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A Bibliography of Dickensian Criticism 1836-1975

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A Bibliography of Dickensian Criticism 1836-1975 A Bibliography of Dickensian Criticism 1836-1975 Garland Reference Library of the Humanities (Vol. 12) Books and pamphlets by R.C. Churchill DISAGREEMENTS HE SERVED HUMAN LIBERTY A SHORT HISTORY OF THE FUTURE SHAKESPEARE AND HIS BETTERS THE POWYS BROTHERS THE FRONTIERS OF FICTION A BIBLIOGRAPHY OF DICKENSIAN CRITICISM THE ENGLISH SUNDAY ART AND CHRISTIANITY ENGLISH LITERATURE AND THE AGNOSTIC ENGLISH LITERATURE OF THE EIGHTEENTH CENTURY ENGLISH LITERATURE OF THE NINETEENTH CENTURY (ed) POPE'S EPISTLE TO DR ARBUTHNOT (with George Sampson) THE CONCISE CAMBRIDGE HISTORY OF ENGLISH LITERATURE SIXTY SEASONS OF LEAGUE FOOTBALL ENGLISH LEAGUE FOOTBALL (ed) OFFICIAL RULES OF SPORTS AND GAMES A Bibliography of Dickensian Criticism 1836-1975 Compiled and Edited by R. C. Churchill M © R.C. Churchill 1975 Softcover reprint of the hardcover 1st edition 1975 978-0-333-19194-1 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission. First published in the United States 1975 First published in the United Kingdom 1975 Published by THE MACMILLAN PRESS LTD London and Basingstoke Associated companies in New York Dublin Melbourne Johannesburg and Madras SBN 333 19194 3 ISBN 978-1-349-02817-7 ISBN 978-1-349-02815-3 (eBook) DOI 10.1007/978-1-349-02815-3 This book is sold subject to the standard conditions of the Net Book Agreement. TABLE OF CONTENTS Preface (p i:x) Abbreviations (p xii) Errata (p xiv) INTRODUCTION (p 1) BiblioFr&phies (p 1); Journals (p 1); Biographies (p 2); Letters (p 5); Selections etc (p 7) GENERAL CRITICISM: NINETEENTH CENTURY (p 9) Period 1836-1839 (p 9); The EiFhteen-Forties (p 10); The EiFhteen-Fifties (p 12); The Eighteen-Sixties (p 13); The EiFhteen-Seventies (p 15); The EiFhteen-Eighties (p 16); The EiFhteen-Nineties (p 17) GENERAL CRITICISM: TWENTIETH CENTURY (p 19) Decade 1900-1909 (p 19); Decade 1910-1919 (p 21); The Nineteen-Twenties (p 23); The Nineteen-Thirties (p 25); The Nineteen-~'orties (p 27); The Nineteen-Fifties (p 29); The Nineteen-Sixties (p 33); Period 1970-1974 (p 35) CRITICISM OF PARTICULAR WORKS (p 38) Sketches by Boz (p 38); Sunday Under Three Heads (p 40); The Pickwick Papers (p 41); Oliver Twist (p 45); Nicholas Nickleby (p 49); Master Humphrey's Clock (p 51); The Old Curiosity Shop (p 53); Barnaby Rudge (p 57); American Notes (p 58); Martin Chuzzlewit (p 61); Christmas Books v TABLE OF CONTENTS, cont. (p 65); A Christmas Carol (p 66); The Chimes (p 68); The Cricket on the Hearth (p 70); The Battle of Life (p 71); The Haunted Man (p 72); Pictures from Italy (p 73); Dombey and Son (p 74); David Copperfield (p 79); Household Words (p 84); Christmas Stories (p 85); A Child's History of England (p 86); Bleak House (p 87); Hard Times (p 93); Little Dorrit (p 99); All the Year Round (p 104); A Tale of Two Cities (p 105); Great Expectations (p 108); The Uncommercial Traveller (p 113); Our Mutual Friend (p 114); George Silverman's Explanation (p 117); Edwin Drood (p 117); Minor Works (p 122) ASPECTS OF DICKENS (p 123) His Popularity (p 123); His Originality (p 124); His Reading Public (p 125); Dickens's England (p 127); Dickens's London (p 129); Dickens in America (p 132); Dickens in France (p 135); Dickens in Germany (p 138); Dickens in Italy (p 140); Dickens in Russia (p 141); The Serial Novelist (p 144); Dickens and his Illustrators (p 147); The Literary Artist (p 150); The Moral Artist (p 157); His Development (p 159); His Style and Language (p 163); His Symbolism (p 168); His Characters (p 170); Fantasy and the Grotesque (p 178); Comedy and Satire (p 179); Sentiment and Sentimentality (p 183); Drama and Melodrama (p 187); Stage and Platform (p 189); Dickens the Journalist (p 193); Radical and Reformer (p 195); vi TABLE OF CONTENTS, cont. Dickens and Childhood (p 204); Dickens and ~ducation (p 208); Dickens and the Universities (p 210); Dickens and Religion (p 211); Dickens and Christmas (p 215); Dickens and Sport (p 216); Dickens and the Stage-Coach (p 218}; Dickens and the Railway Age (p 219); Dickens and Crime (p 220}; Sex in Dickens (p 223); Dickens and ~llen Ternan (p 227) CRITICAL COMPARISONS (p 229) Dickens and Aristophanes (p 229); and Dante (p 229); Langland (229); Chaucer (229); Cervantes (230); Marlowe (231); Dickens and Shakespeare (p 231); and Ben Jonson (p 234); Webster (235); Moli~re (235); Bunyan (235}; Defoe (235); Swift (236); Richardson (236); Hogarth (237); :b'ielding (237); Sterne (239); Smollett (240); Goldsmith (241); Blake (241); Cobbett (242); Wordsworth (242); Scott (243); Jane Austen (244); Washington Irving (245); Leigh Hunt (245); Carlyle (245); Thomas Hood (247); Balzac (247); Victor