed with -exceptional powers of observation, imbibed his earliest impressions of -humanity, to be subsequently made available as material for his -inimitable sketches.</p> - -<p>London, however, was again to be the home of John Dickens—the mighty -metropolis which, with its phantasmagoria of life in its every aspect, -its human comedies and tragedies, ever attracted the great writer, whose -magic pen revelled in the delineation of them. It was in 1823 that the -Dickens family took up their residence in Bayham Street, Camden -Town—then the poorest part of the London suburbs. There had come a -crisis in the affairs of the elder Dickens which necessitated the -strictest economy, and the house in Bayham Street (which may still be -seen at No. 141) was nothing but “a mean tenement, with a wretched -little back garden abutting on a squalid court.” This was the beginning -of a sad and bitter experience in the life of Charles Dickens. Here he -seemed to fall into a solitary condition, apart from all other boys of -his own age, and, recalling the circumstances in after years, he -observed to Forster: “As I thought, in the little back-garret in Bayham -Street, of all I had lost in losing Chatham, what would I have given, if -I had had anything to give, to have been sent back to any other school, -to have been taught something anywhere?” Not only did the exceptionally -intelligent lad miss the pleasures of association with his schoolfellows -and playmates at Chatham, but he no longer had recourse to the famous -books whose acquaintance he had made there.—“Don Quixote,” “Robinson -Crusoe,” “The Arabian Nights,” <i>et hoc genus omne</i>—which, as admirers -of his works will remember, he was so fond of quoting. The account given -by Forster of the Bayham Street days<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> is painful reading, and we are -told that, thus living under circumstances of a hopeless and struggling -poverty, the extreme sensitiveness of the boy caused him to experience -acute mental suffering.</p> - -<p class="ills"><a name="ill_22" id="ill_22"></a></p> - -<div class="figcenter" style="width: 515px;"> -<a href="images/i_022_lg.jpg"> -<img src="images/i_022_sml.jpg" width="515" height="328" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Ellis & Wallery</i></p></div> - -<p>No. 1. DEVONSHIRE TERRACE</p> - -<p>Dickens’s residence from 1839 to 1850, where much of his best work was -done</p> - -<p>(Reproduced from <i>The Windsor Magazine</i> by kind permission of the -Editor)</p></div> -</div> - -<p>After a short residence in Bayham Street, the family removed their -belongings to Gower Street North (the identical house was demolished a -few years ago), and an effort was made to bring grist to the mill by an -attempt on the part of Mrs. Dickens to start a school for young ladies; -but the venture proved abortive, notwithstanding the fact that Charles -did his utmost to aid the project by leaving “at a great many doors, a -great many circulars,” calling attention to the advantages of the -establishment. John Dickens’s financial difficulties increased, -tradesmen became pertinacious in their claims for a settlement of -long-standing debts, which could not be met, until at last the father -was arrested, and lodged in a debtors prison—events<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span></p> - -<p class="ills"><a name="ill_23" id="ill_23"></a></p> - -<div class="figcenter" style="width: 507px;"> -<a href="images/i_023_lg.jpg"> -<img src="images/i_023_sml.jpg" width="507" height="653" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>After the painting by W. P. Frith, A.R.A., in the Forster -Collection at the South Kensington Museum</i></p></div> - -<p>CHARLES DICKENS IN 1859</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p><span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<p class="nind">which the novelist afterwards vividly recalled, and which will be found -duly set forth in “David Copperfield.”</p> - -<p class="ills"><a name="ill_24" id="ill_24"></a></p> - -<div class="figcenter" style="width: 518px;"> -<a href="images/i_024_lg.jpg"> -<img src="images/i_024_sml.jpg" width="518" height="586" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS GIVING A READING, 1861</p> - -<p><i>From a photo by Fradelle & Young</i></p></div> -</div> - -<p>It was at this awkward juncture that some relatives of the family, named -Lamert, realising that an opportunity should be given to the<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> poor -neglected lad of earning a livelihood, found him an occupation in their -blacking-manufactory (started in opposition to the famous Warren), and -here he earned a few shillings a week by covering and labelling pots of -paste blacking! While infinitely preferable to a state of enforced -idleness under demoralising conditions, the boy’s experience during what -is usually referred to as “the blacking-bottle period” for ever remained -a terrible nightmare, and the novelist pointedly referred to that -unhappy time when in “David Copperfield” he observed that no one could -express “the secret agony” of his soul as he sank into the companionship -of those by whom he was then surrounded, and felt his “early hopes of -growing up to be a learned and distinguished man” crushed in his breast. -In respect of a miserable and neglected boyhood, Alphonse Daudet -suffered as did Charles Dickens, and, phœnix-like, both emerged -triumphantly from the ashes of what to them appeared to be a cruel -conflagration of their desires and aspirations.</p> - -<p class="ills"><a name="ill_25" id="ill_25"></a></p> - -<div class="figright" style="width: 255px;"> -<a href="images/i_025_lg.jpg"> -<img src="images/i_025_sml.jpg" width="255" height="291" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS DRIVING WITH MEMBERS OF HIS FAMILY</p> - -<p>Reproduced from <i>The Favourite Magazine</i>, by kind permission of Messrs. -Paul Naumann, Ltd.</p></div> -</div> - -<p>There is no doubt that the ordeal of poverty, with its unhappy -accompaniments, had counteracting advantages in the case of Charles -Dickens: his natural abilities were sharpened, as well as his powers of -observation, his excellent memory enabling him in after years to record -those actualities of life which render his books a perpetual joy and -delight. Fortunately, brighter days were in store. The elder Dickens (in -whom it is easy to detect glimpses<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> of Mr. Micawber) was in a position -to send Charles to a reputable school in the Hampstead Road, known as -Wellington House Academy (still standing), where he remained two years, -and on leaving it he entered another scholastic establishment near -Brunswick Square, there completing his studies, rudimentary at the best.