Fiction > Harvard Classics > Charles Dickens > David Copperfield > Criticisms and Interpretations > II
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Charles Dickens. (1812–1870).  David Copperfield.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
II. By John Forster
  
THE FEELING of the creator of Micawber, as he humoured and remembered the foibles of his original, found its counterpart in that of his readers for the creation itself, as its part was played out in the story. Nobody likes Micawber less for his follies; and Dickens liked his father more, the more he recalled his whimsical qualities. The fact and the fancy had united whatever was most grateful to him in both. It is a tribute to the generally healthful and manly tone of the story of “Copperfield” that such should be the outcome of the eccentricities of this leading personage in it; and the superiority in this respect of Micawber over Skimpole is one of the many indications of the inferiority of “Bleak House” to its predecessor. With leading resemblances that make it difficult to say which character best represents the principle or no principle of impecuniosity, there cannot be any doubt which has the advantage in moral and intellectual development. It is genuine humour against personal satire. Between the worldly circumstances of the two, there is nothing to choose; but as to everything else it is the difference between shabbiness and greatness. Skimpole’s sunny talk might be expected to please as much as Micawber’s gorgeous speech, the design of both being to take the edge off poverty. But in the one we have no relief from attendant meanness or distress, and we drop down from the airiest fancies into sordidness and pain; whereas in the other nothing pitiful or merely selfish ever touches us. At its lowest depth of what is worst, we never doubt that something better must turn up; and of a man who sells his bedstead that he may entertain his friend, we altogether refuse to think nothing but badly. This is throughout the free and cheery style of “Copperfield.” The masterpieces of Dickens’s humour are not in it; but he has nowhere given such variety of play to his invention, and the book is unapproached among his writings for its completeness of effect and uniform pleasantness of tone.…   1
  Consider Copperfield in his proper place in the story, and sequence as well as connection will be given to the varieties of its childish adventure. The first warm nest of love in which his vain fond mother, and her quaint kind servant, cherish him; the quick-following contrast of hard dependence and servile treatment; the escape from that premature and dwarfed maturity by natural relapse into a more perfect childhood; the then leisurely growth of emotions and faculties into manhood; these are component parts of a character consistently drawn. The sum of its achievement is to be a successful cultivation of letters; and often as such imaginary discipline has been the theme of fiction, there are not many happier conceptions of it. The ideal and real parts of the boy’s nature receive development in the proportions which contribute best to the end desired; the readiness for impulsive attachments that had put him into the leading of others, has underneath it a base of truthfulness on which at last he rests in safety; the practical man is the outcome of the fanciful youth; and a more than equivalent for the graces of his visionary days, is found in the active sympathies that life has opened to him. Many experiences have come within its range, and his heart has room for all. Our interest in him cannot but be increased by knowing how much he expresses of what the author had himself gone through; but David includes far less than this, and infinitely more.   2
  That the incidents arise easily, and to the very end connect themselves naturally and unobtrusively with the characters of which they are a part, is to be said perhaps more truly of this than of any other of Dickens’s novels. There is a profusion of distinct and distinguishable people, and a prodigal wealth of detail; but unity of drift or purpose is apparent always, and the tone is uniformly right. By the course of the events we learn the value of self-denial and patience, quiet endurance of unavoidable ills, strenuous effort against ills remediable; and everything in the fortunes of the actors warns us to strengthen our generous emotions and to guard the purities of home. It is easy thus to account for the supreme popularity of “Copperfield,” without the addition that it can hardly have had a reader, man or lad, who did not discover that he was something of a Copperfield himself. Childhood and youth live again for all of us in its marvellous boy-experiences.—From “The Life of Charles Dickens.”   3

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