Hugo (248); Bulwer Lytton (249); Disraeli (250); Edgar Allan Poe (250); Gogol (251); Mrs Gaskell (251); Dickens and Thackeray (p 252); and Henry Mayhew (p 256); Charles Reade (257); Trollope (257); the Brontes (p 258); George Eliot (259); Whitman (260); Melville (261); Dostoevsky (261); :b'laubert (264); Wilkie Collins (265); Tolstoy (267); Meredith (269); Samuel vii TABLE OF CONTENTS, cont. Butler (269); Dickens and Mark Twain (p 270); and Zola (270); Daudet (270); Hardy (271); Henry James (271); Bernard Shaw (273); George Gissing (273); Conrad (274); H.G.Wells (275); Proust (276); G.K.Chesterton (276); James Joyce (277); Ka~ka (278); D.H.Lewrence (278); Sinclair Lewis (279); Dickens and George Orwell (279) INDEX (p 280) viii PREFACE A complete biblio~rephy o~ Dickensian criticism, ~rom his own time to the present day, would take many volumes. The present volume is, I believe, the most comprehensive yet attempted. The accent throu~hout is on chronolo~ical order. I have tried to do justice to all periods of Dickens criticism, not merely the Victorian period and the modern period, both of which have been much anthologized in recent years, but also the early twentieth century, ~rom Swinburne end Chesterton end ~uiller-Couch to my own ~irst writing on Dickens in 1937. So much that is currently regarded as "modern" was ~irst pointed out many years ep-o, as is evident ~rom the quotations I make in this book ~rom such critics as Swinburne, Chesterton, Stephen Leacock, ~uiller-Couch, H.C.Dent, and myself. It was Chesterton who ~irst pointed out the symbolic nature or Dickens's literary and morel art in Bleak House; it was ~uiller-Couch who ~irst insisted that as a novelist - end the emphasis was his own - Dickens was the p-reatest in English and "amonp: the ~reatest o~ all the ~reatest European novelists"; it was Stephen Leacock who wrote that "the works of Charles Dickens represent the highest reach o~ the world's ima~inative literature••• the world's supreme achievement in art"; it was H. C. Dent who ~irst pointed out that Dickens, like Shakespeare, "sums up in his work most o~ the ix PREFACE, cont. characteristice of his predecessors and who tra!lscende them ell by the universality of his genius"; it was the present writer in 1937 who first pointed out the inseparable nature of Dickens's literary art and the best of his social criticism from Oliver Twist to Hard Times and Little Dorrit and who insisted on the central importance of his dramatic use of the EnFlish lan~age. This book, then, is an attempt to do justice all round, to emphasize the value of the Dickensian criticism of the early twentieth century, while not denying the equal value of the best of the work done in the Victorian age and in the modern period from Orwell, Wilson and House to the scholarly and sophisticated present. A mini-anthology as well as a bibliography, this book presents the evidence, and the reader can judge for himself. From copyright works, my quotations have had to be brief, but fair, I trust, to their immediate context. I have occasionally indulged myself in a longer quotation from a work out of copyright. In regard to quotations from critice of the Victorian age, I have relied mainly on the extracts ouoted by Charles Dickens the Younger in hie introductione to the Macmillan edition and by Philip Colline in hie excellent contribution to the Critical Heritage series. In re~rd to quotations from the early twentieth century critics, I have usually consulted the originals, but have X PREFACE, cont. also made use of the anthologies end selections which have appeared in recent years, in particular the admirable Penguin volume edited by Stephen Wall. Mostly it will be found that I have indicated the source of my quotations where I have nQ! gone to the originals - by such references as "qu Wall 1970 p 99 11 or 11 qu Collins 1971 p 100 11 - but where I do not make any particular reference, the reader will know that my quotation has either been quoted many times before or (in the case of modern works) comes from a review by myself or some other reviewer. To Philip Collins's Dickens Bibliography (from NCBEL 1969) end to the work done by Madeline House, Graham Storey and their associate editore in the truly magnificent Pilgrim Edition of Dickens's letters - the third volume of which I had the privilege of reviewing last year - I owe the considerable debt shared by all who have profited by their P.cholarly labours. For assistance of various kinds, in my own Dickensian labours in recent years, I am grateful to my former colleague Mr R.E.Kellett; to my friend Mr Maurice Hussey; to Mr Keith Brace, Literary Editor of The Birmingham Poet; and to Ifor Evans, Lord Evans, -Professor Emeritus in the University of Londo~ R.c.c.
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