David Copperfield by Charles Dickens

David Copperfield is in the advanced category for the difficulty of the text and for its length only. Otherwise, it would be acceptable for the elementary reader. Anyone who can understand and appreciate the detailed art of Charles Dickens’ long work (734 pages, in my edition) may read it.

Much of my review will discuss the artistic value of this work. Because of discrepancies in this area, not many observations are needed in evaluating the content and worldview of Dickens’ work. Nevertheless, I enjoyed the book and remained interested until the last page. Dickens’ skill can be seen here in his appropriate and beautiful use of detailed description and his unearthing the mundane through careful observation. On the other hand, this work lacked a strong plot, weakened still further by obvious foreshadowing. Thus, the book relies on an autobiographical nature for its historical value.

Dickens articulation of the English language prevents him from accusations of long-winded narration. Every detail describing a character, scene, or event demonstrated both a careful observation of everyday life and an admirable ability to recreate that observation, revealing it to the reader. For example, when Mr. Micawber reads a speech as word-full as every sentence previously uttered by this man, Dickens pauses to comment on people he has observed who pile up words on one another needlessly. Specifically, Micawber is happy to repeat phrases that are synonymous, merely because they sound impressive. “If they be but fine and numerous enough, so, the meaning or necessity of our words is a secondary consideration, if there be but a great parade of them,” he muses. Dicken’s work may be lengthy, but his words are always thought-provoking, insightful, and often amusing.

The weakness of this novel is the lack of a strong plot skeleton. The book makes more sense when arranged in three mini-plots, the latter two possessing long epilogues. In the first, David Copperfield introduces himself and describes the happiness of his childhood turning to tragedy at the death of his mother. The second plot line follows Copperfield through his work and poverty in London until he runs away to find his eccentric aunt. The epilogue describes her care for him and his continued education. This mini-plot introduces many of the characters who will become more important in the third and most extensive plot line. The last plot line describes Copperfield’s adult life, first marriage, and careers; it also follows several subplots to completion. The only theme that holds the entire book is the title character’s life or, more specifically, how he travels from tragedy in love (his mother’s) to happiness.

David Copperfield also became predictable, with subtle foreshadowing followed by more direct foreshadowing. For example, in following Copperfield’s first marriage, the reader begins to have doubts about “the unity of mind and purpose” between him and his wife. Shortly thereafter, she begins to weaken physically and subsequently dies. But this is no surprise to the reader, because it is obvious from early in the plot that Agnes is the acceptable female counterpart to Copperfield. Still, even with this weakness, Dickens is careful not to suggest that the romance between Agnes and Copperfield begins before Dora’s death. Copperfield sincerely loves and cares for Dora until her death, and lengthily grieves over her. But there is no surprise at her demise, and the only tension for the reader lies in whether Dickens will taint his character with a covetous or resentful heart. Perhaps Dickens used more foreshadowing because so much of the story reflected his own life, but in any case much of the plot was predictable. Some of the subplots were more interesting and less predictable.

For these reasons, this book does not seem to be the best of Dickens’ works. Several others are far better and as such should be read first. However, if a reader had enjoyed other works by Dickens and desired another, I would recommend David Copperfield. It may also be appropriate for younger readers whose reading skills have reached a more advanced level than his discernment skills. Furthermore, short passages from this novel could be used in teaching reading skills to younger children, either in short copywork exercises or longer lessons in foreshadowing, use of descriptive language, etc. These individual chapters could be used for younger children who could handle the vocabulary, but would be daunted by the length of the full text.

Because the plot is weak in David Copperfield, the content is primarily found in subplots. Several of these are admirable. Dickens appreciates the virtues of the intellectually handicapped. He lauds homemakers who are faithful and cheerful; indeed, I found myself exhorted to more faithful and cheerful service. He displays the noble character of forgiveness and the availability of redemption for anyone, no matter how bad their past failures. Dickens also portrays evil effectively. Some bad characters refuse redemption, as the writhing, “‘umble” Uriah Heep did (oh, woe to him for misusing so great a word!). He demonstrates, in the character of Steerforth, that evildoers may be charismatic, yet reveals how their charisma only saddens the resultant fall, as they fall not only in the eyes of those who had respected them but also as a product of their evil decisions. These lessons may be understood and appreciated from an elementary age and are still relevant and encouraging to an adult.