Arguably Dickens’ most famous work, “A Christmas Carol” packs a stunning archetypal power – a relatability without expiration date – that transcends culture and time. Its heavyweight power to charm, chill, and awe has made it one of the most adapted pieces of literature: in over 200 films, audio dramas, and stage plays, a dozen unique musicals, countless cartoons, four operas, three ballets, and plenty of cheeky commercials. What is it about Scrooge’s cathartic redemption that has made this seasonal novella surpass “David Copperfield,” “Great Expectations,” and “Bleak House” in popularity?
High-brow critics may cringe at the mention of its supremacy among Dickens’ works, but it is not his most adored story for nothing: it speaks to universal urges and illustrates the Jungian “Hero’s Journey” in an almost biblical manner. We see a ruined, damned sinner summoned forth by supernatural powers, cross the barriers of space and time, return to the touchstone of his emotional retardation, experience the healing balm of memory, feel emotions unfelt for decades, be broken down through self-awareness, be cast into the darkness of despair, repent of his past behavior, plead for unmerited mercy, receive it, be resurrected from despair and made anew, return to the beginning of his journey empowered with a new perspective, and transform the world around him with his newfound heart.
It is as archetypal as “The Odyssey” or “The Inferno,” and its seasonal nature causes its recitation to be a yearly ritual for much of the human race. Every December, people religiously watch George C. Scott, Alistair Simms, Michael Caine, Albert Finney, Patrick Stewart, Scrooge McDuck, and Mr. Magoo undergo the grueling transformation from nihilistic cynic to grateful humanitarian. While it may strike some readers as sentimental (it is Dickens, after all), it clearly accomplishes what good art is intended to: trigger a deep, personal reaction in the hearts and minds of its consumers.
D I C K E N S' I N F L U E N C E S
The story itself is built on a variety of Dickens’ greatest literary influences – Washington Irving and E. T. A. Hoffmann chief among them – and acts as an apotheosis of some of his own lesser, earlier stories. Irving’s “Old Christmas” sequence from “The Sketch Book” depicted an old fashioned English Yuletide festival hosted by the rotund, charitable Squire Bracebridge (whose boisterous love of fellowship is borrowed in Fezziwig). Irving’s outdated appreciation for this campy, rambunctious type of Christmas celebration – which hadn’t been fashionable since the English Civil War – touched Dickens’ sensibilities with its displays of community and charity. Working together on opposite sides of the Atlantic, both Dickens and Irving would ultimately be responsible for the creation of the modern Christmas celebration.
Hoffmann’s holiday stories (including the unforgettably creepy “The Nutcracker and the Mouse-King” and the psychedelic, erotic “New Year’s Eve Adventure”) often involved a character stepping out of the ordinary world of self-deception and entering into one of supernatural clarity, led by strange guides, grotesque spirits, or eccentric outsiders. One of his best tales, “The Golden Flower Pot,” even provided Dickens with one of the “Carol’s” most memorable scenes when Hoffmann’s bumbling protagonist is knocked off his feet after watching a doorknocker morph into the glowing face of an evil witch. Marley’s manifestation, likewise, provides a very intentional herald of the many Hoffmannesque (viz. weirdly bizarre, mind-opening, and spiritually transformative) adventures to come.
Marley’s Ghost is the culmination of his early ghost stories – merging the visitation of Baron Koeldwethout’s weary, iron-clad phantom with the plot of “The Goblins Who Stole a Sexton,” (wherein goblins kidnap an old miser on Christmas Eve, shock him with visions of families in poverty, and transform his heart), with the whimsy and caustic social conscience of “The Lawyer and the Ghost,” with the charming characterizations and adventure of “The Ghosts of the Mail.” All four stories use supernatural experiences to force delusional characters to wake up and face reality.
G O T H I C S Y M B O L I S M
“A Christmas Carol” is most accurately cataloged as a moral parable, but within its richly symbolic prose lurk all the hallmarks of a classic English ghost story (in the unsettling style of J. Sheridan Le Fanu, Margaret Oliphant, and Amelia B. Edwards). It has a brooding, living, natural atmosphere that reflects the moral condition of the characters that inhabit it; a visceral sense of approaching comeuppance on the part of its protagonist; a slow-burning journey from arrogance to confusion to denial to dread to horror; and a Gothic house, Gothic atmosphere, and Gothic ghost which are each truly original yet beholden to the conventions of English Gothic literature.
