Of "Pendennis," as it goes on, he writes that it is "awfully stupid,"

which has not been the verdict of the ages. He picks up materials as he pa.s.ses. He dines with some officers, and perhaps he stations them at Chatteris. He meets Miss G---, and her converse suggests a love pa.s.sage between Pen and Blanche. Why did he dislike fair women so? It runs all through his novels. Becky is fair. Blanche is fair. Outside the old yellow covers of "Pendennis," you see the blonde mermaid, "amusing, and clever, and depraved," dragging the lover to the sea, and the nut-brown maid holding him back. Angelina, of the "Rose and the Ring," is the Becky of childhood; she is fair, and the good Rosalba is _brune_. In writing "Pendennis" he had a singular experience. He looked over his own "back numbers," and found "a pa.s.sage which I had utterly forgotten as if I had never read or written it." In Lockhart's "Life of Scott," James Ballantyne says that "when the 'Bride of Lammermoor' was first put into his hands in a complete shape, he did not recollect one single incident, character, or conversation it contained." That is to say, he remembered nothing of his own invention, though his memory of the traditional parts was as clear as ever. Ballantyne remarks, "The history of the human mind contains nothing more wonderful." The experience of Thackeray is a parallel to that of Scott. "Pendennis," it must be noted, was interrupted by a severe illness, and "The Bride of Lammermoor" was dictated by Sir Walter when in great physical pain. On one occasion Thackeray "lit upon a very stupid part of 'Pendennis,' I am sorry to say; and yet how well written it is! What a shame the author don't write a complete good story! Will he die before doing so? or come back from America and do it?"

Did he ever write "a complete, good story"? Did any one ever do such a thing as write a three-volume, novel, or a novel of equal length, which was "a complete, good story"? Probably not; or if any mortal ever succeeded in the task, it was the great Alexander Dumas. "The Three Musketeers," I take leave to think, and "Twenty Years After," are complete good stories, good from beginning to end, stories from beginning to end without a break, without needless episode. Perhaps one may say as much for "Old Mortality," and for "Quentin Durward." But Scott and Dumas were born story-tellers; narrative was the essence of their genius at its best; the current of romance rolls fleetly on, bearing with it persons and events, mirroring scenes, but never ceasing to be the main thing--the central interest. Perhaps narrative like this is the chief success of the novelist. He is triumphant when he carries us on, as Wolf, the famous critic, was carried on by the tide of the Iliad, "in that pure and rapid current of action." n.o.body would claim this especial merit for Thackeray. He is one of the greatest of novelists; he displays human nature and human conduct so that we forget ourselves in his persons, but he does not make us forget ourselves in their fortunes. Whether Clive does or does not marry Ethel, or Esmond, Beatrix, does not very greatly excite our curiosity. We cannot ring the bells for Clive's second wedding as the villagers celebrated the bridal of Pamela. It is the development of character, it is the author's comments, it is his own personality and his unmatched and inimitable style, that win our admiration and affection. We can take up "Vanity Fair," or "Pendennis,"

or "The Newcomes," just where the book opens by chance, and read them with delight, as we may read Montaigne. When one says one can take up a book anywhere, it generally means that one can also lay it down anywhere.

But it is not so with Thackeray. Whenever we meet him he holds us with his charm, his humour, his eloquence, his tenderness. If he has not, in the highest degree, the narrative power, he does possess, in a degree perhaps beyond any other writer of English, that kind of poetic quality which is not incompatible with prose writing.

A great deal has been said about prose poetry. As a rule, it is very poor stuff. As prose it has a tendency to run into blank verse; as poetry it is highly rhetorical and self-conscious. It would be invidious and might be irritating to select examples from modern masters of prose- poetry. They have never been poets. But the prose of a poet like Milton may be, and is, poetical in the true sense; and so, upon occasions, was the prose of Thackeray. Some examples linger always in the memory, and dwell with their music in the hearing. One I have quoted elsewhere; the pa.s.sage in "The Newcomes" where Clive, at the lecture on the Poetry of the Domestic Affections, given by Sir Barnes Newcome, sees Ethel, whom he has lost.

