Bleak House - Charles Dickens

 I have, in the not too distant past, discovered a new-found enthusiasm for the novels of Charles Dickens, partly because the subject matter of his works dovetails significantly with some of my own latter-day philosophical preoccupations.

The next instalment in my odyssey was 'Bleak House'. I selected this particular work on the strength of write-ups and reviews, but I was still a little unsure what to expect. 

One notable aspect of the novel, and one which some people might find disconcerting, is the dual first-person/third-person narrative format. Personally, I did not find this to be any great inconvenience, and in some ways it enlivened the reading experience, because of the novelty and variety which it affords.

The centrepiece of the story, around which orbit the assorted characters and sub-plots, is a long-running, seemingly interminable legal case in the Court of Chancery. The case is tortuous and intricate to put it mildly, and a large portion of Dickens' purpose is to illuminate and impugn the perceived iniquities and flaws in the judicial system of the time.

The first-person narrator is Esther. She is, by and large, a sympathetic character, even if modern audiences would possibly wish her to be less "passive".  Esther's telling of her story is fluent and relatable, in contrast to the more flowery or obscure nature of parts of the third-person narrative. The thought has occurred to me whether Esther was intended as some kind of "idealized" person, to set against the murkier and more equivocal motives and approaches of other characters in the novel. Her honesty, diligence and selflessness seem genuine and unaffected, though seemingly heavily conditioned by her own upbringing and early experiences.

I find some of the players in the drama rather difficult to stomach, notably Boythorn, even if he appears to have had some redeeming qualities. Boythorn and Skimpole throw into sharper relief the roundedness of such figures as John Jarndyce and Esther. 

As with much Dickensian literature, there is lots of rumination on the social conditions and attitudes of those times. This takes the form of both satire and general observation. The passages which are set in the "brickworks" districts are quite powerful and emotive. It is difficult not to have one's feelings animated by the portrayal of such injustices and cruelties.

Something which I took from the novel is a notion that perhaps the social classes were not quite as estranged from each other as if often made out. Some of the characters seem to move between interactions with different classes easily and without altering their behaviour noticeably. Maybe Dickens was hinting that it was possible for the classes to mix more freely, but that the intransigent mind-set of certain people was the main obstacle.

A curious sub-text in 'Bleak House' is that of misguided or haughty philanthropy. The case of Mrs Jellyby is a fascinating and rather disturbing one, and this "tangent" may reflect a preoccupation among artists and thinkers of those decades with the inconsistencies and hypocrisies which could sometimes arise from charitable works, especially those undertaken by the middle or upper classes.

Another impressive figure in this novel is the detective Mr Bucket, whose energy and resourcefulness colour many of the chapters. His investigative journey with Esther is both gripping and absorbing.

Other themes which permeate the Bleak House "universe" pertain to the social conventions of the day. Even progressive-minded individuals were hemmed in my such considerations. The criteria for determining marriage choices and career options are a common thread, as are the deferential attitudes of even the enlightened and independent.  Despite what some people might think, there are ways in which the world has definitely improved....

I was quite taken by the manner in which Dickens depicted some of the lawyers; not exactly as caricatures, but in a way which underlined his own perspective , and giving voice to the distaste harboured by many people.

Rightly or wrongly, I discerned a message in Bleak House about usefulness to society or humanity. Doubts are expressed whether some elements of the legal profession contribute to the greater good. Other people "add value" to society, either through industriousness, service-provision or simply their virtues, goodness and by positively influencing others. 

I found 'Bleak House' to be a long, occasionally arduous read, but an enthusing and eminently worthwhile one. I can see why some have come to estimate it as one of Dickens' most complete and admirable works.

Charles Dickens - the novel "David Copperfield"

 After reading Charles Dickens' 'Great Expectations' a little while ago, I turned my attentions to a work which, I was assured, had similarities in its approach and atmosphere. 

My initial conclusions, whilst navigating the opening chapters of "David Copperfield", were that this was a more substantial novel than "Expectations", complex and linear but incorporating a multiplicity of strands and characters.