As you revisit the story – which suffers from oversaturation and familiarity – I recommend that you try to pay attention to Dickens’ mastery of mood and atmosphere. It is a ghostly story from the first scene, with brown smog darkening the streets and smothering the streetlamps (as with any story of Irving or Hoffmann, we sense the imminent approach of some iconoclastic supernatural power).
T H E F O U R C R U C I A L M O T I F S
As you read through Dickens' prose, look out for four recurring symbols: Light (Awareness) and Warmth (Charity) versus Dark (Ignorance) and Cold (Want/Neediness). Whenever Scrooge’s vision is obscured by fog, darkness, or soot, we should be reminded of his unwillingness to confront the needs of others – which Dickens symbolizes with ice, frost, and bitter cold. Scenes of bright light, warm fires, and strong liquor do their best to offer Scrooge a vision of charitable awareness, just as scenes of feeble light, low fires, and cheap alcohol represent Hope holding on for dear life. The novella is one which deftly exposes many ghosts which we all find at our bedsides – the ghosts of shame and regret, which sear the heart and trouble the conscience.
Scrooge’s whole universe is haunted. The streets of London are invaded and obscured by the genius of Ignorance – the thick-boiling brown smog – and pinched bitterly by the genius of Want – the icy brine of frost that nips everything within sight. Dickens warns us well in advance that the supernatural and natural worlds are due to clash, both with his memorable opening line and with his personified elements ruling the city streets like a monopoly: the ignorant smog which hides light, creates anonymity, and prevents perspective, and the avaricious frost which squelches life, proliferates misery, and is felt universally regardless of class.
Marley’s appearance is the culmination of a haunting that has been occurring since the book’s first pages: London is haunted by Scrooge and Scrooges. We know of course that three spirits do follow – the Ghost of the Past who re-familiarizes Scrooge with his origins and innocence, the Ghost of the Present who acquaints Scrooge with the joys and tenderness of the common man, and the Ghost of the Future who haunts Scrooge with a promise of a miserable death and an infamous legacy – but we often forget that there are two more spirits.
At the conclusion of his visitation, the Ghost of Christmas Present pulls back his robe to reveal two animallike children – Scrooge’s – the taloned geniuses of Ignorance, upon whose forehead is written “doom,” and Want.
Scrooge in that moment understands that he has been the cause of far more haunting than he has experienced in the past three hours, and he understands to a degree, the shame and misery suffered by the damned Marley, whose heart is broken by his inability to intercede in the events of mankind, and who is ironically more of a man after becoming a ghost, having been more of a ghost than a man when alive (truly a crossbreeding of “Goblins” and “Lawyer and the Ghost”). A Christmas Carol, like most of its predecessors, was made to generate understanding and conversation around the dreadful conditions of the industrial and urban poor, and to plead for humanitarianism and universal goodwill.
T H E G H O S T O F C H R I S T M A S P A S T
The First Ghost is rarely depicted as Dickens’ described (it ranges from a ghostly CGI doll to an anthropomorphic candle; from a fussy, fashionable grandmother, to a female newsboy), but Dickens’ Spirit – with morphing, multiplying limbs, a jet of light atop its head, and an uncanny blending of age and youth – is meant to represent the shifting nature of memory. Visually, it is modelled after the German tradition of the Christkindl: the Christ Child who brings gifts to children on Christmas Eve (under the paternal supervision of Father Christmas) and who is usually depicted as a beautiful youth in a white robe.
Like this gift-giver of children, the Spirit of the Past comes to rouse and revive the child in Scrooge, using his light to expose the Scrooge’s latent memories. Remember that one of the two principle motifs in “A Christmas Carol” is the battle between Dark/Ignorance (represented in the novel by fog, smog, darkness, duskiness, lack of light) and Light/Awareness (represented by light from fires, candles, streetlamps, and the Spirit’s flaming crown).
This clearing out of Ignorance by the light of Awareness is the principle task of the spirits, and one executed primarily by the first of the three. Its assignment is to shine light on the repressed emotions and denied misery of Scrooge’s life. As they are about to step out of Scrooge’s window, the Spirit makes a comment that is usually left out by adaptations (they usually have the Spirit simply claim that by holding hands, they will fly): the Spirit asks Scrooge to let him – the Spirit – touch Scrooge’s heart, with the promise that if he allow the Past to touch his emotional center, he will “be upheld in more than this!”
This is the thesis of the First Ghost: allow the memories of the Past to inform (not to direct, but to influence) the choices of the Present – remember how you felt when you were vulnerable and poor – and sympathy will help you navigate life’s ethical conundrums.
T H E G H O S T O F C H R I S T M A S P R E S E N T