” It seems but yesterday that we were playfellows, Kate, and it will seem but tomorrow when we are staid old people, looking back to these cares as we look back, now, to those of our childish days: and recollecting with a melancholy pleasure that the time was, when they could move us. Perhaps then, when we are quaint old folks and talk of the times when our step was lighter and our hair not grey, we may be even thankful for the trials that so endeared us to each other, and turned our lives into that current, down which we shall have glided so peacefully and calmly. ” (Ch. LXI, p.762)
Nicholas Nickleby is the quintessence of a melodrama with many turns. Dickens derives the central plot of this door-stopper novel from his own primal scene of childhood abandonment. Childhood neglect drives him to crusade against institutionalized forms of child abuse. In this book he depicts the savagery of the regime at Dotheboys Hall, which, despite the often extravagant claims, it offers little in the way of education. It is, instead, a convenient dumping ground for unwanted, illegitimate, or handicapped children. When his family is left penniless by the premature death of the improvident father, the protagonist, Nicholas Nickleby, referred to by his uncle, takes up a teaching job at Dotheboys, where he has been the unwilling witness of cruelty imposed on the children and the coarse and ruffian behavior of Squeers, the headmaster.
Some people, I believe, have no hearts to break. (Ch. III, p.42)
Nicholas decides to escape, taking with him the orphan Smike, one of the most abused young charges, and embarks on a series of picaresque exploits that bring him, eventually, comfort and joy. Nicholas is provoked to into thrashing Squeers, a money-grubbing sadist who is friends with his uncle, a money usurer. While Nicholas assumes responsibility for his family, his mother, vain and ignorant, with her snobbery and gullibility, nudges her daughter to the brink of sexual ruin. Nicholas wards off those lecherous suitors who are associated to nobody but his uncle. Ralph revels in Nicholas’s degradation, which he has engineered, and orchestrates a sinister scheme to marry an innocent girl to a disgusting old moneylender, Arthur Gride.
It is one of those problems of human nature, which may be noted down, but not solved;—although Ralph felt no remorse at that moment for his conduct towards the innocent, true-hearted girl; although his libertine clients had done precisely what he had expected, precisely what he most wished,…still he hated them for doing it. (Ch. XXVIII, p.367)
The novel, no doubt, is a social commentary; but more powerful than its social protest against injustice, is the exuberant and absurd comedy that suffuses its narrative. The main plot is no more than a stage melodrama; the subplots proliferate, linking disparate scenes and characters with a complex of bizarre echoes and resonances. The characters abound, but they seem to have taken refuge within the walls of a narrowly defined identity—each of them represents a human virtue or a vice. They are most remarkable, therefore, not for their realism or originality, but for their absurdity. The book culminates in a fulfilling and square manner in which justice is served and everybody is put in their rightful position. It’s an epic work that proclaims the theme of poverty engendering an honest pride.
810 pp. Barnes & Noble Classic. Trade Paper. [Read|Skim|Toss] [Buy|Borrow]