Christmas Stories
CHRISTMAS STORIES
Charles Dickens
Copyright
William Collins
An imprint of HarperCollinsPublishers
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This eBook edition published by William Collins in 2015
Life & Times section © HarperCollinsPublishers Ltd
Gerard Cheshire asserts his moral right as author of the Life & Times section
Classic Literature: Words and Phrases adapted from
Collins English Dictionary
Cover by e-Digital Design
Cover image: The Christmas Tree, 1911 (oil on canvas), Tayler, Albert Chevallier (1862–1925) / Private Collection / Bridgeman Images.
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Source ISBN: 9780008110628
Ebook Edition © August 2015 ISBN: 9780008110635
Version: 2015-07-21
Contents
Cover
Title Page
Copyright
History of Collins
Life & Times
THE CHIMES
Chapter 1: First Quarter
Chapter 2: The Second Quarter
Chapter 3: Third Quarter
Chapter 4: Fourth Quarter
THE CRICKET ON THE HEARTH
Chapter 1: Chirp the First
Chapter 2: Chirp the Second
Chapter 3: Chirp the Third
A CHRISTMAS DINNER
A CHRISTMAS TREE
WHAT CHRISTMAS IS AS WE GROW OLDER
THE SEVEN POOR TRAVELLERS—IN THREE CHAPTERS
Chapter 1: In The Old City of Rochester
Chapter 2: The Story of Richard Doubledick
Chapter 3: The Road
Classic Literature: Words and Phrases
About the Publisher
History of Collins
In 1819, millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books, and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.
Soon after, William published the first Collins novel, Ready Reckoner; however, it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed, and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.
Aged 30, William’s son, William II, took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly “Victorian” in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and The Pilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopedias, and dictionaries. This demand to be educated led to the later publication of atlases, and Collins also held the monopoly on scripture writing at the time.
In the 1860s Collins began to expand and diversify and the idea of “books for the millions” was developed. Affordable editions of classical literature were published, and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel, and adventure. This series eclipsed all competition at the time, and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.
HarperCollins is and has always been a champion of the classics, and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible, and intended to be reread and enjoyed at every opportunity.
Life & Times
About the Author
Charles Dickens was born in Portsmouth, England, but had moved to Kent and then to London by the time he was ten years of age. Not long afterwards, his father was arrested and sent to debtors’ prison for spending beyond his means. This marked a transition in Dickens’ early life from one of carefree childhood to one filled with relative uncertainty. Above all, Dickens began to ferment ideas of social injustice and a need for social reform in pre-Victorian Britain. These ideas would become the staple of his literary canon.
He was first published in 1833 at the age of 21. By the time of his death, in 1870, he had completed nineteen (and a half) novels. His final work, The Mystery of Edwin Drood, was only half completed. All of Dickens’ novels were first published in serialized form, which was the orthodox method in his day.
While other writers tended to complete their books first and then divide them into chapters for serialization, Dickens preferred to write his chapters as and when required. This lent itself to his success, because it meant that his prose was naturally tailored to the format of monthly instalments. Rather than having hiatuses randomly placed in the overall storyline according to page counts, Dickens was able to deliberately leave the reader wanting more. In essence he had invented the concept of the literary cliff-hanger. Combined with his enhanced characterizations and fabulist allegory this made for a compelling read, so Dickens became the single most popular author in Victorian Britain.
By his forties, Dickens had taken to touring and giving animated readings of his books to captive audiences, who delighted in his ability to bring his characters to life. This was an extension of the storytelling craft he had learnt as a parent, as he had ten children with his wife Catherine, whom he married in 1836.
As well as being a humanistic novelist, Dickens was also a humanitarian in real life. For example, he gave his support to the abolition of slavery in the USA and helped to establish a home of the redemption for ‘fallen’ women in England, which meant those women who had resorted to crime and prostitution to find their way in life, but had ended up in debtors’ prisons, common prisons or workhouses.
A hostel named Urania Cottage was established in London, where these women were given a second chance. They were clothed and fed, provided with education and taught the skills to be able to find domestic employment.
Needless to say, Dickens rubbed shoulders with many extreme characters due to his work with the ‘fallen’ in society. Due to his celebrity, he also met many people at the other end of the spectrum, so there was no shortage of people upon whom to base his fictitious characters.
