Charles John Huffam Dickens (; 7 February 1812 - 9 June 1870) was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era. His works enjoyed unprecedented popularity during his lifetime, and by the 20th century critics and scholars had recognised him as a literary genius.

As a young man Dickens expressed a distaste for certain aspects of organized religion. In 1836, in a pamphlet titled Sunday Under Three Heads, he defended the people's right to pleasure, opposing a plan to prohibit games on Sundays. "Look into your churches- diminished congregations and scanty attendance. People have grown sullen and obstinate, and are becoming disgusted with the faith which condemns them to such a day as this, once in every seven. They display their feeling by staying away [from church]. Turn into the streets [on a Sunday] and mark the rigid gloom that reigns over everything around"  Dickens honoured the figure of Christ--though some claim he may have denied his divinity. Notwithstanding, Dickens has been characterized as a professing Christian. His son, Henry Fielding Dickens, described Dickens as someone who "possessed deep religious convictions". In the early 1840s Dickens had shown an interest in Unitarian Christianity, and Robert Browning remarked that "Mr. Dickens is an enlightened Unitarian." Writer Gary Colledge, however, asserted that he "never strayed from his attachment to popular lay Anglicanism". He also wrote a religious work called The Life of Our Lord (1849), which was a short book about the life of Jesus Christ, written with the purpose of inculcating his faith to his children and family.  Dickens disapproved of Roman Catholicism and 19th-century evangelicalism, and was critical of what he saw as the hypocrisy of religious institutions and philosophies like spiritualism, all of which he considered deviations from the true spirit of Christianity. Leo Tolstoy and Fyodor Dostoyevsky referred to Dickens as "that great Christian writer".  On 8 June 1870, Dickens suffered another stroke at his home after a full day's work on Edwin Drood. He never regained consciousness, and the next day, five years to the day after the Staplehurst rail crash, he died at Gads Hill Place. Biographer Claire Tomalin has suggested Dickens was actually in Peckham when he suffered the stroke, and his mistress Ellen Ternan and her maids had him taken back to Gad's Hill so the public would not know the truth about their relationship. Contrary to his wish to be buried at Rochester Cathedral "in an inexpensive, unostentatious, and strictly private manner", he was laid to rest in the Poets' Corner of Westminster Abbey. A printed epitaph circulated at the time of the funeral reads:  To the Memory of Charles Dickens (England's most popular author) who died at his residence, Higham, near Rochester, Kent, 9 June 1870, aged 58 years. He was a sympathiser with the poor, the suffering, and the oppressed; and by his death, one of England's greatest writers is lost to the world.  His last words were: "On the ground", in response to his sister-in-law Georgina's request that he lie down. On Sunday, 19 June 1870, five days after Dickens was buried in the Abbey, Dean Arthur Penrhyn Stanley delivered a memorial elegy, lauding "the genial and loving humorist whom we now mourn", for showing by his own example "that even in dealing with the darkest scenes and the most degraded characters, genius could still be clean, and mirth could be innocent". Pointing to the fresh flowers that adorned the novelist's grave, Stanley assured those present that "the spot would thenceforth be a sacred one with both the New World and the Old, as that of the representative of literature, not of this island only, but of all who speak our English tongue."  In his will, drafted more than a year before his death, Dickens left the care of his PS80,000 estate to his longtime colleague John Forster and his "best and truest friend" Georgina Hogarth who, along with Dickens's two sons, also received a tax-free sum of PS8,000 (about PS800,000 in present terms). Although Dickens and his wife had been separated for several years at the time of his death, he provided her with an annual income of PS600 and made her similar allowances in his will. He also bequeathed PS19 19s to each servant in his employment at the time of his death.  Dickens favoured the style of the 18th-century picaresque novels that he found in abundance on his father's shelves. According to Ackroyd, other than these, perhaps the most important literary influence on him was derived from the fables of The Arabian Nights.  His writing style is marked by a profuse linguistic creativity. Satire, flourishing in his gift for caricature, is his forte. An early reviewer compared him to Hogarth for his keen practical sense of the ludicrous side of life, though his acclaimed mastery of varieties of class idiom may in fact mirror the conventions of contemporary popular theatre. Dickens worked intensively on developing arresting names for his characters that would reverberate with associations for his readers, and assist the development of motifs in the storyline, giving what one critic calls an "allegorical impetus" to the novels' meanings. To cite one of numerous examples, the name Mr. Murdstone in David Copperfield conjures up twin allusions to "murder" and stony coldness. His literary style is also a mixture of fantasy and realism. His satires of British aristocratic snobbery--he calls one character the "Noble Refrigerator"--are often popular. Comparing orphans to stocks and shares, people to tug boats, or dinner-party guests to furniture are just some of Dickens's acclaimed flights of fancy.  The author worked closely with his illustrators, supplying them with a summary of the work at the outset and thus ensuring that his characters and settings were exactly how he envisioned them. He briefed the illustrator on plans for each month's instalment so that work could begin before he wrote them. Marcus Stone, illustrator of Our Mutual Friend, recalled that the author was always "ready to describe down to the minutest details the personal characteristics, and ... life-history of the creations of his fancy".

Answer the following question by taking a quote from the article: what did critics like about his style?
An early reviewer compared him to Hogarth for his keen practical sense of the ludicrous side of life,