Contents introduction main part

Blending poetic romance and prose realism.

Thus, the" poetic "and" realistic " approaches are the opposite. In all works of art, elements of both are used to varying degrees, but I think Dickens achieves the perfect balance in his best manifestations. David Copperfield is one of his greatest achievements in this regard. Miss Murdstone arrived, and she was a sad-looking lady; dark, like her brother, she looked very much like a face and voice; and her very thick eyebrows seemed to gather above her large nose, because of the imperfections of her gender, she could not wear the sides. he attributed them to this account. He brought with him two unassisted black boxes with initials on the lids, nailed with solid brass nails. Paying with the coach, he took money from a bag made of solid steel and kept the bag very similar to a prison bag, which hung in his hand on a heavy chain and closed as if he had been bitten. At that time I had never seen such a metal lady as Miss Murdstone was.
The descriptive technique here is based on prosaic realism, but the effect, with its acute premonition of David's impending imprisonment, is poetic.
A small, low archway led to the doctors' ward. We could not take a few steps down the street, after which the city noise seemed to melt in the distance, like magic, silently followed Dali. Several gloomy courtyards and narrow alleys led us to the sky-lit offices of Spenlow and Jorkins; in the lobby of this temple, accessible to pilgrims without a knocking ceremony, three or four clerks worked as copyists. One of them, a small, wizened man sitting alone and wearing a stiff brown wig that looked like it was made of gingerbread, got up to greet my aunt and escort us to Mr. Spenlow's room.
This short excerpt begins with the realism of the documentary, but soon dissolves, as if by magic, and we seem to suddenly find ourselves in another country, in one of the distant temples and fabulous gingerbread wigs.
It is often noticed that many of Dickens' characters are two-dimensional and unchangeable. Examples of David Copperfield are Wilkins Micawber, Yuri Hip, Mr. Murdstone and James Steerforth. But to criticize this is to lose sight of his intention, because, as G.K. Chesterton explains in the chapter on the Pickwick Papers in his fascinating book about Dickens, this side of his work is drawn more from mythology and folklore than from the modern concept of fiction:
Dickens was more of a mythologist than a novelist; he was the last of the mythologists and perhaps the greatest. He didn't always manage to make his characters human, but he always managed to at least make them gods. They are the same creatures as Punch or Santa Claus. They live statically, in the eternal summer of being themselves.This is true of some characters, but we can't help but see the realism of others. We certainly see development and change in David Copperfield himself (this is the whole point of the novel), as well as in Baby Emly, Ham, Aunt Betsy Trotwood and many others.
We also have to take into account the very realistic scenarios in which these characters live. For example, in the sexual relationships described in the novel, there is much more realism than romance.
Romantic love never works for David Copperfield; witness how David was unable to really get close to Dora, despite his desperately strong romantic courtship. Similarly, Mrs. Strong fails to establish a relationship with Jack Maldon that goes beyond immature attraction, and Steerforth cannot develop his passion for baby Emly into something lasting and meaningful. Truly successful love relationships in a novel are much more complicated and require patience and experience to make them work effectively; for example, David's attachment to Agnes, Peggotty's marriage to Barkis, and Dr. Strong's final reconciliation with his young wife and a closer understanding of her.
In all these and many other ways, Dickens combines various genres of fiction, creating a unique style of storytelling. At times they merge so much that it is difficult to say where harsh realism ends and whimsical poetization begins. In my opinion, Dickens achieves this mysterious alchemy more fully and more successfully than any other prose writer in history. David Copperfield and Mr. Peggotty follow Martha to the river in Westminster. In this passage, Dickens demonstrates the unsurpassed skill with which he so easily combines fictional strategies. Here he moves from high realism to painful melodrama as smoothly as a river flowing through the stage:
At that time, the area was bleak; at night, it was as depressing, sad and secluded as any other in London. There were no docks or houses on the bleak deserted road next to the big empty prison. The stagnant moat settled with mud near the prison walls. Tough grass and stunted weeds grew all over the swampy area in the vicinity. In one part, the skeletons of houses that were unsuccessfully started and never completed rottedIn another, the Earth is covered with rusty iron monsters in the form of steam boilers, wheels, cranks, pipes, stoves, oars, anchors, diving bells, sails of windmills, and I do not know of any other strange objects collected by some speculator and lying in dust. drowned in the soil under their own weight in wet weather, it seemed that they were trying to hide in vain. The roar and glare of various fire structures on the riverbank rose at night, disturbing the peace of everything except the heavy and continuous smoke that poured from their chimneys. Slippery crevices and levees winding between old wooden piles, with a nauseating substance stuck to the latter like green hair, and scraps of last year's flyers offering rewards to drowned people, fluttering above the high-tide mark, led down through the silt and slush to the low tide. There was a legend that nearby there was one of the pits dug for the dead during the Great Plague; and it seemed that from it came a pernicious influence on the whole place. Or it looked as if it had gradually decomposed to this nightmarish state due to the spills of a polluted stream.
