Category: Music

(This is Part 2 of Miss Owens’ post on Charles Dickens. Click here to read Part 1.)

Poverty, and the disgraceful workhouses, were societal ills about which Dickens cared strongly. It was a problem that had affected him personally, and quite powerfully. When he was about 11 years old, his father became deeply indebted; though the family was lower middle class and shouldn’t have needed to worry about money, Dickens ended up suffering for his father’s incapability to spend within the family’s means. When his father was incarcerated in debtors’ prison, Dickens had to leave his school, move to a new location near his father’s prison, pawn his books, and go to work in a blacking factory: a place that produced shoe black. He earned 5-6 shillings a week. It was difficult, distasteful, and enormously embarrassing work for Dickens. In fact, he later said that his time in the blacking factory, working to pay off his father’s debts, left him psychologically damaged. Not long after this, the entire family moved into the debtor’s prison with his father. From that time onward, the plight of the poor and needy was ever on Dickens’ mind.

And so it was in the 1840s that Charles Dickens found himself nonplussed with the quality of help given to the British poor and needy. He toyed with writing a pamphlet for distribution, urging the better off to take notice of the needs around them and to give to those in poverty and destitution; to fight the demons of Ignorance and Want (personified later in A Christmas Carol). Yet he wasn’t entirely sold on the concept of pamphlet distribution. Then he visited Manchester, a northern region of England that had experienced massive population growth due to booming cotton industry. In the early 1700s about 10,000 people lived in Manchester. By 1850, 400,000 lived there, with most of the growth occurring from 1800 onward as population numbers doubled every few decades. The jobs paid well, if you could get one and keep one. And it wasn’t uncommon for many children to labor just as strenuously as adults. Dickens’s heart was moved by the state of common welfare in Manchester; it was there he found his inspiration to write not a pamphlet, but a novel expressing the same moral calling.

A Christmas Carol at its fundamental level is a call to all people (but for Dickens, specifically British people) to help those in need, and in this it represents a significant humanitarian addition to Christmas. Today we associate Christmas season with requests for funding from non-profits, or with Santa bell-ringers outside of stores, collecting money for the Salvation Army. But Christmas wasn’t always linked with humanitarian aid, with the call to help those less fortunate than ourselves. We can thank Dickens for that in part. Early in the story, Scrooge’s nephew Fred reprimands his uncle for refusing good things that don’t turn a profit, reminding him that the good might not always be profitable, in the sense that Scrooge cares about anyway, and yet the good is still good. Perhaps we can’t always put a price tag on “good”—and perhaps doing good might actually cost us something. But the message Dickens hopes we see is that not doing good costs us even more; and that the good act of giving, looking out for our neighbors, gleans us much more than a profit margin. This is a message that cuts against the grain of our American culture that wants us to give, but only if we end up giving the best gift and people know we one-upped them—our American culture that wants us to spend all of our money of expensive, trendy presents so that charity work gets the left-overs—our American culture that bedazzles us with sales and must-haves and whispers of “they’ll love this so you must buy it.” What’s profitable, and what is good?

Scrooge begins a miser, an old man who’s built his fortune partly by refusing to share it with anyone. But he doesn’t end that way. Dickens’ Christmas Carol is a story of redemption and rescue; grace comes, from the outside, to work an inner change. Light and life and hope and charity intervene, but not without a good dose of painful honesty and difficult self-reflection. In order to be rescued, Scrooge must face his past, look honestly at his present, and ponder the future of a life unchanged. It’s a call Dickens makes to each of us.

Dickens’ contemporaries heard this call: in 1844 charitable giving spiked in Britain; in 1874 Robert Louis Stevenson declared he would give generously after reading the book; after reading A Christmas Carol, Thomas Carlyle invited guests over for not one, but two Christmas dinners; an American factory owner in 1867 closed his factory for Christmas and sent a turkey to the home of every employee, and in the early 1900s the Queen of Norway sent gifts to the crippled children in London, signed “with Tiny Tim’s love.”

So as we enjoy A Christmas Carol, we should consider what the takeaway is for us. Does Dickens have anything to say about American consumerism and the needs of the impoverished? What kind of futures are we building for ourselves in the way we spend Christmas? The needs are many. May we meet at least a few.