</p> - -<p class="ills"><a name="ill_26" id="ill_26"></a></p> - -<div class="figleft" style="width: 407px;"> -<a href="images/i_026_lg.jpg"> -<img src="images/i_026_sml.jpg" width="407" height="342" alt="[Image unavailable.]" /></a> -<div class="caption"><p>GAD’S HILL PLACE, NEAR ROCHESTER, KENT.</p> - -<p>The last residence of Charles Dickens</p> - -<p>(From “Rambles in Dickens-Land,” by R. Allbut. Reproduced by kind -permission of Messrs. S. T. Freemantle & Co.)</p></div> -</div> - -<p>The year 1827 proved a memorable one for the subject of this sketch, for -then it was that he, in his fifteenth year, “began life,” first as a -clerk in a lawyer’s office in Lincoln’s Inn, and then acting in a -similar capacity for a firm of attorneys in Gray’s Inn, where his weekly -salary amounted to something under a sovereign. As was his wont, he made -mental memoranda of his environment, noting the manners, customs, and -peculiarities of lawyers, their clerks and clients, for the result of -which one needs only to turn to the pages of the immortal “Pickwick.” -His father, who had left the Navy Pay Office, turned his attention to -journalism, and at this time had become a newspaper parliamentary -reporter. Charles, craving for a similar occupation, in which he -believed there might be an opening<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> for greater things, resolutely -determined to study shorthand, and became an assiduous attendant at the -British Museum. His persevering struggle with the mysteries of -stenography was recalled when recording David Copperfield’s -experience—a struggle resulting in ultimate victory. Following in his -father’s footsteps, he, at the age of nineteen, succeeded in obtaining -an appointment as a reporter in the Press Gallery at the House of -Commons, where he was presently acknowledged to be the most skilful -shorthand writer among the many so engaged there.</p> - -<p class="ills"><a name="ill_27" id="ill_27"></a></p> - -<div class="figright" style="width: 278px;"> -<a href="images/i_027_lg.jpg"> -<img src="images/i_027_sml.jpg" width="278" height="348" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by C. Watkins</i></p></div> - -<p>MRS. CHARLES DICKENS</p> - -<p>The Novelist’s widow died in 1879</p></div> -</div> - -<p>Dickens had just attained his majority when, in 1833, he essayed to -venture into the realm of fiction. He has himself related how, one -evening at twilight, he stealthily entered “a dark court” in Fleet -Street (it was Johnson’s Court), and with fear and trembling dropped -into “a dark letter-box” the manuscript of his first paper—a humorous -sketch entitled “A Dinner at Poplar Walk” (afterwards called “Mr. Minns -and his Cousin”); and how, when it “appeared in all the glory of print,” -he walked down to Westminster Hall, and turned into it for half an hour, -because (he explains) his eyes “were so dimmed with joy and pride, that -they could not bear the street, and were not fit to be seen there.” To -this initial effort (which was published in the old <i>Monthly Magazine</i>, -December, 1833) there is a slight reference in the forty-second chapter -of “David<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> Copperfield,” where the youthful hero intimates that he -“wrote a little something, in secret, and sent it to a magazine, and it -was published in the magazine.” His journeys across country by coach or -postchaise, when reporting for his newspaper (the <i>Morning Chronicle</i>), -proved invaluable from a literary standpoint, inasmuch as those -expeditions by day and night and in all seasons afforded him special -opportunities of studying human idiosyncrasies, as he necessarily came -into contact with “all sorts and conditions of men.”</p> - -<p class="ills"><a name="ill_28" id="ill_28"></a></p> - -<div class="figleft" style="width: 333px;"> -<a href="images/i_028-a_lg.jpg"> -<img src="images/i_028-a_sml.jpg" width="333" height="257" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>RESTORATION HOUSE (THE “SATIS HOUSE” OF “GREAT EXPECTATIONS”)</p></div> -</div> - -<p class="ills"><a name="ill_29" id="ill_29"></a></p> - -<div class="figcenter" style="width: 335px;"> -<a href="images/i_028-b_lg.jpg"> -<img src="images/i_028-b_sml.jpg" width="335" height="263" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>THE BULL HOTEL, ROCHESTER</p> - -<p>“Good house—nice beds....” <i>Vide</i> “Pickwick”</p></div> -</div> - -<p>The success of his little paper in the <i>Monthly Magazine</i> induced him to -try his hand at others, for gratuitous publication in the same journal. -They bore no signature until the sixth sketch appeared, when he adopted -the curious pseudonym of “Boz”: this had for some time previously been -to him<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<p class="ills"><a name="ill_30" id="ill_30"></a></p> - -<div class="figcenter" style="width: 414px;"> -<a href="images/i_029_lg.jpg"> -<img src="images/i_029_sml.jpg" width="414" height="560" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Mason & Co.</i></p></div> - -<p>A PORTRAIT OF CHARLES DICKENS AT ABOUT THE AGE OF 50</p> - -<p>Rischgitz Collection</p></div> -</div> - -<p><span class="pagenum"><a name="page_30" id="page_30">{30}</a></span></p> - -<p class="nind">a familiar household word, as it was the nickname of his youngest -brother, Augustus, whom (in honour of “The Vicar of Wakefield,” one of -his favourite books) he had dubbed Moses, which, being facetiously -pronounced through the nose, became Boses, and being shortened became -Boz.</p> - -<p class="ills"><a name="ill_31" id="ill_31"></a></p> - -<div class="figleft" style="width: 235px;"> -<a href="images/i_030_lg.jpg"> -<img src="images/i_030_sml.jpg" width="235" height="344" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS, <i>circa</i> 1864</p> - -<p>(Reproduced from <i>The Favourite Magazine</i>, by kind permission of Messrs. -Paul Naumann, Ltd.)</p></div> -</div> - -<p>The time had now arrived when he considered himself justified in -endeavouring to increase his stipend as a reporter for the <i>Morning -Chronicle</i> by offering to contribute to its pages a similar series of -sketches, for which he should be remunerated, and the proposal was -acceded to. Accordingly we find several papers signed “Boz” in the -<i>Evening Chronicle</i>, an offshoot of the <i>Morning Chronicle</i>. Some of his -sketches of “Scenes and Characters” (signed “Tibbs”) appeared -simultaneously in <i>Bell’s Life in London</i>, and a couple also in “The -Library of Fiction,” edited by Charles Whitehead. Early in 1836 Dickens -collected together a number of these bright little articles and stories, -and sold the copyright for £100 to Macrone, who published them in two -volumes under the title of “Sketches by Boz.”