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THE MARVELOUS in SELECTED NOVELS of CHARLES DICKENS Richard Sanzenbacher a Dissertation Submitted to the Graduate College Of

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THE MARVELOUS in SELECTED NOVELS of CHARLES DICKENS Richard Sanzenbacher a Dissertation Submitted to the Graduate College Of I THE MARVELOUS IN SELECTED NOVELS OF CHARLES DICKENS Richard Sanzenbacher A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY March 1979 V' ABSTRACT Although many critical articles have been written on Dickens* use of the fantastic, none of them has noticed the similarity between the Italian Renaissance critic*s concept of the marvelous and Dickens* imaginative, non-realistic treatment of his subject matter. By using the marvelous as a vehicle by which to explain what Dickens is doing in his novels, this dissertation attempts to reveal a new per­ spective on his imaginary world, a world where his use of the marvelous creates a heightening of the commonplace pri­ marily responsible for the wonder, delight, and moral teach­ ing that the reader receives. Broadly speaking, we see how Dickens has domesticated the marvelous and how this functions as a significant factor in explaining Dickens* immense popularity. The dissertation’s first chapter is panaromic in scope, a historical background description of the marvelous. This includes not only a survey of the marvelous in pagan and Christian thought, but also an examination of Aristotle, Plato, Sidney, and the Italian critics. The next section essentially involves a discussion of the psychological interaction between the marvelous and the reader. A conception of the "ideal reader" is posited, demonstrating how the marvelous works within this context. The focal point concerns the various modulations of the marvelous appearing in Dickens and certain critics* viewpoints ill on the artist’s creativity and a subsequent application of the marvelous to their comments. The body of the study examines the scattered comments that Dickens made on art in his letters and miscellaneous pieces (Chapter III), while the principal section demon­ strates his treatment of the m^yygXftlAS. In Q.Hy&£ 3Ms£, The. Old Curiosity Shop. Bleak House. and Great Expectations. The overall organization is chronological showing Dickens’ pro­ gression from utilizing the marvelous more directly in the earlier works to its more metaphorical treatment in the latter. The imaginative categories concentrated on ares personification; the use of recognitions and reversals; the heightening or idealization of characters, conditions such as good and evil, the real and the ideal, and commonplace details; and the surrealistic, dreamlike atmosphere. Inter­ spersed throughout are sections that explore the reader’s response of pleasure to these categories of the marvelous. The conclusion is that the marvelous is an appropriate term to use with Dickens since it includes such an array of imaginative situations. Although it is a concept that is not much mentioned, it should still be available since it embodies a specificity that nebulous words such as '’imagina­ tion,'' "fancy," "fantasy," and "romance" do not. Furthermore, its presence in Dickens shows that ideas once useful do not go out of date. ACKNOWLEDGMENTS This paper is dedicated to Dr. Richard Carpenter for his patience and sense of fairness throughout my writing; to Peter Schwartz, for his encouragement and unflinching friendship; and, above all, to Gail Howard Szymanski, who embodies those qualities that Dickens found so important-- that refreshing sense of innocenoe, benevolence, and devotion. V TABLE OF CONTENTS CHAPTER I THE HISTORICAL SIGNIFICANCE OF THE MARVELOUS CHAPTER II - THE MARVELOUS AND THE READER CHAPTER III - CHARLES DICKENSi HIS PERSPECTIVE ON LITERATURE CHAPTER IV - OLIVER TWIST. THE.OLD CURIOSITY SHOP CHAPTER V BLEAK HOUSE. GREAT EXPECTATIONS CONCLUSION CHAPTER I The Historical Significance of the Marvelous The most salient feature of any Dickens* novel Is the fantastical energy that Dickens has Infused Into the hundreds of characters, objects, and settings that occupy his novels, some of them, at times, seeming to exist on the outer periphery of the mortal world. In essence, the Dickens* world is a fragmentary universe, a world teeming with a gallery of characters and a series of mysterious happenings which do not appear to be Interrelated at first, but which by the novel’s end, miraculously reassemble into a coherent whole. To be absorbed into this particular universe is to become a vicarious participant in its phantasmagoric atmosphere. Dickens’ individualistic use of his fancy has been described as the "fantasy of All Baba’s cave and Sinbad’s valley of diamonds. "1 or, as David Cecil once stated, reading Dickens is like being 2 "bathed in the violent chiaroscuro of his fancy. ..." . Other critics assert that "Fancy is, perhaps, Dickens* favourite abstraction, and the one which can take us further into his philosophy."^j that "In all Mr. Dickens’ work the fantastic has 4 been his great resource . ." j or that "Fancy, in Charles Dickens, is the most vigilant elf that ever lurked in brilliant human senses."