In 1865 Dickens was involved in a rail crash at Staplehurst, Kent, in which ten people died and many more were injured. Dickens was not hurt but his efforts to help the injured and dying left him with post-traumatic stress disorder for the remaining five years of his life. On that fateful day he had been travelling with his lover, Ellen Ternan. Dickens had separated from his wife in 1858 when Catherine found out about his affair with the younger woman, who was 18 years his junior. He managed to keep Ellen a secret from society by never appearing in public with her and keeping her hidden in houses rented under false names. He knew very well that Victorian society would not have held a favourable view of his domestic arrangements. His infidelity would have caused an absolute scandal, especially as he was viewed as a highly virtuous and moralistic man. Falling in love with another was simply not acceptable behaviour, especially as Queen Victoria had remained steadfastly loyal to the memory of her beloved Prince Albert since his demise in 1861 and would continue to do so until her own death in 1901.
Dickens died of a stroke exactly five years following the rail crash at the age of 58 years old. He wished to be buried in a modest and private manner, but his funeral was a rather grand affair at Westminster Abbey.
The Victorian Era
The work of Charles Dickens is rather unusual in that it has become something of a social document of the Victorian era in Britain. That is because his books are a primary point of reference to anyone wondering about what it was like to have lived at that time. Consequently, Dickens’ imagined Victorian world is largely perceived by many as a real world, filled with exaggerated characters in extreme circumstances. The result is an odd set of paradoxes. For example, the Victorians are generally understood to have been austere and pious in the extreme, but the truth is that they lived in a highly progressive society where people were pushing the boundaries of behaviour and questioning the role of religion.
Dickens’ version of Victorian society came from his requirement for idiosyncratic characters to make his stories work more effectively in evoking emotional responses in the reader. It is fair to assume that they were based on the personalities of people he had met, so there was an element of truth, but Dickens’ boiled them down to amplify the traits he was most interested in and remove the traits superfluous to literary requirements. In effect, Dickens’ Victorian world is a cartoon, where the more mundane, mediocre and prosaic details serve only as a neutral backdrop, while the colourful characters are allowed to distract the attention.
It can be no coincidence that Dickens himself was an accomplished performer. He was the William Shakespeare of the Victorian age, both writing and taking to the stage as a storyteller. This makes it easy to understand why his characters had such pronounced identities, because Dickens would mentally assume different roles whilst storytelling, both on paper and when treading the boards.
As any parent or teacher will attest, it is quite necessary to exaggerate characters with gestures and voices while storytelling to capture the imagination of the audience and leave no confusion about who is who. This is exactly what Dickens was doing, so that his version of the Victorian world became one of overblown polarity: villains and do-gooders, the devout and the morally fallen, the wealthy and the poor, the beautiful and the ugly, the selfish and the selfless. Those who fall ‘somewhere between’ truly are the silent majority in Dickensian Britain.
Christmas Stories
Although A Christmas Carol has become synonymous with Dickens and is the quintessential Victorian Christmas story, Dickens wrote a number of other Christmas-themed tales over his career, both novellas and short stories. The publication of his novellas The Chimes (1844) and The Cricket on the Hearth (1845) followed shortly after A Christmas Carol, which had been well received in 1843. All of the so-called ‘Christmas books’ were published in book form rather than serialized in the press, as many of his other works had been.
The festive season – to many a period of calm and reflection – is used as a framework for Dickens’ stories which contemplate moral and ethical issues of the utmost importance at the time. Profound societal shifts had occurred as a result of the Industrial Revolution, leading to ubiquitous poverty in cities, unhygienic living conditions and high infant mortality rates. Dickens wanted to address these problems by penning stories that might inspire a general sense of social responsibility among the classes who were most likely to read his literature and have the power to enact change.
An understanding of the historical context in which his literary works were written gives the reader a broader framework to appreciate Dickens’ literary motivations. As both a social commentator and a storyteller, Dickens was fairly unusual for his time. The Chimes, the first novella to follow A Christmas Carol, was highly anticipated, and received mixed reviews on publication. Many critics aligned themselves with Dickens’ politics, but others considered them too radical for the times. The Cricket on the Hearth was written quickly, in just over a month, and was considered more overtly sentimental than his previous Christmas books.
