[1] Froude's _Carlyle_, i. 192.

IV

BENJAMIN DISRAELI

In the blaze of the political reputation of the Earl of Beaconsfield we are too apt to overlook the literary claims of Benjamin Disraeli. But many of those who have small sympathy with his career as a statesman find a keen relish in certain of his writings; and it is hardly a paradox to augur that in a few generations more the former chief of the new Tory Democracy may have become a tradition, whilst certain of his social satires may continue to be widely read. Bolingbroke, Swift, Sheridan, and Macaulay live in English literature, but are little remembered as politicians; and Burke, the philosopher, grows larger in power over our thoughts, as Burke, the party orator, becomes less and less by time. We do not talk of Viscount St. Albans, the learned Chancellor: we speak only of Bacon, the brilliant writer, the potent thinker. And so perhaps in the next century, we shall hear less of Lord Beaconsfield, the Imperial Prime Minister: but Benjamin Disraeli's pictures of English society and the British Parliament may still amuse and instruct our descendants.

It is true that the permanent parts of his twenty works may prove to be small. Pictures, vignettes, sketches, epigrams will survive rather than elaborate works of art; these gems of wit and fancy will have to be picked out of a ma.s.s of rubbish; and they will be enjoyed for their vivacious originality and Voltairean pungency, not as masterpieces or complete creations. That Disraeli wrote much stuff is true enough.

But so did Fielding, so did Swift, and Defoe, and Goldsmith. Writers are to be judged by their best; and it does not matter so very much if that best is little in bulk. Disraeli's social and political satires have a peculiar and rare flavour of their own, charged with an insight and a vein of wit such as no other man perhaps in this century has touched--so that, even though they be thrown off in sketches and sometimes in mere _jeux d'esprit_, they bring him into the company of Swift, Voltaire, and Montesquieu. He is certainly inferior to all these mighty satirists both in wit and pa.s.sion, and also in definite purpose. But he has touches of their lightning-flash irradiating contemporary society. And it seems a pity that the famous _Men of Letters_ series which admits (and rightly admits) Hawthorne and De Quincey, could find no room for the author of _Ixion in Heaven_, _The Infernal Marriage_, _Coningsby_, and _Lothair_.

Disraeli's literary reputation has suffered much in England by the unfortunate circ.u.mstance of his having been the leader of a political party. As the chief of a powerful party which he transformed with amazing audacity, as the victorious destroyer of the old Whig oligarchy and the founder of the new Tory democracy, as a man of Jewish birth and alien race, as a man to whom satire was the normal weapon and bombastic affectation a deliberate expedient for dazzling the weak--Disraeli, even in his writings, has been exposed in England to a bitter system of disparagement which blinds partisans to their real literary merit. His political opponents, and they are many and savage, can see little to admire in his strange romances: his political worshippers and followers, who took him seriously as a great statesman, are not fond of imagining their hero as an airy satirist. His romances as well as his satires are wholly unlike anything English; and though he had brilliant literary powers, he never acquired any serious literary education.

Much as he had read, he had no learning, and no systematic knowledge of any kind. He was never, strictly speaking, even an accurate master of literary English. He would slip, as it were, unconsciously, into foreign idioms and obsolete words. In America, where his name arouses no political prejudice, he is better judged. To the Englishman, at least to the pedant, he is still a somewhat elaborate jest.

Let us put aside every bias of political sympathy and anything that we know or suspect of the nature of the man, and we may find in the writer, Benjamin Disraeli, certain very rare qualities which justify his immense popularity in America, and which ought to maintain it in England. In his preface to _Lothair_ (October 1870), he proudly said that it had been "more extensively read both by the people of the United Kingdom and the United States than any work that has appeared for the last half century." This singular popularity must have a ground. Disraeli, in truth, belongs to that very small group of real political satirists of whom Swift is the type. He is not the equal of the terrible Dean; but it may be doubted if any Englishman since Swift has had the same power of presenting vivid pictures and decisive criticisms of the political and social organism of his times. It is this Aristophanic gift which Swift had. Voltaire, Montesquieu, Rabelais, Diderot, Heine, Beaumarchais had it. Carlyle had it for other ages, and in a historic spirit. There have been far greater satirists, men like Fielding and Thackeray, who have drawn far more powerful pictures of particular characters, foibles, or social maladies. But since Swift we have had no Englishman who could give us a vivid and amusing picture of our political life, as laid bare to the eye of a consummate political genius.

