Charles dickens and oliver twist

Conclusion
Based on the foregoing, it can be argued that Charles Dickens is one of the founders of the realistic method, whose work had a significant impact on the development of realism not only in English, but also in European literature in general, and in Russia in particular.
Already in his early works (beginning with the novel "Oliver Twist") the writer defines the realistic task of his work - to show the "bare truth", mercilessly exposing the shortcomings of the contemporary social order. Therefore, a kind of message to the novels of Dickens are the phenomena of social life. So in "Oliver Twist" was written after the passage of the law on workhouses.
But in his works, along with realistic pictures of modern reality, there are also romantic motifs. This is especially true for early works, such as the novel Oliver Twist. Dickens tries to resolve social contradictions through reconciliation between social strata. He grants happiness to his heroes through the "good money" of certain benefactors. At the same time, the characters retain their moral values.
At a later stage of creativity, romantic tendencies are replaced by a more critical attitude towards reality, the contradictions of contemporary society are highlighted by the writer more sharply. Dickens comes to the conclusion that “good money” alone is not enough, that well-being not earned, but acquired without any effort, distorts the soul of a person. What happens to the main character of the novel "Great Expectations". He is also disappointed in the moral foundations of the wealthy part of society.
Already in the early works of Dickens, the characteristic features of his realism are formed. In the center of the work is usually the fate of one hero, whose name the novel is most often named (“Oliver twist”, “Nicholas Nickleby ”, “David Copperfield ”, etc.), so the plot often has a “family character”. But if at the beginning of the creative path the novels most often ended with a “family idyll”, then in later works the “family” plot and the “happy ending” openly give way to the leading role of a socially realistic picture of a wide range.
A deep awareness of the internal gap between the world desired and the world that exists is behind ­Dickensian predilection for playing with contrasts and romantic mood swings - from harmless humor to sentimental pathos, from pathos to irony, from irony back to realistic description. At a later stage of Dickens' work, these superficially romantic attributes for the most part disappear or take on a different, more gloomy character.
Dickens is wholly immersed in the ­concrete being of his time. This is his greatest strength as an artist. His fantasy is born, as it were, in the depths of empiricism, the creations of his imagination are so dressed in flesh that it is difficult to distinguish them from genuine casts of reality.
Like the best realist writers of his time, whose interests went deeper than the outer ­side of phenomena, Dickens was not satisfied with simply stating the randomness, "accident" and injustice of modern life and yearning for an obscure ideal. He inevitably approached the question of the internal laws of this chaos, of those social laws that nevertheless govern it.
Only such writers deserve the title of ­true realists of the 19th century, with the courage of real artists mastering new life material.