As discussed earlier, David becomes the hero of his story, getting permission to direct the narrative himself, giving his story a direction that will contribute to the development of Bildung's novel. The narrative technique tracks the stages of its growth through the development of its language. This method resembles the process of human language acquisition. A child is able to form simple sentences only before an adult develops the ability to express his thoughts using a more complex language structure than children. Similarly, tracking David's language use is complemented by serialization, which reflects David's growth progress in one series, and when a new series is released, David is in a different phase of his language development. This method of language development subtly encourages readers to perceive each of its phases as more mature — David himself is also aware of this. I was a posthumous child. My father's eyes closed to the light of this world six months ago when mine opened to him. Even now there is something strange for me in the fact that he has never seen me; and something even more strange in the vague memory of my first childhood associations with his white gravestone in the church cemetery and the inexplicable compassion I felt for him lying there alone. "This passage shows how David was able to compose simple phrases and sentences in his childhood. On the other hand, it reflects the process of teaching David the language, acknowledging the confusion he felt when he said he took words from the way he spoke English in Scotland.
Revealing how he conceptualizes his father's death by associating it with words like "closed eyes," "tombstone," or "churchyard," shows a reflection of his vague notion of death. The separation of the cemetery and the living world, "locked" in darkness, shows that it is impossible to combine these two worlds in his mind. The actual changes in his narrative are minor and not noticeable in the mature stage, although he consciously affirms his reliable knowledge of the world, as well as the complex structure of his language when talking about his condition: "I now know enough to lose the ability to speak about the world. admire the unusual. Indirectly, David shows significant progress in his growth through his understanding of the world, as he was only ten years old when he was sent to study it. In the last part of the narrative, an attempt is made to note the mature age - about twenty-eight years: “I could not forget that the feeling with which she now treated me had grown thanks to my own free choice and course.” Another stage of David's language development is observed when he lives with Dora.³
According to David:
I will only add to the fact that I wrote about my perseverance at this stage of my life and about the patient and continuous energy, then it began to mature in me and I know that my character is the strength, if he is looking for some kind of strength. when I come back, I find the source of Ali God sees his success, I just write it down, because whatever I try to do in life, I sincerely tried to do good. This paragraph highlights the difference in David's use of language in terms of maturity compared to the language he used as a child.
The construction of the language in this paragraph becomes more difficult given David's confidence in his life consciousness and his inclination to write the story of his life — the task completely requires literacy skills. Later we will witness another aspect of his possible ability to master his language. David expresses the opinion that: Knowledge came to me, not quickly, but little by little, bit by bit. The feeling of emptiness with which I went abroad deepened and widened with every hour.
At first there was a heavy feeling of loss and sadness, in which I could not distinguish much. Gradually it became a hopeless realization of all that I had lost —love, friendship, interest; all that had been destroyed — my first trust, my first affection, the whole air castle of my life; all that remained — the destroyed void, spread wide around me unbroken, to the darkest horizon.
David's face reminds readers of his determination to spend the rest of his life as an adult who knows enough about the world. He is able to penetrate his mind better than at a young age, and in terms of the complexity of language at this stage, this conclusion reflects his ability to master a much more complex structure of language and express these structures in a more complex way. This passage shows its complex condition, and it turns it into a delicate shape of the tongue. Dickens ' subtle depiction of the growth of his main character using this technique shows his own ingenuity.
