Ahlamontada 
Early years
Charles Dickens was born on 7 February 1812, in Landport, Portsmouth, in Hampshire, the second of eight children to John Dickens (1786–1851), a clerk in the Navy Pay Office at Portsmouth, and his wife, Elizabeth (née Barrow, 1789–1863).[5] When he was five, the family moved to Chatham, Kent. In 1822, when he was ten, the family relocated to 16 Bayham Street, Camden Town, in London.
Ordnance Terrace, Chatham - Dickens's home from 1817 to 1822
Although his early years seem to have been an idyllic time, he thought himself then as a "very small and not-over-particularly-taken-care-of boy".[6] He spent time outdoors, but also read voraciously, with a particular fondness for the picaresque novels of Tobias Smollett and Henry Fielding. He talked, later in life, of his extremely poignant memories of childhood, and of his continuing photographic memory of the people and events that helped to bring his fiction to life. His family's early, moderate wealth provided the boy Dickens with some private education at William Giles' school, in Chatham. This time of prosperity came to an abrupt end, however, when his father, after having spent beyond his means in entertaining, and in retaining his social position, was imprisoned at Marshalsea debtor's prison. Shortly afterwards, the rest of his family (except for Charles, who boarded nearby), realizing no other option, joined him in residence at Marshalsea.[citation needed] This provided the setting of one of his works, 'Little Dorrit' in which the title character's father was imprisoned.
Just before his father's arrest, the 12-year-old Dickens had begun working ten-hour days at Warren's Blacking Warehouse, on Hungerford Stairs, near the present Charing Cross railway station. He earned six shillings a week pasting labels on jars of thick shoe polish. This money paid for his lodgings at the house of family friend, Elizabeth Roylance, and helped support his family. Mrs. Roylance, Dickens later wrote, was "a reduced old lady, long known to our family," and whom he eventually immortalized, "with a few alterations and embellishments," as "Mrs. Pipchin," in Dombey & Son. Later, lodgings were found for him in a "back-attic...at the house of an insolvent-court agent, who lived in Lant Street in the borough...he was a fat, good-natured, kind old gentleman...lame, with a quiet old wife; and he had a very innocent grown-up son, who was lame too"; these three were the inspiration for the Garland family in The Old Curiosity Shop.[7] The mostly unregulated, strenuous—and often cruel—work conditions of the factory employees (especially children), made a deep impression on Dickens. His experiences served to influence later fiction and essays, and were the foundation of his interest in the reform of socioeconomic and labour conditions, the rigors of which he believed were unfairly borne by the poor, in pre-Industrial-Revolution England.[citation needed]
As told to John Forster (from The Life of Charles Dickens):
The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old gray rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist.[7]
Charles Dickens was born on 7 February 1812, in Landport, Portsmouth, in Hampshire, the second of eight children to John Dickens (1786–1851), a clerk in the Navy Pay Office at Portsmouth, and his wife, Elizabeth (née Barrow, 1789–1863).[5] When he was five, the family moved to Chatham, Kent. In 1822, when he was ten, the family relocated to 16 Bayham Street, Camden Town, in London.
Ordnance Terrace, Chatham - Dickens's home from 1817 to 1822
Although his early years seem to have been an idyllic time, he thought himself then as a "very small and not-over-particularly-taken-care-of boy".[6] He spent time outdoors, but also read voraciously, with a particular fondness for the picaresque novels of Tobias Smollett and Henry Fielding. He talked, later in life, of his extremely poignant memories of childhood, and of his continuing photographic memory of the people and events that helped to bring his fiction to life. His family's early, moderate wealth provided the boy Dickens with some private education at William Giles' school, in Chatham. This time of prosperity came to an abrupt end, however, when his father, after having spent beyond his means in entertaining, and in retaining his social position, was imprisoned at Marshalsea debtor's prison. Shortly afterwards, the rest of his family (except for Charles, who boarded nearby), realizing no other option, joined him in residence at Marshalsea.[citation needed] This provided the setting of one of his works, 'Little Dorrit' in which the title character's father was imprisoned.
Just before his father's arrest, the 12-year-old Dickens had begun working ten-hour days at Warren's Blacking Warehouse, on Hungerford Stairs, near the present Charing Cross railway station. He earned six shillings a week pasting labels on jars of thick shoe polish. This money paid for his lodgings at the house of family friend, Elizabeth Roylance, and helped support his family. Mrs. Roylance, Dickens later wrote, was "a reduced old lady, long known to our family," and whom he eventually immortalized, "with a few alterations and embellishments," as "Mrs. Pipchin," in Dombey & Son. Later, lodgings were found for him in a "back-attic...at the house of an insolvent-court agent, who lived in Lant Street in the borough...he was a fat, good-natured, kind old gentleman...lame, with a quiet old wife; and he had a very innocent grown-up son, who was lame too"; these three were the inspiration for the Garland family in The Old Curiosity Shop.[7] The mostly unregulated, strenuous—and often cruel—work conditions of the factory employees (especially children), made a deep impression on Dickens. His experiences served to influence later fiction and essays, and were the foundation of his interest in the reform of socioeconomic and labour conditions, the rigors of which he believed were unfairly borne by the poor, in pre-Industrial-Revolution England.[citation needed]
As told to John Forster (from The Life of Charles Dickens):
The blacking-warehouse was the last house on the left-hand side of the way, at old Hungerford Stairs. It was a crazy, tumble-down old house, abutting of course on the river, and literally overrun with rats. Its wainscoted rooms, and its rotten floors and staircase, and the old gray rats swarming down in the cellars, and the sound of their squeaking and scuffling coming up the stairs at all times, and the dirt and decay of the place, rise up visibly before me, as if I were there again. The counting-house was on the first floor, looking over the coal-barges and the river. There was a recess in it, in which I was to sit and work. My work was to cover the pots of paste-blacking; first with a piece of oil-paper, and then with a piece of blue paper; to tie them round with a string; and then to clip the paper close and neat, all round, until it looked as smart as a pot of ointment from an apothecary's shop. When a certain number of grosses of pots had attained this pitch of perfection, I was to paste on each a printed label, and then go on again with more pots. Two or three other boys were kept at similar duty down-stairs on similar wages. One of them came up, in a ragged apron and a paper cap, on the first Monday morning, to show me the trick of using the string and tying the knot. His name was Bob Fagin; and I took the liberty of using his name, long afterwards, in Oliver Twist.[7]
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