"And the past, and its dear histories, and youth and its hopes and pa.s.sions, and tones and looks, for ever echoing in the heart and present in the memory--those, no doubt, poor Clive saw and heard as he looked across the great gulf of time and parting and grief, and beheld the woman he had loved for many years." "The great gulf of time, and parting, and grief,"--some of us are on the farther side of it, and our old selves, and our old happiness, and our old affections beyond, grow near, grow clear, now and then, at the sight of a face met by chance in the world, at the chance sound of a voice. Such are human fortunes, and human sorrows; not the worst, not the greatest, for these old loves do not die--they live in exile, and are the better parts of our souls. Not the greatest, nor the worst of sorrows, for shame is worse, and hopeless hunger, and a life all of barren toil without distractions, without joy, must be far worse. But of those myriad tragedies of the life of the poor, Thackeray does not write. How far he was aware of them, how deeply he felt them, we are not informed. His highest tragedy is that of the hunger of the heart; his most n.o.ble prose sounds in that meeting of Harry Esmond with Lady Castlewood, in the immortal speech which has the burden, "bringing your sheaves with you!" All that scene appears to me no less unique, no less unsurpa.s.sable, no less perfect, than the "Ode to the Nightingale" of Keats, or the _Lycidas_ of Milton. It were superfluous to linger over the humour of Thackeray. Only Shakespeare and d.i.c.kens have graced the language with so many happy memories of queer, pleasant people, with so many quaint phrases, each of which has a kind of freemasonry, and when uttered, or recalled, makes all friends of Thackeray into family friends of each other. The sayings of Mr. Harry Foker, of Captain Costigan, of Gumbo, are all like old dear family phrases, they live imperishable and always new, like the words of Sir John, the fat knight, or of Sancho Panza, or of d.i.c.k Swiveller, or that other Sancho, Sam Weller. They have that Shakespearian gift of being ever appropriate, and undyingly fresh.

These are among the graces of Thackeray, these and that inimitable style, which always tempts and always baffles the admiring and despairing copyist. Where did he find the trick of it, of the words which are invariably the best words, and invariably fall exactly in the best places? "The best words in the best places," is part of Coleridge's definition of poetry; it is also the essence of Thackeray's prose. In these Letters to Mrs. Brookfield the style is precisely the style of the novels and essays. The style, with Thackeray, was the man. He could not write otherwise. But probably, to the last, this perfection was not mechanical, was not attained without labour and care. In Dr. John Brown's works, in his essay on Thackeray, there is an example of a proof- sheet on which the master has made corrections, and those corrections bring the pa.s.sage up to his accustomed level, to the originality of his rhythm. Here is the piece:--

"Another Finis, another slice of life which _Tempus edax_ has devoured! And I may have to write the word once or twice, perhaps, and then an end of Ends. [Finite is ever and Infinite beginning.] Oh, the troubles, the cares, the _ennui_, [the complications,] the repet.i.tions, the old conversations over and over again, and here and there all the delightful pa.s.sages, the dear, the brief, the forever- remembered!

"[And then] A few chapters more, and then the last, and behold Finis itself coming to an end, and the Infinite beginning."

"How like music this," writes Dr. John Brown--"like one trying the same air in different ways, as it were, searching out and sounding all its depths!" The words were almost the last that Thackeray wrote, perhaps the very last. They reply, as it were, to other words which he had written long before to Mrs. Brookfield.

"I don't pity anybody who leaves the world; not even a fair young girl in her prime; I pity those remaining. On her journey, if it pleases G.o.d to send her, depend on it there's no cause for grief, that's but an earthly condition. Out of our stormy life, and brought nearer the Divine light and warmth, there must be a serene climate. Can't you fancy sailing into the calm?"

Ah! nowhere else shall we find the Golden Bride, "pa.s.sionless bride, divine Tranquillity."

As human nature persistently demands a moral, and, as, to say truth, Thackeray was constantly meeting the demand, what is the lesson of his life and his writings? So people may ask, and yet how futile is the answer! Life has a different meaning, a different riddle, a different reply for each of us. There is not one sphinx, but many sphinxes--as many as there are women and men. We must all answer for ourselves.

Pascal has one answer, "Believe!" Moliere has another, "Observe!"

Thackeray's answer is, "Be good and enjoy!" but a melancholy enjoyment was his. Dr. John Brown says:

"His persistent state, especially for the later half of his life, was profoundly _morne_, there is no other word for it. This arose in part from temperament, from a quick sense of the littleness and wretchedness of mankind . . . This feeling, acting on a harsh and savage nature, ended in the _saeva indignatio_ of Swift; acting on the kindly and sensitive nature of Mr. Thackeray, it led only to compa.s.sionate sadness."