It must be admitted that, with all the rare qualities of Disraeli's literary work, he hardly ever took it quite seriously, or except as an interlude and with some ulterior aim. In his early pieces he simply sought to startle the town and to show what a wonderfully clever young fellow had descended upon it. In his later books, such as _Coningsby_, _Sybil_, and _Tancred_, he wished to propound a new party programme.

_Lothair_ was a picture of British society, partly indulgent and sympathetic, partly caustic or contemptuous, but presented all through with a vein of _persiflage_, mockery, and extravaganza. All this was amusing and original; but every one of these things is fatal to sustained and serious art. If an active politician seeks to galvanise a new party by a series of novels, the romances cannot be works of literary art. If a young man wants only to advertise his own smartness, he will not produce a beautiful thing. And if a statesman out of office wishes to amuse himself by alternate banter and laudation of the very society which he has led and which looks to him as its inspiration, the result will be infinitely entertaining, but not a great work of art. Disraeli therefore with literary gifts of a very high order never used them in the way in which a true artist works, and only resorted to them as a means of gaining some practical and even material end.

But, if Disraeli's ambition led him to political and social triumphs, for which he sacrificed artistic success and literary honours, we ought not to be blind to the rare qualities which are squandered in his books. He did not produce immortal romances--he knew nothing of an ingenious plot, or a striking situation, or a creative character--but he did give us inimitable political satires and some delicious social pantomimes; and he presented these with an original wit in which the French excel, which is very rare indeed in England. Ask not of Disraeli more than he professes to give you, judge him by his own standard, and he will still furnish you with delightful reading, with suggestive and original thoughts. He is usually inclined to make game of his reader, his subject, and even of himself; but he lets you see that he never forgets this, and never attempts to conceal it. He is seldom dull, never sardonic or cruel, and always clean, healthy, and decent. His heroines are ideal fairy queens, his heroes are all visionary and chivalrous nincomp.o.o.ps; and even, though we know that much of it is whimsical banter and nonsensical fancy, there is an air of refined extravaganza in these books which may continue to give them a lasting charm.

The short juvenile drolleries of his restless youth are the least defective as works of art; and, being brief and simple _jeux d'esprit_ of a rare order, they are entirely successful and infinitely amusing.

_Ixion in Heaven_, _The Infernal Marriage_, and _Popanilla_, are astonishing products of a lad of twenty-three, who knew nothing of English society, and who had had neither regular education nor social opportunities. They have been compared with the social satirettes of Lucian, Swift, and Voltaire. It is true they have not the fine touch and exquisite polish of the witty Greek of Samosata, nor the subtle irony of Voltaire and Montesquieu, nor the profound grasp of the Dean.

But they are full of wit, observation, sparkle, and fun. The style is careless and even incorrect, but it is full of point and life. The effects are rather stagey, and the smartness somewhat strained--that is, if these boyish trifles are compared with _Candide_ and the _Lettres Persanes_. As pictures of English society, court, and manners in 1827 painted in fantastic apologues, they are most ingenious, and may be read again and again. The _Infernal Marriage_, in the vein of the _Dialogues of the Dead_, is the most successful. _Ixion_ is rather broader, simpler, and much more slight, but is full of boisterous fun.

_Popanilla_, a more elaborate satire in direct imitation of _Gulliver's Travels_, is neither so vivacious nor so easy as the smaller pieces, but it is full of wit and insight. Nothing could give a raw Hebrew lad the sustained imagination and pa.s.sion of Jonathan Swift; but there are few other masters of social satire with whom the young genius of twenty-three can be compared. These three satires, which together do not fill 200 pages, are read and re-read by busy and learned men after nearly seventy years have pa.s.sed. And that is in itself a striking proof of their originality and force.

