Charles Dickens (Bloom's Classic Critical Views) by Harold Bloom, Jason B. Jones

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By Harold Bloom, Jason B. Jones

A entire learn and research advisor for a number of novels via Charles Dickens, together with plot summaries, thematic analyses, lists of characters, and significant perspectives.

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Dickens’s taste. A great many cultivated people will scarcely concede that he has any taste at all; a still larger number of fervent admirers point, on the other hand, to a hundred felicitous descriptions and delineations which abound in apt expressions and skilful turns and happy images,—in which it would be impossible to alter a single word without altering for the worse; and naturally inquire whether such excellences in what is written do not indicate good taste in the writer. The truth is that Mr.

Dickens to say that he has surmounted these temptations; the unconscious evidence of innumerable details proves that, from a certain delicacy of imagination and purity of spirit, he has not even experienced them. Criticism is the more bound to dwell at length on the merits of these delineations, because no artistic merit can make Oliver Twist a pleasing work. The squalid detail of crime and misery oppresses us too much. ’ The coldest critic in later life may never hope to have again the apathy of his boyhood.

4, App. 3 20 Charles Dickens Peter Bayne “The Modern Novel: Dickens—Bulwer—Thackeray” (1857) Peter Bayne was a Scottish theologian, biographer, and journalist. Like David Masson (but unlike critics such as Whipple), Bayne argues that Dickens’s characters are somewhat impersonal—they are not properly individuals, but rather types. Students investigating Dickens’s characterization, his humor, or his psychology will find this extract useful. QQQ And his genius is worthy of honor. No writer could be named on whom the indefinable gift has been more manifestly conferred.

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