For other uses, see Oliver Twist (disambiguation).
Oliver Twist; or, the Parish Boy's Progress is author Charles Dickens's second novel, and was first published as a serial 1837– 39. The story centres on orphan Oliver Twist, born in a workhouse and sold into apprenticeship with an undertaker. After escaping, Twist travels to London, where he meets "The Artful Dodger", a member of a gang of juvenile pickpockets led by the elderly criminal, Fagin.
Oliver Twist is notable for its unromantic portrayal by Dickens of criminals and their sordid lives, as well as for exposing the cruel treatment of the many orphans in London in the mid-19th century. The alternative title, The Parish Boy's Progress, alludes to Bunyan's The Pilgrim's Progress, as well as the 18th-century caricature series by William Hogarth, A Rake's Progress and A Harlot's Progress.
In this early example of the social novel, Dickens satirises the hypocrisies of his time, including child labour, the recruitment of children as criminals, and the presence of street children. The novel may have been inspired by the story of Robert Blincoe, an orphan whose account of working as a child labourer in a cotton mill was widely read in the 1830s. It is likely that Dickens's own youthful experiences contributed as well.
Oliver Twist has been the subject of numerous adaptations for various media, including a highly successful musical play, Oliver!, and the multiple Academy Award-winning 1968 motion picture. Disney also put its spin on the novel with the animated film called Oliver & Company in 1988.
The novel was originally published in monthly instalments in the Magazine Bentley's Miscellany from February 1837 to April 1839. It was originally intended to form part of Dickens's serial, The Mudfog Papers.George Cruikshank provided one steel etching per month to illustrate each instalment. The novel first appeared in book form six months before the initial serialisation was completed, in three volumes published by Richard Bentley, the owner of Bentley's Miscellany, under the author's pseudonym, "Boz". It included 24 steel-engraved plates by Cruikshank.
The first edition was titled: Oliver Twist, or, The Parish Boy's Progress.
Serial publication dates:
- I – February 1837 (chapters 1–2)
- II – March 1837 (chapters 3–4)
- III – April 1837 (chapters 5–6)
- IV – May 1837 (chapters 7–8)
- V – July 1837 (chapters 9-11)
- VI – August 1837 (chapters 12–13)
- VII – September 1837 (chapters 14–15)
- VIII – November 1837 (chapters 16–17)
- IX – December 1837 (chapters 18–19)
- X – January 1838 (chapters 20–22)
- XI – February 1838 (chapters 23–25)
- XII – March 1838 (chapters 26–27)
- XIII – April 1838 (chapters 28–30)
- XIV – May 1838 (chapters 31–32)
- XV – June 1838 (chapters 33–34)
- XVI – July 1838 (chapters 35–37)
- XVII – August 1838 (chapters 38-part of 39)
- XVIII – October 1838 (conclusion of chapter 39–41)
- XIX – November 1838 (chapters 42–43)
- XX – December 1838 (chapters 44–46)
- XXI – January 1839 (chapters 47–49)
- XXII – February 1839 (chapter 50)
- XXIII – March 1839 (chapter 51)
- XXIV – April 1839 (chapters 52–53)
Oliver Twist is born and raised into a life of poverty and misfortune in a workhouse in an unnamed town 70 miles north of London. Orphaned by his mother's death in childbirth and his father's mysterious absence, Oliver is meagrely provided for under the terms of the Poor Law and spends the first nine years of his life living at a baby farm in the 'care' of a woman named Mrs Mann. Oliver is brought up with little food and few comforts. Around the time of Oliver's ninth birthday, Mr Bumble, the parish beadle, removes Oliver from the baby farm and puts him to work picking and weaving oakum at the main workhouse. Oliver, who toils with very little food, remains in the workhouse six months. One day, the desperately hungry boys decide to draw lots; the loser must ask for another portion of gruel. The task falls to Oliver, who at the next meal comes forward trembling, bowl in hand, and begs Mr Bumble for gruel with his famous request: "Please, sir, I want some more".
