Fragments of autobiography
Between 1845 and 1848, Dickens wrote fragments of autobiography, excerpts of which he showed to his wife and John Forster. Then in 1855 he made an attempt at revising it. This was a failure because, as he tells his first love Maria Beadnell (now Mrs Winter), when he began dealing with his youthful love for her, "I lost courage and burned the rest".[12][13] Paul Schlicke points out that in fact not all the pages have gone through the flames and that, as Dickens began writing David Copperfield some pages were unearthed. Proof of this is found in the eleventh chapter of the novel: "I begin Life on my own Account and don't like it", where the story of Dickens's experience at the Warren Shoe Factory is told almost verbatim, with the only change, "Mr Micawber" instead of "my father".[4] John Forster also published substantial extracts relating to this period in Dickens's biography, including a paragraph devoted to Wellington House College, which corresponds with the second stage of childhood recounted in the novel.[14] Thus Dickens looks back on his painful past, already evoked by the martyrdom of Little Paul in Dombey and Son, though voiced by an omniscient narrator in that earlier novel.[15] Until Forster published his biography of Dickens in 1872–1874, no one knew that Dickens had worked in a factory as a child, not even his wife, until Dickens wrote it down and gave the papers to Forster in 1847.[16] The first generations of readers did not know this part of David Copperfield's story began like an incident in the author's life.
The autobiographical dimension
If David Copperfield has come to be Dickens's "darling", it is because it is the most autobiographical of all his novels.[17] Some of the most painful episodes of his life are barely disguised; others appear indirectly, termed "oblique revelations" by Paul Davis.[17] However, Dickens himself wrote to Forster that the book is not a pure autobiography, but "a very complicated weaving of truth and invention".[3]
The autobiographical material
The most important autobiographical material concerns the months that Dickens, still a child, spent at the Warren factory, his diligence with his first love, Maria Beadnell (see Catherine Dickens and Ellen Ternan), and finally his career as a journalist and writer. As pointed out by his biographer and friend John Forster, these episodes are essentially factual: the description of forced labor to which David is subjected at Murdstone and Grinby reproduces verbatim the autobiographical fragments entrusted to his friend; David's fascination with Dora Spenlow is similar to that inspired by the capricious Maria; the major stages of his career, from his apprenticeship at Doctors' Commons to writing his first novel, via the shorthand reporting of parliamentary procedures, also follow those of its creator.[17]
However, this material, like the other autobiographical aspects of the novel, is not systematically reproduced as such. The cruel Mr Murdstone is very different from the real James Lamert, cousin to Dickens, being the stepson of Mrs Dickens's mother's sister, who lived with the family in Chatham and Camden Town, and who had found for the young Charles the place of tagger in the shoe factory he managed for his brother-in-law George.[18] The end of this episode looks nothing like what happens in the novel; in reality, contrary to the desire of his mother that he continue to work, it is his father who took him out of the warehouse to send him to school. Contrary to Charles's frustrated love for Maria Beadnell, who pushed him back in front of his parents' opposition, David, in the novel, marries Dora Spenlow and, with satisfaction ex post facto, writes Paul Davis, virtually "kills" the recalcitrant stepfather.[17] Finally, David's literary career seems less agitated than that of Dickens, and his results are much less spectacular. David's natural modesty alone does not explain all these changes; Paul Davis expresses the opinion that Dickens recounts his life as he would have liked it, and along with "conscious artistry", Dickens knows how to borrow data, integrate them to his original purpose and transform them according to the novelistic necessities, so that "In the end, Copperfield is David's autobiography, not Dickens's".[17]