It is not fair to one who wrote under the conditions of Benjamin Disraeli to take any account of his inferior work: we must judge him at his best. He avowedly wrote many pot-boilers merely for money; he began to write simply to make the world talk about him, and he hardly cared what the world might say; and he not seldom wrote rank bombast in open contempt for his reader, apparently as if he had made a bet to ascertain how much stuff the British public would swallow. _Vivian Grey_ is a lump of impudence; _The Young Duke_ is a lump of affectation; _Alroy_ is ambitious balderdash. They all have pa.s.sages and epigrams of curious brilliancy and trenchant observation; they have wit, fancy, and life scattered up and down their pages. But they are no longer read, nor do they deserve to be read. _Contarini Fleming_, _Henrietta Temple_, _Venetia_, are full of sentiment, and occasionally touch a poetic vein. They had ardent admirers once, even amongst competent judges. They may still be read, and they have scenes, descriptions, and detached thoughts of real charm, and almost of true beauty. They are not, in any sense, works of art; they are ill constructed, full of the mawkish gush of the Byronic fever, and never were really sincere and genuine products of heart and brain. They were show exercises in the Byronic mode. And, though we may still take them up for an hour for the occasional flashes of genius and wit they retain, no one believes that they can add much permanent glory to the name of Benjamin Disraeli.

Apart from the three early burlesques of which we have spoken--trifles indeed and crude enough, but trifles that sparkle with penetration and wit--the books on which Disraeli's reputation alone can be founded are _Coningsby_, _Sybil_, and _Lothair_. These all contain many striking epigrams, ingenious theories, original suggestions, vivacious caricatures, and even creative reflections, mixed, it must be admitted, with not a little transparent nonsense. But they are all so charged with bright invention, keen criticism, quaint paradox, they are so entirely unlike anything else in our recent literature, and they pierce, in a Voltairean way, so deeply to the roots of our social and political fabric, that they may long continue to be read. In the various prefaces, and especially in the general preface to _Lothair_ (of October 1870), Disraeli has fully explained the origin and aim of these and his other works. It is written, as usual, with his tongue in his cheek, in that vein of semi-bombastic paradox which was designed to mystify the simple and to amuse the acuter reader. But there is an inner seriousness in it all; and, as it has a certain correspondence with his public career and achievements, it must be taken as substantially true. _Coningsby_ (1844) and _Sybil_ (1845) were written in the vigour of manhood and the early days of his political ambition, with an avowed purpose of founding a new party in Parliament. It must be admitted that they did to some extent effect their purpose--not immediately or directly, and only as part of their author's schemes.

But the Primrose League and the New Tory Democracy of our day bear witness to the vitality of the movement which, fifty years ago, Disraeli propounded to a puzzled world. _Lothair_ (1870) came twenty-five years later--when he had outlived his illusions; and in more artistic and more mellow tones he painted the weaknesses of a society that he had failed to inspire, but which it gratified his pride to command.

"_Coningsby_, _Sybil_, and _Tancred_," says he, in his grandiose way, "form a real Trilogy." "The derivation and character of political parties,"--he goes on to explain--"was the subject of _Coningsby_."

"The condition of the people which had been the consequence of them"--was the subject of _Sybil_. "The duties of the Church as a main remedial agency" and "the race who had been the founders of Christianity" [although, surely, friend Benjamin, if we are to believe the Gospels, the murderers and persecutors of Christ and His Apostles]--were the subjects of _Tancred_ (1847). _Tancred_, though it has some highly amusing scenes, may be dismissed at once. Disraeli fought for the Chosen Race, their endowments and achievements, with wonderful courage and ingenuity. It was perhaps the cause which he had most deeply at heart, from its intimate relation to his own superb ambition and pride. But it has made no real way, nor has it made any converts, unless we count _Daniel Deronda_ as amongst them.

Thackeray's "Codlingsby" has almost extinguished "Sidonia." And the strange phantasmagoria of the Anglican Church, revivified by the traditions of Judaism, and ascending to the throne of St. Peter, is perhaps the most stupendous joke which even Disraeli had ever dared to perpetrate. In the preface to _Lothair_ we read:--

The tradition of the Anglican Church was powerful. Resting on the Church of Jerusalem, modified by the divine school of Galilee, it would have found that rock of truth which Providence, by the instrumentality of the Semitic race, had promised to St. Peter.

Whatever this jargon may mean, the public has allowed it to fall flat.

