Introduction chapter one. Analysis of charles dickens’s bleak house

CONCLUSION
Bleak House has probably generated more criticism than any other Dickens novel, an indication of its importance on academic reading lists. Several collections of criticism, edited by Jacob Korg (Twentieth-Century Interpretations of Bleak House, 1968), A. E. Dyson (1969), Harold Bloom (Bleak House: Modern Critical Interpretations, 1987), Eliott Gilbert (Critical Essays on Charles Dickens’s Bleak House, 1989), and Jeremy Tambling (Bleak House: Charles Dickens, New Casebooks, 1998), bring together many of the more important articles on the novel published over the last half century. Volume 19 of Dickens Studies Annual (1990) contains five articles on Bleak House, including one by Philip Collins, “Some Narrative Devices in Bleak House,” that addresses key critical issues in the novel. The Norton Critical Edition of the novel, edited by George Ford and Sylvere Monod (1977), includes some critical articles as well as useful background materials. There are also several books that discuss Bleak House at length: Robert Newsom’s Dickens on the Romantic Side of Familiar Things: Bleak House and the Novel Tradition (1977) analyzes the mixture of romantic and realistic elements in the novel as a way of describing Dickens’s work more broadly and his relation to the central tradition of the novel. Graham Storey (1987) and Norman Page (1990) survey backgrounds and the critical issues in the novel. Alexander Welsh (2000) provides an extended discussion of character relationships.
Much criticism of Bleak House focuses on its unique narrative structure: it is told both by a third-person omniscient narrator and a first-person narrator (Esther Summerson). The omniscient narrator speaks in the present tense and is a dispassionate observer. Esther Summerson tells her own story in the past tense (like David in David Copperfield or Pip in Great Expectations), and her narrative voice is characterised by modesty, consciousness of her own limits, and willingness to disclose to us her own thoughts and feelings. These two narrative strands never quite intersect, though they do run in parallel. Nabokov felt that letting Esther tell part of the story was Dickens's "main mistake" in planning the novel. Alex Zwerdling, a scholar from Berkeley, after observing that "critics have not been kind to Esther", nevertheless thought Dickens's use of Esther's narrative "one of the triumphs of his art"
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