</p> - -<p>Although remarkable for their humour and originality, the “Boz” sketches -were presently to be eclipsed by a work which immediately took the world -by storm, and upon which the reputation of Dickens securely rests. I -allude to the ever fascinating “Pickwick Papers,” and perhaps the most -extraordinary circumstance in connection therewith is the fact that the -author was then only three-and-twenty.<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span></p> - -<p class="ills"><a name="ill_32" id="ill_32"></a></p> - -<div class="figright" style="width: 242px;"> -<a href="images/i_031_lg.jpg"> -<img src="images/i_031_sml.jpg" width="242" height="364" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS, <i>circa</i> 1864</p> - -<p>(Reproduced from <i>The Favourite Magazine</i>, by kind permission of Messrs. -Paul Naumann, Ltd.)</p></div> -</div> - -<p class="nind">his book rapidly achieving a degree of popularity which we cannot but -regard as astounding even in these days of large editions. The “Pickwick -Papers” originated in this way. The junior partner of what was then a -young publishing house, Messrs. Chapman & Hall (now a leading London -firm), called upon the rising author at his rooms in Furnival’s Inn with -a proposition that he should furnish the letterpress for a “monthly -something” that should be a vehicle for certain sporting-plates by a -humorous draughtsman named Seymour. The first idea of a sort of Nimrod -Club did not appeal to Dickens, for the excellent reason that he was no -sportsman, and it was therefore eventually decided that, having agreed -to supply the text, he should exercise a free hand, allowing the -illustrations to arise naturally from the text. To give a complete -history of the “Pickwick Papers” would occupy considerable space. -Suffice it to say that the book was issued in shilling monthly parts -(1836-37), then a favourite method of publishing novels, and -consistently adopted by Dickens; that it was illustrated by means of -etchings; that the sale of the first few numbers was so small that both -publishers and author were in despair; and that the success of the work -was assured as soon as Sam Weller made his first bow to the public—a -character which, by reason of its freshness and originality, called -forth such admiration that the sale of ensuing numbers increased until -a<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> circulation of forty thousand copies was attained! The creation of -Sam Weller, therefore, was the turning-point in Dickens’s fortune, and -so great became the popularity of the book that the name of “Pickwick” -was bestowed by enterprising tradesmen upon their newest goods, while -portraits of Dickens himself were in the ascendant. People of every -degree, young and old, revelled in the pages of the “Pickwick -Papers”—judges on the bench as well as boys in the street; and we are -reminded of Carlyle’s anecdote of a solemn clergyman who, as he left the -room of a sick person to whom he had been administering ghostly -consolation, heard the invalid ejaculate, “Well, thank God, ‘Pickwick’ -[the monthly number] will be out in ten days, anyway!”</p> - -<p class="ills"><a name="ill_33" id="ill_33"></a></p> - -<div class="figcenter" style="width: 526px;"> -<a href="images/i_032_lg.jpg"> -<img src="images/i_032_sml.jpg" width="526" height="259" alt="[Image unavailable.]" /></a> -<div class="caption"><p>A PORTION OF DICKENS’S MS. TAKEN FROM “THE CHRISTMAS -CAROL”</p></div> -</div> - -<p>The identity of the author of “Pickwick,” by-the-bye, was not disclosed -until that work was nearly completed. It had given rise to much -conjecture until the name of the young writer was at length revealed, -when the following “Impromptu” appeared in <i>Bentley’s Miscellany</i>:</p> - -<div class="poetry"> -<div class="poem"><div class="stanza"> -<span class="i0">Who the <i>dickens</i> “Boz” could be<br /></span> -<span class="i2">Puzzled many a learned elf,<br /></span> -<span class="i0">Till time revealed the mystery,<br /></span> -<span class="i2">And “Boz” appeared as <i>Dickens</i>’ self.<br /></span> -</div></div> -</div> - -<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p> - -<p class="ills"><a name="ill_34" id="ill_34"></a></p> - -<div class="figcenter" style="width: 503px;"> -<a href="images/i_033_lg.jpg"> -<img src="images/i_033_sml.jpg" width="503" height="656" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Fradelle & Young</i></p></div> - -<p>CHARLES DICKENS</p></div> -</div> - -<p><span class="pagenum"><a name="page_34" id="page_34">{34}</a></span></p> - -<p class="ills"><a name="ill_35" id="ill_35"></a></p> - -<div class="figleft" style="width: 255px;"> -<a href="images/i_034_lg.jpg"> -<img src="images/i_034_sml.jpg" width="255" height="308" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>THE GATEHOUSE, ROCHESTER</p> - -<p>Where Jasper lived with the Verger Tope (“Edwin Drood”)</p></div> -</div> - -<p>As soon as the first number of the “Pickwick Papers” was launched (that -is, in April, 1836), its author took unto himself a wife, the bride -being Miss Catherine Thomson Hogarth, eldest daughter of Mr. George -Hogarth, his fellow-worker on the <i>Morning Chronicle</i>. By her he had -several children, and among those surviving are Mrs. Kate Perugini, a -clever painter, and Mr. Henry Fielding Dickens, the eminent K.C. Mrs. -Dickens survived her husband nine years and five months.</p> - -<p>Before the last of the twenty numbers of “Pickwick “ was launched, the -author became a public favourite. Certain sage prophets foretold that as -“Boz” had risen like a rocket, he would of a surety fall like the stick. -But, as events proved, they were wrong, for Dickens not only became the -most popular novelist of the ’thirties and ’forties, but, by the sheer -strength of his genius, maintained that supremacy. Story after story -flowed from his pen, each characterised by originality of conception, -each instinct with a love of humanity in its humblest form, each -noteworthy for its humour and its pathos, and nearly every one “a novel -with a purpose,” having in view the exposure of some great social evil -and its ultimate suppression.</p> - -<p>Following “Pickwick” came “Oliver Twist,” attacking the Poor Laws and -“Bumbledom”; “Nicholas Nickleby,” marking down the cheap -boarding-schools of Yorkshire; “The Old Curiosity Shop” and “Barnaby -Rudge”; “Martin Chuzzlewit”; “Dombey<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> & Son”; “David Copperfield”; -“Bleak House,” holding up to ridicule and contempt the abuse of Chancery -practice; “Little Dorrit”; “A Tale of Two Cities”; “Great Expectations”; -“Our Mutual Friend”; and, finally, the unfinished fragment of “The -Mystery of Edwin Drood,” to which Longfellow referred as “certainly one -of his most beautiful works, if not the most beautiful of all.”