Father Christmas' Angry Pen

Dickens dead! Then will Father Christmas die too?

— Cockney girl, 1870

By the time of his death at age 59, there was no separating Charles Dickens from Christmas. Over the course of twenty years, he had written five books and countless short stories devoted to his favorite holiday. However, none of his subsequent work could ever find its way out of the shadow of his first Christmas story, the ever popular A Christmas Carol. It was and remains Dickens's most popular book, inspiring numerous stage plays, movie adaptations, and radio shows. Hundreds of actors—from Alistair Sim to Bill Murray—have transformed themselves from the tight-fisted money counter to the benevolent bringer of holiday joy. It definitely succeeded in achieving immortality in the literary canon and in the hearts of millions, but whether it succeeded in achieving Dickens’ primary purpose in writing the novel is anybody's guess.

The Industrial Revolution brought many wonders to Victorian England, but not without some horrific costs. The urbanization of society and the erection of a factory based infrastructure reshaped the economics of England, forcing entire families into the workforce, including children as young as three years old. In 1840, only twenty percent of children had any schooling. The rest worked in factories, mines, and other hard labor for upwards of sixteen hours a day. Many did not live past the age of 25. After reading a parliamentary report on the conditions of child labor in factories, Dickens became so infuriated that he vowed to publish a pamphlet entitled "An Appeal to the People of England, on behalf of a poor man's child." Dickens had experienced the hardships of child labor first hand after his parents were sent to debtor’s prison. However, after a few days, he announced other plans. "I am not at liberty to explain them any further, just now; but rest assured that when you know them, and see what I do, and where, and how, you will certainly feel the Sledge hammer has come down with twenty times the force—with a thousand times the force—could exert by following out my first idea."

The result was A Christmas Carol. Dickens sat behind his desk and took up his pen not just to celebrate the spirit of Christmas, but also to protest the cold industrial machine that marches forward like a heartless juggernaut, oblivious to the mortal suffering of children like Tiny Tim. Although many in the upper classes ridiculed Dickens' politics, calling him "Mr. Popular Sentiment", they still came out in droves to buy his "gospel of geniality". The initial 6,000 copies of A Christmas Carol sold out in the first day. However, it was not as a book that his story of redemption found its most popular and financial success; it was in the theatre.

A decade after the publication of A Christmas Carol, Dickens was struck with the idea of doing charity readings of his famous book. He saw them as "a little fireside chat". His one stipulation about these readings was that they be attended by a mixed audience of wealthy and poor. He would often direct that the first few rows of seats be given to the poor. Once, when he found seats placed on stage for a mayor and his dignitaries, Dickens ordered them removed. He even went so far as to refuse a private reading for Queen Victoria. He was adamant that the poor never be excluded from his readings, because it was for them that he had written the story. As the years marched on, his performance became more polished and inspiring. One account claims that each time Dickens read the line "...and to Tiny Tim who did not die..." the audience erupted with cheers. The always sentimental Dickens was also in tears.

Whether A Christmas Carol helped turn the tide against child labor is too hard to tell. Protest from artists like Dickens and William Blake undoubtedly influenced many hearts and minds, but what is certain is that for the past 160 years the redemption of Dickens' Scrooge has reminded millions that the transformation of society must be achieved first in the heart of an individual.

Dan Tarker, Writer-in-Residence, The Western Stage