Abstract
The idea of comedy inherited by Dickens and his contemporaries derived from classical, medieval, and Renaissance traditions, in which comedy dealt with 'low-life' subjects and exposed the 'ludicrous' in human actions, but which also allowed for happy endings, rewards for the virtuous, punishments for 'bad' characters, and, following the Shakespearian model, the celebration of human love. This essay argues that although Dickens was sometimes dismissed as a humorist by Victorian critics, his work should be seen in the mainstream of the English tradition of comic fiction. "Oliver Twist" and "Great Expectations" are explored in the light of these arguments.
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