So many of our fading-but-still-fondly remembered Christmas traditions seem to come back to Victorian times, and especially those featured in Charles Dickens’ most famous Christmas story (certainly helped by the popularity of the Alistair Sim film adaptation):
Even in our supposedly rationalist secular era, we find one of these thin places or times in the unlikely guise of Christmas and its rich repository of ghost stories. The supernatural was not banished by the developments of modernity but rather it evolved and adapted, moving from enchanted woods to gothic houses to the streets and rooms of Victorian cities. Just as in earlier times, they found their place where it is dark, in the dead of winter, when the nights close in and fireside stories cause the mind to play tricks and shadows to seemingly change their forms.
Among the many writers who have tried their hand at yuletide ghost stories, none loom larger than Charles Dickens who, with A Christmas Carol (subtitled Being a Ghost Story of Christmas), fundamentally influenced the way we perceive and celebrate the festivity. To fully understand how and why Christmas became a thin place and remains so, we have to delve into a scourge at the very heart of Dickens’s story and our society still — loneliness.
Christmas is one of those times when, as a much earlier writer, Dante, put it: “There is no greater sorrow than to recall in misery the time when we were happy.” And what time is happier, or more melancholic when irretrievable, than a childhood Christmas? Victorian writers knew that when we are alone at Christmas, a time that seems intrinsically meant for loved ones congregating (the perpetual renewal of the Nativity scene), our ghosts, borne by memory, absence and regret, would instead arrive.
Dickens knew the power of myth, and how the beautiful lie might reveal the hidden truth. Determined to speak out about the horrors of child labour and poverty he had directly experienced and witnessed, Dickens first toyed with writing a strident but fairly unwieldly political jeremiad until he realised, correctly, that there was a much more seductive approach available, through the Trojan Horse of storytelling. It was all too easy to turn away from a lecture or respond with platitudes and fallacies, but a heart-stirring tale had the ability to get under one’s skin. His characters and settings were constructed not just from satirical observations of the powerful but from encounters Dickens had had with the powerless, during his lengthy night walks around London. He was also deeply inspired, and haunted, by macabre tales that his cockney nursemaid Mary Weller used to delight in telling him as a child — full of Faustian pacts, treacherous innkeepers, poisons “distilled from toads’ eyes and spiders’ knees”, the Black Cat and Captain Murderer. To add to the unease, Weller would claim the horrors were true and she had witnessed them herself or had heard them from relatives who were eyewitnesses. As Dickens later recounted, in The Uncommercial Traveller, she “took a fiendish enjoyment of my terrors, and used to begin, I remember — as a sort of introductory overture — by clawing the air with both hands, and uttering a long low hollow groan”.
A Christmas Carol has this oral tradition feel, albeit delivered in a short, and affordable, novella form. It also rebalances Dickens’s heavy lean towards sentimentality (the pitiable figure of Tiny Tim, for instance) with the resolutely unsentimental tactic of terrifying child readers. This was necessary for reasons of veracity — existence was unsentimental in those days — but also as a myth-making technique. There are few lessons that stay with us longer and deeper than those which strike mortal fear in us and then propose a way out.
At the heart of the story and its extraordinary legacy is loneliness. Rereading A Christmas Carol, its power initially comes from its status as a social tract and a fable. What is crucial, however, is its existential quality. It shows that the system then in place, and perhaps still, not only oppresses and squanders but it also alienates. Dickens takes the traditional Christmas theme of visitation (the announcing angel, the wandering star leading to the Christ child, the shepherds, the Magi) and makes it sinister. Salvation can come only through the painful process of facing the truth (“Without their visits,” said the Ghost, “you cannot hope to shun the path I tread”). It can only emerge from Scrooge seeing that he has betrayed and marginalised not only his fellow human beings but himself, acknowledging that he belongs to the Malthusian “surplus population” he castigates, that he is alone and bereft (“Will you not speak to me?” he begs the final phantom), and the only precious hope he has left is to be found through gratitude and selfless communion with others.
While “Christmas Carol” is a masterpiece, I am more deeply moved by Dickens’ words in “Pickwick Papers”:
“And numerous indeed are the hearts to which Christmas brings a brief
season of happiness and enjoyment. How many families, whose members have
been dispersed and scattered far and wide, in the restless struggles
of life, are then reunited, and meet once again in that happy state of
companionship and mutual goodwill, which is a source of such pure and
unalloyed delight; and one so incompatible with the cares and sorrows of
the world, that the religious belief of the most civilised nations, and
the rude traditions of the roughest savages, alike number it among the
first joys of a future condition of existence, provided for the blessed
and happy! How many old recollections, and how many dormant sympathies,
does Christmas time awaken!
We write these words now, many miles distant from the spot at which,
year after year, we met on that day, a merry and joyous circle. Many of
the hearts that throbbed so gaily then, have ceased to beat; many of
the looks that shone so brightly then, have ceased to glow; the hands we
grasped, have grown cold; the eyes we sought, have hid their lustre in
the grave; and yet the old house, the room, the merry voices and smiling
faces, the jest, the laugh, the most minute and trivial circumstances
connected with those happy meetings, crowd upon our mind at each
recurrence of the season, as if the last assemblage had been but
yesterday! Happy, happy Christmas, that can win us back to the delusions
of our childish days; that can recall to the old man the pleasures of
his youth; that can transport the sailor and the traveller, thousands of
miles away, back to his own fireside and his quiet home!”
Comment by Bob — December 24, 2022 @ 13:05
My mother is a huge fan of Dickens’ work, but I have to admit I’ve not read Pickwick Papers myself. Perhaps I’ll get around to that in the coming year (after all, I read several Jane Austen books this year which I never would have considered in years past…)
Comment by Nicholas — December 25, 2022 @ 08:39