A great part of his life, and most of his happiness, lay in love. "Ich habe auch viel geliebt," he says, and it is a hazardous kind of happiness that attends great affection. Your capital is always at the mercy of failures, of death, of jealousy, of estrangement. But he had so much love to give that he could not but trust those perilous investments.

Other troubles he had that may have been diversions from those. He did not always keep that manly common sense in regard to criticism, which he shows in a letter to Mrs. Brookfield. "Did you read the _Spectator's_ sarcastic notice of 'Vanity Fair'? I don't think it is just, but think Kintoul (Rintoul?) is a very honest man, and rather inclined to deal severely with his private friends lest he should fall into the other extreme: to be sure he keeps out of it, I mean the other extreme, very well."

That is the way to take unfavourable criticisms--not to go declaring that a man is your enemy because he does not like your book, your ballads, your idyls, your sermons, what you please. Why cannot people keep literature and liking apart? Am I bound to think Jones a bad citizen, a bad man, a bad householder, because his poetry leaves me cold? Need he regard me as a malevolent green-eyed monster, because I don't want to read him? Thackeray was not always true in his later years to these excellent principles. He was troubled about trifles of criticisms and gossip, _bagatelles_ not worth noticing, still less worth remembering and recording. Do not let us record them, then.

We cannot expect for Thackeray, we cannot even desire for him, a popularity like that of d.i.c.kens. If ever any man wrote for the people, it was d.i.c.kens. Where can we find such a benefactor, and who has lightened so many lives with such merriment as he? But Thackeray wrote, like the ma.s.s of authors, for the literary cla.s.s--for all who have the sense of style, the delight in the best language. He will endure while English literature endures, while English civilisation lasts. We cannot expect all the world to share our affection for this humourist whose mirth springs from his melancholy. His religion, his education, his life in this unsatisfying world, are not the life, the education, the religion of the great majority of human kind. He cannot reach so many ears and hearts as Shakespeare or d.i.c.kens, and some of those whom he reaches will always and inevitably misjudge him. _Mais c'est mon homme_, one may say, as La Fontaine said of Moliere. Of modern writers, putting Scott aside, he is to me the most friendly and sympathetic. Great genius as he was, he was also a penman, a journalist; and journalists and penmen will always look to him as their big brother, the man in their own line of whom they are proudest. As devout Catholics did not always worship the greatest saints, but the friendliest saints, their own, so we scribes burn our cheap incense to St. William Makepeace. He could do all that any of us could do, and he did it infinitely better. A piece of verse for _Punch_, a paragraph, a caricature, were not beneath the dignity of the author of "Esmond." He had the kindness and helpfulness which I, for one, have never met a journalist who lacked. He was a good Englishman; the boy within him never died; he loved children, and boys, and a little slang, and a boxing match. If he had failings, who knew them better than he? How often he is at once the boy at the swishing block and Dr. Birch who does not spare the rod! Let us believe with that beloved physician, our old friend Dr. John Brown, that "Mr. Thackeray was much greater, much n.o.bler than his works, great and n.o.ble as they are." Let us part with him, remembering his own words:

"Come wealth or want, come good or ill, Let young and old accept their part, And bow before the awful Will, And bear it with an honest heart."

d.i.c.kENS

"I cannot read d.i.c.kens!" How many people make this confession, with a front of bra.s.s, and do not seem to know how poor a figure they cut!

George Eliot says that a difference of taste in jokes is a great cause of domestic discomfort. A difference of taste in books, when it is decided and vigorous, breaks many a possible friendship, and nips many a young liking in the bud. I would not willingly seem intolerant. A man may not like Sophocles, may speak disrespectfully of Virgil, and even sneer at Herodotus, and yet may be endured. But he or she (it is usually she) who contemns Scott, and "cannot read d.i.c.kens," is a person with whom I would fain have no further converse. If she be a lady, and if one meets her at dinner, she must of course be borne with, and "suffered gladly." But she has dug a gulf that nothing can bridge; she may be fair, clever and popular, but she is Anathema. I feel towards her (or him if he wears a beard) as Bucklaw did towards the person who should make inquiries about that bridal night of Lammermoor.

