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A brief account is here given of Dickens' literary career, which presents chronologically a review of his productions as they appeared.

The first of his literary efforts was the tragedy of "The Sultan of India," written in his precocious school-days at Chatham, when, if we except his Parliamentary journalistic work, nothing else was put forth until "The Dinner at Poplar Walk" was published in the Monthly Magazine (1833). The original "Sketches by Boz" – the first of which bore no signature – also followed in the Monthly Magazine. Other sketches under the same generic title also appeared in the Evening Chronicle, and yet others, under the title of "Scenes and Characters," were published in "Bell's Life in London" and the "Library of Fiction."

In 1836 a number of these fugitive pieces were collected into a volume, the copyright of which was sold to one Macrone for £100, who published them under the first and best known title, "Sketches by Boz." The familiar story of "Pickwick," its early conception and its final publication, is well known. Its first publication (in parts) dated from 1836-37. About this time Dickens had another bad attack of stage-fever, and wrote a farce, "The Strange Gentleman," the libretto of an opera called "The Village Coquettes," and a comedy, "Is She His Wife?" more particularly perhaps for amateur representation, in which he was very fond of taking part. "Oliver Twist," a courageous attack on the Poor Laws and Bumbledom, followed in 1838, though it was not completed until after "Nicholas Nickleby" began to appear in 1839.

At this time was started Master Humphrey's Clock, a sort of miscellany in which it was intended to publish a series of papers written chiefly by Dickens himself after the style of Addison's Spectator of a former day. It was not at first successful, and only upon the commencement therein of the "Old Curiosity Shop" did it take on in any sense.

Master Humphrey's Clock ran down with the completion of the novel, though this story, in company with "Barnaby Rudge," a tale of the riots of '80, was not issued in book form until 1848 and 1849.

The authorship of "Pickwick" was unknown by the great mass of the public until very nearly the completion of the work in serial parts. Much conjecture was raised, and a writer in Bentley's Miscellany published the following lines under the title of:

IMPROMPTU

The other contributions made by Dickens to this periodical were afterward added to his published works under the title of "Master Humphrey's Clock."

Dickens' first tour to America followed the abandonment of the periodical in 1842. This event called forth the following verses by Tom Hood, entitled:

TO CHARLES DICKENS

On his Proposed Voyage to America, 1842

With what favour his visit was received in America is too well known to require detailed mention here. His experiences and observations recounted in "American Notes," first published in 1842 upon his return to England, has told these vividly and picturesquely, if not exactly consistently.

As a reader, Dickens stood as preëminently to the fore as when posing as a writer. His phenomenal success on the platform is given in detail in a volume written by George Dolby, who accompanied him and managed his American tour. The mental and physical strain was such that in fifteen years of combined editorial, literary, and reading labours, it left him attenuated and finally curtailed his brilliant work.

What the readings really did accomplish was to increase and firmly assure the permanence of his already wide-spread fame.

"Martin Chuzzlewit" had begun to appear in shilling parts in 1843, and at that time was considered by the novelist to be by far the best work he had yet written. "Dombey and Son" followed, and afterward "David Copperfield," to which Dickens transferred his affections from "Chuzzlewit." This new "child of fancy," as he called it, was so largely autobiographical as to be accepted by many as being a recounting of his own early struggles as a poor boy in London, and his early literary labours. He himself said: "I seemed to be sending a part of myself into the shadowy world."

While "Chuzzlewit" was appearing in serial form, that masterpiece perhaps of all Dickens' shorter stories, "A Christmas Carol," – the first of the "Christmas Stories," – appeared.

This earned for its author the sobriquet, "The Apostle of Christmas."

Its immediate popularity and success was, perhaps, influenced by the following endorsement from Thackeray:

"It seems to me a national benefit, and to every man or woman who reads it a personal kindness."

Others under the same generic title followed: "The Chimes," 1844; "The Cricket on the Hearth," 1845; "The Battle of Life," 1846; and "The Haunted Man," 1848. In January, 1846, Dickens began his short connection with the Daily News. Here his "Pictures from Italy" appeared, he having just returned from a journey thither.

"Dombey and Son," which Dickens had begun at Rosemont, Lausanne, took him from 1846 to 1848 to complete.

In 1850 the idea of Household Words, the periodical with which Dickens' fame is best remembered, took shape. His idea was for a low-priced periodical, to be partly original, and in part selected. "I want to suppose," he wrote, "a certain shadow which may go into any place by starlight, moonlight, sunlight, or candle-light, and be in all homes and all nooks and corners." The general outlines and plans were settled, but there appears to have been no end of difficulty in choosing a suitable name. "The Highway of Life," "The Holly Tree," "The Household Voice," "The Household Guest," and many others were thought of, and finally was hit upon "Household Words," the first number of which appeared on March 30, 1850, with the opening chapters of a serial by Mrs. Gaskell, whose work Dickens greatly admired. In number two appeared Dickens' own pathetic story, "The Child's Dream of a Star." In 1859, as originally conceived, Household Words was discontinued, from no want of success, but as an expediency brought about through disagreement among the various proprietors. Dickens bought the property in, and started afresh under the title of All the Year Round, among whose contributors were Edmund Yates, Percy Fitzgerald, Charles Lever, Wilkie Collins, Charles Reade, and Lord Lytton. This paper in turn came to its finish, and phœnix-like took shape again as Household Words, which in one form or another has endured to the present day, its present editor (1903) being Hall Caine, Jr., a son of the novelist.

Apart from the general circulation, the special Christmas numbers had an enormous sale. In these appeared other of the shorter pieces which have since become famous, – "Mugby Junction," "The Seven Poor Travellers," "The Haunted House," etc.