A great uproar ensues. The board of well-fed gentlemen who administer the workhouse hypocritically offer £5 to any person wishing to take on the boy as an apprentice. Mr Gamfield, a brutal chimney sweep, almost claims Oliver. However, when he begs despairingly not to be sent away with "that dreadful man", a kindly magistrate refuses to sign the indentures. Later, Mr. Sowerberry, an undertaker employed by the parish, takes Oliver into his service. He treats Oliver better and, because of the boy's sorrowful countenance, uses him as a mourner at children's funerals. Mr Sowerberry is in an unhappy marriage, and his wife looks down on Oliver and loses few opportunities to underfeed and mistreat him. He also suffers torment at the hands of Noah Claypole, an oafish and bullying fellow apprentice and "charity boy" who is jealous of Oliver's promotion to mute, and Charlotte, the Sowerberrys' maidservant, who is in love with Noah.
Wanting to bait Oliver, Noah insults the memory of Oliver's mother, calling her "a regular right-down bad 'un". Enraged, Oliver assaults the much bigger boy. Mrs Sowerberry takes Noah's side, helps him to subdue, punch, and beat Oliver, and later compels her husband and Mr Bumble, who has been sent for in the aftermath of the fight, to beat Oliver once again. Once Oliver is sent to his room for the night, he breaks down and weeps. The next day, Oliver escapes from the Sowerberrys' house and later decides to run away to London to seek a better life.
London, the Artful Dodger and Fagin
Nearing London, Oliver encounters Jack Dawkins, a pickpocket more commonly known by the nickname the "Artful Dodger", and his sidekick, a boy of a humorous nature, named Charley Bates, but Oliver's innocent and trusting nature fails to see any dishonesty in their actions. Dodger provides Oliver with a free meal and tells him of a gentleman in London who will "give him lodgings for nothing, and never ask for change". Grateful for the unexpected assistance, Oliver follows Dodger to the "old gentleman's" residence. In this way, Oliver unwittingly falls in with an infamous Jewish criminal known as Fagin, the gentleman of whom the Artful Dodger spoke. Ensnared, Oliver lives with Fagin and his gang of juvenile pickpockets in their lair at Saffron Hill for some time, unaware of their criminal occupations. He believes they make wallets and handkerchiefs.
Soon, Oliver naively goes out to "make handkerchiefs" with the Artful Dodger and Charley Bates, only to learn that their real mission is to pick pockets. Dodger and Charley steal the handkerchief of an old gentleman named Mr Brownlow and promptly flee. When he finds his handkerchief missing, Mr Brownlow turns round, sees Oliver running away in fright, and pursues him, thinking he was the thief. Others join the chase, capture Oliver, and bring him before the magistrate. Curiously, Mr Brownlow has second thoughts about the boy – he seems reluctant to believe he is a pickpocket. To the judge's evident disappointment, a bookstall holder who saw Dodger commit the crime clears Oliver, who, by now actually ill, faints in the courtroom. Mr Brownlow takes Oliver home and, along with his housekeeper Mrs Bedwin, cares for him.
Oliver stays with Mr Brownlow, recovers rapidly, and blossoms from the unaccustomed kindness. His bliss is interrupted when Fagin, fearing Oliver might tell the police about his criminal gang, decides that Oliver must be brought back to his hideout. When Mr Brownlow sends Oliver out to pay for some books, one of the gang, a young girl named Nancy, whom Oliver had previously met at Fagin's, accosts him with help from her abusive lover, the robber Bill Sikes, and Oliver is quickly bundled back to Fagin's lair. The thieves take the five-pound note Mr Brownlow had entrusted to him, and strip him of his fine new clothes. Oliver, shocked, flees and attempts to call for police assistance, but is dragged back by the Artful Dodger, Charley, and Fagin. Nancy, alone, is sympathetic towards Oliver and saves him from beatings by Fagin and Sikes.
