Charles Dickens. (1812–1870). David Copperfield.
The Harvard Classics Shelf of Fiction. 1917.
Criticisms and Interpretations. IV. By Gilbert K. Chesterton
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There are other effective things in “David Copperfield,” they are not all autobiographical, but they nearly all have this new note of quietude and reality. Micawber is gigantic; an immense assertion of the truth that the way to live is to exaggerate everything. Mrs. Micawber, artistically speaking, is even better. She is very nearly the best thing in Dickens. Nothing could be more absurd, and at the same time more true, than her clear, argumentative manner of speech as she sits smiling and expounding in the midst of ruin. What could be more lucid and logical and unanswerable than her statement of the prolegomena of the Medway problem, of which the first step must be to “see the Medway,” or of the coal-trade, which required talent and capital. “Talent Mr. Micawber has. Capital Mr. Micawber has not.” It seems as if something should have come at last out of so clear and scientific an arrangement of ideas. Indeed if (as has been suggested) we regard “David Copperfield” as an unconscious defence of the poetic view of life, we might regard Mrs. Micawber as an unconscious satire on the logical view of life. She sits as a monument of the hoplessness and helplessness of reason in the face of this romantic and unreasonable world.—From “Charles Dickens.”