Three short stories in this collection are taken from Household Words, a popular weekly magazine edited by Charles Dickens in the 1850s in which he included an annual Christmas tale – by this point he had stopped writing standalone Christmas books. Many were attributed to the author alone (‘A Christmas Tree’ from the first 1850 edition, and ‘What Christmas Is, As We Grow Older’, from 1851), but some were collaborations with other writers. ‘Seven Poor Travellers’, published in the 1854 edition, was written with Wilkie Collins, among others.
‘A Christmas Dinner’ – an early essay published in 1835 when Dickens was a young man, and his first with Christmas at its heart – complements these stories. Since this pre-dates A Christmas Carol by almost a decade, it implies that Dickens was already inspired by many of the ideas found in his most popular seasonal tale. The sheer number of festive stories produced during the 1840s and 50s indicate that their appeal did not wane, either for Dickens or the Victorian reader.
CHAPTER 1
First Quarter
There are not many people—and as it is desirable that a story-teller and a story-reader should establish a mutual understanding as soon as possible, I beg it to be noticed that I confine this observation neither to young people nor to little people, but extend it to all conditions of people: little and big, young and old: yet growing up, or already growing down again—there are not, I say, many people who would care to sleep in a church. I don’t mean at sermon-time in warm weather (when the thing has actually been done, once or twice), but in the night, and alone. A great multitude of persons will be violently astonished, I know, by this position, in the broad bold Day. But it applies to Night. It must be argued by night, and I will undertake to maintain it successfully on any gusty winter’s night appointed for the purpose, with any one opponent chosen from the rest, who will meet me singly in an old churchyard, before an old church-door; and will previously empower me to lock him in, if needful to his satisfaction, until morning.
For the night-wind has a dismal trick of wandering round and round a building of that sort, and moaning as it goes; and of trying, with its unseen hand, the windows and the doors; and seeking out some crevices by which to enter. And when it has got in; as one not finding what it seeks, whatever that may be, it wails and howls to issue forth again: and not content with stalking through the aisles, and gliding round and round the pillars, and tempting the deep organ, soars up to the roof, and strives to rend the rafters: then flings itself despairingly upon the stones below, and passes, muttering, into the vaults. Anon, it comes up stealthily, and creeps along the walls, seeming to read, in whispers, the Inscriptions sacred to the Dead. At some of these, it breaks out shrilly, as with laughter; and at others, moans and cries as if it were lamenting. It has a ghostly sound too, lingering within the altar; where it seems to chaunt, in its wild way, of Wrong and Murder done, and false Gods worshipped, in defiance of the Tables of the Law, which look so fair and smooth, but are so flawed and broken. Ugh! Heaven preserve us, sitting snugly round the fire! It has an awful voice, that wind at Midnight, singing in a church!
But, high up in the steeple! There the foul blast roars and whistles! High up in the steeple, where it is free to come and go through many an airy arch and loophole, and to twist and twine itself about the giddy stair, and twirl the groaning weathercock, and make the very tower shake and shiver! High up in the steeple, where the belfry is, and iron rails are ragged with rust, and sheets of lead and copper, shrivelled by the changing weather, crackle and heave beneath the unaccustomed tread; and birds stuff shabby nests into corners of old oaken joists and beams; and dust grows old and grey; and speckled spiders, indolent and fat with long security, swing idly to and fro in the vibration of the bells, and never loose their hold upon their thread-spun castles in the air, or climb up sailor-like in quick alarm, or drop upon the ground and ply a score of nimble legs to save one life! High up in the steeple of an old church, far above the light and murmur of the town and far below the flying clouds that shadow it, is the wild and dreary place at night: and high up in the steeple of an old church, dwelt the Chimes I tell of.
They were old Chimes, trust me. Centuries ago, these Bells had been baptized by bishops: so many centuries ago, that the register of their baptism was lost long, long before the memory of man, and no one knew their names. They had had their Godfathers and Godmothers, these Bells (for my own part, by the way, I would rather incur the responsibility of being Godfather to a Bell than a Boy), and had their silver mugs no doubt, besides. But Time had mowed down their sponsors, and Henry the Eighth had melted down their mugs; and they now hung, nameless and mugless, in the church-tower.
