Content

Introduction

 Chapter I – Charles Dickens life and career and the role of Christmas stories in his creativity

1) Beginning of literary career of Charles Dickens

2) Charles Dickens’ works written in Christmas story genre

3)         Final creative works and changes in Charles Dickens personality

4)         Review about his creativity

Chapter II – The ideological theme of Christmas stories of Charles Dickens

1)         The essence of Christmas stories and characterization of the main heroes

2)         The differential features between Dickens’ and Irving’s Christmas stories

3)         Critical views to the stories Somebody’s Luggage and Mrs. Lirriper’s Lodgings”

Conclusion

Bibliography

                                                  Introduction

Charles Dickens generally regarded as the greatest English novelist; he enjoyed a wider popularity than any previous author had done during his lifetime. Much in his work could appeal to simple and sophisticated, to the poor and the Queen, and technological developments as well as the qualities of his enabled his fame to spread worldwide very quickly. His long career fluctuations in the reception and sales of individual novels, but none of them was negligible or uncharacteristic or disregarded, and though he is now admired for aspects and phases of his work that were given less weight by his contemporaries, his popularity has never ceased and his present critical standing is higher than ever before. The most abundantly comic of English authors, he was much more than a great entertainer. The range, compassion, and intelligence of his apprehension of his society and its shortcomings enriched his novels and made him both one of the great forces in XIX century literature and an influential spokesman of the conscience of his age.

Dickens was being compared to Shakespeare, for imaginative range and energy, while he was still in his twenties. He and Shakespeare are the two unique popular classics that England has given to the world, and they are alike in being remembered not for one masterpiece (as is the case with Dante, Cervantes, or John Milton) but for a creative world, a plurality of works populated by a great variety of figures, in situations ranging from the somber to the farcical. For the common reader, both Shakespeare and Dickens survive through their characterization, though they offer much else. Dickens enjoys one temporary advantage in having lived when he did and thus being able to write of an urban industrial world, in which the notions of representative government and social responsibility were current – a world containing many of the problems and hopes that persist a century after his death and far beyond the land of his birth.[1]

No one thinks first of Mr. Dickens as a writer. He is at once, through his books a friend. He belongs among the intimates of every pleasant tempered and large-hearted person. He is not so much the guest as the inmate of our homes. He keeps holidays with us, he helps us to celebrate the Christmas with heartier cheer, he shares at every New Year in our good wishes: for, indeed it is not purely literary character that he has done most for us, it is a man with large humanity, who has simply used literature as the means by which to bring himself into relation with his follow-men, and to inspire them with something on his own sweetness, kindness, charity, and good-will. He is great magician of our time. His wand is a book, but his power is in his own heart. It is a rare piece of good fortune for us that we are the contemporaries of this benevolent genius… These are the words not of a book-loving Miss Cosyhearts, but of a great American scholar Charles Eliot Norton, respected friend of artists and writers of both sides of the Atlantic: and this specially “friend feelings” were, of course, woke by Dickens’s character as well as by his whole artistic and public personality. “all his characters are my personal friends”-and, again this is not quoted from a bookman of the “Essays of Elia” school, but from Tolstoy, who continued: “I am constantly comparing them with living person, and living persons with them, and what a spirit there was in all he wrote”. Dickens was not deceiving himself nor exaggerating, though he may have been sipping at a sweet that contained some person for him, when he spoke of “that particular relation which subsists between me and the public”.

R.H Horne was able to report, in 1844, that his works were as popular in Germany as in Britain, were available in French, Italian, and Dutch and “some of his works are translated into Russian”. Horne’s information was correct: and, as Professor Henry Gifford has remarked: “no foreign writer of that time (or since) ever because thoroughly domiciled in the Russian imagination”. When Dickens as the rich and the articulate present their homage, but also he was international. It is remarkable feature of English literature that it has given the world, in Shakespeare and Dickens, the two popular classic author, with whom even the greatest of writers, ancient and modern –  , Sophocles, Dante, Molier, Goethe, the greatest novelists of France, Russian, and America – are tastes outside, or even inside, their own countries. ............