Charles Dickens was often faulted by his early critics for writing with more melodrama or realism than suited his readers' tastes. In 1861, E. S. Dallas suggested that this was part of Dickens' charm: "Faults there are in abundance, but who is going to find fault when the very essence of the fun is to commit faults?" Yet Lady Carlisle once delicately commented, "I know there are such unfortunate beings as pickpockets and streetwalkers … but I own I do not much wish to hear what they say to one another." Likewise, in 1862 Mrs. Margaret Oliphant found the novel "feeble, fatigued, and colorless," yet defended Miss Havisham as "a very harmless and rather amiable old woman," suggesting that among Dickens' readers were the Miss Havishams of that era. At the same time, other early critics viewed this book as a happy change of pace from Dickens' so-called "Dark Period" of writing due to the novel. According to John Moore Capes and J.E.E.D. Acton's 1862 review, "We should be puzzled to name Mr. Dickens' equal in the perception of the purely farcical, ludicrous, and preposterously funny."
As Humphrey House later reflected, "The whole [Victorian] class drift was upwards and there was no reason to suppose that it would ever stop being so," meaning that in any age or economy people believe in whatever they hope for themselves. Other modern critics, however, tend to look on the novel as an example of Dickens' "brilliant study of guilt." In any case, it is story-telling at its best. As Angus Calder comments in his introduction to the 1965 Penguin...
(The entire section is 525 words.)