The Alchemist of Affliction: Learning Humourous Writing from Charles Dickens
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| Charles Dickens |
Charles Dickens, a name synonymous with Victorian literature, remains a
towering figure not only for his poignant social commentary and unforgettable
characters but also for his extraordinary ability to weave humour into the
fabric of human experience, often amidst dire circumstances. His novels are a
masterclass in comedic writing, demonstrating that laughter can be found in the
darkest corners, in the most eccentric personalities, and in the very
absurdities of societal structures. While A Tale of Two Cities is
predominantly a novel of high drama, revolution, and sacrifice, Dickens, with
his characteristic genius, distributes pockets of humour that alleviate the
tension, illuminate character, and offer a unique lens through which to view
the tumultuous events. Learning from Dickens is to understand that humour is
not merely about jokes; it is about perspective, observation, and a profound
engagement with the human condition.
The Dickensian Toolkit:
Crafting Humour from the Everyday and the Extreme
Dickens’s humour is multifaceted, springing from various sources that, when
analyzed, provide a rich curriculum for any writer aspiring to comedic effect.
The initial paragraphs rightly identify key areas: his character descriptions,
the depiction of pretentious mannerisms, and his unparalleled narrative
technique. Let's unpack these and add more to his arsenal.
1. The Architecture of
Absurdity: Character as a Wellspring of Mirth
Dickens understood that the most potent humour often arises from character.
He didn't just create people; he sculpted personalities, often exaggerating
traits to the point of delightful absurdity, yet somehow keeping them tethered
to a recognizable human truth.
- Eccentricity
and Idiosyncrasy: Dickens populated his worlds with individuals whose
quirks, obsessions, and peculiar habits are inherently amusing. In A
Tale of Two Cities, Jerry Cruncher stands as a prime example. His
clandestine profession as a "Resurrection-Man," his comical
indignation at his wife’s "flopping" (praying), which he
believes counteracts his nefarious deeds, and his gruff, ungrammatical
pronouncements ("Aggerawayter," "honest tradesman")
provide consistent comedic relief. His son, young Jerry, mimicking his
father’s interest in rusty fingers and mysterious night-time activities,
adds another layer of generational humour. The humour here is not just in
the oddity of grave-robbing, but in Jerry’s earnest, almost tradesman-like
approach to it, his domestic squabbles filtered through this bizarre lens,
and his utter lack of self-awareness regarding the macabre nature of his
"honest trade." Aspiring writers can learn from this: don't be
afraid to push the boundaries of character traits. Find a central,
peculiar obsession or worldview and let the humour radiate outwards from
it.
- The
Comedy of Contradiction: Characters who are a bundle of contradictions
are often inherently funny. Mr. Stryver, "the fellow of
delicacy," is anything but. His bombastic arrogance, his utter
self-absorption, and his condescending treatment of Sydney Carton are
presented with such over-the-top confidence that he becomes a figure of
ridicule. His belief in his irresistible charm, particularly in his
designs on Lucie Manette, is a source of dramatic irony and humour for the
reader, who sees his delusions. The lesson here is to find the gap between
a character's self-perception and reality. This chasm is fertile ground
for humour.
- Foils
and Dynamic Duos: Humour is often amplified by interaction. The
long-suffering, brilliant, yet dissolute Sydney Carton serves as a perfect
foil to the pompous Stryver. Stryver’s pronouncements seem even more
ridiculous when juxtaposed with Carton’s laconic, often cynical, observations.
While their relationship is also tragic, the sharp contrast in their
personalities and Stryver’s obliviousness to Carton’s true worth (and his dependence
on him) creates moments of dark humour. Writers should consider how
pairing contrasting personalities can ignite comedic sparks.
- Physicality
and Tics: Dickens was a master of describing physical
appearance and mannerisms in a way that contributed to humour. Think of
Uriah Heep's writhing humility in David Copperfield or Mr.
Pumblechook's patronizing pomposity in Great Expectations. While A
Tale of Two Cities leans more on dialogue and situation for its overt humour,
the descriptions of the French aristocracy, for instance, often carry a
visual comedy. The "Monseigneur" requiring four strong men to
serve his hot chocolate is a visual gag highlighting decadence. The lesson
is to use vivid physical description not just for realism but also as a
tool for caricature and comedic emphasis.