In a renewed attempt to draw Oliver into a life of crime, Fagin forces him to participate in a burglary. Nancy reluctantly assists in recruiting him, all the while assuring the boy that she will help him if she can. Sikes, after threatening to kill him if he does not cooperate, puts Oliver through a small window and orders him to unlock the front door. The robbery goes wrong and Oliver is shot by people in the house and wounded in his left arm. After being abandoned by Sikes, the wounded Oliver makes it back to the house and ends up under the care of the people he was supposed to rob: Miss Rose and her guardian Mrs Maylie.
Mystery of a man called "Monks"
The mysterious man Monks plots with Fagin to destroy Oliver's reputation. Monks denounces Fagin's failure to turn Oliver into a criminal, and the two of them agree on a plan to make sure he does not find out about his past. Monks is apparently related to Oliver in some way. Back in Oliver's hometown, Mr Bumble has married Mrs Corney, the matron of the workhouse where the story first began, only to find himself in an unhappy marriage, constantly arguing with his domineering wife. After one such argument, Mr Bumble walks to a pub where he meets Monks, who questions him about Oliver. Bumble informs Monks that he knows someone who can give Monks more information for a price, and later Monks meets secretly with the Bumbles. After Mrs Bumble tells Monks all she knows for a price, Monks takes the locket and ring proving Oliver's parents, which had once belonged to Oliver's mother, and drops them into the river flowing under his place. Monks relates these events to Fagin, unaware that Nancy is eavesdropping on their conversations and plans to inform Oliver's benefactors. Mr Brownlow returns to London, where Oliver sees him, and brings him to meet the Maylies.
Now ashamed of her role in Oliver's kidnapping and worried for the boy's safety, Nancy goes to Rose Maylie, staying in London. She knows that Monks and Fagin are plotting to get their hands on the boy again, and offers to meet again any Sunday night on London bridge. Rose tells Mr Brownlow, and the two then make plans with all their party in London. The first Sunday night, Nancy tries to leave for her walk, but Sikes refuses permission when she declines to state exactly where she is going. Fagin realizes that Nancy is up to something, perhaps has a new boyfriend, and resolves to find out what her secret is. Meanwhile, Noah has fallen out with the undertaker Mr Sowerberry, stolen money from him, and fled to London with Charlotte. Using the name "Morris Bolter", he joins Fagin's gang for protection and becomes a practicer of "the kinchin lay" (robbing of children), and Charlotte is put with the girls. Fagin sends Noah to watch the Artful Dodger on trial, after he is caught with a stolen silver snuff box; the Dodger is convicted while showing his style, with a punishment of transportation to Australia. Next, Noah is sent by Fagin to spy on Nancy, and discovers her meeting with Rose and Mr Brownlow on the bridge, hearing their discussion of why she did not appear the prior week and how to save Oliver from Fagin and Monks.
Fagin angrily passes the information on to Sikes, twisting the story to make it sound as if Nancy had informed on him, when she had not. Believing Nancy to be a traitor, Sikes beats her to death in a fit of rage that very night and flees to the countryside to escape from the police and his conscience. There, Sikes is haunted by visions of Nancy and alarmed by news of her murder spreading across the countryside. He returns to London to find a hiding place, only to die by accidentally hanging himself while attempting to flee across a rooftop from a mob angry at Nancy's murder.
While Sikes is fleeing the mob, Mr Brownlow forces Monks to listen to the story connecting him, once called Edward Leeford, and Oliver as half brothers, or to face the police for his crimes. Their father was once friends with Brownlow. Mr Leeford had fallen in love with Oliver's mother, Agnes, after Monks' parents had separated. Mr Leeford had to help a dying friend in Rome, and then died there himself, leaving Agnes, "his guilty love", in England. Mr Brownlow has a picture of Agnes and had begun making inquiries when he noticed a marked resemblance between her and Oliver. Monks had hunted his brother to destroy him, to gain all in their father's will. Meeting with Monks and the Bumbles in Oliver's native town, Brownlow asks Oliver to give half his inheritance to Monks to give him a second chance; Oliver is more than happy to comply. Monks moves to "the new world", where he squanders his money, reverts to crime, and dies in prison. Fagin is arrested, tried and condemned to the gallows. On the eve of Fagin's hanging, Oliver, accompanied by Mr Brownlow in an emotional scene, visits Fagin in Newgate Prison, in hope of retrieving papers from Monks. Fagin is lost in a world of his own fear of impending death.
