Pickwick is in Dickens’s career the mere mass of light before the creation of sun or moon. It is the splendid, shapeless substance of which all his stars were ultimately made. You might split up Pickwick into innumerable novels as you could split up that primeval light into innumerable solar systems. The Pickwick Papers constitute first and foremost a kind of wild promise, a pre-natal vision of all the children of Dickens. He had not yet settled down into the plain, professional habit of picking out a plot and characters, of attending to one thing at a time, of writing a separate, sensible novel and sending it off to his publishers. He is still in the youthful whirl of the kind of world that he would like to create. He has not yet really settled what story he will write, but only what sort of story he will write. He tries to tell ten stories at once; he pours into the pot all the chaotic fancies and crude experiences of his boyhood; he sticks in irrelevant short stories shamelessly, as into a scrap-book; he adopts designs and abandons them, begins episodes and leaves them unfinished; but from the first page to the last there is a nameless and elemental ecstasy — that of the man who is doing the kind of thing that he can do. Dickens, like every other honest and effective writer, came at last to some degree of care and self-restraint. He learned how to make his dramatis personæ assist his drama; he learned how to write stories which were full of rambling and perversity, but which were stories. But before he wrote a single real story, he had a kind of vision. It was a vision of the Dickens world — a maze of white roads, a map full of fantastic towns, thundering coaches, clamorous market-places, uproarious inns, strange and swaggering figures. That vision was Pickwick.
— Appreciations and Criticisms of the Work of Charles Dickens (1911).