A sketch of Italy, its people, land, and customs as seen through the eyes of the English traveler, Charles Dickens

The Battle of Life: A Love Story is a novella by Charles Dickens, first published in 1846. It is the fourth of his five "Christmas Books", coming after The Cricket on the Hearth and followed by The Haunted Man and the Ghost's Bargain. The setting is an English village that stands on the site of an historic battle. Some characters refer to the battle as a metaphor for the struggles of life, hence the title. Battle is the only one of the five Christmas Books that has no supernatural or explicitly religious elements. (One scene takes place at Christmas time, but it is not the final scene.) The story bears some resemblance to The Cricket on the Hearth in two respects: it has a non-urban setting, and it is resolved with a romantic twist. It is even less of a social novel than is Cricket. As is typical with Dickens, the ending is a happy one.

Charles Dickens was an English writer and social critic. He created some of the world’s best-known fictional characters and is regarded as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognised him as a literary genius. His novels and short stories enjoy lasting popularity. Dickens preferred the style of the 18th century picaresque novels that he found in abundance on his father’s shelves. According to Ackroyd, other than these, perhaps the most important literary influence on him was derived from the fables of The Arabian Nights. His writing style is marked by a profuse linguistic creativity. Satire, flourishing in his gift for caricature, is his forte. An early reviewer compared him to Hogarth for his keen practical sense of the ludicrous side of life, though his acclaimed mastery of varieties of class idiom may in fact mirror the conventions of contemporary popular theatre. Dickens worked intensively on developing arresting names for his characters that would reverberate with associations for his readers, and assist the development of motifs in the storyline, giving what one critic calls an ”allegorical impetus” to the novels’ meanings. To cite one of numerous examples, the name Mr. Murdstone in David Copperfield conjures up twin allusions to ”murder” and stony coldness. His literary style is also a mixture of fantasy and realism. His satires of British aristocratic snobbery—he calls one character the ”Noble Refrigerator”—are often popular. Comparing orphans to stocks and shares, people to tug boats, or dinner-party guests to furniture are just some of Dickens’s acclaimed flights of fancy.

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Charles Dickens was an English writer and social critic. He created some of the world’s best-known fictional characters and is regarded as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime, and by the twentieth century critics and scholars had recognised him as a literary genius. His novels and short stories enjoy lasting popularity. Dickens preferred the style of the 18th century picaresque novels that he found in abundance on his father’s shelves. According to Ackroyd, other than these, perhaps the most important literary influence on him was derived from the fables of The Arabian Nights. His writing style is marked by a profuse linguistic creativity. Satire, flourishing in his gift for caricature, is his forte. An early reviewer compared him to Hogarth for his keen practical sense of the ludicrous side of life, though his acclaimed mastery of varieties of class idiom may in fact mirror the conventions of contemporary popular theatre. Dickens worked intensively on developing arresting names for his characters that would reverberate with associations for his readers, and assist the development of motifs in the storyline, giving what one critic calls an ”allegorical impetus” to the novels’ meanings. To cite one of numerous examples, the name Mr. Murdstone in David Copperfield conjures up twin allusions to ”murder” and stony coldness. His literary style is also a mixture of fantasy and realism. His satires of British aristocratic snobbery—he calls one character the ”Noble Refrigerator”—are often popular. Comparing orphans to stocks and shares, people to tug boats, or dinner-party guests to furniture are just some of Dickens’s acclaimed flights of fancy.

Mudfog is a pleasant town—a remarkably pleasant town—situated in a charming hollow by the side of a river, from which river, Mudfog derives an agreeable scent of pitch, tar, coals, and rope-yarn, a roving population in oilskin hats, a pretty steady influx of drunken bargemen, and a great many other maritime advantages. There is a good deal of water about Mudfog, and yet it is not exactly the sort of town for a watering-place, either. Water is a perverse sort of element at the best of times, and in Mudfog it is particularly so.

Reproductions of the original drawings support Dickens' commentaries on social changes in Victorian England

Dickens's last--and unfinished--novel introduces an unforgettable array of characters, from the sinister to the comic, and moves to a haunting climax in an atmospheric murder mystery that features the seemingly benevolent John Jasper, a secret opium addict, and his relationship with his newly engaged nephew, Edwin Drood.

After John Harmon is murdered on his way to marry Bella Wilfer and receive a large inheritance, his father's assistant, Nicodemus Boffin, becomes the new heir and adopts Bella, who evokes an uncommon interest from Boffin's assistant.

