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Circle of Fire: Dickens' Vision and Style and the Popular Victorian Theater

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Circle of Fire: Dickens' Vision and Style and the Popular Victorian Theater University of Kentucky UKnowledge Literature in English, British Isles English Language and Literature 1966 Circle of Fire: Dickens' Vision and Style and the Popular Victorian Theater William F. Axton University of Kentucky Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Axton, William F., "Circle of Fire: Dickens' Vision and Style and the Popular Victorian Theater" (1966). Literature in English, British Isles. 26. https://uknowledge.uky.edu/upk_english_language_and_literature_british_isles/26 Circle of Fire "Mr. Carker in his Hour of Triumph." Illustration by Phiz (Hablot Knight Browne) for Dombey and Son CIRCLE OF FIRE Dickens' Vision & Style & The Popular Victorian Theater WILLIAM F. AXTON UNIVERSITY OF KENTUCKY PRESS COPYRIGHT © 1966 UNIVERSITY OF KENTUCKY PRESS LEXINGTON Library of Congress Catalog Card No. 66-30199 To Joanne Lewis Axton IN MEMORIAM This page intentionally left blank PREFACE THE SUBSTANCE of this study began in a suggestion for a doctoral dissertation made to me ten years ago by Professor E. D. H. Johnson, when I was a graduate student at Princeton. At that time we thought it would be interesting and profitable to examine Dick­ ens' style in the hope of discovering what if any principles might be said to govern it. A little reading and reflection led me to conclude that, whatever else it might be, at least one important facet of Dickens' style was derived from theatrical idioms-and, pre­ sumably, from the theater actually known to him during his life. With this in mind, I embarked on a program of reading that alternated between volumes of and about the early Victorian theater and drama and volumes of and about Dickens. The present study has grown out of these researches. In the meantime, it struck me that a certain amount of preliminary work needed to be done on the unity, coherence, and structural integrity of Dickens' novels, particularly as the nov­ elist's appropriation of dramatic literature bore on that question, and the intervening years have been devoted for the most part to investigations along these lines. I have regarded these studies as premises upon which to base this volume, and I am indebted vzzz Preface to the editors of PMLA) ELH) Modern Language Quarterly) and Studies in English Literature) 1500- 1900 for allowing me to refer to some of the material contained in those essays. The main thrust of the present study, however, takes up where they leave off. To achieve economy and coherence I have thought it wise to confine my discussion to a relatively small number of Dickens' works-Sketches by Boz) Pickwick Papers) Oliver Twist) Dombey and Son) Bleak House) and Great Expectations-which I believe to be more or less representative of the novelist's early and ma­ ture manner. By and large I have employed the early works to establish- the theatrical premises of Dickens' vision but have included so late a novel as Great Expectations to indicate the continuity of that vision throughout the novelist's career. The mature works I have reserved for stylistic analysis of their theatrical underpitlnings, because in them I believe can be found the full development of Dickens' bor­ rowings from the playhouse. At the same time I have tried to indicate in passing where and how both early and late works share certain theatrical preoccupations without at the same time attempting any study of Dickens' artistic development. Within this general framework I have also chosen to deal at length and in detail with a relatively small number of passages which seemed to me to be representative of Dickens' stylistic "voices." Many of these passages are employed elsewhere in this study in quite different contexts of discussion. I have followed this practice intentionally, realizing the dangers of repetitiousness and obscurity it might entail, in the hope of offering a more nearly holative approach to Dickens' work. I use the phrase "borrowings from the playhouse" advisedly, for this is not a study of Dickens' appropria- Preface lX tion of specific technical devices from the early Victorian drama so much as it is an attempt to indicate where and how the general spirit, idiom, or "style" of that theater underwent a transmutation into the very different vernacular of prose fiction. My concern has been more with demonstrating shared artistic attitudes, modes of vision, and general proce­ dures than with isolating a particular technical in­ debtedness to some one genre, play, or theater, although in certain instances that seemed to warrant it I have indicated where such a borrowing might have occurred. Similarly, I have allowed myself