Thesis, in installments, from Z.I. Mahmud

                                                                   Abstract

Two autobiographical Dickensian fiction, notably, David Copperfield and Great Expectations are the subject matter of this thesis: written to entertain book reviewers. As part of the book review competition, the integrity of the thesis explores literary criticism or critical appreciation that vindicate these narratives as best sellers or classics.

Chapter 1 discusses Charles Dickens’ David Copperfield from the realistic criticism and  psychological view: psychoanalysis and psychoanalytical theory. Glimpses of life and death, goodness and evilness or redemption and damnation, wealth and poverty or capitalistic society and proletariat society, justice and injustice prevailing in Victorian England. Furthermore, readers or reviewers will be intrigued by the social critique in Chapter 2, which discusses Charles Dickens’ Great Expectations unveiling a repertoire of literary and figurative language. Literary fiction lovers will be introduced to the themes of allegorically satirized legislative intervention or laissez faire policies concerned with reformation or amendments. Macabre of mass grave crisis, extravagance and ostentation of burial funerary before the passing of parliamentary bill has been Dickens’ radical or satirical self anathema. This book review emphasizes Miss Havisham, Pumblechook, Satis House guests but perpetually examines the icon of angelic sweetness and purity-idealized Estella, the heroine. Estella’s ironically Dickens’ seraphic sister-in-law, Mary Hogwart whose unforgettable memories: death, grief and mourning recollection-“I cannot bear the thought of being excluded from her dust…It seem like losing her a second time.” Sarcastically, Great Expectations’ Estella memorializes David Copperfield’s Agnes if  holistic or thoroughly evaluated. Gratitude and indebtedness to the journal of Anna Foley in this paraphrase of quotable quote. Emily’ was in fact, Agnes’ resurrected commemorative “so perfect a creature never breathed…”she had not a fault.” Dickens fictionalized characters in autobiographical genre and evolves the discussion of a symbiotic relationship linkage in fantasy. The erudite pageantry is in fact, a testamentary to the humour: Miss Havisham’s will of inheritance legacy

Twenty pounds to Georgiana. Twenty five pounds to Sarah to buy pills for her wind and five pounds to the Raymonds or Camellias to buy rush light to keep spirits high in the night

                                      Tension between life and death or acceptance and grief of the Charles Dickens’ literary canon can be a tender personal experience: with the post or ultramodern cosmopolitan unprecedented legislative measures lockdown amidst pandemic’s outbreak; blighting twenty first century’s humankind or genteel characters with the malediction of unemployment and famine.               

                                 In valedictory opinion, the concluding book review: William Shakespeares’ As You Like It can be traced to the 1563 epidemic diseases: contagious plague that devastated the colossal London. What had really happened to the legacy and fortunes of Shakespearean drama performed or exhibited in the Lord Chamberlain’s Theatre? Mystique and critique readers will be merely breathtaking and awestruck to establish textual references to present coronavirus pandemic contrasting Elizabethan plague. I don’t have the nerve to dissect the mummified 16th century buried bereaved souls… Ironically I have garnered the audacity with assiduous spirits or formidable resilience to revisit, reevaluate and reexamine: themes, plots and twists, motifs, characterization with perspectives to literary techniques or figurative language. I am grateful and loyal to the copyright of different stellar critics and wondrous essayists throughout the three narratives.    .                                                                                                                   

                                               Contents

Chapter 1 Charles Dickens’ David Copperfield Wordsworth Edition Review- A Psychological Novel With Perspectives of Critical Realism               

Chapter 2 Charles Dickens’ Great Expectations Penguin Classics Edition- A Moral Fable Appeasing Rhetoric With Laughter’s Appeal

Chapter 3 William Shakespeare’s Theatrical Drama: Elizabethan Comedy: As You Like It Book Review

                                Dedicated To My Dearest Wonderful Educators Inscribed In My Heart

                     Mr. Md. Humayun Kabir & Ms. Shaila Nasreen

                 Faculty of English

                 Ms. Razia Akter

                 Department of Psychology

                                  I am really blessed by these luminaries’ and guardian angels’ overwhelming smile, heartfelt encouragement, inspirational teaching’s charisma and motivational counsel. They epitomize incredible philanthropic hearts and embracing warmth fostering blossoming rapport.  Inevitably, as a humble student, I had been privileged with intellectual or emotional support in visitations to   teachers’ lounge, library, lecture theatres or tutorial coaching. These were conducive to my academic pursuits or extracurricular prospects of Bangladesh Air Forces Shaheen College, Tejgaon, Dhaka.        

