• Share on Tumblr

‘Mr Sempronius Gattleton as Othello’, from ‘Mrs Joseph Porter’, illustration by George Cruikshank

Dickens turns 205 today. The birthday of a Victorian author, even one as famous as Dickens, may not seem an obvious day of reflection for Shakespeareans, but Dickens himself was an ardent Shakespearean. He himself celebrated Shakespeare’s birthday each year, and it is only fair that the favour be returned. There are numerous avenues to discuss of Dickens’s love for Shakespeare – his contribution to the birthplace, his acting in several productions of Renaissance plays, or his frequent use of Shakespearean quotation, plot and themes in his writing. What I want to focus on here is perhaps his most direct Shakespearean adaptation: the play O’Thello.

Very little survives of this amateur dramatic piece, written when Dickens was in his early twenties and only beginning to get his shorter pieces printed in the press. His father, John Dickens, was cast in the role of the Doge, referred to throughout as ‘The Great Unpaid’ as a nod to John’s own frequent financial difficulties. True to form, in later years as his son’s fame grew, John Dickens turned that to his advantage by selling off individual pages of his script for O’Thello. All that we have today therefore is a resulting incomplete selection of his script acquired in this way, made even more fragmentary as it is a cue script. Thus each page gives John’s lines in full, with only the final words of any preceding speeches to cue him in.

What we do know is that the play was clearly a burlesque – a parody of Shakespeare’s original with frequent references to drink. Such adaptations of Shakespeare’s plays were popular in the nineteenth century. To best illustrate the tone of the play, take the following song, which John’s script records in full, to be sung by The Great Unpaid (the Doge), E Argo, Desdemona and Dull Mike (Cassio):


GU      Bring the porter in the pewter

And be sure they draw it mild


E argo If he suspects his wife he’ll shoot her

And I am for vengeance wild


Cass     Let’s be happy

Lots of baccy

Let the cheerful smoke abound


Desd    Dancing Lightly

Gaily Sprightly

Let the merry song go round


GU      Right fal la ral la ral lide


E argo  Right fal la ral liddle dol de


Caa      Right fal la ral la ral lide


Desd    Right fal la ral liddle dol de


Cho:    Right fal la ral de


It’s not exactly Shakespeare; but nor is it quite what Dickensians would expect from their author either. It is important to note that this is an unpublished play, intended for private performance between Dickens and his family. If anything then it shows Dickens with his guard down, not striving for perfection in his written work but happy to aim for silliness, and it is telling that this play was written around the same time as Dickens’s short fictional sketch ‘Mrs Joseph Porter’ (first published in January 1834 as ‘Mrs Joseph Porter “Over the Way”’). In the play an amateur performance of Othello quickly descends into farce, with Iago playing his part in wellington boots, Roderigo has a tall hat that keeps knocking against scenery, and an enthusiastic audience member continuously shouts out corrections whenever lines are misread, John’s manuscript dates Dickens’ play as 1833, but increasingly Dickensian scholars have challenged this assumption, pointing to the one reference Dickens makes to it in a letter of April 1834 and suggesting the mistake is on John’s part, and that the play was actually written after Mrs Joseph Porter, to celebrate Shakespeare’s birthday. The significance of this ordering is that the comic fiction inspires an actual play, rather than the play inspiring a short story about a disastrous performance. If we think O’Thello comes first, as John suggests, then the resulting narrative would be Dickens writing a play about Othello, and then later using some of that experience in his fictional sketch, suggesting in turn that the play was not a complete success. But, if we assume ‘Mrs Joseph Porter’ came first, and that having written of a disastrous performance Dickens decides to write his own nonsense version of Othello, then it gives Dickens more self-awareness in the script, writing his play with full awareness of potential pitfalls and pranks, but cheerfully doing so regardless. Burlesques such as these mocked the actors as much as the plays. It should not be read, therefore, simply as Dickens parodying Shakespeare. Far from it. Shakespeare was a familiar source and friend that could be used thus as a mirror for Dickens, and his family, to parody themselves.


Check out our posts from the 200th birthday : Shakespeare Salutes Dickens Part One, Part Two, Part Three


The views expressed in this post are the author’s own.

Tags: , , , , , , , , , , , ,

Author:Pete Orford

Pete's doctoral thesis followed and challenged the development of the history cycle on the English stage. Most recently he has published several books and articles on Charles Dickens and the lesser-known author Fitz-James O'Brien; a full profile of his research and publications can be found at http://bham.academia.edu/PeteOrford

Download a free book written by Paul Edmondson and Stanley Wells about Shakespeare, Conspiracy & Authorship. Download the Book.


24 brilliant poems, inspired by Shakespeare's life and art, bound in an artisan stitched chapbook

get your copy now