a good ,deal of latitude, once having established the theatrical coun­ ters I am using, in carrying my approach as far as I am able. Difficult as it may be to follow the thread that leads from Grimaldi, say, to Dombey and Son) my hope is that I have done no violence to my initial premises and that I have obtained results which some­ one will find interesting. lowe a debt of gratitude to a host of people and institutions for their help and encouragement in bringing this study to completion: to Professor E. D. H. Johnson, for the sympathetic rigor of his direction of the early phases of this volume; to the staff of the Firestone Library at Princeton University, and par­ ticularly to the librarians in charge of its Theatre Collection, for their great assistance in running down chap-books, play texts, and the like; to the Kentucky Research Foundation for its help in preparing this manuscript for the press. To acknowledge specific indebtednesses beyond this point would be to extend this list indefinitely. Suffice it to say that many who cannot be named here have had a hand, or at any rate a thumb, in this study. To them all, my thanks. This page intentionally left blank CONTENTS PREFACE) page vii BOOK ONE Dickens and the Theater Chapter One THE WRITER AS ACTOR page 3 Chapter Two MODES OF THE POPULAR VICTORIAN THEATER page 16 BOOK TWO Dickens' Theatrical Vision Chapter Three SKETCHES BY BOZ AND THE THEATRUM MUNDI page 37 Chapter Four PICKWICK PAPERS AND THE THEATRUM MUNDI page 60 xzz Contents Chapter Five OLIVER TWIST AND GROTESQUERIE page 84 Chapter Six GREAT EXPECTATIONS AND BURLESQUE FORM page 110 BOOK THREE Dickens' Theatrical Style Chapter Seven INTRODUCTORY page 139 Chapter Eight GROTESQUE SCENE page 163 Chapter Nine BURLESQUE PEOPLE page 189 Chapter Ten MELODRAMATIC NARRATIVE page 219 APPENDIX A An Evening at a Victorian Playhouse page 263 APPENDIX B The News of Nemo's Death Reaches Cook's Court page 268 NOTES) page 277 INDEX 7 page 291 BOOK ONE Dickens and the Theater This page intentionally left blank Chapter One THE WRITER AS ACTOR ROM THE TIME when John Ruskin deplored Charles Dickens' habit of speaking as it were "in a circle of stage fire,"! until today, when FEdmund Wilson can claim that Dickens was "the greatest dramatic writer the English had since Shake­ speare,"2 the manifest theatricality of Dickens' genius has been a critical cliche, and a sizable literature dealing with the relations between the novelist and the theater has grown up over the years.3 But no one, as far as I know, has attempted any extended study of the influence of the theater actually known to Dickens-particularly the popular Victorian theater -on his techniques as a novelist.4 This is the task proposed by the present study. The biographical facts of Dickens' lifelong love affair with the stage are well known. Many of his most vivid memories of childhood centered on the Theatre Royal at Rochester, visits to Chatham of Richardson's traveling pantomime and melodrama 4 Dickens and the Theater troupe, and the backstage world of his uncle's amateur theatricals.5 Dickens' first juvenile literary work was a tragedy, MisnarJ the Sultan of India; and as a stu­ dent at Wellington House Academy he was the leading spirit in toy theater productions of such plays as The Dog of MontargisJ Cherry and Fair Star, and Pocock's famous melodrama, The Miller and his Men.6 Later, as a young man in London, Dickens seriously contemplated an acting career, and only an illness postponed an audition with Charles Mathews the Elder, one of the first English comedians to attempt realistic domestic character parts.7 Not long after, one of Dickens' sketches appeared in print, and the stage-struck young shorthand writer was fairly launched on a career in journalism and literature. Yet Dickens never deserted the stage. In addition to his duties as a novelist and editor, he found time to write six plays (for the most part farces) and to turn out a great quantity of journalism on theatrical subjects.8 His amateur theatrical tours on behalf of various charitable causes earned him a reputation as a talented actor.9 Many of his most intimate friends were closely connected with the Victorian theatrical world.IO Dickens' love for popular and classical drama continued undiminished throughout his lifetime, as evidenced by his heavy patronage of almost every kind of theatrical production and by his special fond­ ness for the unlicensed theaters "on the Surrey side" of London.11 He was a staunch supporter of the Royal Theatrical Fund and was often called upon to serve as toastmaster at its fund-raising dinners.12 Dickens' character reveals a deep histrionic strain, quite aside from his interest in amateur theatricals and the like, which suggests that it was a fundamental aspect of his psychological makeup.
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