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The quasi-autobiographical novel tells the story of its namesake from his birth until nearing middle age. A deep and rich narrative of a boy growing into a man, it features accounts of all those significant milestones of such a life, including the first fistfight.
It is a summer evening, down in a green hollow, at the corner of a wall. I meet the butcher by appointment. I am attended by a select body of our boys; the butcher, by two other butchers, a young publican, and a sweep. The preliminaries are adjusted, and the butcher and myself stand face to face. In a moment the butcher lights ten thousand candles out of my left eyebrow. In another moment, I don’t know where the wall is, or where I am, or where anybody is. I hardly know which is myself and which the butcher, we are always in such a tangle and tussle, knocking about upon the trodden grass. Sometimes I see the butcher, bloody but confident; sometimes I see nothing, and sit gasping on my second’s knee; sometimes I go in at the butcher madly, and cut my knuckles open against his face, without appearing to discompose him at all. At last I awake, very queer about the head, as from a giddy sleep, and see the butcher walking off, congratulated by the two other butchers and the sweep and publican, and putting on his coat as he goes; from which I augur, justly, that the victory is his. [p. 231]
Just as it’s clear that Dickens himself had first-hand experience of such fisticuffs, he also knows too well what it’s like to imbibe beyond one’s limits, as Copperfield does here.
Somebody was smoking. We were all smoking. I was smoking, and trying to suppress a rising tendency to shudder. Steerforth had made a speech about me, in the course of which I had been affected almost to tears. I returned thanks, and hoped the present company would dine with me tomorrow, and the day after — each day at five o’clock, that we might enjoy the pleasures of conversation and society through a long evening. I felt called upon to propose an individual. I would give them my aunt. Miss Betsey Trotwood, the best of her sex!
Somebody was leaning out of my bedroom window, refreshing his forehead against the cool stone of the parapet, and feeling the air upon his face. It was myself. I was addressing myself as ‘Copperfield,’ and saying, ‘Why did you try to smoke? You might have known you couldn’t do it.’ Now, somebody was unsteadily contemplating his features in the looking-glass. That was I, too. I was very pale in the looking-glass; my eyes had a vacant appearance; and my hair — only my hair, nothing else — looked drunk.
Somebody said to me, ‘Let us go to the theatre, Copperfield!’ There was no bedroom before me, but again the jingling table covered with glasses; the lamp; Grainger on my right hand, Markham on my left, and Steerforth opposite — all sitting in a mist and a long way off. The theatre? To be sure. The very thing. Come along! But they must excuse me if I saw everybody out first, and turned the lamp off — in case of fire.
Owing to some confusion in the dark, the door was gone. I was feeling for it in the window-curtains, when Steerforth, laughing, took me by the arm and led me out. We went downstairs, one behind another. Near the bottom, somebody fell, and rolled down. Somebody else said it was Copperfield. I was angry at that false report, until, finding myself on my back in the passage, I began to think there might be some foundation for it. [p. 309]
Dickens’ ability to transition in a smooth literary and emotional gradient from light to dark is perhaps one of his greatest and most unique authorial talents.
She started from my side, and ran along a jagged timber which protruded from the place we stood upon, and overhung the deep water at some height, without the least defence. The incident is so impressed on my remembrance, that if I were a draughtsman I could draw its form here, I dare say, accurately as it was that day, and little Em’ly springing forward to her destruction (as it appeared to me), with a look that I have never forgotten, directed far out to sea.
The light, bold, fluttering little figure turned and came back safe to me, and I soon laughed at my fears, and at the cry I had uttered; fruitlessly in any case, for there was no one near. But there have been times since, in my manhood, many times there have been, when I have thought, Is it possible, among the possibilities of hidden things, that in the sudden rashness of the child and her wild look so far off there was any merciful attraction of her into danger, any tempting her towards him
permitted on the part of her dead father, that her life might have a chance of ending that day? There has been a time since when I have wondered whether, if the life before her could have been revealed to me at a glance, and so revealed as that a child could fully comprehend it, and if her preservation could have depended on a motion of my hand, I ought to have held it up to save her. There has been a time since — I do not say it lasted long, but it has been — when I have asked myself the question, Would it have been better for little Em’ly to have had the waters close above her head that morning in my sight? and when I have answered, Yes, it would have been. [pp. 35 − 36]
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