Without being Dickens, this narrator, Copperfield, is very like him and often becomes his spokesperson. It adds to his point of view, directly or indirectly, that of the author, without there necessarily being total match between the two. As such, Copperfield serves as "medium", mirror and also screen, Dickens sometimes subverting his speech to get to the forefront or, on the contrary, hide behind this elegant delegate to the nimble pen. Dickens' voice, however, is in general well concealed and, according to Gareth Cordery, the most difficult to detect because mostly present by implication.[51] To help hear his voice, he adds, it is advisable to turn to Phiz, whose illustrations bring a point of view which is not always in agreement with that of Copperfield. For example, in chapter 21, the two friends arrive by surprise at the Peggotty home, and Copperfield presents Steerforth to Emily at the very moment when her betrothal with Ham has just been announced. This sudden intrusion stops the girl as she has just jumped from Ham's arms to nestle in those of Mr Peggotty, a sign, says Cordery in passing, that the promise of marriage is as much for the uncle as for the nephew. The text remains brief but Phiz interprets, anticipates the events, denounces even the future guilt of Copperfield: all eyes are on the girl, her bonnet, emblem of her social aspirations and her next wanderings with Steerforth, is ready to be seized. Copperfield, dressed as a gentleman, stands in the doorway, one finger pointing at Steerforth who is taller by one head, the other measuring the gap between Ham and Dan Peggotty, as if offering Emily to his friend. Emily, meanwhile, still has her head turned to Ham but the body is withdrawn and the look has become both challenging and provocative. Phiz brings together in a single image a whole bunch of unwritten information, which Dickens approved and probably even suggested.[52]
Pero, como ya sucedía con la anterior 'La muerte de Stalin', en 'La increíble historia de David Copperfield', Armando Iannucci parece otorgar más atención a las partes, a los diferentes 'set-pieces' de aliento cómico que configuran el filme, que a la fuerza del conjunto general. Así, en su voluntad de no caer en la adaptación televisiva de 'qualité' y de narrativa lineal, la película acaba adoleciendo de un claro desequilibrio interior que provoca que avance de forma farragosa, que no alcance la fluidez esperada en un filme de vocación expansiva, vitalista y dinámica, con la cámara siempre en movimiento.
Ask one of your friend to write a 3 digit number (it should not be 012, which is a two digit number as the leading zero is not considered. Eg : 123 is a 3 digit number). Now tell him/her that, you are going to add few more numbers given by that person to the first number number and going to predict the answer before even the remaining numbers are told.
Dickens a través de toda la novela utiliza a los personajes y eventos a modo de comparación y contraste entre ellos en términos de sabiduría y disciplina. Una buena comparación es Agnes Wickfield y Dora Spenlow: Dora carece de madurez y es incapaz de manejar situaciones tensas, generalmente rompiendo en llanto, mientras Agnes permanece calma y segura de sí incluso en problemas, sometiéndose raras veces a sus emociones. Otra buena comparación es Ham Pegotty y el Sr. Pegotty, y la Sra. Steerforth y la Srta. Dartle: las últimas dos desesperan con la pérdida de Steerforth, permitiendo que ello las aflija por toda la vida, mientras que los dos primeros asumen la pérdida de Emily con dignidad y reserva. A pesar de la premisa de su trabajo, Dickens no le da a David Copperfield una sensación almidonada o artificial, haciendo de esta novela un despliegue máximo de su genialidad en acción.
