A critic wrote: 'Every writer of fiction, although he may not adopt the dramatic form, writes in effect for the stage.' When considering the statement in relation to Dickens we cannot take the word 'stage' too literally. Much of Dickens's writing involves the evocation of landscapes, such as the marshes in 'Great Expectations' or Yarmouth beach in 'David Copperfield' which could not be accommodated on the stage. Nor could the stage accommodate the numerous changes of scene which occur in Dickens's novels. The 'stage' Dickens refers to is the stage of the reader's imagination, and his narrative technique plays upon that 'stage' to grip and hold our imaginations. Dickens's dramatic technique has more in common with the cinema than with theatre; but the cinema is essentially a dramatic medium in that it functions through character, action, dialogue, and setting, and only minimally through literary techniques. In this essay I will look at some of the dramatic, and literary, techniques found in Dickens's writing, and consider their effectiveness and their limitations. This data has been done by https://essayfreelancewriters.com.
When we think of a Dickens novel it is pictures and dramatic events which spring first to mind. In pictures we see, for example, Peggoty's boathouse at Yarmouth in 'David Copperfield', the interior of Fagin's den in 'Oliver Twist', and the frozen wedding feast in Miss Havisham's room in 'Great Expectations'. Among the dramatic events we might recall Magwitch threatening Pip in the churchyard, Oliver asking for more, and Uriah Heep being unmasked by Micawber. Dickens's 'pictures' are an integral part of the fabric of the narrative, conveying meanings in themselves, and unlike, for example James Joyce's descriptions, we are not required to interpret the images looking for symbolism, but to see them vividly. It is through conjuring images on the stage of our imagination that he draws us into the story. She was dressed in rich materials - satins, and lace, and silks - all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table.' (Great Expectations.
The words of this passage serve only one purpose, that we should see the scene in our imagination. The writer's stance is that of an objective reporter, and the short factual sentences, packed with detailed observation, do not in themselves convey any response or judgement. The reader responds not to the words, but to the picture. In fact the passage is notable for the total absence of emotive words. Nowhere do we see words such as 'decay', 'horror', 'stagnation' or 'death', and yet we can feel, or at least understand, Pip's horror at finding himself in this room where the only sign of life is the movement of the dark eyes looking at him. As an example of a dramatic event, using action and dialogue we can take this passage from 'Oliver Twist'. Before Oliver had time to look round, Sikes had caught him under the arms; and in three or four seconds he and Toby lay on the grass on the other side. Sikes followed directly. And they stole cautiously towards the house. Article has been created with the help of Essay Freelance Writers.
write a narrative essay for me clasped his hands together, and involuntarily uttered a subdued exclamation of horror. A mist came before his eyes; the cold sweat stood upon his ashy face; on his limbs failed him; and he sank upon his knees. Here the movement of the dramatic action is so powerful that we do not really need the dialogue; we would understand perfectly what was going on if the scene were presented as a silent film. Oliver is being forced, against his will, in a certain direction, and he is resisting with all his might, both physically and morally. The dramatic scene reflects the way Oliver has been forced into roles against his will ever since he was born in the workhouse. This is Dickens at his most dramatic, placing characters and actions vividly on the stage of our imaginations. Much of Dickens's writing functions in this way, but there is also much which is non-dramatic which functions on a verbal, literary level.
A critic wrote: 'Every writer of fiction, although he may not adopt the dramatic form, writes in effect for the stage.' When considering the statement in relation to Dickens we cannot take the word 'stage' too literally. Much of Dickens's writing involves the evocation of landscapes, such as the marshes in 'Great Expectations' or Yarmouth beach in 'David Copperfield' which could not be accommodated on the stage. Nor could the stage accommodate the numerous changes of scene which occur in Dickens's novels. The 'stage' Dickens refers to is the stage of the reader's imagination, and his narrative technique plays upon that 'stage' to grip and hold our imaginations. Dickens's dramatic technique has more in common with the cinema than with theatre; but the cinema is essentially a dramatic medium in that it functions through character, action, dialogue, and setting, and only minimally through literary techniques. In this essay I will look at some of the dramatic, and literary, techniques found in Dickens's writing, and consider their effectiveness and their limitations. This data has been done by https://essayfreelancewriters.com.
When we think of a Dickens novel it is pictures and dramatic events which spring first to mind. In pictures we see, for example, Peggoty's boathouse at Yarmouth in 'David Copperfield', the interior of Fagin's den in 'Oliver Twist', and the frozen wedding feast in Miss Havisham's room in 'Great Expectations'. Among the dramatic events we might recall Magwitch threatening Pip in the churchyard, Oliver asking for more, and Uriah Heep being unmasked by Micawber. Dickens's 'pictures' are an integral part of the fabric of the narrative, conveying meanings in themselves, and unlike, for example James Joyce's descriptions, we are not required to interpret the images looking for symbolism, but to see them vividly. It is through conjuring images on the stage of our imagination that he draws us into the story. She was dressed in rich materials - satins, and lace, and silks - all of white. Her shoes were white. And she had a long white veil dependent from her hair, and she had bridal flowers in her hair, but her hair was white. Some bright jewels sparkled on her neck and on her hands, and some other jewels lay sparkling on the table.' (Great Expectations.
The words of this passage serve only one purpose, that we should see the scene in our imagination. The writer's stance is that of an objective reporter, and the short factual sentences, packed with detailed observation, do not in themselves convey any response or judgement. The reader responds not to the words, but to the picture. In fact the passage is notable for the total absence of emotive words. Nowhere do we see words such as 'decay', 'horror', 'stagnation' or 'death', and yet we can feel, or at least understand, Pip's horror at finding himself in this room where the only sign of life is the movement of the dark eyes looking at him. As an example of a dramatic event, using action and dialogue we can take this passage from 'Oliver Twist'. Before Oliver had time to look round, Sikes had caught him under the arms; and in three or four seconds he and Toby lay on the grass on the other side. Sikes followed directly. And they stole cautiously towards the house. Article has been created with the help of Essay Freelance Writers.