2. Satirizing Society: The
Comedy of Manners and Pretense
Dickens wielded humour as a scalpel to dissect societal follies, and the
"pretentious mannerism that the lords of the land followed in France"
in A Tale of Two Cities is a prime target.
- Exposing
Hypocrisy and Affectation: The famous chapter "Monseigneur in
Town" is a satirical masterpiece. The elaborate, almost ritualistic
levees, the sycophancy of the attendees, and the Monseigneur’s vacuous
existence—all are painted with an ironic brush. His belief in the divine
right of his class to indulge in absurd luxuries while the common people
starve is presented not just as tragic but also as ludicrous. The humour
lies in the sheer, unadulterated excess and the characters' blind
adherence to these empty forms. Writers can learn to identify the rituals
and pretences within any social group or institution and exaggerate them
to expose their underlying absurdity.
- The
Language of Power and Pomposity: The way characters speak can be inherently humourous,
especially when it reveals their vanity or ignorance. The pronouncements
of officials, the jargon of institutions, or the flowery, empty rhetoric
of the powerful can be parodied to great effect. While A Tale of Two
Cities uses this more subtly than, say, the legal obfuscations in Bleak
House, the pronouncements from the court during Darnay's trials have
an element of performative absurdity. The lesson is to listen to how
language is used (and abused) in different contexts and to mimic or
inflate it for comedic purposes.
- The
Mob as a Character: While the revolutionary mob is a terrifying force,
Dickens also imbues its collective actions with a kind of grim, almost
farcical, energy at times. The Carmagnole, the frenzied dance around the
grindstone, while horrific, also has an element of grotesque theatre. The
"mender of roads," later the wood-sawyer, with his almost
gleeful anticipation of the Guillotine's work, embodies a dark, unsettling
humour born of brutalization and a desperate craving for spectacle. This
is a more challenging form of humour, the "gallows humour,"
where laughter is a reaction to the unbearable or the grotesque. It
teaches that humour can exist even in the portrayal of collective madness,
often highlighting the loss of individual reason.
3. The Narrator as
Ringleader: Dickens's Unrivaled Narrative Technique
Dickens’s narrative voice is one of his most powerful comedic tools. He is
not a detached observer but an active participant, guiding the reader, winking,
nudging, and commenting with wit and irony.
- Authorial
Intrusion and Direct Address: Dickens frequently breaks the fourth wall,
addressing the "gentle reader" or offering his wry observations.
This creates a sense of intimacy and allows him to inject humour directly.
His opening to A Tale of Two Cities itself ("It was the best
of times, it was the worst of times...") is a masterpiece of ironic
juxtaposition, setting a tone that acknowledges complexity and even
absurdity from the outset. Aspiring humourists can experiment with
narrative voice, moving beyond simple narration to a more engaged,
opinionated, and even playful persona.
- Hyperbole
and Exaggeration: Dickens is a master of the tall tale, of taking a
simple observation and stretching it to comedic proportions. Jerry
Cruncher’s hair standing on end "as if every individual hair were a
rusted nail" is a classic example. This isn't just description; it's
comedic imagery. The key is to exaggerate in a way that is imaginative and
surprising, rather than merely loud.
- Irony
– The Sharpest Tool:
- Verbal Irony: Saying the opposite of what is meant.
Dickens uses this subtly and overtly. When Jerry Cruncher calls himself
an "honest tradesman," the narrator and the reader are in on
the joke.
- Situational Irony: The
contrast between expectation and reality. The entire concept of the
French aristocracy believing their position is divinely ordained and
unshakeable, on the eve of a revolution that will decimate them, is
steeped in situational irony.
- Dramatic Irony: When the audience knows something the
characters do not. Much of the plot involving Sydney Carton's sacrifice
and his resemblance to Charles Darnay relies on dramatic irony, which,
while primarily tragic, can have moments where the audience's superior knowledge
creates a tension that borders on a grim sort of humour, especially in
the reactions of oblivious minor characters. Learning to deploy these
different types of irony allows a writer to add layers of intellectual humour
and social commentary.