On a happier note, Rose Maylie is the long-lost sister of Agnes, and thus Oliver's aunt. She marries her sweetheart Harry Maylie, who gives up his political ambitions to become a parson, drawing all their friends to settle near them. Oliver lives happily with Mr Brownlow, who adopts him. Noah becomes a paid, semi-professional police informer. The Bumbles lose their positions and are reduced to poverty, ending up in the workhouse themselves. Charley Bates, horrified by Sikes's murder of Nancy, becomes an honest citizen, moves to the country, and eventually becomes prosperous.
Major themes and symbols
In Oliver Twist, Dickens mixes grim realism with merciless satire to describe the effects of industrialism on 19th-century England and to criticise the harsh new Poor Laws. Oliver, an innocent child, is trapped in a world where his only options seem to be the workhouse, a life of crime symbolised by Fagin's gang, a prison, or an early grave. From this unpromising industrial/institutional setting, however, a fairy tale also emerges. In the midst of corruption and degradation, the essentially passive Oliver remains pure-hearted; he steers away from evil when those around him give in to it, and in proper fairy-tale fashion, he eventually receives his reward – leaving for a peaceful life in the country, surrounded by kind friends. On the way to this happy ending, Dickens explores the kind of life an outcast, orphan boy could expect to lead in 1830s London.
Poverty and social class
Poverty is a prominent concern in Oliver Twist. Throughout the novel, Dickens enlarged on this theme, describing slums so decrepit that whole rows of houses are on the point of ruin. In an early chapter, Oliver attends a pauper's funeral with Mr. Sowerberry and sees a whole family crowded together in one miserable room.
This ubiquitous misery makes Oliver's few encounters with charity and love more poignant. Oliver owes his life several times over to kindness both large and small. The apparent plague of poverty that Dickens describes also conveyed to his middle-class readers how much of the London population was stricken with poverty and disease. Nonetheless, in Oliver Twist, he delivers a somewhat mixed message about social caste and social injustice. Oliver's illegitimate workhouse origins place him at the nadir of society; as an orphan without friends, he is routinely despised. His "sturdy spirit" keeps him alive despite the torment he must endure. Most of his associates, however, deserve their place among society's dregs and seem very much at home in the depths. Noah Claypole, a charity boy like Oliver, is idle, stupid, and cowardly; Sikes is a thug; Fagin lives by corrupting children, and the Artful Dodger seems born for a life of crime. Many of the middle-class people Oliver encounters—Mrs. Sowerberry, Mr. Bumble, and the savagely hypocritical "gentlemen" of the workhouse board, for example—are, if anything, worse.
On the other hand, Oliver—who has an air of refinement remarkable for a workhouse boy—proves to be of gentle birth. Although he has been abused and neglected all his life, he recoils, aghast, at the idea of victimising anyone else. This apparently hereditary gentlemanliness makes Oliver Twist something of a changeling tale, not just an indictment of social injustice. Oliver, born for better things, struggles to survive in the savage world of the underclass before finally being rescued by his family and returned to his proper place—a commodious country house.
One early 21st century film adaptation of the novel dispenses with the paradox of Oliver's genteel origins by eliminating his origin story completely, making him just another anonymous orphan like the rest of Fagin's gang.
Dickens makes considerable use of symbolism. The many symbols Oliver faces are primarily good versus evil, with evil continually trying to corrupt and exploit good, but good winning out in the end. The town of Oliver's birth was Mudfog in the firsts serialization in Bentley's Miscellany in 1837, but changed to an unnamed town, a 70-mile walk to London, when published in book form. The "merry old gentleman" Fagin, for example, has satanic characteristics: he is a veteran corrupter of young boys who presides over his own corner of the criminal world; he makes his first appearance standing over a fire holding a toasting-fork, and he refuses to pray on the night before his execution. The London slums, too, have a suffocating, infernal aspect; the dark deeds and dark passions are concretely characterised by dim rooms and pitch-black nights, while the governing mood of terror and brutality may be identified with uncommonly cold weather. In contrast, the countryside where the Maylies take Oliver is a bucolic heaven.