-’ And lastly, George Ford in his book Dickens and His Readers claims that Dickens* use of the fancy is poetic: ". the recognition of the necessity for color, style, and manner bring us to the core of Dickens* technique. It is a 2 technique closer to that of poetic drama than of the more conventional novel.”0 Certain critics see Dickens' use of the fantastic in light of its juxtaposition to dream. Humphrey House places the world of Dickens in that particular locale ”... where dream 7 and reality are confused or swiftly alternating • • • while Robert Morse in his insightful article on Our Mutual Friend contends that his "characters seem so often to merge Q from folk tale and dream. ..." According to Warrington Winters, "... Dickens became Interested in using this dreaming awareness of external events for purposes of plot."9 This dreamlike rendering of the plot is evidence of Dickens* vividness of imagination which approaches "so closely to hallucination" as George Henry Lewes notes in his critical review, "Dickens in Relation to Criticism."^® Next to Stoehr who explores the dreamlike perspective the most in The Dreamer's Stanoe. the most revealing comment on Dickens* dreamlike quality is seen in Angus Wilson's references to the distinct Dickensian fragmented atmosphere that occurs in his novels: the obsessive power of his novels "comes impressionistically from atmosphere and scene Which are always determinedly fragmentary.Although Wilson falls to allude specifically to Dickens' style as dreamlike, his mention of the impressionistic force of the fragmentary atmosphere and scene suggests a dimension that is dream oriented and/or hallucinatory in nature. 3 Whenever Dickens* particular type of realism is discussed, it is usually viewed from the perspective of how it is a com­ bination of the fantastic and the real. Various critics have perceived this coupling from different angles, but the overall implication is that the reality he pictures is a heightened or idealized version which possesses a touch of the unreal. Edward Wagenknecht posits the theory that Dickens "wanted reality, but he wanted the uncommon aspects of reality"^ which is the fantastical or marvelous dimension, whereas Michael Kotzln asserts that "Dickens succeeded in assimilating the fairy tale into the realistic.Similar to both Wagenknecht's and Kotzln*s ideas on Dickens' realism is Earle Davis' hypothesis. In his study entitled The Flint and the Flame. Davis describes Dickens* attitude toward the writing of fiction as "... an understanding of the novel form as implying a realism of detail spread thinly over an unreality of action.Jack Lindsay adds a further focus to the aforementioned thoughts when he discusses Dickens* combination of the fantastic and the real in reference to the literary school of naturalism. He believes that "It is because he always fuses the fantasy with realism that he redeems realism from its bourgeois distortion (naturalism). • . Dickens* imaginative power creates a realism that is tempered, " • . • a social realism modified by melodramatic structure and fantasy images. ... This coupling of the fantastic and realism creates that heightening aspect that is manifested in his characters and 4 settings. Whereas Edgar Allen Poe believes that "... these personages belong to the most august regions of the ideal, David Masson in his famous essay "Dickens and Thackeray" locates their existence as verging on the supernatural realm: "... characters of a human kind verging on the supernatural, as well as characters actually belonging to the supernatural. Even his situations and scenery often lie in a region beyond 1 8 the margin of everyday life." This idealization also occurs in the Dickens’ landscape where the characters act out.their eccentricities. When Dorothy Van Ghent says that "in Dickens, the environment is literally unnatural,she is recognizing its supra-natural dimension and the artistic heightening of those commonplace details. Other critics such as George Orwell and Emile Chartier "Alain" also detect this supernatural quality. Even though Orwell refers to the Dickens’ environ- ment as a "never-neverland, a kind of eternity," ?0 and "Alain" 21 sees it as a universe with "a magic resonance," they are still alluding to its unnatural atmosphere, an atmosphere that contains those fantastical elements which are marvelous in nature. Although a variety of studies have been done on Dickens’ imaginative vision as evidenced in the previously mentioned critics, none of them has noted those qualities of the marvelous that can explain his creativity. The marvelous is a concept that received considerable attention during the six­ teenth century in Italy though Aristotle first disoussed it in 5 Tfee Poetips. The imaginative element of any literary work can be perceived as the marvelous element, and according to the Italian critics, the literary work should be composed of plausi­ ble or realistic events, tempered by the use of the marvelous from which astonishment and pleasure are generated. Moreover, they maintain that the utilization of the marvelous will subsequently transform and heighten the commonplace, move it into an artistic realm, and produce reactions of awe and pleas­ ure within us.
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