David himself must contribute to both the life and the expected task of the protagonist of this growing up novel. Language acquisition shows that the main character's mental structure matures when he is able to master the language in preparation for his writing career. In addition to the subtle portrayal of David's growth due to his ability to master language, a notable feature of David's story is that throughout the book it is conveyed through first-person narration. This enterprise is different from what it was in the "Cold House", where half of the narrative is conducted in the first person, and the other half is from the thirdIt's like "high hopes" in the sense that David Copperfield relies on Bildung conventions and biographical elements. Turning these pages into alternate actions of the character requires David to take a careful approach to mixing events so as not to confuse his readers. Without the intervention of a third-person narrator, David is able to recall his childhood story and turn it into his own. In other words, by allowing his hero to direct the reader to the events of his life, the author secretly assumes that he is a "hero of his life" who controls his life on his own and is not influenced by the author. David's first-person story is a consequence of the formation of his personality. These three moments of David's maturity contribute not only to this Bildungs novel, but also to the Bildung writer. Thus, the language technique used by Dickens here stands out precisely for this reason. However, there are various ways to read this novel as a Bildung novel, for example, how David learns to grow up and discipline himself by communicating with other characters. According to the general concept of Bildung, Dickens allows David to learn to grow when faced with various dilemmas, obstacles, mistakes and conflicts. In order to" come of age", David must inevitably go on a journey in which difficulties and dilemmas are aspects that shape and improve his character and individuality in accordance with Victorian bourgeois values of self-development.The novel of David, the main character, ends with his search for his identity and transformation into an adult man. However, the purpose of this novel is to retell the story of an ordinary young man of the Victorian era, so in the "journey" they neglect chivalrous exploits.
Dickens claims that it was like looking for a noble knight in the old sense of the word, but simplified it to the point that David is looking for the sublime and the base in life. Thus, David agrees with the Victorian social and moral expectations of development. In other words, he is required to discipline himself and his “undisciplined heart” (664), a recurring theme when he makes mistakes and learns to correct them. As for the significance of Bildungsroman in depicting the life progress of the protagonist, this allows us to further develop the theme of the “undisciplined heart" due to David's acquisition of experience.
David receives a social education and shapes himself through a crucial process of trial and error. This is a key element in Bildung's novel, when he is chasing corrections for his mistakes, when he allegedly makes mistakes. All David's mistakes can be attributed to the category of "undisciplined heart", be it mistakes with friends or lovers. The "undisciplined heart" is a heart that symbolizes David's inexperienced existence, which he must understand and learn from the people he has lived, as well as from his own experience. Carl Bandelin says that David is required to "acquire the ability to live creatively and humanely in this world."
In the end, Stirforth turns out to be a false friend and becomes evidence to support David's naive opinion of people. Now the roles are switched, and instead the unloved Tradles becomes his lifelong friend. First, David's incorrect opinion about people indicates his lack of experience and asks him to educate himself and not make the same mistakes in the future. In order to explore the world and learn, David inevitably associates himself with these experienced characters, and also applies his first mistakes to the difficult situation when he goes in search of his personal life. Stephen Latman notes the importance of David as a storyteller who must curb his desires and nurture his “undisciplined heart”: arguing that “if David knows himself too well or is consciously aware of the broader meaning of other characters, he can no longer discover himself and develop.”
Latman notes that David develops his personality, largely depending on the circumstances and the people around him. David's misjudgment of his friends is his first episode of trial and error, to which he finds a solution at the end, but this is only the beginning, after which he will face another key incident of choosing a wife; the choice between the one he loves and the one who loves him. David's trial and error process in finding a wife is largely due to his early loss of love. David's first experience occurred in childhood, when he was forced to lose his ideal personal life and go in search of a new one. The parallel between the search for love and his pursuit of a writing career makes David very close to discovering his own existence according to bildungsroman's concepts. John Lucas suggests that David Copperfield's story is characterized by a "sense of inevitability.".. time that defines human life together "shamovaks".⁴
According to Lucas, the "rhythms of time "are an inevitable consequence of"consistent patterns that convince us of a continuous process of loss and renewal, change and continuity." Usually, the structure of his high and low situations emphasizes thethe moment of time, for example, when David loses his mother and her love, but then finds his aunt, his Lost Love returns. When David marries Agnes after Dora's death, his life changes once again. All these components of his life contribute to David's story in a fictional biography full of changes and continuity. Generally speaking, the ability to interact with or learn from other experienced characters reflects David's character as an ordinary person, and it is a universal force that stabilizes his presence in the growth process. David begins his early stages and he acknowledges his childhood incompetence, even in his memoirs: “I could observe, so to speak, in pieces; but as for making a net out of a few of these pieces and catching someone in it, it was still beyond me.” He declares his need to try to “better understand himself and become a better person.” Hillis Miller suggests that “David, in a childhood full of neglect and mistreatment, was acutely aware of a gap in his being.”
