Dickens - 200

The first and main book of Dickens, probably, everyone has one. “Pickwick” is a panacea, because it has nothing to do with anything: this is not an alternative to reality, but a cure for it.

A thick gentleman with three unlucky friends - a friendly cartoon on humanity. Concrete of complacency reliably separates the Pickwick from life. He meets marriage adventurers and evil widows, corrupt politicians and vile hooks, crooks, fools, hypocrites, scurvers. But the magic of purely English idyll, which can be attributed to the "three in the same boat", as well as the family "and other animals" Gerald Darrell, neutralize any situation. Evil is not punished, but interpreted as an eccentric.

It is not surprising that it is easy to live with the Pickwick. More precisely, it is difficult to live without him. You can’t say this about the rest of Dickens. Today, it is the most difficult thing for us to accept just what contemporaries adored him - the plot and the poor. Cinema copes with the first.

Dickens is adaptation, because he, as Eisenstein believed, invented a movie. The whimpering to the arbitrariness of the plot, the story straight to infantility, exaggerated, as if on a large screen, heroes. With Shakespeare, they were appropriate. After all, the Elizabeth did not recognize realism - they have not yet discovered it. But Dickens Macbeth sits in the office, and he is crowded there. A striking conflict of scale between cosmic villainy and squalor of scenery creates either comic, then a tragic, but always dramatic effect that the Mandelstam in the poem "Dickens" reduced to a universal formula:

On the side of enemies the laws:

He cannot help him!

And checkered pantalones,

Sobbing, hugs a daughter.

And also on February 6 at 23 hours Moscow time in the program on February 6

Book Review of Marina Efimova

In 1862, fifty -year -old Charles Dickens met in London with his fan - Fedor Dostoevsky. Dostoevsky described their conversation in a letter many years later, after the death of Dickens: “He told me that all good, ordinary people in his novels are those people who he himself would like to become, and the villains are those who he is actually. In any case, he notices their properties: cruelty; alienation from those whom he should love; attacks of causeless hostility towards Those who are weak and turned to him for comfort. - One experiences the feelings that it is supposed to experience, and the other is directly opposite. From the last I am writing my villains, and following the example of the first I try to live. ”

Dickens was not a model of virtue, but judging by the portrait created by Claire Tomalin, he did not even admit this to himself. Tomalin writes: "Only in a conversation with such a person as Dostoevsky, could Dickens lose his sinless mask that he constantly wore in public. This was the deepest recognition made by Dickens about his inner life."

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