PREFACE TO THE THIRD EDITION

“Some of the author’s friends cried, ‘Lookee, gendemen, the man is a villain; but it is Nature for all that’; and the young critics of the age, the clerks, apprentices, etc., called it low, and fell a-groaning.”—FIELDlNG.¹

The greater part of this tale was originally published in a mag azine. When I completed it, and put it forth in its present form three years ago, I full expected it would be objected to on some very high moral grounds in some very high moral quarters. The result did not fail to prove the justice of my anticipations.

I embrace the present opportunity of saying a few words in explanation of my aim and object in its production. It is in some sort a duty with me to do so, in gratitude to those who sympathized with me and divined my purpose at the time, and who, perhaps, will not be sorry to have their impression confirmed under my own hand.

It is, it seems, a very coarse and shocking circumstance that some of the characters in these pages are chosen from the most criminal and degraded of London’s population, that Sikes is a thief and Fagin a receiver of stolen goods, that the boys are pick-pockets and the girl is a prostitute.

I confess I have yet to learn that a lesson of the purest good may not be drawn from the vilest evil. I have always believed this to be a recognized and established truth, laid down by the greatest men the world has ever seen, constantly acted upon by the best and wisest natures, and confirmed by the reason and experience of every thinking mind. I saw no reason, when I wrote this book, why the very dregs of life, so long as their speech did not offend the ear, should not serve the purpose of a moral at least as well as its froth and cream. Nor did I doubt that there lay festering in Saint Giles’ as good materials towards the truth as any flaunting in Saint James’s.²

In this spirit, when I wished to show in little Oliver the principle of Good surviving through every adverse circumstance and triumphing at last, and when I considered among what companions I could try him best—having regard to that kind of men into whose hands he would most naturally fall—I bethought myself of those who figure in these volumes. When I came to discuss the subject more maturely with myself, I saw many strong reasons for pursuing the course to which I was inclined. I had read of thieves by scores—seductive fellows (amiable for the most part), faultless in dress, plump in pocket, choice in horseflesh, bold in bearing, fortunate in gallantry, great at a song, a bottle, pack of cards or dice-box, and fit companions for the bravest. But I had never met (except in Hogarth) with the miserable reality.³It appeared to me that to draw a knot of such associates in crime as really do exist; to paint them in all their deformity, in all their wretchedness, in all the squalid poverty of their lives; to show them as they really are, for ever skulking uneasily through the dirtiest paths of life, with the great, black, ghastly gallows closing up their prospects, turn them where they may—it appeared to me that to do this would be to attempt a something which was greatly needed and which would be a service to society. And therefore I did it as I best could.

In every book I know, where such characters are treated of at all, certain allurements and fascinations are thrown around them. Even in the Beggar’s Opera, the thieves are represented as leading a life which is rather to be envied than otherwise; while Macheath,^awith all the captivations of command, and the devotion of the most beautiful girl and only pure character in the piece, is as much to be admired and emulated by weak beholders as any fine gentleman in a red coat who has purchased, as Voltaire^bsays, the right to command a couple of thousand men or so and to affront death at their head. Johnson’s question, whether any man will turn thief because Macheath is reprieved, seems to me beside the matter.

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[Literature] Charles Dickens: Oliver Twist #1/214