It seems to suggest that the Archbishop of Canterbury, by resuming the tradition of Caiaphas, as "modified" by the Sermon on the Mount, might oust the Pope of Rome as was foretold by the Divine young Jewish reformer when he called the fishermen of Galilee. It is difficult to believe that Disraeli himself was serious in all this. In the last scene, as Tancred is proposing to the lovely Jewess, their privacy is disturbed by a crowd of retainers around the papa and mamma of the young heir. The last lines of _Tancred_ are these:--"The Duke and d.u.c.h.ess of Bellamont had arrived at Jerusalem." This is hardly the way in which to preach a New Gospel to a sceptical and pampered generation.

But, if the regeneration of the Church of England by a re-Judaising process and by return to the Targum of the Pharisees has proved abortive, it must be admitted that, from the political point of view, the conception announced in the "trilogy," and rhapsodically ill.u.s.trated in _Tancred_--the conception of the Anglican Church reviving its political ascendancy and developing "the most efficient means of the renovation of the national spirit"--has not proved quite abortive. It shows astonishing prescience to have seen fifty years ago that the Church of England might yet become a considerable political power, and could be converted, by a revival of Mediaeval traditions, into a potent instrument of the New Tory Democracy. Whatever we may think about the strengthening of the Established Church from the point of view of intellectual solidity or influence with the nation, it can hardly be doubted that in the fifty years that have pa.s.sed since the date of the "trilogy," the Church as a body has rallied to one party in the State, and has proved a potent ally of militant Imperialism and Tory Democracy. Lord Beaconsfield lived to witness that great transformation in the Church of the High and Dry Pluralists and the Simeonite parsons, which he had himself so powerfully organised in Parliament, in society, and on the platform. His successor to-day can count on no ally so sure and loyal as the Church. But it was a wonderful inspiration for a young man fifty years ago to perceive that this could be done--and to see the way in which it might be done.

_Coningsby_ and _Sybil_ at any rate were active forces in the formation of a definite political programme. And this was a programme which in Parliament and in the country their author himself had created, organised, and led to victory. It cannot be denied that they largely contributed to this result. And thus these books have this very remarkable and almost unique character. It would be very difficult to mention anything like a romance in any age or country which had ever effected a direct political result or created a new party. _Don Quixote_ is said to have annihilated chivalry; _Tartuffe_ dealt a blow at the pretensions of the Church; and the _Marriage of Figaro_ at those of the old _n.o.blesse_. It is possible that _Bleak House_ gave some impulse to law reform, and _Vanity Fair_ has relieved us of a good deal of sn.o.bbery. But no novel before or since ever created a political party and provided them with a new programme. _Coningsby_ and _Sybil_ really did this; and it may be doubted if it could have been done in any other way. "Imagination, in the government of nations" (we are told in the preface to _Lothair_) "is a quality not less important than reason." Its author trusts much "to a popular sentiment which rested on a heroic tradition and which was sustained by the high spirit of a free aristocracy."

Now this is a kind of party programme which it was almost impossible to propound on the platform or in Parliament. These imaginative and somewhat Utopian schemes of "changing back the oligarchy into a generous aristocracy round a real throne," of "infusing life and vigour into the Church as the trainer of the nation," of recalling the popular sympathies "to the principles of loyalty and religious reverence"--these were exactly the kind of new ideas which it would be difficult to expound in the House of Commons or in a towns-meeting. In the preface to _Coningsby_ the author tells us that, after reflection, the form of fiction seemed to be the best method of influencing opinion. These books then present us with the unique example of an ambitious statesman resorting to romance as his means of reorganising a political party.

There is another side to this feature which is also unique and curiously full of interest. These romances are the only instances in which any statesman of the first rank, who for years was the ruling spirit of a great empire, has thrown his political conceptions and schemes into an imaginative form. And these books, from _Vivian Grey_ (1825) to _Endymion_ (1880), extend over fifty-five years; some being published before his political career seemed able to begin, some in the midst of it, and the later books after it was ended. In the grandiloquent style of the autobiographical prefaces, we may say that they recall to us the _Meditations_ of Marcus Aurelius, the _Political Testament_ of Richelieu, and the _Conversations_ of Napoleon at St.