Not speechless, though. Far from it. They had clear, loud, lusty, sounding voices, had these Bells; and far and wide they might be heard upon the wind. Much too sturdy Chimes were they, to be dependent on the pleasure of the wind, moreover; for, fighting gallantly against it when it took an adverse whim, they would pour their cheerful notes into a listening ear right royally; and bent on being heard on stormy nights, by some poor mother watching a sick child, or some lone wife whose husband was at sea, they had been sometimes known to beat a blustering Nor’ Wester; aye, “all to fits,” as Toby Veck said;—for though they chose to call him Trotty Veck, his name was Toby, and nobody could make it anything else either (except Tobias) without a special act of parliament; he having been as lawfully christened in his day as the Bells had been in theirs, though with not quite so much of solemnity or public rejoicing.
For my part, I confess myself of Toby Veck’s belief, for I am sure he had opportunities enough of forming a correct one. And whatever Toby Veck said, I say. And I take my stand by Toby Veck, although he did stand all day long (and weary work it was) just outside the church-door. In fact he was a ticket-porter, Toby Veck, and waited there for jobs.
And a breezy, goose-skinned, blue-nosed, red-eyed, stony-toed, tooth-chattering place it was, to wait in, in the winter-time, as Toby Veck well knew. The wind came tearing round the corner—especially the east wind—as if it had sallied forth, express, from the confines of the earth, to have a blow at Toby. And oftentimes it seemed to come upon him sooner than it had expected, for bouncing round the corner, and passing Toby, it would suddenly wheel round again, as if it cried “Why, here he is!” Incontinently his little white apron would be caught up over his head like a naughty boy’s garments, and his feeble little cane would be seen to wrestle and struggle unavailingly in his hand, and his legs would undergo tremendous agitation, and Toby himself all aslant, and facing now in this direction, now in that, would be so banged and buffeted, and touzled, and worried, and hustled, and lifted off his feet, as to render it a state of things but one degree removed from a positive miracle, that he wasn’t carried up bodily into the air as a colony of frogs or snails or other very portable creatures sometimes are, and rained down again, to the great astonishment of the natives, on some strange corner of the world where ticket-porters are unknown.
But, windy weather, in spite of its using him so roughly, was, after all, a sort of holiday for Toby. That’s the fact. He didn’t seem to wait so long for a sixpence in the wind, as at other times; the having to fight with that boisterous element took off his attention, and quite freshened him up, when he was getting hungry and low-spirited. A hard frost too, or a fall of snow, was an Event; and it seemed to do him good, somehow or other—it would have been hard to say in what respect though, Toby! So wind and frost and snow, and perhaps a good stiff storm of hail, were Toby Veck’s red-letter days.
Wet weather was the worst; the cold, damp, clammy wet, that wrapped him up like a moist great-coat—the only kind of great-coat Toby owned, or could have added to his comfort by dispensing with. Wet days, when the rain came slowly, thickly, obstinately down; when the street’s throat, like his own, was choked with mist; when smoking umbrellas passed and re-passed, spinning round and round like so many teetotums, as they knocked against each other on the crowded footway, throwing off a little whirlpool of uncomfortable sprinklings; when gutters brawled and waterspouts were full and noisy; when the wet from the projecting stones and ledges of the church fell drip, drip, drip, on Toby, making the wisp of straw on which he stood mere mud in no time; those were the days that tried him. Then, indeed, you might see Toby looking anxiously out from his shelter in an angle of the church wall—such a meagre shelter that in summer time it never cast a shadow thicker than a good-sized walking stick upon the sunny pavement—with a disconsolate and lengthened face. But coming out, a minute afterwards, to warm himself by exercise, and trotting up and down some dozen times, he would brighten even then, and go back more brightly to his niche.
They called him Trotty from his pace, which meant speed if it didn’t make it. He could have walked faster perhaps; most likely; but rob him of his trot, and Toby would have taken to his bed and died. It bespattered him with mud in dirty weather; it cost him a world of trouble; he could have walked with infinitely greater ease; but that was one reason for his clinging to it so tenaciously. A weak, small, spare old man, he was a very Hercules, this Toby, in his good intentions. He loved to earn his money. He delighted to believe—Toby was very poor, and couldn’t well afford to part with a delight—that he was worth his salt. With a shilling or an eighteenpenny message or small parcel in hand, his courage always high, rose higher. As he trotted on, he would call out to fast Postmen ahead of him, to get out of the way; devoutly believing that in the natural course of things he must inevitably overtake and run them down; and he had perfect faith—not often tested—in his being able to carry anything that man could lift.