He is aware of this situation when he lacks the knowledge to build his inner being. David confirms his attitude to the fact that he is nobody; “what a gap I seemed not to pay attention to everything, but I was on the way of everyone. Thus, he must form an identity for himself and enter a stage of maturity by filling his relationship with "several of these passages" with other memories. Miller's degree of control over David's relationships with other people represents a bridge that connects David to other characters.
As Miller points out, interacting with other characters is very important because "in this way, David's life is about looking for a relationship with another person, filling the void inside him and giving him the personality he needs." David cannot exclude himself from Miller's statements about this in any way. In general, his intimate relationships with characters such as his mother, the maid Peggotty and his aunt Betsy will be discussed, as they play an important role in his upbringing. The story of David's communication with other people can be illustrated by the example of his search for a suitable relationship. Apparently, this search is based on the method of 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 get married when both are young and naive, especially Dora, who is just a spoiled child, deprived of the ability to “support him and improve". She is unable to do anything and leaves David with anxiety to worry about their family. His aunt recognizes this sentimental love as an ineffective kind of love that will bring “so much suffering”, and she views this love as “blind, blind, blind!” attachment. David marries Dora, earning his aunt's disapproval, only because he is in love with her, not knowing that love alone can lead him to ruin. Their marital status, as a result of the fact that all the burden falls only on David, worsens, and, even worse, David cannot find any help in reading his works. After Dora's death, David realizes that he still can't control his heartHis success in completing the heroic quest seems to have collapsed when this disaster happened. The lack of true love inevitably tempts David to look for another woman who suits his wife. E. K. Brown suggests that"the theme of mistaken Love follows it and gives a thread to the middle part of the novel."
Eventually, she finds Agnes, who surpasses Dora's abilities; Agnes is able to do her homework and also has the spirit to help David read and comment on her work. The opposite roles of these two characters show that David is in search of a woman of the Victorian era, who in all respects meets the norms of society and at the same time is capable of doing business in the new world of the Victorian period, for example, Agnes can read David and comment onthis work. Of all the female characters, the main character in David's life is Agnes, whose role is important for his growth and development both before maturity and in terms of career. David meets Agnes when she enters Dr. Strong Academy and lives with Agnes ' father, Mr. Wickfield, before graduating from high school. First, he does not see kindness in Agnes ' nature; and Agnes loves him, but suppresses his love for David. She also supports him in everything he does, even in his meeting with Dora. Agnes embodies qualities not found in Dora.
He has the image of both an angel and a housekeeper:"next to him hung a small basket with keys; he seemed to be a decent and reserved housekeeper, as he could only be in the old house." Although he realizes his insignificance in the eyes of David, who sees nothing but his sister, Agnes is still sincerely worried about him. For example, she tries to convince him to beware of Steerforth's insidious nature when David shows affection for him, although she knows that David is unhappy with her advice. After the death of his first wife, the aunt advises him to return to Agnes. She follows his advice and learns that Agnes has been waiting for him all this time. This leads to a confusing and reluctant situation where David continues to marry Agnes, and she admits that there is "nothing left but to turn around and start over. It was very hard, but I turned back, albeit with a heavy heart, and began painstakingly and methodically plodding along the same tiresome ground at a snail's pace.”⁵
Agnes turns out to be the complete opposite of Dora, who knows neither about housekeeping nor about being a good wife. As for David's desire to contain his heart, Agnes acts here as a representative of a woman with a disciplined heart. When David marries her, his life becomes easier due to the convenience of marriage, he has more time to work on his work, and Agnes runs the household well and helps him read his works. The person who approves of her decision to live with Agnes is her aunt; during this time, he noticed and saw that David was good and suitable, but remained silent, respecting the decision of his nephew. After all the events with David, convince him that it is the angel figure that Agnes witnessed when she lived in his house. It is at this moment that the image becomes reality, because before it was just a seductive sight.
Dickens demands that David find a woman who will eventually help him move forward in life, meet his expectations and convince his aunt that he has reached the status of a mature Victorian man. Thanks to his two marriages, David learns about the true married life he needs and, more importantly, how to dispel his aunt's fears. Although his disapproval of his aunt's advice means his stubborn disobedience, it also means his inability to see what an experienced person can see. Thus, his inability to find his first worthy wife shows David and his immature stage, and when he realizes his disastrous decision, he enters a new stage of becoming an experienced David when he marries Agnes. As soon as David learns to understand his heart and dedicates himself to the right wife, he experiences a moment of epiphany in his life.