- Juxtaposition
and Contrast: Placing the sublime next to the ridiculous, the
tragic next to the comic, can create a powerful effect. The grim reality
of the revolution is punctuated by Jerry Cruncher’s domestic woes or Miss
Pross’s fiercely patriotic (and humourous) pronouncements. This not only
provides relief but also highlights the multifaceted nature of life, where
comedy and tragedy are often uncomfortably close.
- Rhythm
and Repetition: Dickens's prose often has a musical quality. He
uses repetition of phrases or ideas for comedic emphasis, much like a
recurring gag in a performance. Think of Mrs. Cruncher's
"flopping" or Jerry's constant grumbling about it. This rhythmic
repetition can build a humourous expectation in the reader.
The Courage of Conviction: Humour
in Service of Truth
Dickens was indeed an innovator, not just in literary form but in his
courageous choice of subject matter. His decision to tackle poverty in Oliver
Twist or the French Revolution in A Tale of Two Cities was a
testament to his "sincere service to the world in which he lived." He
understood that humour could be a powerful ally in this service.
- Softening
the Blow, Sharpening the Point: While the original text notes he "had
not tried to soften the bitterness of the truth," humour can make
difficult truths more accessible. By making us laugh at the foibles of a
corrupt beadle like Mr. Bumble or the absurdities of the Circumlocution
Office, Dickens draws us in, making his critique of the Poor Laws or
bureaucratic inefficiency more palatable and thus more potent. The
laughter doesn't negate the seriousness; it often underscores it by
highlighting the ridiculousness of injustice.
- Humanizing
the Marginalized: Humour can be a great leveller. By giving even his
most downtrodden characters a sense of humour, or by finding humour in
their situations (without mocking their suffering), Dickens humanizes them
and fosters empathy. Even in the grim setting of Tellson's Bank, with its
dusty, death-like atmosphere, the long-serving clerks have their own dry,
institutionalized humour.
- History
as a Canvas for Universal Follies: Choosing history as a background, as in A
Tale of Two Cities, allowed Dickens to explore "the hardest
challenges the people had faced." The French Revolution, a period of
immense upheaval and ideological fervour, also provided a grand stage for
human folly, fanaticism, and the dark comedy of power dynamics. The
"wildest behaviour" was not just tragic; it was often absurd.
The image of "every drop of blood spilt... melted into each other and
became the blade of the Guillotine" is terrifying, yet the almost
mechanical, insatiable nature of the Guillotine, and the public's feverish
devotion to it, carries a grotesque, satirical edge. Dickens doesn't shy
away from the horror, but his narrative framing allows the reader to
perceive the inherent madness, which can be a source of dark,
uncomfortable humour.
Humour as a Lifeline:
Lightening the Load in a Heavy World
The assertion that "humour would not fail in helping our strains to
disappear. It would make our mind lighter" speaks to the therapeutic
quality of Dickens's writing. In a novel as fraught with tension and tragedy as
A Tale of Two Cities, the moments of humour are not mere embellishments;
they are essential.
- Comic
Relief as Pacing and Palatability: Continuous, unrelenting tragedy can be
overwhelming for a reader. Dickens masterfully intersperses scenes of high
drama with lighter moments. Jerry Cruncher’s antics or Miss Pross’s
indomitable spirit provide necessary breathers, allowing the reader to process
the darker themes without being completely submerged by them. This is a
crucial lesson for writers dealing with serious subjects: humour can
modulate tone and improve pacing.
- Resilience
in Laughter: Humour can be a sign of resilience, a way of coping
with adversity. While the characters in A Tale of Two Cities are
not often laughing in the face of their doom, the reader's ability
to find humour in certain situations, guided by Dickens, is a form of
psychological resilience. It’s an acknowledgement that even in the worst
of times, absurdity persists.
- Dickens
the Social Activist, Armed with Wit: Had Dickens not been a writer, his profound
empathy and a keen eye for injustice might well have led him to social
activism. His novels were his activism. Humour was one of his most
effective tools. A speech denouncing bureaucratic incompetence might be
forgotten; the Circumlocution Office in Little Dorrit, a monument
to institutional absurdity, is unforgettable precisely because it is so
hilariously, frustratingly true.
The Revolution as Satire:
When Reality Outstrips Fiction
The insight that "war or a revolution is the greatest satire
itself" is profound. The French Revolution, with its lofty ideals of
"Liberty, Equality, Fraternity," descended into the Reign of Terror,
a period of paranoia, mass executions, and the elevation of figures like Madame
Defarge, whose righteous anger morphs into an implacable, almost inhuman,
thirst for vengeance.