In a similar vein to the other book, "David Copperfield" serves as a window on 19th century societal conditions and mores, but in this regard it is relatively "undemonstrative", with the words being left to speak for themselves, by and large. More overt and direct commentary might have spoiled the effect.

Maybe this is simply symptomatic of my failing capacity for memory, but I found it difficult to keep track of the various characters, locations and story sub-plots. 

Early on I detected a generation gap as a central issue in the story, but later on I revised my impressions in this area, as older figures exhibited progressive, reasonable and humane approaches and behaviour, and younger people displayed rigid and reactionary attitudes. The message being, perhaps, that we can all change, be influenced by our environment and our social circle, but also that we have it within our power to transcend the limitations and conventions of social stratification and "expectations". 

The length of time encompassed by the narrative permits the reader to "root" for certain characters, groups of characters or "factions" and their aspirations. The titular character certainly had his hands full, but this perception may be slightly distorted by the "compression" of the timelines in the novel.

A theme which comes and goes within this work is the detachment of certain sectors of society from any consciousness of social issues and social concerns. But, perhaps significantly, Dickens appears keen to point out, via characters such as David's aunt, that these attitudes were not uniform amongst certain social groups and age-groups. This care ensures that we are not always looking at caricatures and stereotypes.

The Uriah Heep character is a compelling creation and Dickens' descriptions of him, as seem through the eyes of David, are deliciously pungent. The dryness of the narrator's (i.e. David's) humour is quite infectious, but close scrutiny is advisable in order to derive the most from this aspect of the text.

One element of this novel which mildly surprised me was the "Romantic" flavour of the passages concerning David's love life. Even if this is not your cup of tea, stay with it, because there is a pay-off later on.

Going back to the social commentary, a picture is painted of a murky morass of protectionism and exclusion; institutions which are opaque and impenetrable. It is a world of deference and reverence, and even a dynamic young man such as David is often obliged to conform in order to "get on". 

The obstructions put in place by the rarefied, and the stench of rottenness in some quarters and corners of society, emanate strongly from these pages. The tendency of people to "pull the ladder up" when they have ascended also emerges as a recurring trend here. The fear of people reverting to their former status led them to behave unnaturally and haughtily.

I'm unsure whether I could really recommend this novel as a starting point for those wishing to explore the world of Charles Dickens, especially for younger people. The sheer length of the story, and the range of characters and sub-texts, ensures that this one turns out as a demanding journey.

A number of "coincidences" and "serendipities" serve to knit the story together, and I can understand how this might put some readers off, no matter how dramatic and affecting the individual instances might appear.

Without wishing to give things away unduly, I found the ending convincingly brought out and poetically rendered., even if it was not entirely unpredictable. I can see, though, why some might deem the "resolution" to be excessively neat and tidy.

I would say that the "narrator"'s aunt is the most rounded and plausible character, and in some respects the most likeable. Her presence, in a sense, is the backbone of much that occurs. 

As I observed when reading "Great Expectations", I quite admire the author's tendency to let major, even pivotal, incidents pass by almost without explicit or concrete description. This gives us readers something to do.

So, I would estimate that this novel has more depth and emotional gravitas than "Great Expectations", the characters being evoked and developed more vividly and stridently. It is worth persevering even when things seem to meander or consolidate.  The autobiographical flavour adds additional intrigue and interest.

Great Expectations - Charles Dickens

I am not exactly sure where the spur emanated from, but I was recently seized with the intention to return to the works of Charles Dickens, after a break of many years. It may be because some of his books resemble in their format and their "method", the work of Hermann Hesse, perhaps my favourite novelist.

I remember having a copy of Great Expectations during childhood. It became mislaid, or was given away, or else became a casualty of my unaccountable teenaged and early adult drift away from literature, or more specifically the novel. I may have been too busy with "abstract" and theoretical academic studies to be bothered with the humanistic and interpretative demands of classic fiction, much to my detriment. 

