Seven qualities of Dickensian fiction

Why am I not reading Bleak House? I am reading Bleak House! After many years - and after watching some years ago a great BBC series on BH, it's good to come back to the original, and let's see for a second what makes this work "Dickensian." First of all, the narrator is so distinct in style and observations, given to oratorical flourishes - similar to the most famous Best of times, worst of times in Tale of 2 - as to become almost a character in himself/itself - an attribute of much 19th-century British fiction (Hardy, Trollope) but extreme in Dickens. Second the importance of setting, with descriptions full of flourishes and exaggerations, in BH most notably the extensive description of the London fog. Dickensian novels define place by citing and embellish some extreme characteristics (Hardy is quite different, closer to naturalism; place is almost immaterial to Trollope.) Third, characters as well are defined by eccentricities, even central characters. A novelist (John Barth) once noted that if you can't create a character just put together a bunch of characteristics and readers may mistake it for a character. Ha - but Dickens can create characters, yet uses chracteristics (e.g., Jarndyce's obsession with the wind direction) as markers to clearly distinguish and delineate characters, to separate them from one another. Fourth, minor characters are all characteristics, flat not round, but even so they are so extreme and often bizarre as to become the most memorable facets of the novel (Mrs. Jellyby, focused on her charitable work and ignoring her family and home, e.g.). Fifth, we begin with a sympathetic character on the fringe or margin of society, often an orphan or at the least a ward, entirely likable, whose course of maturation over the long novel will bring them into a position of social acceptance in the world that initially spurned them - in other words, the typically English novel of inclusion (not the typically American novel of rebellion). Esther Summerson in BH is the perfect example. Sixth, almost always with a strong urban (usually London) setting, sometimes as seen by the main character for the first time - the protagonist is often a provincial arriving in the city. Seventh, and finally at least for this post, multiple characters, settings, and, in some instances multiple plot lines that all feel like part of the same story rather than stories told in parallel. (Does this sound anything like City on Fire, if you've read that? No - ConF is Dickensian in length and urbanity only.)