Dickens' London. M. F. Mansfield
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reminiscent of Dickens' own personality as well; "The White Horse Cellars," the starting-place of the Ipswich Coach; "Osborne's Hotel" in the Adelphi, still occupied as a rather shabby sort of hostelry, though the name has gone; "Jack Straw's Castle," where "Boz" and his friend Forster so often enjoyed that "shoemaker's holiday;" and lastly, "The Spaniards" at Hampstead. A description of one, as it is to-day, must suffice here.
"The Golden Cross," which stands opposite Charing Cross Railway Station, with its floriated gilt crosses usually brightly burnished, and the entire edifice resplendent in new paint.
There is still, however, something of the air of the conservatism of a former day, if only in the manner of building, which in the present case furthers the suggestion that the ways of the modern architect—striving for new and wonderful constructive methods—were unknown when the walls of this old hostelry were put up.
Its courtyard has disappeared, or rather has been incorporated into a sort of warehouse or stable for a parcels delivery company, and the neighbourhood round about has somewhat changed since the days of "Copperfield" and "Pickwick." The Charing Cross Railway Station has come upon the scene, replacing old Hungerford Market, and palatial hotels have been built where the gardens of Northumberland House once were. St.-Martin's-in-the-Fields is still in its wonted place, but with a change for the worse, in that the platform with its ascending steps has been curtailed during a recent alleged improvement in the roadway in St. Martin's Lane.
The National Gallery remains as of yore, except that it has recently been isolated by pulling down some adjoining structures to the northwest, as a precautionary measure against fire.
The Nelson Monument in Trafalgar Square, then newly arrived, is as it was in the days of Dickens' early life. But there is little suggestion in the hotel or its surroundings of its ever having been a "mouldy sort of an establishment in a close neighbourhood," and it is hard to believe that Copperfield's bedroom "smelt like a hackney-coach and was shut up like a family vault."
DICKENS' LITERARY LIFE
A brief account is here given of Dickens' literary career, which presents chronologically a review of his productions as they appeared.
The first of his literary efforts was the tragedy of "The Sultan of India," written in his precocious school-days at Chatham, when, if we except his Parliamentary journalistic work, nothing else was put forth until "The Dinner at Poplar Walk" was published in the Monthly Magazine (1833). The original "Sketches by Boz"—the first of which bore no signature—also followed in the Monthly Magazine. Other sketches under the same generic title also appeared in the Evening Chronicle, and yet others, under the title of "Scenes and Characters," were published in "Bell's Life in London" and the "Library of Fiction."
In 1836 a number of these fugitive pieces were collected into a volume, the copyright of which was sold to one Macrone for £100, who published them under the first and best known title, "Sketches by Boz." The familiar story of "Pickwick," its early conception and its final publication, is well known. Its first publication (in parts) dated from 1836–37. About this time Dickens had another bad attack of stage-fever, and wrote a farce, "The Strange Gentleman," the libretto of an opera called "The Village Coquettes," and a comedy, "Is She His Wife?" more particularly perhaps for amateur representation, in which he was very fond of taking part. "Oliver Twist," a courageous attack on the Poor Laws and Bumbledom, followed in 1838, though it was not completed until after "Nicholas Nickleby" began to appear in 1839.
At this time was started Master Humphrey's Clock, a sort of miscellany in which it was intended to publish a series of papers written chiefly by Dickens himself after the style of Addison's Spectator of a former day. It was not at first successful, and only upon the commencement therein of the "Old Curiosity Shop" did it take on in any sense.
Master Humphrey's Clock ran down with the completion of the novel, though this story, in company with "Barnaby Rudge," a tale of the riots of '80, was not issued in book form until 1848 and 1849.
The authorship of "Pickwick" was unknown by the great mass of the public until very nearly the completion of the work in serial parts. Much conjecture was raised, and a writer in Bentley's Miscellany published the following lines under the title of:
IMPROMPTU
"Who the Dickens 'Boz' could be Puzzled many a learned elf, Till time revealed the mystery, And 'Boz' appeared as Dickens' self."
The other contributions made by Dickens to this periodical were afterward added to his published works under the title of "Master Humphrey's Clock."
Dickens' first tour to America followed the abandonment of the periodical in 1842. This event called forth the following verses by Tom Hood, entitled:
TO CHARLES DICKENS
On his Proposed Voyage to America, 1842. "Pshaw! away with leaf and berry And the sober-sided cup! Bring a Goblet and bright Sherry! And a bumper fill me up.— Tho' I had a pledge to shiver, And the longest ever was— Ere his vessel leaves our river, I will drink a health to 'Boz.' "Here's success to all his antics, Since it pleases him to roam, And to paddle o'er Atlantics, After such a sale at home May he shun all rocks whatever, And the shallow sand that lurks— And his passage be as clever As the best among his works."
With what favour his visit was received in America is too well known to require detailed mention here. His experiences and observations recounted in "American Notes," first published in 1842 upon his return to England, has told these vividly and picturesquely, if not exactly consistently.
As a reader, Dickens stood as preëminently to the fore as when posing as a writer. His phenomenal success on the platform is given in detail in a volume written by George Dolby, who accompanied him and managed his American tour. The mental and physical strain was such that in fifteen years of combined editorial, literary, and reading labours, it left him attenuated and finally curtailed his brilliant work.
What the readings really did accomplish was to increase and firmly assure the permanence of his already wide-spread fame.
"Martin Chuzzlewit" had begun to appear in shilling parts in 1843, and at that time was considered by the novelist to be by far the best work he had yet written. "Dombey and Son" followed, and afterward "David Copperfield," to which Dickens transferred his affections from "Chuzzlewit." This new "child of fancy," as he called it, was so largely autobiographical as to be accepted by many as being a recounting of his own early struggles as a poor boy in London, and his early literary labours. He himself said: "I seemed to be sending a part of myself into the shadowy world."
While "Chuzzlewit" was appearing in serial form, that masterpiece perhaps of all Dickens' shorter stories, "A Christmas Carol,"—the first of the "Christmas Stories,"—appeared.
This earned for its author the sobriquet, "The Apostle of Christmas."
Its immediate popularity and success was, perhaps, influenced by the following endorsement from Thackeray:
"It seems to me a national benefit, and to every man or woman who reads it a personal kindness."
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