Editing David Copperfield (section)

===Theatricality===
Dickens went to the theatre regularly from an early age and even considered becoming an actor in 1832.{{sfn|Tomalin|2011|p=7}} "Many of the plays that he saw on the London stage in the 1820s and 1830s were [[melodrama]]s".<ref name=Worth1978p1>{{harvnb|Worth|1978|p=1}}</ref> There is a visual, theatrical—even cinematic—element in some scenes in ''David Copperfield''. The cry of Martha at the edge of the river belongs to the purest Victorian melodrama, as does the confrontation between Mr Peggotty and Mrs Steerforth, in chapter 32:

::I justify nothing, I make no counter-accusations. But I am sorry to repeat, it is impossible. Such a marriage would irretrievably blight my son's career, and ruin his prospects. Nothing is more certain than that, it never can take place, and never will. If there is any other compensation.<ref name=Dickens1985p378>{{harvnb|Dickens|1985|p=378}}</ref>

Such language, according to Trevor Blount, is meant to be said aloud. Many other scenes employ the same method: Micawber crossing the threshold, Heep harassing David in Chapter 17, the chilling apparition of Littimer in the middle of David's party in Chapter 27. The climax of this splendid series of scenes is the storm off Yarmouth, which is an epilogue to the menacing references to the sea previously, which shows Dicken's most intense virtuosity (chapter 55).

Dickens made the following comment in 1858: "Every good actor plays direct to every good author, and every writer of fiction, though he may not adopt the dramatic form, writes in effect for the stage".<ref>Charles Dickens, speaking at dinner for the Royal General Theatrical Fund, 19 March 1858.</ref>