If you’re like me, you might take A Christmas Carol as a fixture of Christmas—one that is so familiar that likely it doesn’t gain much deep consideration. The tale of a miserly old man whose evening is startlingly interrupted by four ghosts who intervene to rescue him from his curmudgeonly and parsimonious ways is straightforward enough, the message fairly unobscured; after all, Dickens wasn’t interested in wrapping up the moral of the story in layers of symbolism.

But sometimes what is familiar is the least examined. Take the title, for example—A Christmas Carol. Some versions of Dickens’ story include singing, but not all Christmas Carols include, well, carols. Dickens didn’t even publish it intending it to be sung; he published it as a book. So why did he entitle it A Christmas Carol? Well, in actuality he entitled the book something other than just the innocuous A Christmas Carol: really, the novella is entitled A Christmas Carol in Prose, Being a Ghost Story of Christmas.

Now, Charles Dickens knew how to turn a penny; he had made himself a fair amount of money as a writer and had a good business sense. So certainly his title has something to do with marketability. Who, perusing the books for sale amid other wares, wouldn’t have his eye caught by a Ghost Story of Christmas? Or, for that matter, a Christmas Carol in prose? In 1843, the year Dickens published Christmas Carol, Christmas carols were well-entrenched in English Christmas celebrations. Classics such as “Hark! The Herald Angels Sing,” “Joy to the World,” and “O Come, All Ye Faithful” had been around since the 1700s. “Silent Night” had just been penned in 1818, and “God Rest Ye Merry Gentleman” was practically hot off the presses, being written in 1833 (although the lyrics are said to date back to the 1400s). So clearly Dickens was relying on a catchy title to capture the attention of book buyers. (His strategy, and his enduring story, worked: the book has never been out of print since its first printing in 1843.)

And, interestingly enough, because the work was entitled A Christmas Carol, he didn’t pen it in chapters, but instead, mirroring choral music structure, he divided his book into staves (the plural of staff, the system of lines and spaces onto which we write notes). It’s as if he wants us to think of the story being sung to us, or even as if we are all carolers, singing the ghost story to each other, participating in it, investing ourselves in its message. Now what’s interesting about many of the Christmas carols Dickens knew (and that we still sing today) is that they often take deep truth and express it in layered verses; each verse takes us deeper into the truths about God, or our condition, or the circumstances surrounding and significance of Christ’s birth. Perhaps this is what Charles Dickens had in mind when he decided to title his novella in a way that echoed familiar carols.

If that’s the case, then why did he choose this means? Why write a book, a story, that echoes Christmas carols in structure, depth, and even title? What was he after? Primarily, Dickens hoped to motivate readers to do more to help the poor in Britain—this is why men come around to Scrooge’s shop, collecting money for the poor (and are soundly rebuffed by Scrooge’s “Bah, Humbug!” and query about workhouses and prisons), why there are beggars on the streets, why Tiny Tim’s life is in jeopardy as his family struggles to make ends meet with paltry wages. But in order to fully appreciate these elements of the story and Dickens’ objective, we need to understand a little about Dickens’ context.

The Industrial Revolution had been underway in England since the late 18^th century, so at least one if not two generations of British families had seen their situations change drastically because of the many innovations—some for the better, but many for the worst. As labor became mechanized, laborers became scarcer. And as industry moved away from the countryside and into the cities, people flocked to the cities. But there they found often hardship, lack of employment, crowded living conditions, and sometimes even destitution. Add to that a few bad harvests and mass unemployment following the end of the wars with Napoleon (defeated finally in 1815 at the Battle of Waterloo), and England was facing an enormous crisis.

Old ways of helping the poor were simply unsustainable. By 1834 British Parliament passed the New Poor Law, which legislated a new way to deal with the poor: rather than merely offering them assistance as they needed it, the British system would now require impoverished people to earn help, in the workhouses. The poor and destitute had to seek help by applying to the workhouses, a place to live as well as work. Though the law was intended to keep able-bodied workers at their jobs and homes, as you might imagine, many critics of this law saw it merely as a way to penalize the poor rather than help them.

(This is Part 1 of Miss Owens’ post on Charles Dickens. Click here to read Part 2.)