                   Charles Dickens’ David Copperfield Wordsworth Edition Review- A Psychological Novel With Perspectives of Critical Realism

                                     1. Introduction

                                     David Copperfield Penguin Classics and Wordsworth editions of yesterday, today and tomorrow have emerged as hallmarks avant-garde of Charles Dickens. Literally, Dickensian prose: David Copperfield’s rhetoric and diction exhibit reminiscent of the novelist memorabilia recollections. Penguin and Wordsworth Editions are admired noteworthy amongst communities of multilingualism and multiculturalism diaspora, acknowledged globally as bestseller biographical literary fiction. Bookstores, saloons, parlors, coffee shops, magazine stores, souvenirs and gift shops selling at different retail prices UK pound and US dollars respectively.    

                                      2. Background Genesis

                                      Epochs of Victorian England have envisioned  reflective testimonials: critical realism decades of 40s and 50s (after the sunset of romanticism movement) in the historical context of 18th century English Literature repository. Charles Dickens appeared  enchanting spirits with incarnation of a social critique amidst 1849-50s, which were monthly installments of newspaper extracts anthologized by David Copperfield’s publication. 

                                     “Whether I shall turn out to be a hero of my own life, or whether that station will be held by somebody else, these pages must show”. Dickens caricatured David Copperfield as flavoursome  biographical fiction, social satire, realism and fantasy, romantic and psychological thriller genre.

                                                Dickensian characterization in David Copperfield impersonate varieties of fictional persona including David Copperfield, the narrator and heroic protagonist, feminine personalities Emily Pegotty and Dora Spenlow, Agnes Wickfield, the paragon of paramour and heroine, Miss Betsey Trotwood, guardian angel, the Berkeys amiably hospitable household of Yarmouth seashore, Mr. Murdstone, David’s misery whose stone heart step parenting entrenched David into the down-in-the-dumps wine factory, Uriah Heep and Mr. Wickfield’s diseased love (Agnes becomes more than a simple infatuation or obsession for these minor characters), heartwarming and affectionate Micawber family, Uriah Heep, the usurper’s hypocrisy and villainy and feigned love or consummate immoral romance for Agnes, Tommy Traddles, the fidelity of true acquaintanceship, James Steerforth, the bad angel or antagonist, Sophie, the fiancee of Traddles and so on.

                                           Characters mysteries open secrets (moneybox of Pegotty or Mrs. Berkis) , widowhood and single parenthood’s overprotection and obsession, the tyranny of educational institutions, misery of child labour harbouring grimace in the grueling and grotesque conditions, treachery and hypocrisy, dilapidated debtors prison, Victorian femininity of household comfort and domestic bliss and prejudices of gender and caste disparity inevitably themes of holistic examination. Archetypal or stereotypical descriptions formidably juxtapose with the contrasting idealism. Entitlement and epitaphs of character significance have influenced readers or critics in adulation of coquetries, sycophancy of honeyed words, witty gimmickry. Mr. Wickfield’s  allusions referenced Dickens bed night stories of Mr. Vicar of Wakefield (whose sensitivity and overprotection regarding the family eventually endanger the household in iniquitous circumstances, sinking into abject despair and damnable downfall). In the following manner, Mr. Wickfield’s obsession or infatuation for Agnes results in sardonic overprotection and fortuitous disappearance from the novel.

                              Dickensian figurative languages in English Literature surpasses criticism with allusions to Biblical references, paraphrases from classics, Shakespearean philosophy and so on. Victorian Era’s colloquialism “Good Heavens” appeals enchanting minds of modern readers or interpreters of the narrative as modern English language expression of dialectal creole: anticipatory connotation of “huh!”. David Copperfield’s mother Clara showed resentment in surprise or disapproval in disbelief at the end of the statement when asked whether Pegotty acknowledges in affirmative mood. “Good heavens! cried my mother, “you’ll drive me mad.” Pegotty’s counsel and advice of remarriage was quite adversary which is why frustrated Clara referred her as “cruel or unkind creature.” “I wouldn’t buy myself a new parasol, though the old green one is frayed the whole way up, and the fridge is perfectly mangy.” Euphemism is a mild or indirect word or expression substituted for one considered to be too harsh or blunt when referring to something unpleasant or embarrassing. Miss Clara’s understatement of genteelness of gentry or politeness juxtaposes or contrasts  unraveled or worn green umbrella, scabious or yucky fridge with shaved head, blackened or disfigured self image respectively.

                                      “I turned my head towards the window, thinking of her calm seraphic eyes, he made me start by muttering as if he was an echo of the morning: “Blind! Blind! Blind!” These lines emphasize or illuminate the angelical divinity of celestial cherubic beings. Agnes’ eyes contextually alludes to the symbolic tradition Christian angelology as belonging to the ninefold celestial hierarchy, associated with light, ardour and purity. Agnes filled David’s heart with resolutions strengthening his weaknesses shedding light and ardour as emerald as the sister of boyhood. The light was essential in Dickens’ life to be awakened of the bad or evil force analogous to the premonition of forbearance or prohibition from James Steerforth’s satanic companionship. 

More next month!

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