The novel is also shot through with a related motif, social class, which calls attention to the stark injustice of Oliver's world. When the half-starved child dares to ask for more, the men who punish him are fat. A remarkable number of the novel's characters are overweight.
Toward the end of the novel, the gaze of knowing eyes becomes a potent symbol. For years, Fagin avoids daylight, crowds, and open spaces, concealing himself most of the time in a dark lair. When his luck runs out at last, he squirms in the "living light" of too many eyes as he stands in the dock, awaiting sentence. Similarly, after Sikes kills Nancy at dawn, he flees the bright sunlight in their room, out to the countryside, but is unable to escape the memory of her dead eyes. In addition, Charley Bates turns his back on crime when he sees the murderous cruelty of the man who has been held up to him as a model.
In the tradition of Restoration Comedy and Henry Fielding, Dickens fits his characters with appropriate names. Oliver himself, though "badged and ticketed" as a lowly orphan and named according to an alphabetical system, is, in fact, "all of a twist." However, Oliver and his name may have been based on a young workhouse boy named Peter Tolliver whom Dickens knew while growing up. Mr. Grimwig is so called because his seemingly "grim", pessimistic outlook is actually a protective cover for his kind, sentimental soul. Other character names mark their bearers as semi-monstrous caricatures. Mrs. Mann, who has charge of the infant Oliver, is not the most motherly of women; Mr. Bumble, despite his impressive sense of his own dignity, continually mangles the King's English he tries to use; and the Sowerberries are, of course, "sour berries", a reference to Mrs. Sowerberry's perpetual scowl, to Mr. Sowerberry's profession as an undertaker, and to the poor provender Oliver receives from them. Rose Maylie's name echoes her association with flowers and springtime, youth and beauty while Toby Crackit's is a reference to his chosen profession of housebreaking.
Bill Sikes's dog, Bull's-eye, has "faults of temper in common with his owner" and is an emblem of his owner's character. The dog's viciousness represents Sikes's animal-like brutality while Sikes's self-destructiveness is evident in the dog's many scars. The dog, with its willingness to harm anyone on Sikes's whim, shows the mindless brutality of the master. Sikes himself senses that the dog is a reflection of himself and that is why he tries to drown the dog. He is really trying to run away from who he is. This is also illustrated when Sikes dies and the dog does immediately also. After Sikes murders Nancy, Bull's-eye also comes to represent Sikes's guilt. The dog leaves bloody footprints on the floor of the room where the murder is committed. Not long after, Sikes becomes desperate to get rid of the dog, convinced that the dog's presence will give him away. Yet, just as Sikes cannot shake off his guilt, he cannot shake off Bull's-eye, who arrives at the house of Sikes's demise before Sikes himself does. Bull's-eye's name also conjures up the image of Nancy's eyes, which haunt Sikes until the bitter end and eventually cause him to hang himself accidentally.
Dickens employs polarised sets of characters to explore various dual themes throughout the novel; Mr. Brownlow and Fagin, for example, personify "good vs. evil". Dickens also juxtaposes honest, law-abiding characters such as Oliver himself with those who, like the Artful Dodger, seem more comfortable on the wrong side of the law. Crime and punishment is another important pair of themes, as is sin and redemption: Dickens describes criminal acts ranging from picking pockets to murder, and the characters are punished severely in the end. Most obviously, he shows Bill Sikes hounded to death by a mob for his brutal acts and sends Fagin to cower in the condemned cell, sentenced to death by due process. Neither character achieves redemption; Sikes dies trying to run away from his guilt, and on his last night alive, the terrified Fagin refuses to see a rabbi or to pray, instead asking Oliver to help him escape. Nancy, by contrast, redeems herself at the cost of her own life and dies in a prayerful pose.