Looking back wistfully, I am tempted to speculate that Dickens may have constituted a better education, in a meaningful sense. Having said all this, I doubt that even as a teenager I would have been able to effectively absorb and assimilate all of the material and meaning which proliferate in Dicken's more substantial works.

To summarize, and without giving too much away, the novel tells the story of the development and growth of the 'Pip' character, and is 'narrated' by Pip in the first-person. The latter helps to endow the story with a distinct and curious flavour.

Some of the language and terminology employed may baffle present-day audiences, but to me this is but a small obstacle, and in fact it imbues the novel with a period feel and a strengthened feeling of realism. 

It might appear at first, in a superficial sense, that the story's structure relies too much on a number of coincidences. However, when one subjects affairs to a greater scrutiny it all becomes plausible and more clear; it could be a small world, even in 19th century England. One common factor links much of it together.

This is one of those novels which gathers momentum gradually but surely, as it draws the reader inexorably in. The motives, traits and eccentricities of the various characters help to drive and solidify these processes. Eventually I found myself rooting for the "good guys", once it became clearer who the good guys were.

I would contend that circumspection and leisure are handy things to observe when tackling Great Expectations. They are necessary in order to achieve and maintain a grasp of the plot, to "join the dots" as it were, and keep track of the various participants and their numerous connections.

The social commentary and satire is not quite as overt and as near to the surface as I had expected. but Dickens' concerns and his reformist ideas are still discernible, woven into the narrative and certain of the characterisations - some stand out more than others in the latter respect. Occasionally Pip does make a cutting comment in his account, invariably veiled in sarcasm or humour.

One of the foremost themes which for me stood out was a notion of the goodness, the authenticity and the transparency of ordinary people. This could have emerged in a romantic or "idealized" manner, but it does not, instead being brought out in a subtle way, as something to be picked up and acknowledged by the reader. The first-person narration helps to further this impression, serving to "soften" the impact of any message which the author may or not have been seeking to project, even allowing for the temptation to put words into Pip's mouth.

Let us just say that if the social climate and the economic picture portrayed here were anything like accurate, we can scarcely wonder that Dickens and his contemporaries craved reform and change. The picture of brutalized sections of society is a stark one, and worth more than a moment's contemplation. The dangers of such a scenario, now as then, remain something which we should all bear in mind and seek to guard against.

To me, it seemed that some of the key individual events or incidents in the novel did not have the conventional sense of "drama" or "moment" which I had been conditioned to expect. Some things appeared to just "happen", explained in poetic, even cryptic terms, and the story then moved on, with full explanation sometimes only occurring via the insight of the reader.  When I reflect upon this, it is less a criticism of this particular work, and more a sign of the types of literature which I have habitually frequented. The first-person narration is also a salient point in all this. What the occurrences lost in initial, literal clarity they gained in lyrical and artistic effect.

The mental imagery evoked by the words of Dickens, as spoken through Pip, is very strong, or at least it was strong and affecting in my case. The major locations and settings soon assume a real identity and consistency, and these may prove to be instrumental in attaining an enhanced enjoyment of the tale, and arriving at a deeper appraisal of the characters and the issues explored.

A reason for this novel's significance and enduring appeal is that some of the themes which it examines are universal and not governed by time. One which was highlighted for me was this concept of trying to "compensate" for the effects of our injudicious or errant deeds, even if those deeds might have been committed under duress or through naivete. If we cannot reverse or directly counter-act our mistakes, we can at least learn from our mistakes and experiences, and seek to be a force for good, for humane treatment of others, and for justice. These elements had a distinct resonance for this reader, partly with reference to today's social ills and pressures.

Charles Dickens has sometimes been associated, in my mind at least, with social commentary and the grim industrial and urban landscapes of 19th century London and England. Having returned to Great Expectations, I am happy to revise and retract those outdated and erroneous perspectives. In this novel Dickens shows himself to be a highly capable and resourceful story-teller, with the capability of weaving endearing and captivating narratives. Maybe I will read David Copperfield next - to the best recollection that one eluded me entirely in my younger days....