However, a crucial element in shaping David's view of the real world is his communication with other characters, regardless of who they are. In David's more realistic world, there is another form of mother and surrogate mother love, in this case existing in order to assert David's firmer position on existence. This kind of love is similar to how Dickens uses the identification of opposing characters to show how one form is superior to the other and how David controls his attitude towards them. This means that David strives not only for the tender love of the mother, but also for a complex relationship with his aunt, surrogate mother. It is not only the love of "giving and receiving" that shapes David's life as an essential element of his growth, but also the love he receives from his mother and the help he receives at home is another form of what he feels. It is believed that such love brings him more benefits, because, no matter what, he is still able to cultivate it without spending on the first kind of attachment. David reflects this attitude towards the first two, most important characters of his childhood, emphasizing their importance: "looking back, as I said, the first things that stand out from the emptiness of my infancy, from the confusion of things, are my mother and Peggoty."Thus, among the female characters of his life, David sees his innocent childhood love for his mother as the most prominent source that supports him psychologically and emotionally. However, Clara Copperfield takes only a few chapters of the novel. In the same way, it depicts a brief moment of childhood happiness when David appears as an angel in terms of his appearance and his love for him. However, in this story, her characteristics are dominated by traits of childlike spontaneity, fragility and helplessness, and not angelic kindness. David notices that her vulnerable trait makes her look comparatively like a “wax doll".
Clara's character is revealed when her aunt comes to her birth and meets her mother. Most of the conversation between the two focuses on Clara's childhood helplessness and confirms Miss Betsy's disapproval of her brother's marriage to David's mother due to his inadequacy and weakness. The weekend is over, and David can go back to school. As he is carried away, David sees his mother holding her baby in her arms and waving her arms. He does not know that this is the last time he will see any of them. In the middle of the semester, David is informed that his mother has died and will take him home. The funeral director takes him to his home, where David learns that his brother died a few days after his mother. After the death of his mother, David does not return to school. Mr. Murdstone and his sister don't care. They don't want to see it at all. Miss Murdstone fires Miss Peggotty and she leaves for her brother's house in Yarmouth. She takes David with her to visit. In Yarmouth, David finds little Emily older and prettier, but empty and shy. Peggotty and Ham talk about how much David liked Stirforth, a high school friend, and miss Peggotty marries Barkis, who drives the cart.
Soon after, Mr. David and Miss Murdstone return home to completely ignore him. When Mr. Quinion arrives for a business meeting with Mr. Murdstone, they arrange for David to go to London and work for his wine bottling company. There, David notices that most of the boys are rude and uneducated. They call him a little gentleman because of his manners and the fact that he never complains about hard work. David is sent to a boarding school with Mr. mickober, his wife and four children. Mr. mikober is a poor but noble man. He is sociable, but often complains to David about his financial problems. The more Mr. mikober and his wife become too absorbed in their suffering, the more they get drunk and feel happy. Soon Mr. Mikober's debts overtake him, and he ends up in a debt prison. There, Mr. Mikober begins to push his prisoners to destroy the institution, among them becoming a political figure. Soon Mr. Micawber's debts are paid off, and he is released from prison. Whenever the Micawbers decide to move to find a job, David decides to escape from the wine bottling plant and go to his Aunt Betsy. Once again, David was tricked out of his money. David is further robbed by the man to whom he sells his clothes, and insulted by fellow travelers when he goes to his aunt. When David finally arrives at his aunt's house, she tries to drive him away. But before she does, she consults with Mr. Dick, a boarder who lives upstairs in her house. He advises her to clean up a little at David's, and then make a decision. All the time she's cleaning up after him, Miss Betsy lets him know that if he was a girl, he wouldn't have done so many stupid things.
It turns out that Agnes is the complete opposite of Dora, who has no idea about housekeeping or how to be a good wife. As for the fact that David seeks to curb his heart, Agnes stands here as a representative of a woman with a disciplined heart. When David marries her, his life becomes easier, thanks to such convenience in marriage that he has more time to work on his work, and Agnes keeps house perfectly and helps him read his works. The person who approves of his decision to live his life with Agnes is his aunt; all this time she watched and saw what was good and suitable for David, but kept silent out of respect for her nephew's decision. After all these events happening to David, convince him that Agnes is an angelic figure that he witnessed when he lived in her house. And it is at this moment that the image becomes complete in reality, because before it was just a tempting image.
