The article deals with the frame images “window”, “curtain”, “door” / “door step”, which Charles Dickens's Christmas stories written in the 1840s are full of (“A Christmas Carol in Prose”, “The Chimes”, “The Cricket on the Hearth”, “The Battle of Life” and “The Haunted Man”). The semiotic analysis of the frame structures and their comparison with the same structures from the Gothic literature demonstrate Dickens's innovation in using these images marking the boundaries between the reality and the miracle. In Dickens's Christmas cycle of the 1840s, frames are an indicator of the transition to a new stage of the story being told and contribute to the actualization of new meanings that can be derived from the text.