Nancy is also one of the few characters in Oliver Twist to display much ambivalence. Although she is a full-fledged criminal, indoctrinated and trained by Fagin since childhood, she retains enough empathy to repent her role in Oliver's kidnapping, and to take steps to try to atone. As one of Fagin's victims, corrupted but not yet morally dead, she gives eloquent voice to the horrors of the old man's little criminal empire. She wants to save Oliver from a similar fate; at the same time, she recoils from the idea of turning traitor, especially to Bill Sikes, whom she loves. When he was later criticised for giving a "thieving, whoring slut of the streets" such an unaccountable reversal of character, Dickens ascribed her change of heart to "the last fair drop of water at the bottom of a dried-up, weed-choked well".
Allegations of antisemitism
See also: Fagin § Antisemitism
Dickens has been accused of following antisemitic stereotypes because of his portrayal of the Jewish character Fagin in Oliver Twist. Paul Vallely writes that Fagin is widely seen as one of the most grotesque Jews in English literature, and the most vivid of Dickens's 989 characters. Nadia Valdman, who writes about the portrayal of Jews in literature, argues that Fagin's representation was drawn from the image of the Jew as inherently evil, that the imagery associated him with the devil, and with beasts.
The novel refers to Fagin 257 times in the first 38 chapters as "the Jew", while the ethnicity or religion of the other characters is rarely mentioned. In 1854, The Jewish Chronicle asked why "Jews alone should be excluded from the 'sympathizing heart' of this great author and powerful friend of the oppressed." Dickens (who had extensive knowledge of London street life and child exploitation) explained that he had made Fagin Jewish because "it unfortunately was true, of the time to which the story refers, that that class of criminal almost invariably was a Jew." Dickens commented that by calling Fagin a Jew he had meant no imputation against the Jewish faith, saying in a letter, "I have no feeling towards the Jews but a friendly one. I always speak well of them, whether in public or private, and bear my testimony (as I ought to do) to their perfect good faith in such transactions as I have ever had with them." Eliza Davis, whose husband had purchased Dickens's home in 1860 when he had put it up for sale, wrote to Dickens in protest at his portrayal of Fagin, arguing that he had "encouraged a vile prejudice against the despised Hebrew", and that he had done a great wrong to the Jewish people. While Dickens first reacted defensively upon receiving Davis's letter, he then halted the printing of Oliver Twist, and changed the text for the parts of the book that had not been set, which explains why after the first 38 chapters Fagin is barely called "the Jew" at all in the next 179 references to him.
Film, television and theatrical adaptations
This section is incomplete. (April 2017)
- Oliver Twist a classic 1948 David Lean film adaptation starring Sir Alec Guinness as Fagin.
- August Rush is a film, set in the present day, which a few critics have suggested is essentially a musical adaptation of Oliver Twist.
- Oliver! is a 1968 British adaptation, winner in the Best Picture category at the 41st Academy Awards. It is based on the Lionel Bart musical version.
- Manik is a 1961 Bengali film directed by Bijalibaran Sen which was based on this novel. The film starred Pahari Sanyal, Chhabi Biswas, Sombhu Mitra, Tripti Mitra etc.
- Oliver & Company is a 1988 Disney full-length animated feature inspired by the story of Oliver Twist. The story takes place in modern-day New York City, with Oliver (voiced by Joey Lawrence) portrayed as an orphaned kitten, the Dodger as a street-wise mongrel (voiced by Billy Joel), and Fagin (voiced by Dom Deluise) as a homeless bum who lives on the docks with his pack of stray dogs that he trains to steal so he can survive and repay his debt to loan shark Sykes (voiced by Robert Loggia).
- Oliver Twist (1997 film), director: Tony Bill; starring: Richard Dreyfuss, Elijah Wood.
- Oliver Twist (2005 film), director: Roman Polanski; starring: Barney Clark, Ben Kingsley.
- ^Donovan, Frank. The Children of Charles Dickens. London: Leslie Frewin, 1968, pp. 61–62.
- ^Dunn, Richard J. Oliver Twist: Heart and Soul (Twayne's Masterwork Series No. 118). New York: Macmillan, p. 37.