</p> - -<p class="ills"><a name="ill_36" id="ill_36"></a></p> - -<div class="figright" style="width: 254px;"> -<a href="images/i_035_lg.jpg"> -<img src="images/i_035_sml.jpg" width="254" height="324" alt="[Image unavailable.]" /></a> -<div class="caption"> - -<div class="blockquot"><p><i>From a photo by Walter Dexter</i></p></div> - -<p>THE HOUSE OF THE SIX POOR TRAVELLERS AT ROCHESTER</p></div> -</div> - -<p>Of his many minor writings, special mention should be made of the -attractive series of Christmas Books, the first of which, “A Christmas -Carol,” has become almost a text-book; and we know that, by the reading -aloud of this touching little allegory to enthusiastic audiences, Sir -Squire Bancroft has afforded substantial aid to many deserving -charities. Dickens is appropriately termed “the Apostle of Christmas,” -and it is undoubtedly true that his Yuletide stories were the pioneers -of Christmas literature.</p> - -<p>Having thus briefly reviewed the literary career of Charles Dickens, it -becomes almost essential to consider him from a personal and social -point of view, in order to thoroughly realise what manner of man he was. -Referring to his personal characteristics, Forster says that to his -friends (and their name was legion) Dickens was “the pleasantest of -companions, with whom they forgot that he had ever written anything, and -felt only the charm which a nature of such capacity for supreme -enjoyment causes every one around it to enjoy.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span> His talk was unaffected -and natural, never bookish in the smallest degree. He was quite up to -the average of well-read men; but as there was no ostentation of it in -his writing, so neither was there in his conversation. This was so -attractive because so keenly observant, and lighted up with so many -touches of humorous fancy; but with every possible thing to give relish -to it, there were not many things to bring away.” He thoroughly endorsed -the axiom that “what is worth doing at all is worth doing well.” He was -most methodical in his habits, and energetic to a degree. “In quick and -varied sympathy, in ready adaptation to every whim and humour, in help -to any mirth or game, he stood for a dozen men.... His versatility made -him unique.”</p> - -<p>Concerning the novelist’s personality, the following testimony has -recently been placed on record by Mr. Percy Fitzgerald, a surviving -member of the “Dickens Brigade” of young men who revered him as “the -Master”: “I say advisedly, there was, and never could be, so genial, -amiable, unaffected, and untiring a person in his treatment of friends -and guests. He was always eager to listen rather than to speak—to take -a second or third place; more anxious to hear, rather than to tell, an -amusing story. His very presence was enough, with the bright, radiant -face, the glowing, searching eyes, which had a language of their own, -and the expressive mouth. You could see the gleam of a humorous thought, -first twinkling there, and had a certain foretaste and even -understanding of what was coming; then it spread downwards the mobile -muscles of his cheek began to quiver; then it came lower, to the -expressive mouth, working under shelter of the grizzled moustache; then, -finally, thus prepared for, came the humorous utterance itself!”</p> - -<p>Dickens was intensely fond of the Drama, as evidenced not only by the -frequent reference in his writings to theatres and actors, but by the -fact that he himself was an actor of an exceptionally<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<p class="ills"><a name="ill_37" id="ill_37"></a></p> - -<div class="figcenter" style="width: 509px;"> -<a href="images/i_037_lg.jpg"> -<img src="images/i_037_sml.jpg" width="509" height="513" alt="[Image unavailable.]" /></a> -<div class="caption"><p>CHARLES DICKENS IN 1861</p> - -<p><i>From a Photograph by J. Watkins</i></p> - -<p>Rischgitz Collection</p></div> -</div> - -<p class="nind">high order, and it is conceded that had he adopted the stage as a -profession he would have attained first rank. Indeed, it was by the -merest accident that he did not enter the profession, for when he was -about twenty he applied for an engagement to the stage-manager at Covent -Garden Theatre, and an appointment was made, which Dickens failed to -keep on account of a terribly bad cold. After that he never resumed the -idea. In later years he became<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> the leading spirit of a wonderful -company of amateur actors, who, on one occasion, performed before her -late Majesty Queen Victoria, by special request. Sir John Tenniel is now -the sole survivor of that merry confraternity.</p> - -<p class="ills"><a name="ill_38" id="ill_38"></a></p> - -<div class="figcenter" style="width: 516px;"> -<a href="images/i_038_lg.jpg"> -<img src="images/i_038_sml.jpg" width="516" height="592" alt="[Image unavailable.]" /></a> -<div class="caption"><p>THE GRAVE OF CHARLES DICKENS IN WESTMINSTER ABBEY</p> - -<p><i>From a water-colour drawing, by S. Luke Fildes, R.A.</i></p> - -<p>Reproduced by special permission of the Artist.</p></div> -</div> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span></p> - -<p>As a reader, too, Dickens stood pre-eminent. It has lately transpired -that his very first public reading took place, early in the fifties, at -Chatham, in aid of the Rochester and Chatham Mechanics’ Institution, and -the subject of the reading was the “Christmas Carol.” He gave public -readings from his own works both in Great Britain and America, and an -entertaining account of these tours may be found in Mr. George Dolby’s -volume, “Charles Dickens as I Knew Him.” There can be no doubt that the -mental tension caused by these readings (which covered a period of some -fifteen years), supplemented by the strain of literary and editorial -labours, curtailed the brilliant career of England’s greatest novelist. -It was at his charming rural retreat, Gad’s Hill Place, near Rochester -(his home from 1856), that Charles Dickens breathed his last, on June -9th, 1870, in his fifty-ninth year. “Before the news of his death even -reached the remoter parts of England,” says Forster, “it had been -flashed across Europe; was known in the distant continents of India, -Australia, and America; and not in English-speaking communities only, -but in every country of the civilised earth, had awakened grief and -sympathy. In his own land it was as if a personal bereavement had -befallen everyone.” Although he himself would have preferred to lie in -the small graveyard under the ancient wall of Rochester Castle, or in -the pretty Kentish churchyard of Cobham or Shorne, public sentiment -favoured the suggestion that the mortal remains of Charles Dickens -should be interred in Westminster Abbey; and there, in Poets’ Corner, -they were laid to rest, quietly and unostentatiously. What Carlyle said -of him, a few days later, will meet with universal acceptance:—</p> - -<p>“The good, the gentle, high gifted, ever friendly, noble Dickens,—every -inch of him an Honest Man.”