But this admission does not mean that one is sealed of the tribe of Charles--that one is a d.i.c.kensite pure and simple, convinced and devout--any more than Mr. Matthew Arnold was a Wordsworthian. d.i.c.kens has many such worshippers, especially (and this is an argument in favour of the faith) among those who knew him in his life. He must have had a wonderful charm; for his friends in life are his literary partisans, his uncompromising partisans, even to this day. They will have no half-hearted admiration, and scout him who tries to speak of d.i.c.kens as of an artist not flawless, no less than they scorn him who cannot read d.i.c.kens at all. At one time this honourable enthusiasm (as among the Wordsworthians) took the shape of "endless imitation." That is over; only here and there is an imitator of the master left in the land. All his own genius was needed to carry his mannerisms; the mannerisms without the genius were an armour that no devoted David had proved, that none could wear with success.

Of all great writers since Scott, d.i.c.kens is probably the man to whom the world owes most grat.i.tude. No other has caused so many sad hearts to be lifted up in laughter; no other has added so much mirth to the toilsome and perplexed life of men, of poor and rich, of learned and unlearned. "A vast hope has pa.s.sed across the world," says Alfred de Musset; we may say that with d.i.c.kens a happy smile, a joyous laugh, went round this earth.

To have made us laugh so frequently, so inextinguishably, so kindly--that is his great good deed. It will be said, and with a great deal of truth, that he has purged us with pity and terror as well as with laughter. But it is becoming plain that his command of tears is less a.s.sured than of old, and I cannot honestly regret that some of his pathos--not all, by any means--is losing its charm and its certainty of appeal. d.i.c.kens's humour was rarely too obvious; it was essentially personal, original, quaint, unexpected, and his own. His pathos was not infrequently derived from sources open to all the world, and capable of being drawn from by very commonplace writers. Little Nells and Dombeys, children unhappy, overthrown early in the _melee_ of the world, and dying among weeping readers, no longer affect us as they affected another generation. Mrs.

Beecher Stowe and the author of "Misunderstood," once made some people weep like anything by these simple means. Ouida can do it; plenty of people can do it. d.i.c.kens lives by virtue of what none but he can do: by virtue of Sairey Gamp, and Sam Weller, and d.i.c.k Swiveller, and Mr.

Squeers, with a thousand other old friends, of whom we can never weary.

No more than Cleopatra's can custom stale _their_ infinite variety.

I do not say that d.i.c.kens' pathos is always of the too facile sort, which plays round children's death-beds. Other pathos he has, more fine and not less genuine. It may be morbid and contemptible to feel "a great inclination to cry" over David Copperfield's boyish infatuation for Steerforth; but I feel it. Steerforth was a "tiger,"--as Major Pendennis would have said, a tiger with his curly hair and his ambrosial whiskers.

But when a little boy loses his heart to a big boy he does not think of this. Traddles thought of it. "Shame, J. Steerforth!" cried Traddles, when Steerforth bullied the usher. Traddles had not lost his heart, nor set up the big boy as a G.o.d in the shrine thereof. But boys do these things; most of us have had our Steerforths--tall, strong, handsome, brave, good-humoured. Far off across the years I see the face of such an one, and remember that emotion which is described in "David Copperfield,"

chap. xix., towards the end of the chapter. I don't know any other novelist who has touched this young and absolutely disinterested belief of a little boy in a big one--touched it so kindly and seriously, that is there is a hint of it in "Dr. Birch's School Days."

But d.i.c.kens is always excellent in his boys, of whom he has drawn dozens of types--all capital. There is Tommy Traddles, for example. And how can people say that d.i.c.kens could not draw a gentleman? The boy who shouted, "Shame, J. Steerforth!" was a gentleman, if one may pretend to have an opinion about a theme so difficult. The Dodger and Charley Bates are delightful boys--especially Bates. Pip, in the good old days, when he was the prowling boy, and fought Herbert Pocket, was not less attractive, and Herbert himself, with his theory and practice of the art of self-defence--could Nelson have been more brave, or Sh.e.l.ley (as in Mr.

Matthew Arnold's opinion) more "ineffectual"? Even the boys at Dotheboys Hall are each of them quite distinct. d.i.c.kens's boys are almost as dear to me as Thackeray's--as little Rawdon himself. There is one exception.

I cannot interest myself in Little Dombey. Little David Copperfield is a jewel of a boy with a turn for books. Doubtless he is created out of d.i.c.kens's memories of himself as a child. That is true pathos again, and not overwrought, when David is sent to Creakle's, and his poor troubled mother dare hardly say farewell to him.

And this brings us back to that debatable thing--the pathos of d.i.c.kens--from which one has been withdrawn by the attractions of his boys. Little Dombey is a prize example of his pathos. Little Nell is another. Jeffrey, of the _Edinburgh Review_, who criticised "Marmion"

and the "Lady of the Lake" so vindictively, shed tears over Little Nell.

It is a matter of taste, or, as Science might say, of the lachrymal glands as developed in each individual. But the lachrymal glands of this amateur are not developed in that direction. Little Dombey and Little Nell leave me with a pair of dry eyes. I do not "melt visibly" over Little Dombey, like the weak-eyed young man who took out his books and trunk to the coach. The poor little chap was feeble and feverish, and had dreams of trying to stop a river with his childish hands, or to choke it with sand. It may be very good pathology, but I cannot see that it is at all right pathos. One does not like copy to be made out of the sufferings of children or of animals. One's heart hardens: the object is too manifest, the trick is too easy. Conceive a child of Dombey's age remarking, with his latest breath, "Tell them that the picture on the stairs at school is not Divine enough!" That is not the delirium of infancy, that is art-criticism: it is the _Athenaeum_ on Mr. Holman Hunt.

It is not true to nature; it is not good in art: it is the kind of thing that appears in Sunday-school books about the virtuous little boy who died. There is more true pathos in many a page of "Huckleberry Finn."

Yet this is what Jeffrey gushed over. "There has been nothing like the actual dying of that sweet Paul." So much can age enfeeble the intellect, that he who had known Scott, and yet nibbled at his fame, descended to admiring the feeblest of false sentiment. As for Little Nell, who also has caused floods of tears to be shed, her case is sufficiently ill.u.s.trated by the picture in the first edition ("Master Humphrey's Clock,", 1840, p. 210):

"'When I die Put near me something that has loved the light, And had the sky above it always.' Those Were her words."

"Dear, gentle, patient, n.o.ble Nell was dead!"

The pathos is about as good as the prose, and _that_ is blank verse. Are the words in the former quotation in the least like anything that a little girl would say? A German sentimentalist might have said them; Obermann might have murmured them in his weaker moments. Let us try a piece of domestic pathos by another hand. It is the dawn of Waterloo.

"Heart-stained and shame-stricken, he stood at the bed's foot, and looked at the sleeping girl. How dared he--who was he--to pray for one so spotless! G.o.d bless her! G.o.d bless her! He came to the bedside, and looked at the hand, the little soft hand, lying asleep, and he bent over the pillow noiselessly towards the gentle pale face. Two fair arms closed tenderly round his neck as he stooped down. 'I am awake, George,'

the poor child said, with a sob."

I know I am making enemies of a large proportion of the readers of this page. "Odious, sneering beast!" is the quotation which they will apply, perhaps unconscious of its origin, to a critic who is humble but would fain be honest, to a critic who thinks that d.i.c.kens has his weak places, and that his pathos is one of these. It cannot be helped. Each of us has his author who is a favourite, a friend, an idol, whose immaculate perfection he maintains against all comers. For example, things are urged against Scott; I receive them in the att.i.tude of the deaf adder of St. Augustine, who stops one ear with his tail and presses the other against the dust. The same with Moliere: M. Scherer utters complaints against Moliere! He would not convince me, even if I were convinced. So, with regard to d.i.c.kens, the true believer will not listen, he will not be persuaded. But if any one feels a little shaken, let him try it another way. There is a character in M. Alphonse Daudet's "Froment Jeune et Rissler Aine"--a character who, people say, is taken bodily from d.i.c.kens.

This is Desiree Delobelle, the deformed girl, the daughter of _un rate_, a pretentious imbecile actor. She is poor, stunted, laborious, toiling at a small industry; she is in love, is rejected, she tries to drown herself, she dies. The sequence of ideas is in d.i.c.kens's vein; but read the tale, and I think you will see how little the thing is overdone, how simple and unforced it is, compared with a.n.a.logous persons and scenes in the work of the English master. The idiotic yell of "plagiarism" has been raised, of course, by critical _cretins_. M. Daudet, as I understand what he says in "Trente Ans de Paris," had not read d.i.c.kens at all, when he wrote "Froment Jeune"--certainly had not read "Our Mutual Friend." But there is something of d.i.c.kens's genius in M. Daudet's, and that something is kept much better in hand by the Frenchman, is more subordinated to the principles of taste and of truth.

On the other hand, to be done with this point, look at Delobelle, the father of Desiree, and compare him with d.i.c.kens's splendid strollers, with Mr. Vincent Crummles, and Mr. Lenville, and the rest. As in Desiree so in Delobelle, M. Daudet's picture is much the more truthful. But it is truthful with a bitter kind of truth. Now, there is nothing not genial and delightful in Crummles and Mrs. Crummles and the Infant Phenomenon. Here d.i.c.kens has got into a region unlike the region of the pathetic, into a world that welcomes _charge_ or caricature, the world of humour. We do not know, we never meet Crummleses quite so unsophisticated as Vincent, who is "not a Prussian," who "can't think who puts these things into the papers." But we do meet stage people who come very near to this _naivete_ of self-advertis.e.m.e.nt, and some of whom are just as dismal as Crummles is delightful.

Here, no doubt, is d.i.c.kens's _forte_. Here his genius is all pure gold, in his successful studies or inventions of the humorous, of character parts. One literally does not know where to begin or end in one's admiration for this creative power that peopled our fancies with such troops of dear and impossible friends. "Pickwick" comes practically first, and he never surpa.s.sed "Pickwick." He was a poor story-teller, and in "Pickwick" he had no story to tell; he merely wandered at adventure in that merrier England which was before railways were.

"Pickwick" is the last of the stories of the road that begin in the wandering, aimless, adventurous romances of Greece, or in Petronius Arbiter, and that live with the life of "Gil Blas" and "Don Quixote," of "Le Roman Comique," of "Tom Jones" and "Joseph Andrews." These tales are progresses along highways bristling with adventure, and among inns full of confusion, Mr. Pickwick's affair with the lady with yellow curl-papers being a mild example. Though "Tom Jones" has a plot so excellent, no plot is needed here, and no consecutive story is required. Detached experiences, vagrants of every rank that come and go, as in real life, are all the material of the artist. With such materials d.i.c.kens was exactly suited; he was at home on high-road and lane, street and field- path, in inns and yeomen's warm hospitable houses. Never a humour escaped him, and he had such a wealth of fun and high spirits in these glad days as never any other possessed before. He was not in the least a bookish man, not in any degree a scholar; but Nature taught him, and while he wrote with Nature for his teacher, with men and women for his matter, with diversion for his aim, he was unsurpa.s.sable--nay, he was unapproachable.

He could not rest here; he was, after all, a child of an age that grew sad, and earnest, and thoughtful. He saw abuses round him--injustice, and oppression, and cruelty. He had a heart to which those things were not only abhorrent, but, as it were, maddening. He knew how great an influence he wielded, and who can blame him for using it in any cause he thought good? Very possibly he might have been a greater artist if he had been less of a man, if he had been quite disinterested, and had never written "with a purpose." That is common, and even rather obsolete critical talk. But when we remember that Fielding, too, very often wrote "with a purpose," and that purpose the protection of the poor and unfriended; and when we remember what an artist Fielding was, I do not see how we can blame d.i.c.kens. Occasionally he made his art and his purpose blend so happily that his work was all the better for his benevolent intentions. We owe Mr. Squeers, Mrs. Squeers, f.a.n.n.y Squeers, Wackford and all, to d.i.c.kens's indignation against the nefarious school pirates of his time. If he is less successful in attacking the Court of Chancery, and very much less successful still with the Red Tape and Circ.u.mlocution Office affairs, that may be merely because he was less in the humour, and not because he had a purpose in his mind. Every one of a man's books cannot be his masterpiece. There is nothing in literary talk so annoying as the spiteful joy with which many people declare that an author is "worked out," because his last book is less happy than some that went before. There came a time in d.i.c.kens' career when his works, to my own taste and that of many people, seemed laboured, artificial--in fact, more or less failures. These books range from "Dombey and Son,"

through "Little Dorrit," I dare not say to "Our Mutual Friend." One is afraid that "Edwin Drood," too, suggests the malady which Sir Walter already detected in his own "Peveril of the Peak." The intense strain on the faculties of d.i.c.kens--as author, editor, reader, and man of the world--could not but tell on him; and years must tell. "Philip" is not worthy of the author of "Esmond," nor "Daniel Deronda" of the author of "Silas Marner." At that time--the time of the Dorrits and Dombeys--_Blackwood's Magazine_ published a "Remonstrance with Boz"; nor was it quite superfluous. But d.i.c.kens had abundance of talent still to display--above all in "Great Expectations" and "A Tale of Two Cities."

The former is, after "Pickwick," "Copperfield," "Martin Chuzzlewit," and "Nicholas Nickleby"--after the cla.s.sics, in fact--the most delightful of d.i.c.kens's books. The story is embroiled, no doubt. What are we to think of Estelle? Has the minx any purpose? Is she a kind of Ethel Newcome of odd life? It is not easy to say; still, for a story of d.i.c.kens's the plot is comparatively clear and intelligible. For a study of a child's life, of the nature d.i.c.kens drew best--the river and the marshes--and for plenty of honest explosive fun, there is no later book of d.i.c.kens's like "Great Expectations." Miss Havisham, too, in her mouldy bridal splendour, is really impressive; not like Ralph Nickleby and Monk in "Oliver Twist"--a book of which the plot remains to me a mystery. {128} Pip and Pumblechook and Mr. Wopsle and Jo are all immortal, and cause laughter inextinguishable. The rarity of this book, by the way, in its first edition--the usual library three volumes--is rather difficult to explain. One very seldom sees it come into the market, and then it is highly priced.

I have mentioned more than once the obscurity of d.i.c.kens's plots. This difficulty may be accounted for in a very flattering manner. Where do we lose ourselves? Not in the bare high-road, but among lanes, between hedges hung with roses, blackberries, morning glories, where all about us is so full of pleasure that our attention is distracted and we miss our way. Now, in d.i.c.kens--in "Oliver Twist," in "Martin Chuzzlewit," in "Nicholas Nickleby"--there is, as in the lanes, so much to divert and beguile, that we cease to care very much where the road leads--a road so full of happy marvels. The dark, plotting villains--like the tramp who frightened Sir Walter Scott so terribly, as he came from Miss Baillie's at Hampstead--peer out from behind the hedges now and then. But we are too much amused by the light hearts that go all the way, by the Dodger and Crummles and Mrs. Gamp, to care much for what Ralph, and Monk, and Jonas Chuzzlewit are plotting. It may not be that the plot is so confused, but that we are too much diverted to care for the plot, for the incredible machinations of Uriah Heap, to choose another example. Mr.

Micawber cleared these up; but it is Mr. Micawber that hinders us from heeding them.

This, at least, is a not unfriendly explanation. Yet I cannot but believe that, though d.i.c.kens took great pains with his plots, he was not a great plotter. He was not, any more than Thackeray, a story-teller first and foremost. We can hold in our minds every thread of Mr. Wilkie Collins' web, or of M. Fortune du Boisgobey's, or of M. Gaboriau's--all great weavers of intrigues. But d.i.c.kens goes about darkening his intrigue, giving it an extra knot, an extra twist, hinting here, ominously laughing there, till we get mystified and bored, and give ourselves up to the fun of the humours, indifferent to the destinies of villains and victims. Look at "Edwin Drood." A constant war about the plot rages in the magazines. I believe, for one, that Edwin Drood was resuscitated; but it gives me no pleasure. He was too uninteresting.

d.i.c.kens's hints, nods, mutterings, forebodings, do not at all impress one like that deepening and darkening of the awful omens in "The Bride of Lammermoor." Here Scott--unconsciously, no doubt--used the very manner of Homer in the Odyssey, and nowhere was his genius more Homeric. That was romance.

The "Tale of Two Cities" is a great test of the faith--that is in d.i.c.kensites. Of all his works it is the favourite with the wrong sort!

Ladies prefer it. Many people can read it who cannot otherwise read d.i.c.kens at all. This in itself proves that it is not a good example of d.i.c.kens, that it is not central, that it is an outlying province which he conquered. It is not a favourite of mine. The humour of the humorous characters rings false--for example, the fun of the resurrection-man with the wife who "flops." But Sidney Carton has drawn many tears down cheeks not accustomed to what Mr. B. in "Pamela" calls "pearly fugitives."