- ^Dickens, Charles. Oliver Twist. Kiddy Monster Publication. p. Summary.
- ^ ab"Oliver and Company". 1988. Retrieved 13 February 2017.
- ^Dickens, Charles. Oliver Twist, or, The Parish Boy's Progress Edited by Philip Horne. Penguin Classics, 2003, p. 486. ISBN 0-14-143974-2.
- ^Ackroyd, Peter (1990). Dickens. London: Sinclair-Stevenson. p. 216. ISBN 1-85619-000-5.
- ^Bentley's Miscellany, 1837.
- ^Schlicke, Paul (Editor). Oxford Reader's Companion to Dickens. Oxford: Oxford University Press, 1999, p. 141.
- ^Masterpiece Theater on PBS.org
- ^Miller, J. Hillis. "The Dark World of Oliver Twist" in Charles Dickens (Harold Bloom, editor), New York: Chelsea House Publishers, 1987, p. 35
- ^Walder, Dennis, "Oliver Twist and Charity" in Oliver Twist: a Norton Critical Edition (Fred Kaplan, Editor). New York: W.W. Norton, 1993, pp. 515–525
- ^Miller, ibid, p. 48
- ^Ashley, Leonard. What's in a name?: Everything you wanted to know. Genealogical Publishing, 1989, p. 200.
- ^Richardson, Ruth. "Dickens and the Workhouse: Oliver Twist and the London Poor." Oxford University Press, USA, 2012, p. 56.
- ^Donovan, Frank, The Children of Charles Dickens, p. 79.
- ^ abcVallely, Paul (7 October 2005). "Dickens' greatest villain: The faces of Fagin". independent.co.uk. The Independent. Archived from the original on 5 December 2008. Retrieved 13 February 2015.
- ^Valdman, Nadia. Antisemitism, A Historical Encyclopedia of Prejudice and Persecution. ISBN 1-85109-439-3
- ^Howe, Irving. "Oliver Twist – introduction".
- ^Johnson, Edgar (1 January 1952). "4 – Intimations of Mortality". Charles Dickens His Tragedy And Triumph. Simon & Schuster Inc. Retrieved 8 February 2009.
- ^Smith, Sid (21 November 2007). "August Rush (Oliver Twist reset in N.Y.) — 2 stars". Chicago Tribune. Archived from the original on 12 December 2007. Retrieved 15 December 2007.
- ^Covert, Colin (2007-11-20). "Movie review: Romanticism trumps reason in Rush". Star Tribune. Archived from the original on 10 December 2007. Retrieved 2007-12-15.
- ^1961(Bengali). "Manik". Gomolo. Retrieved February 20, 2017.
- ^Souvik Chatterji Master of Law from Warwick University, Coventry, UK, footnote  (2007). Influence of Bengali Classic Literature in Bollywood films.
- ^Howe, Desson (18 November 1988). "Oliver & Company". The Washington Post. Retrieved 1 March 2018.
- ^Coveney, Michael (17 March 2017). "Oliver!: The real story of Britain's greatest musical". The Independent. Retrieved 1 March 2018.
- Online versions
- Critical analysis
When Oliver Twist was published, many people were shocked, and clergymen and magazine editors accused the young novelist of having written an immoral book. In later editions, Charles Dickens defended the book, explaining that one of his purposes had been to take the romance out of crime and show the underworld of London as the sordid, filthy place he knew it to be. Few of his readers ever doubted that he had succeeded in this task.
When Dickens began writing, a popular form of fiction was the Newgate novel, or the novel dealing in part with prison life and the rogues and highwaymen who ended up in prison. These heroes often resembled Macheath of John Gay’s The Beggar’s Opera (1728). Dickens took this tradition and form and turned it around, making it serve the purposes of his new realism. The subplot concerning Bill Sikes and Nancy contains melodramatic elements, but Sikes is no Macheath and Nancy no Polly Peachum.