</p> - -<p class="r"> -<span class="smcap">F. G. Kitton.</span><br /> -<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span></p> - -<h2><a name="NOTES_ON_THE_ILLUSTRATIONS" id="NOTES_ON_THE_ILLUSTRATIONS"></a>NOTES ON THE ILLUSTRATIONS</h2> - -<div class="sidenote"><p><b>The Birthplace of Charles Dickens, No. 387, Commercial Road, -Landport, Portsea</b></p> - -<p><i>see <a href="#page_3">page 3</a></i></div> - -<div class="sidenote"><p><b>Rochester High Street, showing the “moon-faced” clock</b></p> - -<p><i>see <a href="#page_1">page 1</a></i></div> - -<p>Charles Dickens was born at No. 387, Commercial Road, Landport, Portsea, -on Friday, February 7th, 1812. He was the second son of John Dickens, a -clerk in the Navy Pay office, who married Miss Elizabeth Barrow, and had -a family of eight children, two of whom died in childhood. Of his very -earliest days Charles Dickens retained many distinct and durable -impressions. He even recollected the small front garden of the house at -Portsea, from which he was taken away at the age of two years, and where -he played with his elder sister whilst watched by a nurse through the -kitchen window on a level with the gravel walk. Referring to these early -memories, he described “how he thought the Rochester High Street must be -at least as wide as Regent Street, which he afterwards discovered to be -little better than a lane, how the public clock in it, supposed to be -the finest clock in the world, turned out to be as moon-faced and weak a -clock as a man’s eyes ever saw; and how, in its town hall, which had -appeared to him once so glorious a structure that he had set it up in -his mind as the model on which the genie of the lamp built the palace -for Aladdin, he had painfully to recognise a mere mean little heap of -bricks, like a chapel gone demented.” In “The Seven Poor Travellers” -Dickens gave another picture of the same spot. “The silent High Street -of Rochester is full of gables, with old beams and timbers carved into -strange faces. It is oddly garnished with a queer old clock that -projects over the pavement out of a grave red brick building as if Time -carried on business there and hung out his sign.”</p> - -<div class="sidenote"><p><b>No. 15, Furnival’s Inn, Holborn</b></p> - -<p><i>see <a href="#page_4">page 4</a></i></div> - -<p>In 1836 Charles Dickens lived at 15, Furnival’s Inn, and it was here -that he “thought of Mr. Pickwick, and wrote the first number,” which was -published March 31st, 1837. Two days later the author married Miss -Catherine Hogarth, and after spending their honeymoon in the village of -Chalk, near Gad’s Hill, the young couple continued to reside for some -time in apartments on the top floor of this house.</p> - -<div class="sidenote"><p><b>“The Leather Bottle,” Cobham</b></p> - -<p><i>see <a href="#page_5">page 5</a></i></div> - -<p>“The Leather Bottle,” immortalised in “The Pickwick Papers,” is situated -at Cobham, opposite the church. “<span class="lftspc">‘</span>And really,’ added Mr. Pickwick, after -half an hour’s walking had brought them to the village, ‘really, for a -misanthrope’s choice, this is one of the prettiest and most desirable -places of residence I ever met with.’</p> - -<p>“In this opinion also both Mr. Winkle and Mr. Snodgrass expressed their -concurrence; and, having been directed to the ‘Leather Bottle,’ a clean -and commodious village ale-house, the three travellers entered, and at -once inquired for a gentleman of the name of Tupman.”</p> - -<div class="sidenote"><p><b>The Old Curiosity Shop</b></p> - -<p><i>see <a href="#page_9">page 9</a></i></div> - -<p>The Old Curiosity Shop in Portugal Street, said to be the house assigned -by the novelist for the residence of Little Nell and her grandfather, -was “one of those receptacles for old and curious things, which seem to -crouch in odd corners of this town, and to hide their musty treasure -from the public eye in jealousy and distrust.” It is possibly the best -known among the landmarks of places made famous by Dickens.</p> - -<div class="sidenote"><p><b>The Grave of Little Nell</b></p> - -<p><i>see <a href="#page_8">page 8</a></i></div> - -<p>“They saw the vault covered and the stone fixed down. Then, when the -dusk of evening had come on, and not a sound disturbed the sacred -stillness of the place when the bright moon poured in her light on tomb -and monument, on pillar, wall, and arch, and most of all (it seemed to -them) upon her quiet grave in that calm time, when all outward things -and inward thoughts teem with assurances of immortality, and worldly -hopes and fears are humbled in the dust before them—then, with tranquil -and submissive hearts, they turned away, and left the child with God.”</p> - -<p>Dotheboys Hall, in “Nicholas Nickleby,” is said to have borne a close -resemblance to Shaw’s Academy at Bowes, Yorkshire; but Dickens in his<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p> - -<div class="sidenote"><p><b>Dotheboys Hall at Bowes, Yorkshire</b></p> - -<p><i>see <a href="#page_12">page 12</a></i></div> - -<p class="nind">preface to the book disclaimed his intention of identifying the infamous -Mr. Squeers with the master of any particular school by his words, “Mr. -Squeers is the representative of a class and not of an individual.” -“<span class="lftspc">‘</span>The fact is it ain’t a Hall,’ observed Squeers, drily.... ‘We call it -a hall up in London because it sounds better, but they don’t know it by -that name in these parts. A man may call his house an island if he -likes; there’s no Act of Parliament against that, I believe.’ ... The -school was a long cold-looking house, one storey high, with a few -straggling outbuildings behind and a barn and stable adjoining.”</p> - -<div class="sidenote"><p><b>Dickens’s Favourite Raven</b></p> - -<p><i>see <a href="#page_15">page 15</a></i></div> - -<p>This raven was the original of “Grip” in “Barnaby Budge.” To the great -grief of Dickens the bird died, after it had been ailing only a few -days, on March 12th, 1841. After death the famous raven was stuffed, and -when sold at the Dickens sale realised £126.</p> - -<p>“<span class="lftspc">‘</span>I make <i>him</i> come?’ cried Barnaby, pointing to the bird. ‘Him, who -never goes to sleep, or so much as winks! Why, any time of night, you -may see his eyes in my dark room, shining like two sparks. And every -night, and all night too, he’s broad awake, talking to himself, thinking -what he shall do to-morrow, where we shall go, and what he shall steal, -and hide, and bury. <i>I</i> make <i>him</i> come! Ha, ha, ha!’