Helena.

In judging these remarkable works, we ought to remember that they are not primarily romances at all, that they do not compete with genuine romances, and they ought to be read for the qualities they have, not for those in which they fail. They are in part autobiographical sketches, meditations on society, historical disquisitions, and political manifestoes. They are the productions of a statesman aiming at a practical effect, not of a man of letters creating a work of imaginative art. The creative form is quite subsidiary and subordinate. It would be unreasonable to expect in them elaborate drawing of character, complex plot, or subtle types of contemporary life. Their aim is to paint the actual political world, to trace its origin, and to idealise its possible development. And this is done, not by an outside man of letters, but by the very man who had conquered a front place in this political world, and who had more or less realised his ideal development. They are almost the only pictures of the inner parliamentary life we have; and they are painted by an artist who was first and foremost a great parliamentary power, of consummate experience and insight. If the artistic skill were altogether absent, we should not read them at all, as n.o.body reads Lord Russell's dramas or the poems of Frederick the Great. But the art, though unequal and faulty, is full of vigour, originality, and suggestion. Taken as a whole, they are quite unique.

_Coningsby; or, the New Generation_, was the earliest and in some ways the best of the trilogy. It is still highly diverting as a novel, and, as we see to-day, was charged with potent ideas and searching criticism. It was far more real and effective as a romance than anything Disraeli had previously written. There are scenes and characters in the story which will live in English literature.

Thackeray could hardly have created more living portraits than "Rigby,"

"Tadpole," and "Taper," or "Lord Monmouth." These are characters which are household words with us like "Lord Steyne" and "Rawdon Crawley."

The social pictures are as realistic as those of Trollope, and now and then as bright as those of Thackeray. The love-making is tender, pretty, and not nearly so mawkish as that of "Henrietta Temple" and "Venetia." There is plenty of wit, epigram, squib, and _bon mot_.

There is almost none of that rhodomontade which pervades the other romances, except as to "Sidonia" and the supremacy of the Hebrew race--a topic on which Benjamin himself was hardly sane. _Coningsby_, as a novel, is sacrificed to its being a party manifesto and a political programme first and foremost. But as a novel it is good. It is the only book of Disraeli's in which we hardly ever suspect that he is merely trying to fool us. It is not so gay and fantastic as _Lothair_. But, being far more real and serious, it is perhaps the best of Disraeli's novels.

As a political manifesto, Coningsby has been an astonishing success.

The grand idea of Disraeli's life was to struggle against what he called the "Venetian Const.i.tution," imposed and maintained by the "Whig Oligarchy." As Radical, as Tory, as novelist, as statesman, his ruling idea was "to dish the Whigs," in Lord Derby's historic phrase. And he did "dish the Whigs." The old Whigs have disappeared from English politics. They have either amalgamated with the Tories, become Unionist Conservatives, henchmen of Lord Salisbury, or else have become Gladstonians and Radicals. The so-called Whigs of 1895, if any politicians so call themselves, are far more Tory than the Whigs of 1844, and the Tories of 1895 are far more democratic than the Whigs of 1844. This complete transformation is very largely due to Disraeli himself.

Strictly speaking, Disraeli has eliminated from our political arena both "Whig" and "Tory," as understood in the old language of our party history. And the first sketch of the new policy was flung upon an astonished public in _Coningsby_, just fifty years ago. No doubt, the arduous task of educating the Conservative Party into the new faith of Tory Democracy was not effected by _Coningsby_ alone. But it may be doubted if Mr. Disraeli would have accomplished it by his speeches without his writings. As a sketch of the inner life of the parliamentary system of fifty years ago, _Coningsby_ is perfect and has never been approached. Both Thackeray and Trollope have painted Parliament and public life so far as it could be seen from a London club. But Disraeli has painted it as it was known to a man who threw his whole life into it, and who was himself a consummate parliamentary leader.

