Contents introduction main part

The purpose of the course work: David's growth is not only mastering the complexity of the language, but also the ability to learn to live with other experienced people. The story of David's relationship with other people can be illustrated by the example of his search for the right relationship. Apparently, this search is based on trial and error, in which David loses faith in himself, because he usually makes mistakes before gaining real experience. The second lesson of David's delusion is that he makes the wrong decision by marrying Dora. They marry when they are both young and naive, especially Dora, who is just a spoiled child, deprived of the ability to "support and improve"her.
The practical value of the course work. This work expresses fundamental and often universal ideas explored in a literary work. The case of the weak in David Copperfield: the strong of this world make fun of the weak and the helpless. Dickens focuses on orphans, women, and people with dementia, showing that exploitation is the rule in an industrial society, not pity or compassion. Dickens draws on his childhood experiences to describe the inhumanity of child labor and prison for debtors. His heroes are punished at the hands of forces higher than themselves, even if they are morally good people.
The structure of the course work. The course work consists of an introduction, the main part, a conclusion and a bibliography.

1. 
   David Copperfield and the Victorian Bildungsroman novel.
   

Before writing" David Copperfield", Dickens wrote seven novels that earned him a noisy reception and put his name among the most famous British writers. David Copperfield uses the influential German Bildungsroman form, which was a suitable medium for Dickens ' intention to write a biographical novel. As a rule, Bildungsroman is a literary tool that allows you to talk about the years of formation or spiritual education of one person, especially the main character, according to the Penguin Dictionary of literary terms and literary theory. David Copperfield's "Bildung" and autobiography are intertwined in a form that differs from the original tradition and from early English borrowing from Fielding, Stern and Goldsmith. According to this definition, David goes through the process of learning by trial and error on his personal experience of the main character, a man of the Victorian era, looking for his true character. With his explicit characterization of the Bildung novel, Dickens transferred the general idea into the title of his new novel. While searching for new ideas for his next novel, the decision to write a new series came after John Forster suggested that he write based on his own life experience. He enthusiastically took this advice and calmly wrote this story simply because many of the events were based on his personal first-hand experience. ¹
After many attempts to find a suitable title, he eventually titled his new work "The Personal Story, Adventures, experiences and Observations of David Copperfield Jr. from the Blunderstone Orphanage." (Which he was by no means going to publish), later shortened to "David Copperfield's Personal History," with an indication of what David was supposed to provide his readers with in his self-improvement report. Allegedly, Dickens chose this epithet for his novel in order to tell the main character the whole story and show readers how he is formed within the framework of the Victorian concept of self-development. Another reason was that Dickens wanted to emphasize the moment when this story should have been David Copperfield's personal story, and not Dickens' own story; even though readers would have found similar references to Dickens' experience. Thus, David is used to narrate the entire novel using the first-person narrative technique. Dickens' illustrations were inserted, on the one hand, in order to give them the pleasure of reading, as in other novels; on the other hand, the illustrations were created with the intention of the author to portray David's self-development. His intention to include illustrations in each volume was to delight his readers with his reading and make the novel popular on store shelves and in libraries, thanks to the cover illustration that was the same in the twenty issues of the series. Dickens hired Hablot Knight Brown, or Fiz, a famous illustrator who worked with him several times, to illustrate two pages for each volume. The series with two illustrations and advertising were an illustrated novel by Bildungsroman. The relationship between text and illustrations is closely interrelated, as Stephen Latman argues on the grounds that the relationship between text and illustrations is strongly connected:
The illustrations were developed in the process of writing novels, and the fact that they grew together with the text can be described as an organic connection with it, rather than a more mechanical connection of illustrations added to the finished work.
The above statement demonstrates the influence of illustrations on the nineteenth-century reading habit with “the syndrome of interconnected visual and literary forms of which the novel is a part, rather than the historical strangeness of the only collaboration between illustrations and fiction.” For example, the obvious clue that Phys used to refer to this process is the image of David's feet. In the fourth part, “The Friendly Waiter and I”, David is sitting on a chair with his legs up; while on record number thirteen, “Someone Appears” Fiz portrays David on a chair in a Hip house, this time his legs are longer and can reach the stretcher. By the time David reaches maturity, the illustrations of his physical growth should be appropriately developed. Thus, Fiz improved his drawing to depict David with changes in clothing, in the general form of a Victorian middle-class man. The changes in David's clothes indicate the fact that David, as the main character, is moving towards personal improvement. A big change in his clothes occurs especially at a time when he meets his aunt in torn clothes and puts on a new one after his aunt has taken him into the house. Dickens assigned this exercise to Fiz and David in order to preserve David's status in middle-class illustrations, as well as simultaneously preserve the relationship between text and illustrations.
The subtlety of Fiz's illustration is that it can be read as an addition to the text, or separately, but it never loses connection with the plot of the novel. The physicist made it clear in his decision to depict David's development in the two ways mentioned that the illustrations should correspond to the market interests that the author cultivated in this way, and have an important relationship to the theme of improving the protagonist. Several obvious features that emphasize "David" as a novel in the genre of Bildungsroman are, along with illustrations, the concept of heroism in the novel and the development in "David" of the use of language and first-person narration. Two devices contribute to the fact that the main character is looking for his career as a novelist on the way of his growing up in the world. They, in particular, demonstrate the consistency of David's intentions to become a writer due to the fact that he sets out his memories in letters. David Copperfield reflects the ideas of the heroism of an ordinary person, whose main task is to find his identity. Nevertheless, all the features of the work correspond to the views of the nineteenth century and the occupations of Bildungsroman. In this novel, the story is told not from the point of view of a knight or a man from a noble family, but from the point of view of a middle-class man.²
This idea is proclaimed in David's introductory statement: “Whether I will become the hero of my own life or someone else will take this position, these pages must show.” This, first of all, causes a sense of heroism when David has to deal with dangerous events in his life and defeat them. His heroic mantle is simply put on in order to allow the audience to witness what he is facing and how he overcomes it. Dickens distinguishes his hero from traditional representations, according to which the hero belongs to the princely class, he has exceptionally developed abilities, the occupation of which is war or dangerous adventures. Instead, Dickens creates David as a character from a Victorian-era layman from a middle-class family. David's greatest achievement as a hero is to tell his life story and be able to define himself. This wait ends when David himself finishes the last chapter of his book. The general premise of David as a hero is in a statement announcing his personal definition of Hero: "Hero... pages". In other words, it is clear from this statement that David will boldly continue his career as a writer, so he will finish the novel "Bildungsroman", which will reach the stage of writing life with his wife and show how he became a hero; a character that animates pages. Dickens ' goal is to create David by weakening the general qualities of the character, so David becomes a character who, as a novelist, overcomes obstacles in writing these pages. In other words, heroism, according to Dickens' definition, consists in achieving success in a writing career, which leads to his fantasy of taking a position that will lead to a solid arrangement of his life in a safer way than in the previous stages of the narrative. Since David Copperfield is engaged in a writing career that requires honed literary skills, the way he presents his narrative implies, simultaneously with his physical development, the process of improving his language skills.

2.