<span class="lftspc">”</span></p> - -<div class="sidenote"><p><b>No. 1, Devonshire Terrace</b></p> - -<p><i>see <a href="#page_22">page 22</a></i></div> - -<p>In 1839 Dickens removed from Doughty Street to No. 1, Devonshire -Terrace, a handsome house with a garden of considerable size, shut out -from the New Road by a high brick wall facing the York Gate into -Regent’s Park. The house is entered at the side, and the front looks -into Marylebone Road. The windows of the lower and first-floor rooms are -largely bowed, and Dickens described it as “a house of great promise -(and great premium), undeniable situation, and excessive splendour.” He -lived here until 1850, and in these years much of his best work was -done, including “Master Humphrey’s Clock,” “The Old Curiosity Shop.” -“Barnaby Budge,” “American Notes,” “Martin Chuzzlewit,” “A Christmas -Carol,” “The Cricket on the Hearth,” “Dombey and Son,” “The Haunted -Man,” and “David Copperfield.”</p> - -<div class="sidenote"><p><b>Tavistock House, Tavistock Square</b></p> - -<p><i>see <a href="#page_17">page 17</a></i></div> - -<p>After leaving Devonshire Terrace, Dickens resided for nearly nine years, -dating from November 1851, at Tavistock House, which has of late been -demolished. During this period he wrote “Bleak House,” “Hard Times,” a -part of “Little Dorrit,” and “A Tale of Two Cities.”</p> - -<p>Hans Christian Andersen, after visiting Dickens in Tavistock House, gave -the following description of his home:—</p> - -<p>“In Tavistock Square stands Tavistock House. This and the strip of -garden in front of it are shut out from the thoroughfare by an iron -railing. A large garden, with a grass plat and high trees, stretches -behind the house, and gives it a countrified look in the midst of this -coal and gas steaming London. In the passage from street to garden hung -pictures and engravings. On the first floor was a rich library, with a -fireplace and a writing-table, looking out on the garden; and here it -was that in winter Dickens and his friends acted plays to the -satisfaction of all parties.”</p> - -<div class="sidenote"><p><b>Eastgate House, Rochester</b></p> - -<p><i>see <a href="#page_18">page 18</a></i></div> - -<p>Eastgate House, the original of the Nuns’ House in “The Mystery of Edwin -Drood,” forms one of the most picturesque bits of the Rochester High -Street, one side of the old building being half hidden from the roadway -by overhanging trees. “Cloisterham” in “Edwin Drood,” of course, -represents Rochester.</p> - -<p>“In the midst of Cloisterham stands the Nuns’ House: a veritable brick -edifice, whose present appellation is doubtless derived from the legends -of its conventual uses. On the trim gate enclosing its courtyard is a -resplendent brass plate flashing forth the legend: ‘Seminary for Young -Ladies. Miss Twinkleton.’ The house front is so old and worn, and the -brass plate is so shining and staring, that the general result has -reminded imaginative strangers of a battered old beau with a large -modern eyeglass stuck in his blind eye.<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span>”</p> - -<div class="sidenote"><p><b>Gad’s Hill Place, near Rochester</b></p> - -<p><i>see <a href="#page_26">page 26</a></i></div> - -<p>Gad’s Hill Place was the novelist’s last residence, where he wrote “The -Uncommercial Traveller,” “Great Expectations,” “Our Mutual Friend,” and -“The Mystery of Edwin Drood.”</p> - -<p>On this house Dickens had fixed his choice in his boyish days. It had -always held a prominent place amid the recollections connected with his -childhood. Forster wrote of Dickens that “upon first seeing it as he -came from Chatham with his father, and looking up at it with admiration, -he had been promised that he might live in it himself, or some such -house, when he came to be a man, if he would only work hard enough.” It -is pleasant to record that this ambition was gratified in after life, -when the dream of his boyhood was realised.</p> - -<div class="sidenote"><p><b>Restoration House, Rochester</b></p> - -<p><i>see <a href="#page_28">page 28</a></i></div> - -<p>Restoration House, Rochester, is of interest as being the “Satis House” -of “Great Expectations,” in which Miss Havisham lived. Restoration House -must not, however, be confused with Satis House, Rochester, from which -Dickens took the name.</p> - -<p>“<span class="lftspc">‘</span>Enough House!’ said I. ‘That’s a curious name, miss.’</p> - -<p>“<span class="lftspc">‘</span>Yes,’ she replied; ‘but it meant more than it said. It meant, when it -was given, that whoever had this house could want nothing else. They -must have been easily satisfied in those days, I should think.’</p> - -<p>“To be sure, it was a deserted place, down to the pigeon-house in the -brewery-yard, which had been blown crooked on its pole by some high -wind, and would have made the pigeons think themselves at sea, if there -had been any pigeons there to be rocked by it. But there were no pigeons -in the dovecot, no horses in the stables, no pigs in the sty....”</p> - -<div class="sidenote"><p><b>The Bull Hotel, Rochester</b></p> - -<p><i>see <a href="#page_28">page 28</a></i></div> - -<p>The Bull Hotel is a commodious establishment of ancient and respectable -repute, and the principal posting-house of Rochester. It is the -celebrated inn where the Pickwickians stayed on the occasion of their -first visit to Rochester, and which Mr. Jingle so laconically summed up -in the phrase, “good house—nice beds.”</p> - -<p>The house itself has changed very little. A fine oak staircase leads up -to the ball-room, where Mr. Jingle masqueraded in Mr. Winkle’s -dress-suit with extraordinary results.</p> - -<div class="sidenote"><p><b>The Gatehouse, Rochester</b></p> - -<p><i>see <a href="#page_34">page 34</a></i></div> - -<p>In “The Mystery of Edwin Drood” Dickens described the Old Gatehouse at -Rochester, facing Pump Lane, with its archway, which stands angle-wise -in the street. There is a small postern at the back of the gate. This -building was the residence of Mr. Tope, “chief verger and showman” of -the Cathedral, with whom lodged Mr. John Jaspar, the uncle of Edwin -Drood. The house is a gabled wooden structure, two storeys high, built -over the stone gateway. Dickens pictured it as “an old stone gatehouse -crossing the Close, with an arched thoroughfare passing beneath it.”</p> - -<div class="sidenote"><p><b>Watts’s Charity, The House of the Six Poor Travellers, -Rochester</b></p> - -<p><i>see <a href="#page_35">page 35</a></i></div> - -<p>This house formed the basis for a short story called, “The Seven Poor -Travellers,” which appeared in the Christmas number of <i>Household Words</i> -for 1854. The inscription over the doorway of this striking-looking -building runs as follows:—</p> - -<p class="c" style="clear:both;"> -RICHARD WATTS, <span class="smcap">Esq.