This most flattering salutation from a perfect stranger, would have gratified us not a little as a token of his having held us in high respect, and for that reason been desirous of our acquaintance, if we had not suspected from the first, that the young gentleman, in making a desperate effort to get through the ceremony of introduction, had, in the bewilderment of his ideas,

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"[...]like the breakfast table, glittering with plate and china, and set out with flowers and sweets, and long-necked bottles, in the most sumptuous and dazzling manner. In the centre, too, is the mighty charm, the cake, glistening with frosted sugar, and garnished beautifully. They agree that there ought to be a little Cupid under one of the barley-sugar temples, or at least two hearts and an arrow; but, with this exception, there is nothing to wish for, and a table could not be handsomer. As they arrive at this conclusion, who should come in but Mr. John! to whom Jane says that its only Anne from number six; and John says he knows, for he’s often winked his eye down the area, which causes Anne to blush and look confused. She is going away, indeed; when Mr. John will have it that she must drink a glass of wine, and he says never mind it’s being early in the morning, it won’t hurt her: so they shut the door and pour out the wine; and Anne drinking lane’s health, and adding, ‘and here’s wishing you yours, Mr. John,’ drinks it in a great many sips,—Mr. John all the time making jokes appropriate to the occasion. At last Mr. John, who has waxed bolder by degrees, pleads the usage at weddings, and claims the privilege of a kiss, which he obtains after a great scuffle; and footsteps being now heard on the stairs, they disperse suddenly. By this time a carriage has driven up to convey the bride to church, and[...]".

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CONTENTS The Signal-Man The Haunted House The Trial For Murder “HALLOA! Below there!” When he heard a voice thus calling to him, he was standing at the door of his box, with a flag in his hand, furled round its short pole. One would have thought, considering the nature of the ground, that he could not have doubted from what quarter the voice came; but instead of looking up to where I stood on the top of the steep cutting nearly over his head, he turned himself about, and looked down the Line. There was something remarkable in his manner of doing so, though I could not have said for my life what. But I know it was remarkable enough to attract my notice, even though his figure was foreshortened and shadowed, down in the deep trench, and mine was high above him, so steeped in the glow of an angry sunset, that I had shaded my eyes with my hand before I saw him at all. “Halloa! Below!” From looking down the Line, he turned himself about again, and, raising his eyes, saw my figure high above him. “Is there any path by which I can come down and speak to you?” He looked up at me without replying, and I looked down at him without pressing him too soon with a repetition of my idle question. Just then there came a vague vibration in the earth and air, quickly changing into a violent pulsation, and an oncoming rush that caused me to start back, as though it had force to draw me down. When such vapour as rose to my height from this rapid train had passed me, and was skimming away over the landscape, I looked down again, and saw him refurling the flag he had shown while the train went by.

Our Mutual Friend, written in the years 1864–65, is the last novel completed by Charles Dickens and is one of his most sophisticated works, combining psychological insight with social analysis. It centres on, in the words of critic J. Hillis Miller, "money, money, money, and what money can make of life", but is also about human values. In the opening chapters a body is found in the Thames and identified as that of John Harmon, a young man recently returned to London to receive his inheritance. Were he alive, his father's will would require him to marry Bella Wilfer, a beautiful, mercenary girl whom he had never met. Instead, the money passes to the working-class Boffins, and the effects spread into various corners of London society. A satiric masterpiece about the allure and peril of money, Our Mutual Friend revolves around the inheritance of a dust-heap where the rich throw their trash. When the body of John Harmon, the dust-heap’s expected heir, is found in the Thames, fortunes change hands surprisingly, raising to new heights “Noddy” Boffin, a low-born but kindly clerk who becomes “the Golden Dustman.” Charles Dickens’s last complete novel, Our Mutual Friend encompasses the great themes of his earlier works: the pretensions of the nouveaux riches, the ingenuousness of the aspiring poor, and the unfailing power of wealth to corrupt all who crave it. With its flavorful cast of characters and numerous subplots, Our Mutual Friend is one of Dickens’s most complex—and satisfying—novels

Oliver Twist, or The Parish Boy's Progress, is the second novel by Charles Dickens, and was first published as a serial 1837–39. The story is of the orphan Oliver Twist, who starts his life in a workhouse and is then sold into apprenticeship with an undertaker. He escapes from there and travels to London, where he meets the Artful Dodger, a member of a gang of juvenile pickpockets led by the elderly criminal Fagin

The Haunted Man and the Ghost’s Bargain, A Fancy for Christmas-Time (better known as The Haunted Man and the Ghost’s Bargain or simply as The Haunted Man) is a novella by Charles Dickens first published in 1848. It is the fifth and last of Dickens’s Christmas novellas. The story is more about the spirit of the holidays than about the holidays themselves, harking back to the first in the series, A Christmas Carol. The tale centres on a Professor Redlaw and those close to him. Redlaw is a teacher of chemistry who often broods over wrongs done him and grief from his past. He is haunted by a spirit, who is not so much a ghost as Redlaw’s phantom twin and is ”an awful likeness of himself...with his features, and his bright eyes, and his grizzled hair, and dressed in the gloomy shadow of his dress...” This spectre appears and proposes to Redlaw that he can allow him to ”forget the sorrow, wrong, and trouble you have known...to cancel their remembrance...” Redlaw is hesitant at first, but finally agrees. However, before the spirit vanishes it imposes an additional consequence: ”The gift that I have given you, you shall give again, go where you will.”