- The
Futility of Cyclical Violence: Dickens shows how revolutionary fervour,
initially aimed at overthrowing tyranny, can itself become tyrannical. The
new oppressors often mirror the old, just with different slogans. This
tragic irony is a form of grand, cosmic satire. "Mankind has never
learnt a lesson from the past. We go on slaughtering each other without
realising the futility of our actions." This is perhaps the novel's
deepest, most sombre message, and the absurdities within the revolutionary
process—the show trials, the bloodlust disguised as justice—contribute to
this satirical reading. The humour here is not laugh-out-loud, but the
bitter laugh of recognition at humanity's recurring follies.
- Caricature
as Counterbalance: While "thematic compulsions restrained Dickens
to become outright humourist" in A Tale of Two Cities, he
"fully counterbalanced it while caricaturing some of the
characters." Caricature, by exaggerating key traits, can be a potent
satirical weapon. The foppish, indifferent Marquis St. Evrémonde is a
caricature of aristocratic cruelty and entitlement. His casual disregard
for the life of a peasant child is horrifying, but his entire persona is
so exaggeratedly villainous that it serves as a satirical indictment of
his class.
Lessons for the Aspiring Humourist:
The Dickensian Legacy
A Tale of Two Cities, despite its predominantly serious tone, sparkles with Dickensian wit,
irony, and character-based humour. It, along with his broader oeuvre, offers
enduring lessons:
1. Observe Humanity Keenly: Humour is rooted in
recognizable human behaviour, however exaggerated. Pay attention to people's
quirks, their language, their self-deceptions, and the social rituals they
enact.
2. Develop Memorable
Characters: Don't be afraid of eccentricity. Create characters with strong, distinct
voices and defining traits that can be mined for comedic potential.
3. Master Dialogue: Much of Dickens's humour
comes from what his characters say and how they say it. Write dialogue that
reveals personality, creates conflict, and sparkles with wit.
4. Employ Irony with Skill: Understand and use verbal,
situational, and dramatic irony to add depth and intelligence to your humour.
5. Find Humour in Contrast and
Juxtaposition: The unexpected pairing of ideas, characters, or situations can be a rich
source of comedy.
6. Use Narrative Voice
Strategically: Your narrator can be a character in their own right, guiding the reader
and offering humorous commentary.
7. Don't Shy Away from Satire: Humour can be a powerful
tool for social commentary. Identify the absurdities and hypocrisies in the
world around you and expose them.
8. Balance Humour with Pathos: The most effective humour
often exists alongside genuine emotion. Dickens could make you laugh and cry on
the same page. This emotional range gives humour a greater impact.
9. Exaggerate, But with
Purpose: Hyperbole
is a classic comedic device, but it should be imaginative and serve to
highlight a truth or a character trait, not just be loud for loudness's sake.
10.
Find the Universal in the Specific: While Dickens wrote about Victorian England or revolutionary France, the
human types and follies he depicted are timeless and universal. Strive for that
same resonance.
11.
Humour Can Be Kind or Cutting: Dickens could be gentle in his humour, laughing with his
characters, or sharp in his satire, laughing at folly and injustice.
Understand the difference and choose your approach. Jerry Cruncher is often
laughed with; the Monseigneur is laughed at.
12.
Let Humour Serve a Purpose (Even if it's Just Delight): While Dickens often used humour
for social critique, it can also exist purely for the joy and relief it brings.
However, humour that is also insightful or thought-provoking often has the most
lasting impact.
Charles Dickens’s ability to infuse even his most dramatic narratives with humour
is a testament to his profound understanding of life’s tragicomic nature. He
showed that laughter is not an escape from reality, but a way of engaging with
it more fully. For writers seeking to master the art of humourous writing, the
works of Dickens, including the surprisingly witty corners of A Tale of Two
Cities, remain an invaluable, inexhaustible textbook. His legacy is not
just in the stories he told, but in the enduring demonstration that a keen eye,
a compassionate heart, and a well-honed wit can transform the ordinary, the
pretentious, and even the terrifying, into sources of laughter and profound
insight. The gem continues to sparkle.