</span>,<br /> -<br /> -<span class="smcap">by his will dated 22 August, 1579,<br /> -founded this charity<br /> -for six poor travellers.<br /> -Who not being Rogues, or Proctors,<br /> -may receive gratis for one night,<br /> -Lodging, Entertainment,<br /> -and four-pence each</span>.<br /> -</p> - -<p>Dickens called it “a clean white house of a staid and venerable air, -with a quaint old door (an arched door), choice, little, long, low -lattice windows, and a roof of three gables.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span>”</p> - -<div class="sidenote"><p><b>The Grave of Dickens in Westminster Abbey. From a painting by -S. Luke Fildes, R.A.</b></p> - -<p><i>see <a href="#page_38">page 38</a></i></div> - -<p>Charles Dickens died on the 9th of June, 1870. Five days later he was -buried in Westminster Abbey, with, according to Forster, only such -ceremonial as would strictly obey all injunctions of privacy. The -solemnity lost nothing by its simplicity. “All day long,” wrote Dean -Stanley, two days after the funeral, “there was a constant pressure to -the spot, and many flowers were strewn upon it by unknown hands, many -tears shed by unknown eyes.” On the stone are inscribed the words:</p> - -<p class="c" style="clear:both;"> -CHARLES DICKENS,<br /> -<br /> -<span class="smcap">Born February the Seventh, 1812. Died June the Ninth, 1870.</span><br /> -</p> - -<h2><a name="SOME_PORTRAITS_OF_CHARLES_DICKENS" id="SOME_PORTRAITS_OF_CHARLES_DICKENS"></a>SOME PORTRAITS OF CHARLES DICKENS</h2> - -<div class="sidenote"><p><b>“Boz” (Charles Dickens). From a drawing by S. Laurence; in -the possession of Mr. Horace N. Pym</b></p> - -<p><i>see <a href="#page_2">page 2</a></i></div> - -<p>In 1837 Dickens sat for his portrait to his friend Samuel Laurence, an -artist distinguished for remarkable skill in the art of -portrait-sketching. Shortly after the death of Mr. Laurence in 1884, his -drawings were disposed of by auction at the sale of his effects on June -12th, and the “Boz” portrait which is here reproduced then became the -property of Mr. Horace N. Pym, the editor of “Caroline Fox’s Journal.” -Of this portrait Mr. F. G, Kitton writes in “Charles Dickens by Pen and -Pencil”: “The artist has admirably succeeded in rendering with -marvellous skill the fire and beauty of the eyes—the sensitiveness and -mobility of the mouth.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1839. From the picture by Daniel Maclise, -R.A.</b></p> - -<p><i>see <a href="#page_7">page 7</a></i></div> - -<p>This painting was exhibited at the Royal Academy in 1840, and is now in -the National Portrait Gallery. Thackeray referred to it in terms of the -highest praise. “Look at the portrait of Mr. Dickens,” he wrote, “well -arranged as a picture, good in colour and light and shadow, and as a -likeness perfectly amazing; a looking-glass could not render a better -<i>fac-simile</i>. Here we have the real identical man Dickens; the artist -must have understood the inward ‘Boz’ as well as the outward before he -made this admirable representation of him. What cheerful intellectuality -is about the man’s eyes, and a large forehead! The mouth is too large -and full, too eager and active, perhaps; the smile is very sweet and -generous.”</p> - -<div class="sidenote"><p><b>Charles Dickens reading “The Chimes” to his friends at 58, -Lincoln’s Inn Fields, Monday, the 2nd of Dec., 1844</b></p> - -<p><i>see <a href="#page_10">page 10</a></i></div> - -<p>A portrait, reproduced from an engraving by C. H. Jeens after the -original sketch by Daniel Maclise, R. A., which is now in the South -Kensington Museum. Forster called it “An occasion rather memorable in -which was the germ of those readings to larger audiences, by which, as -much as by his books, the world knew him in his later life.” With -reference to Maclise’s pencil-drawing he continued, “It will tell the -reader all he can wish to know. He will see of whom the party consisted; -and may be assured (with allowance for a touch of caricature to which I -may claim to be considered myself as the chief and very marked victim) -that in the grave attention of Carlyle, the eager interest of Stanfield -and Maclise, the keen look of poor Laman Blanchard, Fox’s rapt -solemnity, Jerrold’s skyward gaze, and the tears of Harness and Dyce, -the characteristic points of the scene are sufficiently rendered.”</p> - -<div class="sidenote"><p><b>Charles Dickens, his wife, and her sister</b></p> - -<p><i>see <a href="#page_11">page 11</a></i></div> - -<p>The original of this pencil drawing by Daniel Maclise, R.A., which was -executed in 1843, a few years after the marriage of Dickens, is now in -the South Kensington Museum. It was engraved by C. H. Jeens and dated by -error 1842. “Never did a touch so light carry with it more truth of -observation,” wrote Forster. “The likenesses of all are excellent.... -Nothing ever done of Dickens himself has conveyed more vividly his look -and hearing at this yet youthful time. He is in his most pleasing -aspect; flattered if you will; but nothing that is known to me gives a -general impression so lifelike and true of the then frank, eager, -handsome face.<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span>”</p> - -<div class="sidenote"><p><b>Charles Dickens as Captain Bobadil, in “Every Man in his -Humour.” From a painting by C. R. Leslie, R.A.</b></p> - -<p><i>see <a href="#page_12">page 12</a></i></div> - -<p>Dickens had the title to be called a born comedian, declared Forster, -but his strength was rather in the vividness and variety of his -assumptions, than in the completeness, finish, or ideality he could give -to any part of them. The rendering of the novelist as Bobadil by C. R. -Leslie, R.A., was exhibited in the Royal Academy in 1846. The artist has -represented Dickens seated upon a sofa, dressed as a bearded -swashbuckler and braggadocio, just at the moment when Tib enters to -announce the arrival of a visitor and Captain Bobadil declares: “A -gentleman! Odds so, I am not within.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1842. From a drawing by Alfred Count -D’Orsay</b></p> - -<p><i>see <a href="#page_13">page 13</a></i></div> - -<p>Of this drawing, which is reproduced from a lithograph after a sketch by -Alfred Count D’Orsay, Mr. F. G. Kitton writes in “Charles Dickens by Pen -and Pencil”: “As compared with other portraits belonging to this period, -the features look pinched and small, although due justice has been done -to the luxuriant hair and the fashionable style of coat and stock -peculiar to that day.