critic wrote: 'Every writer of fiction, although he can not make a dramatic form, writes in effect for the stage. "In considering the statement in relation to Dickens, we can not take the word 'stage' too literally. Much of Dickens's writing includes the evocation of landscape, such as wetlands in 'Great Expectations' or Yarmouth beach in 'David Copperfield' which could not be placed on stage. Nor could the stage to receive a number of scene changes that occur in Dickens novels. "stage" Dickens was referring to the phase of the reader's imagination, and his narrative technique plays on the stage 'to hold and keep our imaginations.
Dickens's dramatic technique has more in common with cinema than theater, but the film is basically a dramatic medium in the sense that it works through character, plot, dialogue, and setting, and only minimally through the literary techniques. In this essay I will look at some of the dramatic and literary, the techniques found in Dickens's writing, and consider their effectiveness and their limitations.
When we think of Dickens novel is a picture of the dramatic events that spring to mind first. The paintings can be seen, for example, Peggoty the boathouse at Yarmouth in 'David Copperfield', the interior of Fagin's Den in 'Oliver Twist', and frozen wedding in Miss Havisham room in 'Great Expectations'. Among the dramatic events we recall Magwitch threatens Pip in the graveyard, Oliver asking for more, and Uriah Heep were unmasked by Micawber.
Dickens's 'paintings' are an integral part of the fabric of narrative, conveying meaning in itself, and unlike, for example, James Joyce's descriptions, we do not have to interpret the images looking for symbolism, but to see them live. It is through conjuring images of our imagination to the stage that he introduces us to the story. For example:
'She was dressed in rich materials - satins and lace, and silk - all white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in your hair, but her hair is white. Some bright jewels sparkled on her neck and arms, and some other jewels lay sparkling on the table. "(Great Expectations. Ch.8 .)
the words of this section serve only one purpose, that we should see the scene in our imagination. writer's stance is that of objective journalist, and short sentences are factual, packed with detailed observation by itself does not convey any response or judgments. the reader does not respond to words, but pictures. In fact the passage is notable for the complete lack of emotional words. Nowhere do not see words like "collapse ', ' horror ',' stagnation 'or' death ', and yet we may feel, or at least understand, Pip's horror at finding myself in this room where the only sign of life moving dark eyes looking at him.
As an example of the dramatic events, using action and dialogue can take this passage from "Oliver Twist'.
'Before Oliver had time to look around, Sikes has caught him in hand, and in three or four seconds on the Toby lying on the grass on the other side. Sikes followed directly. And they stole cautiously towards the house.
. . . He clasped hands together, and involuntarily uttered a subdued exclamation of horror. mist came before his eyes, cold sweat stood on his ashen face, his limbs failed him, and he sank to his knees
."Arise, 'murmured Sikes, trembling with rage, and drawing a pistol from his pocket," Get up or I'll strew your brains on the grass .'
This is a dramatic movement of the action is so powerful that we do not need dialogue, and we understand perfectly what is happening on stage, if they are presented as a silent film. Oliver was forced, against their will in a certain direction, and he resists with all its power, both physically and morally. dramatic scene reflects the way Oliver was forced into the role against her will since she was born in a workhouse. This is Dickens at his most dramatic, placing the characters and the action live on stage our ideas.
Most of Dickens's writing functions in this way, but there is much that is not dramatic, which works on the verbal, literal level.
'It is most noticeable, I thought, in relation to their extremities, because she always wanted to brush your hair, your hands always wanted washing, and her shoes always wanted mending and pulling up at heel. This description must be received with a week limit. On Sunday went to church elaborated. "('Great Expectations' Ch.7 .)
the reader can create a visual picture of baba from these fragments, but goes really convey ideas, not images, and makes its impact through the use of language, achieving an effect that has no direct parallels in the movie or drama.
subtle literary techniques, which also transcends the limitations of the drama, is shown near the opening of 'Great Expectations':
As I have never seen my father or mother, and never saw any likeness of any of them (for their days were long before the photos), my first fantasy of what they wanted to be unreasonably derived from their tombstones plate. Shape of my father gave me an idea that was odd square, stout, dark man, with curly black hair. ('Great Expectations' Ch.1 .)
This passage expresses the intimate and complex process in which an individual thinks interfere with his perception of the outside world. Activity here is purely conceptual, illustrating the power of literature than theater or film - his ability to communicate concepts and immaterial thought processes
.'David Copperfield' is perhaps the least dramatic of the three novels. Like 'Great Expectations' is a fictional autobiography in first person, but unlike Pip, David became the writer and his craft, consciously interested. So in reading 'David Copperfield' we are far more aware of the fact that we told the story that we are in 'Great Expectations'.
My school days! silent gliding on of my existence - the unseen, unfelt progress of my life - from childhood to adolescence! Let me guess, because I look at the flowing water, which is now a dry channel overgrown with leaves, whether there are signs along its course, which I can not remember how it ran. ('David Copperfield' Ch.18 .)
This is the work of self-conscious artist is primarily interested in their imagination, and yet there is a closeness between author and reader that can not be achieved in a dramatic medium.
One can not talk about Dickens drama without referring to his characters. variety and memorability of Dickens's characters is perhaps his greatest success as a writer. Often the cartoons, but cartoons that reflect what is present in life. Each public school must have its Steerforth, criminal circle of Bill and Nancy, it Peggoty fishing community. These are the characters Dickens puts on its stage'.
I'd like to conclude with a passage whose relevance to the topic of this essay is obvious. Perhaps it is reasonable to assume that it gives us insight into Dickens's creative mind, and Pip's.
'what is said, presented a picture of me and not applesauce. In the excited and exalted state of my brain, I could not think of a place without seeing it, or people without them seeing. It is impossible to overstate vividness of these pictures' ('Great Expectations' Ch. .)
Copyright Ian Mackean. Read the full version of this essay:
