The Popularity of A Christmas Carol: Excessive Sentimentalism or Powerful Storytelling?

(Novels for Students)

I guess I would have to agree with Charles Dickens' detractors who say that he was too long-winded, that he should have learned to cut to the point of almost anything he was writing about a little quicker. I agree with them—but then, so would Dickens himself. There is a story about him, told by Kate Douglas Wiggin, the author who grew up to write Rebecca of Sunnybrook Farm. She was only twelve when she approached him on the train between Portland, Maine and Boston and started a discussion about his books, listing what she liked and then mentioning that he should have cut "some of the very dull parts." In response, Dickens roared with laughter and pressed for further thoughts on the subject of what she might think dull. Now, it could be considered just common politeness for a grown man to give a twelve-year-old critic his full attention, patronizing to let her call him dull; on the other hand, when a child could see what was excessive, he would have no choice but to take heed.

Fortunately, he was able to avoid the problem of wordiness in his novellas by working in a form so short that it never has time to be excessive. This is never truer than in A Christmas Carol, which lends itself to quick scene changes. Still, this book brings up the next most common charge levied against Charles Dickens: that of cold, manipulative sentimentality. He has been called the Norman Rockwell of literature, a technical stylist who says the things that he (rightly) thought his audience wanted him to say.

For those like myself who think that critics have no business blaming a book for being popular, Dickens was a good, interesting, vivid writer first. Yet I can see the other side's point—that too much of what he did was driven by popular opinion and not by artistic standards.

I think that what saves Dickens from the charge of excessive sentimentalism, in A Christmas Carol and in general, is the fact that he was always willing to balance life's joy against its misery. This would be an easier point to support with the life stories presented in the longer books, such as David Copperfleld and Great Expectations or especially Bleak House, but it stands even with a commercial enterprise like the story of Scrooge. He took risks that were clearly not popular in order to round out his vision of the world.

Considering the charge of sentimentality, the first thing to get out of the way is the simple, obvious fact that nobody had or has any deeply held hatred for Charles Dickens. Not only are those who raise questions about his work too sensible to try to dismiss him as a fraud, but they probably don't even feel good about taking sides against him. As G. K. Chesterton, himself a powerful and interesting novelist, noted, "In everyone there is a certain thing that loves babies, that fears death and that likes sunlight: that thing enjoys Dickens."

Ironically, A Christmas Carol happens to play off of all of the elements Chesterton mentioned. It has the baby—Tiny Tim—who, though able to verbalize his saintly philosophy in whole paragraphs, still has to be carried around on his father's shoulders like an infant. It teases readers' thirst for sunlight throughout from the foggy afternoon at the start to the beams shining from the head of the Spirit of Christmas Present to the sooty darkness of the coal mines to, at last, the "Golden sunlight" that pours down on the reformed Scrooge when he throws open his shutters on Christmas morning. Moreover, it clearly has death—other figures of death through the years have matched the frightening quietude of the Ghost of Christmas Future, but none has surpassed it as a representative of fate's no-nonsense certainty.

There are certainly some grim moments presented in this story, the kinds of details that are avoided by true commercial sentimentalists who today cheapen our sense of the time by using phrases like "Victorian Christmas" or, worse, "Dickensian Christmas" to hawk their merchandise. For one thing, Scrooge is really pretty evil. Adaptations have made him a comical cranky grouch, characterized with the quaint, faintly Biblical epitaph "covetous old sinner"; his crabbing about Bob Cratchit's use of coal might remind readers of their own grandfather or father's battle to control the thermostat in order to hold off poverty. The fact is, though, that the Scrooge of the book is nearly as mean and dangerous as he would like to think he is.

Aside from his interactions with Cratchit—who, after all, toasts Scrooge's health on Christmas and so just may be a glutton for his abuse—the clearest view readers get of his business practices is from the young couple, Caroline and her unnamed husband. They...

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Stalking the Figurative Oyster: The Excursive Ideal in A Christmas Carol

(Novels for Students)

Oh! but he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster.

If at the beginning of A Christmas Carol Ebenezer Scrooge apparently lacks a heart, he is at all times the undisputed heart of the story he inhabits. It is thus entirely fitting that this formal introduction to the miser's objectionable qualities, occurring in the piece's sixth paragraph, anticipates much in the narrative fabric that follows. We could, for example, profitably begin an interpretation of the tale with the first two figures in the description—the "tight-fisted hand" and the unproductive "flint"—for from them spring the images of closed and open and clasped and touching hands; feeble and potent fires; and brightness and darkness through which Dickens' Christmas message palpably appeals to the imaginations of its readers. And yet, the centrality of hand and flint notwithstanding, I want to focus on the culminating simile in which Scrooge is compared to an oyster. The oyster image, I argue, despite its unassuming character, is really a kind of master-trope for the story, one that casts new light not only on Scrooge but on imagery, structure, and meaning in the Carol as a whole.

To assess the oyster image's importance in the story, we need to begin with the simile's three-part characterization of Scrooge: "secret, and self-contained, and solitary." That the Scrooge of the first "stave" is "solitary as an oyster," isolated from his fellow creatures as an oyster's body is by its enclosing shell, needs only acknowledgment here. This fact is both generally evident in the story and specifically remarked by the narrator: "To edge his way along the crowded paths of life," we are told, "warning all human sympathy to keep its distance, was what the knowing ones call 'nuts' to Scrooge." By identifying reclusiveness and misanthropy with miserliness, the story characterizes Scrooge's habitual shunning of other people as the denial of the human commerce upon which a healthy society depends.

Unlike the accusation of reclusiveness, the charge that Scrooge is "secret … as an oyster" seems suspect. "Secret," if it is not to be confused with the other terms, implies in this context that there is not only something hidden inside of Scrooge but something good, some equivalent to an oyster's tasty flesh or cradled pearl. We might well be puzzled by such a notion because beneath the miser's outward chilliness, there seems to be, as the narrator says, more "cold within him." But true to the simile, Scrooge does have something better deep inside of him, though for the most part it is kept hidden even from us. Two earlier incarnations comprise the first part of his secret: once there was a Scrooge who, craving love, longed to leave school to join his family for Christmas just as later there was a Scrooge who gratefully, gleefully partook of the Fezziwigs' abundant and caring Christmas hospitality. Like the rooms in his present house that are now let out as offices, the younger Scrooge once belonged to a home; and like the house itself, which once "play[ed]" with other houses, the older Scrooge belonged to a festive community. The second part of Scrooge's secret is that, beneath his rough shell, something of his earlier incarnations still lives and can even on occasion be glimpsed, though by now, with respect to his daily life and outward behavior, it has been rendered as feeble as the small fire he allows his clerk; nearly as contained as fire within flint; and as incapable of issuing forth on its own as is his house, which, during its game of hide-and-seek, must have hidden itself "where it had so little business to be … and … forgotten the way out again." It is only granting this surviving inner warmth that Scrooge's feeling response to the ghostly visions, at first guarded but soon afterwards engaged-in openly, is at all probable.

It is the narrator's claim, however, that Scrooge is "self-contained … as an oyster" that proves the most fruitful, only partly because it addresses both the miser's solitariness and secrecy. If we take into account the way the adjective is colored by the oyster image—an image of a crusty shell "containing" an organism quite shut-off from the world around it—"self-contained" points to a condition best summarized thus: what there is inside a thing is kept under wraps, prevented from finding its way to the outside, and what might be larger is kept smaller. It is in this dual sense that the simile speaks expressively of Scrooge.

The narrator's first pointed words about Scrooge, "Oh! but he was a tight-fisted hand at the grindstone," prepare us for the extreme containment of his physical self. "The cold within him," we are told, "froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait"; we hear of his "thin lips" and "wiry chin." When, a few paragraphs later, we learn of Scrooge's predilection "to edge his way along the crowded paths of life, warning all human sympathy to keep its distance," it is impossible not to imagine him keeping to the edge of the sidewalk when he must venture out onto the London streets. In short, restriction defines, literally or imaginatively, not only Scrooge's physique and physiognomy but his stiff gait, the area trodden by that gait, and his bodily activity in general. In case we fail to notice these physical containments, we are given a foil in Bob Cratchit, who, when finally released from the dungeon-like counting-house for the holiday, emblematically celebrates his freedom in a burst of bodily kinesis. Cratchit, we are told, "went down a slide on Cornhill, at the end of a lane of boys, twenty times, in honour of its being Christmas-eve, and then ran home to Camden Town as hard as he could pelt, to play at blindman's-buff." The active expansiveness of the clerk's physical presence, his body now vertical, now horizontal, his legs kicking out in front of him as he races home, is matched by the extravagance of his movement over land, twenty trips downhill when one would have been out of bis way.

But later we are also given foils with an added dimension. When the Ghost of Christmas Past shows Scrooge the vision of Belle as a grown woman, she is at home with her daughter, and both are surrounded by activity personified—more children than Scrooge can count, and "every child … conducting itself like forty." The narrator, however, enviously sexualizes the "young brigands'" "ruthless" "pillag[ing]" of Belle's daughter. He confesses that though he longs to be "one of them," he could never take such liberties with the daughter's person:

And yet I should have dearly liked, I own, to have touched her lips; to have questioned her, that she might have opened them; to have looked upon the lashes of her downcast eyes, and never raised a blush; to have let loose waves of hair, an inch of which would be a keepsake beyond price: in short, I should have liked, I do confess, to have had the lightest licence of a child, and yet been man enough to know its value.

Later, Scrooge witnesses a game of blindman's-buff played by the company at his nephew's house, during which the narrator disingenuously deplores the conduct of the young man called Topper, who somehow manages to pursue "that plump sister in the lace tucker" wherever she goes, and finally traps her in a corner where he engages in conduct "the most execrable." Whether in the horde of rampant children freely touching Belle's daughter, or in Topper's pursuit and braille identification of Scrooge's niece, the dimension of sexuality is admitted into the expansive physical activity which in the story counterpoints the unredeemed Scrooge's "stiff gait."

Scrooge's self-containment, of course, is more than physical. His obsession with business and wealth not only occupies his time and energy but constitutes the frame of reference by which he judges everything and everyone in his world: "can even I believe that you would choose a dowerless girl," says Belle to Scrooge in one of the first spirit's vision, "—you who, in your very confidence with her, weigh everything by Gain…?" Proving Belle's appraisal, Scrooge earlier reacts harshly to his nephew's greeting of "merry Christmas":

Merry Christmas! What right have you to be merry? what reason have you to be merry? You're poor enough.

What's Christmas time to you but a time for paying bills without money; a time for finding yourself a year older, and not an hour richer; a time for balancing your books and having every item in 'em through a round dozen of months presented dead against you?

In addition to an idolization of wealth, Scrooge betrays in these lines a problem of comprehension, an inability to see beyond the containment of his own perspective and understand his nephew's opposing values: "what reason have you to be merry? You're poor enough," he cries in the second of his three questions. The fact that Scrooge concerns himself with his nephew's fortunes at all reveals that more than self-concern is at work here: he attempts to purge Fred of his Christmas spirit precisely because it makes no sense to him that Fred should keep it. In other words, Scrooge's anti-Christmas speech is, oddly enough, his least selfish moment in the first stave, for it is an attempt to disabuse Fred of unprofitable behavior for Fred's own good. The attempt is feeble, however, due to the very philosophy that Scrooge champions. As he says later to the "portly gentlemen" who urge him to know the conditions and suffering of the poor, "It's not my business…. It's enough for a man to understand his own business, and not to interfere with other people's. Mine occupies me constantly. Good afternoon, gentlemen!" Even Scrooge's unself-conscious use of the word "business" here for "responsibility" reveals that his perspective is contained by his miserly occupation, just as his lonely living quarters are surrounded by offices, or as an oyster's body is by its shell.