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1851. From an etching after a -daguerreotype by Mayall</b></p> - -<p><i>see <a href="#page_14">page 14</a></i></div> - -<p>The first practitioner of daguerreotype portraiture in England was Mr. -John Mayall, sen., who left America in 1845 and established himself in -Regent Street, London. He soon numbered among his <i>clientèle</i> many -celebrities of the day, including Charles Dickens, who paid his first -visit shortly after returning from the Continent. During a period of -several years Dickens sat to Mr. Mayall, the first of these portraits -being taken while he was writing “David Copperfield.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1855. From the painting by Ary Scheffer</b></p> - -<p><i>see <a href="#page_16">page 16</a></i></div> - -<p>This famous portrait was exhibited in 1856 in the Royal Academy, and in -July 1870 was purchased by the trustees of the National Portrait -Gallery, where it now hangs. Dickens himself considered it “a fine -spirited head, painted at his [Scheffer’s] very best, and with a very -easy and natural appearance in it. But it does not look to me at all -like, nor does it strike me that if I saw it in a gallery, I should -suppose myself to be the original.... As a work of art, I see in it -spirit combined with perfect ease, and yet I don’t see myself. So I come -to the conclusion that I never <i>do</i> see myself.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1844. From a miniature by Miss Margaret -Gillies</b></p> - -<p><i>see <a href="#page_19">page 19</a></i></div> - -<p>The interesting miniature by Miss Margaret Gillies has mysteriously -disappeared, and is not improbably buried in some private collection. It -was exhibited in the Royal Academy in 1844.</p> - -<div class="sidenote"><p><b>Charles Dickens in 1859. After the painting by W. P. Frith, -A.R.A.</b></p> - -<p><i>see <a href="#page_23">page 23</a></i></div> - -<p>Mr. Frith’s painting was exhibited in the Royal Academy in the spring of -1860, and afterwards included in the Forster Collection at South -Kensington, where it now finds a worthy resting-place. Dickens wrote of -this picture in a letter from Tavistock House, dated May 31st, 1859: “It -has received every conceivable pains at Frith’s hands, and ought, on his -account, to be good. It is a little too much (to my thinking) as if my -next-door neighbour were my deadly foe, uninsured, and had just received -tidings of his house being afire; otherwise very good.”</p> - -<div class="sidenote"><p><b>Charles Dickens giving a Reading, 1861</b></p> - -<p><i>see <a href="#page_24">page 24</a></i></div> - -<p>Dickens gave his paid public Readings successively, with brief -intervals, at four several periods—viz., in 1858-9, in 1861-3, in -1866-7, and in 1868-70.</p> - -<p>“I must say [he wrote] that the intelligence and warmth of the audience -are an immense sustainment, and one that always sets me up. Sometimes, -before I go down to read (especially when it is in the day) I am so -oppressed by having to do it that I feel perfectly unequal to the task. -But the people lift me out of this directly, and I find that I have -quite forgotten everything but them and the book, in a quarter of an -hour.”</p> - -<div class="sidenote"><p><b>Charles Dickens in 1861. From a photograph by J. Watkins</b></p> - -<p><i>see <a href="#page_37">page 37</a></i></div> - -<p>A full-face likeness of the novelist by Watkins has attained deservedly -a large degree of popularity. The best remembered copy is a beautiful -lithographic drawing by R. J. Lane which was exhibited at the Royal -Academy in 1864. It is said to have been an especial favourite with -Charles Lever.</p> - -<p> </p> - -<div class="bbox"> - -<p class="cb"><i>BY THE SAME AUTHOR.</i></p> - -<p class="cb"><i>Both Reduced to 1s. net.</i></p> - -<p class="cig">Greybeards at Play.</p> - -<p class="cb">Literature and Art for Old Gentlemen.</p> - -<p class="c">Rhymes and Sketches, with Cover Design in Nursery Colours.</p> - -<p class="cb">By G. K. CHESTERTON.</p> - -<p>“One of the cleverest collections of this kind I have ever come -across.”—<i>The Sketch.</i></p> - -<p>“Very good and very humorous.”—<i>Black and White.</i></p> - -<p>“We only wish for one addition to the book: more—of -everything.”—<i>The Bookman.</i></p> - -<p class="c"><span class="smcap">“The Bookman,” like Oliver Twist, “asks for more.”</span></p> -<p> </p> -<p class="cb"><i>Uniform with the Above.</i></p> - -<p class="cig">Nonsense Rhymes.</p> - -<p class="cb">By COSMO MONKHOUSE.</p> - -<p class="cb">Illustrated by G. K. CHESTERTON.</p> - -<p>“The most diverting Christmas book of verses we have -seen.”—<i>Literature.</i></p> - -<p> </p> - -<p><i>Mr. Brimley Johnson’s publications include the “Novels of Jane -Austen”—Hampshire Edition, with an entirely novel method of -illustration; the dainty “York Library”—selections from Lamb, Southey, -and Spencer; Lady Duff Gordon’s “Letters from Egypt”—with an -Introduction by George Meredith; “Letters from John Chinaman”; “From the -Abyss,” by an Inhabitant; “The Gospel Manuscripts”; “Latter Day -Parables”—being Dreams and Allegories by Modern Hands; Centenary -Edition of “Mrs. Caudle’s Curtain Lectures,” and “The Wonderful Story of -Dunder Van Haelden,” by Edward Chesterton.</i></p> - -<p> </p> -<p class="cb"><i>BY THE SAME AUTHOR.</i></p> - -<p class="cig">The Defendant.</p> - -<p class="c">BY</p> - -<p class="cb">G. K. 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BRIMLEY JOHNSON, 8, York Buildings, Adelphi, W.C.</p> -</div> - -<div class="bbox"> -<p class="cig"><span class="smcap">“The Bookman” Booklets.</span></p> - -<p class="c"> -<i>A SERIES OF POPULAR<br /> -ILLUSTRATED MONOGRAPHS<br /> -ON GREAT WRITERS.</i><br /> -<br /> -With half-tone Photogravure<br /> -Frontispiece,<br /> -Price <b>1-</b> each, net.<br /> -</p> - -<table border="0" cellpadding="0" cellspacing="3" summary=""> -<tr><td align="left">1.</td><td class="c"><big>THOMAS CARLYLE.</big></td></tr> -<tr><td align="left">2.</td><td class="c"><big>ROBERT LOUIS STEVENSON.</big></td></tr> -<tr><td align="left">3.</td><td class="c"><big>LEO TOLSTOY.</big></td></tr> -<tr><td align="left">4.</td><td class="c"><big>CHARLES DICKENS.</big></td></tr> -</table> - -<p class="c"><span class="smcap">London: HODDER & STOUGHTON, 27, Paternoster Row, E.C.</span></p> - -<hr /> - -<p class="cb"><i>“THE BOOKMAN” DIRECTORY FOR 1903</i>.</p> - -<p class="c"><span class="smcap">“The Bookman” Directory.</span></p> - -<p class="c"> -<i>Edited by<br /> -<b>J. 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It is not a dry-as-dust magazine for specialists. -Every line and every picture it contains is of peculiar interest to the -great and ever increasing public that delights in books.</p> - -<p class="fint"><span class="smcap">London: HODDER & STOUGHTON, 27, Paternoster Row, E.C.</span></p> -</div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Charles Dickens, by -G. K. 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