Dickens demands that David eventually find a woman who will help him make progress in life, meet his expectations and convince his aunt that he has reached the status of a mature Victorian man. It is through his two marriages that David learns about the true married life that he needs, and, more importantly, how to dispel his aunt's fears. Although his disagreement with his aunt's advice means his persistent disobedience, it also implies his inability to see what an experienced person can see. Thus, his inability to find his first suitable wife reflects David and his immature stage, and when he realizes his disastrous decision, he moves on to a new phase of becoming an experienced David when he marries Agnes. As soon as David learns to understand his heart and dedicates himself to the right wife, he will experience a moment of epiphany in his life.⁶
However, a crucial element in shaping David's view of the real world is his communication with other characters, regardless of who they are. In David's more realistic world, there is another form of maternal and surrogate maternal love, in this case existing in order to assert David's firmer position towards existence. This kind of love is similar to how Dickens uses juxtaposition of contrasting characters to show how much one form is superior to the other, and how David copes with his attitude towards them. Consequently, David strives not only for tender maternal love, but also for a more complex relationship with his aunt, his surrogate mother. There is not only the give-and-take love that shapes David's life as an important element of his growth, but also the love he receives from his mother and help around the house is another form he experiences. It is believed that such love brings him more benefits, because, no matter what, he is still able to cultivate it without spending money on the first kind of attachment. David reflects a similar attitude towards the first two, the most important characters of his childhood throughout his childhood, noting their significance: “Looking back, as I said, into the emptiness of my infancy, the first objects that I can remember as standing out by themselves from the confusion of things are my own mom and Peggotty.”Thus, among the female characters in his life, David regards his innocent childhood love for his mother as the most outstanding source that supports him psychologically and emotionally. However, Clara Copperfield occupies only a few chapters in the novel. In the same way, she embodies a brief moment of childhood happiness for David, when she appears in the image of an angel, in terms of her appearance and tenderness for him. However, in this story, her characteristics are dominated by traits of childlike spontaneity, fragility and helplessness, and not angelic kindness. David notices that her vulnerable character trait makes her look comparatively like a “wax doll".
Clara's character is revealed when his aunt arrives at his birth and confronts his mother. Much of the conversation between them highlights Clara's childish helplessness and confirms Miss Betsy's disapproval of her brother's marriage to David's mother on the grounds of her inadequacy and weaknesses. Finally, the holidays are over, and David can go back to school. As he is being led away, David sees his mother holding her baby in her arms and waving at him. He has no idea that this will be the last time he sees any of them. In the middle of the semester, David is informed that his mother has died, and he is taken home. The funeral director takes him to his home, where David learns that his younger brother died a few days after his mother. After the death of his mother, David does not return to school. Mr. Murdstone and his sister pay no attention to him. They don't want to see him at all. Miss Murdstone dismisses Miss Peggotty and she leaves for her brother's house in Yarmouth. She takes David with her to visit. In Yarmouth, David finds little Emily older and prettier, but vain and shy. Peggotty and Ham talk about how much they liked David's school friend Steerforth, and Miss Peggotty marries Barkis, a man who drives a cart.
Too soon, David returns home only to be completely neglected by Mr. and Miss Murdstone. When Mr. Quinion arrives for a business meeting with Mr. Murdstone, they arrange for David to go to London and work for his wine bottling company. There, David notices that most of the boys are rude and uneducated. They call him the little gentleman because of his manners and the fact that he never complains about hard work. David is sent to boarding school with Mr. Micawber, his wife and four children. Mr. Micawber is a poor but noble man. He is sociable, but often complains to David about his financial problems. Whenever Mr. Micawber and his wife are too absorbed in their sorrows, they get drunk and feel happier. Soon Mr. Micawber's debts overtake him, and he ends up in debtors' prison. While there, Mr. Micawber begins to incite his cellmates to liquidate the institution, becoming a political figure among them.
Soon Mr. Micawber's debts are paid off, and he is released from prison. Whenever the Micawbers decide to move in search of work, David decides to escape from the wine bottling plant and go to his Aunt Betsy. Once again, David was tricked out of his money. This time by the boy he hires to help him move the trunk. The boy steals all his money and possessions, leaving David destitute. He is forced to sell some of his clothes to buy food. David is further robbed by a man to whom he sells his clothes, and insulted by fellow travelers when he goes to his aunt. When David finally arrives at his aunt's house, she tries to drive him away. But before she does, she consults with Mr. Dick, a boarder who lives upstairs in her house. He advises her to clean up a little at David's and then make a decision. All the time she's cleaning up after him, Miss Betsy lets him know that if he was a girl, he wouldn't have done so many stupid things.

3.