_Sybil; or, the Two Nations_, the second of the trilogy (1845), was devoted, he tells us, "to the condition of the people," that dismal result of the "Venetian Const.i.tution" and of the "Whig Oligarchy" which he had denounced in _Coningsby_. _Sybil_ was perhaps the most genuinely serious of all Disraeli's romances; and in many ways it was the most powerful. Disraeli himself was a man of sympathetic and imaginative nature who really felt for the suffering and oppressed. He was tender-hearted as a man, however sardonic as a politician. He had seen and felt the condition of the people in 1844. It was a time of cruel suffering which also stirred the spirits of Carlyle, Mill, Cobden, and Bright. It led to the new Radicalism of which Mr.

Gladstone and Mr. John Morley are eminent types. But the genius of Disraeli saw that it might also become the foundation of a new Toryism; and _Sybil_ was the first public manifesto of the new departure. The political history of the last fifty years is evidence of his insight that, to recover their political ascendancy, a Conservative Party must take in hand "the condition of the people," under the leadership of "a generous aristocracy," and in alliance with a renovated Church. These are the ideas of _Sybil_, though in the novel they are adumbrated in a dim and fantastic way. As a romance, _Sybil_ is certainly inferior to _Coningsby_. As a political manifesto, it has had an almost greater success, and the movement that it launched is far from exhausted even yet. One of Disraeli's comrades in the new programme of 1844-5 was a member of the last Conservative cabinet. And when we consider all the phases of Tory Democracy, Socialistic Toryism, and the current type of Christian Socialism, we may come to regard the ideas propounded in _Sybil_ as not quite so visionary as they appeared to the Whigs, Radicals, Free Traders, and Benthamites of fifty years ago.

In _Lothair_, which did not appear until twenty-five years after _Sybil_, we find an altered and more mellow tone, as of a man who was playing with his own puppets, and had no longer any startling theories to propound or political objects to win. For this reason it is in some ways the most complete and artistic of Disraeli's romances. The plot is not suspended by historical disquisitions on the origin of the Whig oligarchy, by pictures of the House of Commons that must weary those who know nothing about it, and by enthusiastic appeals to the younger aristocracy to rouse itself and take in hand the condition of the people. In 1870, Mr. Disraeli had little hope of realising his earlier visions, and he did not write _Lothair_ to preach a political creed.

The tale is that he avowed three motives, the first to occupy his mind on his fall from power, the second to make a large sum which he much needed, and the third to paint the manners of the highest order of rank and wealth, of which he alone amongst novelists had intimate knowledge.

That is exactly what we see in _Lothair_. It is airy, fantastic, pure, graceful, and extravagant. The whole thing goes to bright music, like a comic opera of Gilbert and Sullivan. There is life and movement; but it is a scenic and burlesque life. There is wit, criticism, and caricature;, but it does not cut deep, and it is neither hot nor fierce. There is some pleasant tom-foolery; but at a comic opera we enjoy this graceful nonsense. We see in every page the trace of a powerful mind; but it is a mind laughing at its own creatures, at itself, at us. _Lothair_ would be a work of art, if it were explicitly presented as a burlesque, such as was _The Infernal Marriage_, or if we did not know that it was written to pa.s.s the time by one who had ruled this great empire for years, and who within a few years more was destined to rule it again. It was a fanciful and almost sympathetic satire on the selfish fatuity of the n.o.ble, wealthy, and governing orders of British society. But then the author of this burlesque was himself about to ask these orders to admit him to their select ranks, and to enthrone him as their acknowledged chief.

As the rancour of party feeling that has gathered round the personality of Beaconsfield subsides, and as time brings new proofs of the sagacity of the judgments with which Benjamin Disraeli a.n.a.lysed the political traditions of British society, we may look for a fresh growth of the popularity of the trilogy and _Lothair_. England will one day be as just, as America has always been, to one of our wittiest writers. He will one day be formally admitted into the ranks of the Men of Letters.

He has. .h.i.therto been kept outside, in a sense, partly by his being a prominent statesman and party chief, partly by his incurable tone of mind with its Semitic and non-English ways, partly by his strange incapacity to acquire the _nuances_ of pure literary English. No English writer of such literary genius slips so often into vulgarisms, solecisms, archaisms, and mere slip-shod gossip. But these are after all quite minor defects. His books, even his worst books, abound in epigrams, pictures, characters, and scenes of rare wit. His painting of parliamentary life in England has neither equal nor rival. And his reflections on English society and politics reveal the insight of vast experience and profound genius.

