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His eye brings in almost too rich a harvest for him to deal with, and gives him an aloofness and a hardness which freeze his sentimentalism and make it seem a concession to the public, a veil thrown over the penetrating glance which left to itself pierced to the bone. With such a power at his command Dickens made his books blaze up, not by tightening the plot or sharpening the wit, but by throwing another handful of people on the fire.
--
Virginia Woolf, "David Copperfield" (1925), The Moment and Other Essays (1947).

 

Charles Dickens

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Persecution of powerless or power-losing groups may not be a very pleasant spectacle, but it does not spring from human meanness alone. What makes men obey or tolerate real power and, on the other hand, hate people who have wealth without power, is the rational instinct that power has a certain function and is of some general use. Even exploitation and oppression still make society work and establish some kind of order. Only wealth without power or aloofness without a policy are felt to be parasitical, useless, revolting, because such conditions cut all the threads which tie men together. Wealth which does not exploit lacks even the relationship which exists between exploiter and exploited; aloofness without policy does not imply even the minimum concern of the oppressor for the oppressed.

 

Hannah Arendt

 

The art of Dickens was the most exquisite of arts: it was the art of enjoying everybody. Dickens, being a very human writer, had to be a very human being; he had his faults and sensibilities in a strong degree; and I do not for a moment maintain that he enjoyed everybody in his daily life. But he enjoyed everybody in his books: and everybody has enjoyed everybody in his books even till to-day. His books are full of baffled villains stalking out or cowardly bullies kicked downstairs. But the villains and cowards are such delightful people that the reader always hopes the villain will put his head through a side window and make a last remark; or that the bully will say one more thing, even from the bottom of the stairs. The reader really hopes this; and he cannot get rid of the fancy that the author hopes so too.

 

Charles Dickens

 

Everything made is made either by art or by a physical process or according to some power. Now in art or nature the maker must needs be prior to the made: but the maker, according to power, constitutes the made absolutely together with itself, since its power is inseparable from it; as the sun makes light, fire makes heat, snow makes cold.
Now if the Gods make the world by art, they do not make it be, they make it be such as it is. For all art makes the form of the object. What therefore makes it to be?

 

Sallustius (or Sallust)

 

Any public committee man who tries to pack the moral cards in the interest of his own notions is guilty of corruption and impertinence. The business of a public library is not to supply the public with the books the committee thinks good for the public, but to supply the public with the books the public wants. … Censorship ends in logical completeness when nobody is allowed to read any books except the books that nobody can read. But as the ratepayer is mostly a coward and a fool in these difficult matters, and the committee is quite sure that it can succeed where the Roman Catholic Church has made its index expurgatorius the laughing-stock of the world, censorship will rage until it reduces itself to absurdity; and even then the best books will be in danger still.

 

George Bernard Shaw

 

Why do the characters in Jane Austen give us a slightly new pleasure each time they come in, as opposed to the merely repetitive pleasure that is caused by a character in Dickens? Why do they combine so well in a conversation, and draw one another out, without seeming to do so, and never perform? The answer to this question can be put in several ways; that, unlike Dickens, she was a real artist, that she never stooped to caricature, etc. But the best reply is that her characters, though smaller than his, are more highly organized. They function all round, and even if her plot made greater demands on them than it does, they would still be adequate.

 

Jane Austen