In the pages of Household Words "The Child's History of England," "The Uncommercial Traveller" (1861), and "Hard Times" (1854) first appeared; while All the Year Round first presented "A Tale of Two Cities" (1859) and "Great Expectations."

"Bleak House" was issued in parts in 1852. "Little Dorrit," originally intended to be called "Nobody's Fault," was published in 1857.

"Our Mutual Friend" dates from 1865 in book form. "Edwin Drood" was left unfinished at the author's death in 1870.

In 1868 "The Uncommercial Traveller" was elaborated for the first issue in All the Year Round, and subsequently again given to the world in revised book form.

Curiously enough, though most of Dickens' works were uncompleted before they began to appear serially, they have been universally considered to show absolutely no lack of continuity, or the least semblance of being in any way disjointed.

Dickens' second visit to America in 1867 was, like its predecessor, a stupendous success. A New York paper stated at this time that: "Of the millions here who treasure every word he has written, there are tens of thousands who would make a large sacrifice to see and hear a man who has made so many happy hours."

Dickens' fame had deservedly attracted a large circle of acquaintances around him, who, in truth, became firmly converted into fast friends.

His literary life and his daily labours had so identified him with the literary London of the day that all reference to literary events of that time must make due allowance of his movements.

The house at 48 Doughty Street still stands, and at the end of 1839 the novelist removed to the "handsome house with a considerable garden" in Devonshire Terrace, near Regent's Park, the subject of a sketch by Maclise which is here given. His holidays during his early and busy years were spent at Broadstairs, Twickenham, and Petersham on the Thames, just above Richmond. Dickens was always a great traveller, and his journeys often took him far afield.

In 1841 he visited Landor at Bath, and in the same year he made an excursion to Scotland and was granted the freedom of the city of Edinburgh. The first visit to America was undertaken in 1842; his Italian travels in 1844; residence in Switzerland 1846; three months in Paris 1847; Switzerland and Italy revisited in 1853. Three summers were spent at Boulogne in 1853, 1854, 1856; residence in Paris 1855-56; America revisited 1867-68.

Such in brief is a review of the physical activities of the author. He did not go to Australia – as he was variously importuned – but enough is given to show that, in spite of his literary associations with old London and its institutions, Charles Dickens was, for a fact, a very cosmopolitan observer.

As for Dickens' daily round of London life, it is best represented by the period of the magazines, Master Humphrey's Clock, Household Words, and All the Year Round, particularly that of the former. In those days he first met with the severe strain which in after life proved, no doubt, to have shortened his days.

Considering his abilities and his early vogue, Dickens made some astonishingly bad blunders in connection with his agreements with publishers; of these his biographer Forster tells in detail.

After the publication of "Martin Chuzzlewit," Dickens expressed dissatisfaction with his publishers, Messrs. Chapman and Hall, which resulted in his making an agreement with Messrs. Bradbury and Evans.

To conserve his intellectual resources, he resolved to again visit Italy, to which country he repaired after a farewell dinner given him at Greenwich, where Turner, the artist, and many other notables attended. He accordingly settled in a suburb of Genoa, where he wrote "The Chimes," and came back to London especially to read it to his friends. Writing from Genoa to Forster in November, 1844, he said:

"… But the party for the night following? I know you have consented to the party. Let me see. Don't have any one this particular night for dinner, but let it be a summons for the special purpose, at half-past six. Carlyle indispensable, and I should like his wife of all things; her judgment would be invaluable. You will ask Mac, and why not his sister? Stanny and Jerrold I should particularly wish; Edwin Landseer, Blanchard … and when I meet you, oh! Heaven, what a week we will have!"

Forster further describes the occasion itself as being —

"Rather memorable … the germ of those readings to larger audiences by which, as much as by his books, the world knew him."

Among those present was Maclise, who, says Forster, "made a note of it" in pencil, which is reproduced herein. "It will tell the reader all he can wish to know, and he will thus see of whom the party consisted."

Of Dickens' entire literary career nothing was more successful than his famous public readings. From that night at Forster's house in Lincoln's Inn Fields (No. 58, still standing, 1903), afterward made use of as Mr. Tulkinghorn's in "Bleak House," and later among other friends, at first in a purely informal and private manner and in a semi-public way for charitable objects, these diversions, so powerful and realistic were they, ultimately grew into an out-and-out recognized business enterprise.

The first series was inaugurated in 1858-59, and absolutely took the country by storm, meeting with the greatest personal affection and respect wherever he went. In Dublin there was almost a riot. People broke the pay-box, and freely offered £5 for a stall. In Belfast he had enormous audiences, being compelled, he said, to turn half the town away. The reading over, the people ran after him to look at him. "Do me the honour," said one, "to shake hands, Misther Dickens, and God bless you, sir; not ounly for the light you've been to me this night, but for the light you've been to me house, sir (and God bless your face!), this many a year." Men cried undisguisedly.

During the second American tour, in 1867, the public went almost mad. In Boston his reception was beyond all expectations; and in New York the speculators assembled the night before the reading in long lines to wait the opening of the doors at nine the next morning for the issue of the tickets. They continued to come all night, and at five o'clock in the morning there were two lines of eight hundred each, whilst at eight there were five thousand. At nine o'clock, each of the two lines reached more than three-quarters of a mile in length, members of the families were relieving each other, waiters from neighbouring restaurants were serving breakfasts in the open December air, and excited applicants for tickets offering five or ten dollars for the mere permission to exchange places with other persons standing nearer the head of the line. Excitement and enthusiasm increased wherever he travelled, and it has been freely observed by all who knew him well that this excitement and strain finally culminated, after he had returned to England and undertaken there another series of readings, in an illness which hastened his death.