V

W. M. THACKERAY

The literary career of William Makepeace Thackeray has not a few special features of its own that it is interesting to note at once. Of all the more eminent writers of the Victorian Age, his life was the shortest: he died in 1863 at the age of fifty-two, the age of Shakespeare. His literary career of twenty-six years was shorter than that of Carlyle, of Macaulay, Disraeli, d.i.c.kens, Trollope, George Eliot, Froude, or Ruskin. It opened with the reign of the Queen, almost in the very year of _Pickwick_, whose author stood beside his grave and lived and wrote for some years more. But these twenty-six years of Thackeray's era of production were full of wonderful activity, and have left us as many volumes of rich and varied genius. And the most striking feature of all is this--that in these twenty-six full volumes in so many modes, prose, verse, romance, parody, burlesque, essay, biography, criticism, there are hardly more than one or two which can be put aside as worthless and as utter failures; very few fail in his consummate mastery of style; few can be said to be irksome to read, to re-read, and to linger over in the reading.

This mastery over style--a style at once simple, pure, nervous, flexible, pathetic, and graceful--places Thackeray amongst the very greatest masters of English prose, and undoubtedly as the most certain and faultless of all the prose writers of the Victorian Age. Without saying that he has ever reached quite to the level of some lyrical and apocalyptic descants that we may find in Carlyle and in Ruskin, Thackeray has never fallen into the faults of violence and turgidity which their warmest admirers are bound to confess in many a pa.s.sage from these our two prose-poets. Carlyle is often grotesque; Macaulay can be pompous; Disraeli, Bulwer, d.i.c.kens, are often slovenly and sometimes bombastic; George Eliot is sometimes pedantic, and Ruskin has been stirred into hysterics. But Thackeray's English, from the first page of his first volume to the last page of his twenty-sixth volume, is natural, scholarly, pure, incisive, and yet gracefully and easily modulated--the language of an English gentleman of culture, wit, knowledge of the world, and consummate ease and self-possession. It is the direct and trenchant language of Swift: but more graceful, more flexible, more courteous.

And what is a truly striking fact about Thackeray's mastery of style is this--that it was perfectly formed from the beginning; that it hardly ever varied, or developed, or waned in the whole course of his literary career; that his first venture as a very young man is as finished and as ripe as his very latest piece, when he died almost in the act of writing the words--"_and his heart throbbed, with an exquisite bliss_."

This prodigious precocity in style, such uniform perfection of exact composition, are perhaps without parallel in English literature. At the age of twenty-six Thackeray wrote _The History of Samuel t.i.tmarsh_ and the _Great Hoggarty Diamond_. It was produced under very melancholy conditions, in the most unfavourable form of publication, and it was mangled by editorial necessities. And yet it can still be read and re-read as one of Thackeray's masterpieces, trifling and curtailed as it is (for it may be printed in one hundred pages); it is as full of wit, humour, scathing insight, and fine pathos in the midst of burlesque, as is _Vanity Fair_ itself. It is already Thackeray in all his strength, with his "Sn.o.bs," his "n.o.bs," his fierce satire, and his exquisite style.

Modern romance has no purer, more pathetic, or simpler page than the tale of the death of poor Samuel t.i.tmarsh's first child. Though it is, as it deserves to be, a household word, the pa.s.sage must be quoted here as a specimen of faultless and beautiful style.

It was not, however, destined that she and her child should inhabit that little garret. We were to leave our lodgings on Monday morning; but on Sat.u.r.day evening the child was seized with convulsions, and all Sunday the mother watched and prayed for it: but it pleased G.o.d to take the innocent infant from us, and on Sunday, at midnight, it lay a corpse in its mother's bosom. Amen. We have other children, happy and well, now round about us, and from the father's heart the memory of this little thing has almost faded; but I do believe that every day of her life the mother thinks of her first-born that was with her for so short a while: many and many a time she has taken her daughters to the grave, in Saint Bride's, where he lies buried; and she wears still at her neck a little, little lock of gold hair, which she took from the head of the infant as he lay smiling in his coffin. It has happened to me to forget the child's birthday, but to her never; and often in the midst of common talk, comes something that shows she is thinking of the child still,--some simple allusion that is to me inexpressibly affecting.