It is perhaps remarkable that Scrooge says as much as he does to Fred about the irrationality of the Christmas spirit, for speech is apparently another activity he prefers to curb. The scene with Fred is of great importance to the story because we witness in it the sparring of opposite philosophies of Christmas. Thus it is necessary that Scrooge, then Fred, each have his say, though Cratchit's applause from the next room after Fred's humane, eloquent utterance ensures that not even the most Scrooge-ish of readers will fail to recognize which philosophy the story sanctions. But once the positions are stated, little more is said, mostly because Scrooge closes his mind to any further discussion and shuts off his flow of words with a resounding "Good afternoon!"—an utterance that he repeats four times, until his nephew is convinced of the impasse and leaves the office. Scrooge also condescends to a brief and unpleasant exchange with the gentlemen who ask him for a Christmas contribution for the poor—an exchange also ended by an unambiguous "Good afternoon … !"—and two briefer ventings of spleen directed toward his clerk. We know of no other words he shares with anyone of flesh and blood until Christmas morning.

Marley's ghost clearly emblematizes an oyster-like containment of body and bodily activity when he laboriously drags up to Scrooge's sitting-room the heavy chain of "cash-boxes, keys, padlocks, ledgers, deeds, and heavy purses wrought in steel" which "wound about him like a tail." That his condition also represents containment of mental activity is revealed m the Ghost's declaration, "My spirit never walked beyond our counting-house—mark me!—in life my spirit never roved beyond the narrow limits of our money-changing hole." Leaving nothing to chance, the phantom makes the connection that hardly needs making: "would you know," he asks Scrooge, "the weight and length of the strong coil you bear yourself? It was full as heavy and as long as this, seven Christmas Eves ago. You have laboured on it, since. It is a ponderous chain!" Scrooge has, we might remember, just "double-locked" himself into his chambers for the night.

Which brings us to the message of the Carol, only part of which, in accordance with Marley's appraisal of his own oyster-against-the-"ocean" life, has traditionally been grasped. Responding to the Ghost's lamentations, Scrooge says, "But you were always a good man of business, Jacob":

"Business!" cried the Ghost, wringing its hands again. "Mankind was my business. The common welfare was my business, charity, mercy, forbearance, and benevolence, were, all, my business. The dealings of my trade were but a drop of water in the comprehensive ocean of my business!"

If Scrooge's notion of his life has been limited by too narrow a focus on financial gain, Marley's appraisal of his past life is similarly limited by too narrow a focus on social responsibility. While the story unequivocally prefers reformed Marleyism to unreformed Scroogism, it advocates the former philosophy as only part of a more inclusive program for existence.

A good life, the story tells us, is a vitally excursive one. Such a life requires, first, that the individual go beyond the containing limits of the merely self-concerned self to benevolent participation with one's proper society—that is, with humanity or, in Fred's words, with one's "fellow-passengers to the grave." Of course, this participation includes the guardianship...

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The Conversion of Scrooge: A Defense of That Good Man's Motivation

(Novels for Students)

As everyone knows, being called a "scrooge" is bad. When labeled like this, one is considered "a tight-fisted hand at the grindstone.… Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster." In reality, and in short, one is a party-pooper, afflicted with general overtones of inhumanity.

This is the popular definition of the word Scrooge, and it is unfairly the usual description of Charles Dickens' Ebenezer Scrooge, of A Christmas Carol. Scrooge's conversion to a permanent goodness, which is every bit up to those impossible standards met by the totally admirable Cheerybles and Mr. Brownlow, seems to have been utterly...

(The entire section is 3983 words.)

Some Candid Opinions on A Christmas Carol

(Novels for Students)

There has been much said this evening in praise, I might almost say in adulation, of Charles Dickens. Just by way of a change I want to offer a few words of criticism. In case some of you might consider these words as something of the nature of an attack, I should like to point out, though there is really no need to do so, that a man who stands in such an impregnable position as Dickens does not fear attack. But a little criticism may not be amiss.

I should like to give some honest opinions on the Christmas Book; and by the Christmas Book I mean A Christmas Carol, the best known of all the Christmas Books, the one that everybody knows—Dickens readers and others—the one on which...

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