The grim birth of the infant who was named Oliver opens the book, immediately plunging the reader into an uncomfortably unromantic world where people are starving to death, children are “accidentally” killed off by their charitable keepers, the innocent suffer, and the cruel and unscrupulous prosper. Dickens does not hesitate to lay the facts out clearly: Nancy is a prostitute, Bill is a murderer, Fagin is a fence, and the boys are pickpockets. The supporting cast includes Bumble and Thingummy and Mrs. Mann, individuals who never hesitate to deprive others of what they themselves could use. Poverty is the great leveler, the universal corruptor; in the pages of Oliver Twist, the results of widespread poverty are portrayed with a startling lack of sentimentality. Dickens may become sentimental when dealing with virtue but never when dealing with vice.
The petty villains and small-time corrupt officials, such as Bumble, are treated humorously, but the brutal Bill Sikes is portrayed with complete realism. Although Dickens’s contemporaries thought Bill was too relentlessly evil, Dickens challenged them to deny that such men existed in London, products of the foul life forced on them from infancy. He holds up Sikes in all his nastiness, without making any attempt to find redeeming characteristics. Nancy, both immoral and kindhearted, is a more complicated character. She is sentimental because she is basically good, while Sikes is entirely practical, one who will step on anybody who gets in his way and feel no regrets.
In Oliver Twist, Dickens attempts a deliberate contrast to his previous work, The Pickwick Papers (1836-1837). While there is much humor in Oliver Twist, it is seldom like that of its predecessor, and it is woven into a realistic and melodramatic narrative of a particularly grim and dark kind. The readers of Mr. Pickwick’s exploits must have been startled when they picked up the magazines containing this new novel by Dickens and discovered old Fagin teaching the innocent Oliver how to pick pockets and children swigging gin like practiced drunkards. Dickens had many talents, however, and in Oliver Twist, he exploits for the first time his abilities to invoke both pathos and horror and to combine these qualities in a gripping narrative. United with the vitality that always infuses Dickens’s prose, these powers guaranteed Oliver Twist a wide readership.
The book was the first of Dickens’s nightmare stories and the first of his social tracts. A certain amount of social protest could be read into Mr. Pickwick’s time in prison, but it is a long distance from the prison depicted there to the almshouse in Oliver Twist. The leap from farce to melodrama and social reform is dramatically successful, and Dickens continued in the same vein for many years. Some critics called his work vulgar, but his readers loved it. He was accused of exaggeration, but, as he repeatedly emphasized, his readers had only to walk the streets of London to discover the characters and conditions of which he wrote so vividly. If his characterizations of some individuals suggest the “humours” theory of Ben Jonson rather than fully rounded psychological portraits, the total effect of the book is that of an entire society, pulsing with life and energy.
In Oliver Twist, Dickens displays for the first time his amazing gift of entering into the psychology of a pathological individual. He follows Sikes and Fagin closely to their respective ends, and he never flinches from revealing their true natures. The death of the unrepentant Sikes remains one of the most truly horrible scenes in English fiction. (When Dickens performed this passage to audiences in his public readings, it was common for women in the audience to scream or faint.) When Fagin is sitting in court, awaiting the verdict of his trial, Dickens describes his thoughts as roaming from one triviality to another, although the fact of his approaching death by hanging is never far away. The combination of the irrelevant and the grimly pertinent is a kind of psychological realism that was completely new in 1838.
Dickens entertained a lifelong fondness for the theater, and this interest in drama had a profound influence on his fiction. He was himself an actor, and he became famous for his readings from his books toward the end of his life. In his novels, the actor in Dickens is also discernible. At times, it is as if the author is impersonating a living individual; at other times, the plots bear the imprint of the popular stage fare of the day, including heavy doses of melodrama, romance, and coincidence. All of these aspects are seen in Oliver Twist, particularly the violence of the melodrama and the coincidences that shuffle Oliver in and out of Mr. Brownlow’s house.
Above all and ultimately much more important, however, stands the realism that Dickens uses to unite the different elements of his story. Perhaps the greatest achievement of the author in this early novel is the giant stride he makes in the realm of realism. He had not yet perfected his skills, but he knew the direction in which he was moving, and he was taking the novel with him.