They were neither of them quite heartless at that moment, nor did Rawdon ever become quite bad. Then follow the adventures of Becky as a married woman, through all of which there is a glimmer of love for her stupid husband, while it is the real purpose of her heart to get money how she may,--by her charms, by her wit, by her lies, by her readiness. She makes love to everyone,--even to her sanctimonious brother-in-law, who becomes Sir Pitt in his time,--and always succeeds. But in her love-making there is nothing of love. She gets hold of that well-remembered old reprobate, the Marquis of Steyne, who possesses the two valuable gifts of being very dissolute and very rich, and from him she obtains money and jewels to her heart's desire. The abominations of Lord Steyne are depicted in the strongest language of which _Vanity Fair_ admits. The reader's hair stands almost on end in horror at the wickedness of the two wretches,--at her desire for money, sheer money; and his for wickedness, sheer wickedness. Then her husband finds her out,--poor Rawdon! who with all his faults and thickheaded stupidity, has become absolutely entranced by the wiles of his little wife. He is carried off to a sponging-house, in order that he may be out of the way, and, on escaping unexpectedly from thraldom, finds the lord in his wife's drawing-room. Whereupon he thrashes the old lord, nearly killing him; takes away the plunder which he finds on his wife's person, and hurries away to seek a.s.sistance as to further revenge;--for he is determined to shoot the marquis, or to be shot. He goes to one Captain Macmurdo, who is to act as his second, and there he pours out his heart.

"You don't know how fond I was of that one," Rawdon said, half-inarticulately. "Damme, I followed her like a footman! I gave up everything I had to her. I'm a beggar because I would marry her. By Jove, sir, I've p.a.w.ned my own watch to get her anything she fancied. And she,--she's been making a purse for herself all the time, and grudged me a hundred pounds to get me out of quod!" His friend alleges that the wife may be innocent after all. "It may be so," Rawdon exclaimed sadly; "but this don't look very innocent!" And he showed the captain the thousand-pound note which he had found in Becky's pocketbook.

But the marquis can do better than fight; and Rawdon, in spite of his true love, can do better than follow the quarrel up to his own undoing.

The marquis, on the spur of the moment, gets the lady's husband appointed governor of Coventry Island, with a salary of three thousand pounds a year; and poor Rawdon at last condescends to accept the appointment. He will not see his wife again, but he makes her an allowance out of his income.

In arranging all this, Thackeray is enabled to have a side blow at the British way of distributing patronage,--for the favour of which he was afterwards himself a candidate. He quotes as follows from _The Royalist_ newspaper: "We hear that the governorship"--of Coventry Island--"has been offered to Colonel Rawdon Crawley, C.B., a distinguished Waterloo officer. We need not only men of acknowledged bravery, but men of administrative talents to superintend the affairs of our colonies; and we have no doubt that the gentleman selected by the Colonial Office to fill the lamented vacancy which has occurred at Coventry Island, is admirably calculated for the post." The reader, however, is aware that the officer in question cannot write a sentence or speak two words correctly.

Our heroine's adventures are carried on much further, but they cannot be given here in detail. To the end she is the same,--utterly false, selfish, covetous, and successful. To have made such a woman really in love would have been a mistake. Her husband she likes best,--because he is, or was, her own. But there is no man so foul, so wicked, so unattractive, but that she can fawn over him for money and jewels. There are women to whom nothing is nasty, either in person, language, scenes, actions, or principle,--and Becky is one of them; and yet she is herself attractive. A most wonderful sketch, for the perpetration of which all Thackeray's power of combined indignation and humour was necessary!

The story of Amelia and her two lovers, George Osborne and Captain, or as he came afterwards to be, Major, and Colonel Dobbin, is less interesting, simply because goodness and eulogy are less exciting than wickedness and censure. Amelia is a true, honest-hearted, thoroughly English young woman, who loves her love because he is grand,--to her eyes,--and loving him, loves him with all her heart. Readers have said that she is silly, only because she is not heroic. I do not know that she is more silly than many young ladies whom we who are old have loved in our youth, or than those whom our sons are loving at the present time. Readers complain of Amelia because she is absolutely true to nature. There are no Raffaellistic touches, no added graces, no divine romance. She is feminine all over, and British,--loving, true, thoroughly unselfish, yet with a taste for having things comfortable, forgiving, quite capable of jealousy, but p.r.o.ne to be appeased at once, at the first kiss; quite convinced that her lover, her husband, her children are the people in all the world to whom the greatest consideration is due. Such a one is sure to be the dupe of a Becky Sharp, should a Becky Sharp come in her way,--as is the case with so many sweet Amelias whom we have known. But in a matter of love she is sound enough and sensible enough,--and she is as true as steel. I know no trait in Amelia which a man would be ashamed to find in his own daughter.

She marries her George Osborne, who, to tell the truth of him, is but a poor kind of fellow, though he is a brave soldier. He thinks much of his own person, and is selfish. Thackeray puts in a touch or two here and there by which he is made to be odious. He would rather give a present to himself than to the girl who loved him. Nevertheless, when her father is ruined he marries her, and he fights bravely at Waterloo, and is killed. "No more firing was heard at Brussels. The pursuit rolled miles away. Darkness came down on the field and the city,--and Amelia was praying for George, who was lying on his face, dead, with a bullet through his heart."

Then follows the long courtship of Dobbin, the true hero,--he who has been the friend of George since their old school-days; who has lived with him and served him, and has also loved Amelia. But he has loved her,--as one man may love another,--solely with a view to the profit of his friend. He has known all along that George and Amelia have been engaged to each other as boy and girl. George would have neglected her, but Dobbin would not allow it. George would have jilted the girl who loved him, but Dobbin would not let him. He had nothing to get for himself, but loving her as he did, it was the work of his life to get for her all that she wanted.

George is shot at Waterloo, and then come fifteen years of widowhood,--fifteen years during which Becky is carrying on her manoeuvres,--fifteen years during which Amelia cannot bring herself to accept the devotion of the old captain, who becomes at last a colonel.

But at the end she is won. "The vessel is in port. He has got the prize he has been trying for all his life. The bird has come in at last. There it is, with its head on its shoulder, billing and cooing clean up to his heart, with soft outstretched fluttering wings. This is what he has asked for every day and hour for eighteen years. This is what he has pined after. Here it is,--the summit, the end, the last page of the third volume."

The reader as he closes the book has on his mind a strong conviction, the strongest possible conviction, that among men George is as weak and Dobbin as n.o.ble as any that he has met in literature; and that among women Amelia is as true and Becky as vile as any he has encountered. Of so much he will be conscious. In addition to this he will unconsciously have found that every page he has read will have been of interest to him. There has been no padding, no longueurs; every bit will have had its weight with him. And he will find too at the end, if he will think of it--though readers, I fear, seldom think much of this in regard to books they have read--that the lesson taught in every page has been good. There may be details of evil painted so as to disgust,--painted almost too plainly,--but none painted so as to allure.

CHAPTER IV.

PENDENNIS AND THE NEWCOMES.

The absence of the heroic was, in Thackeray, so palpable to Thackeray himself that in his original preface to _Pendennis_, when he began to be aware that his reputation was made, he tells his public what they may expect and what they may not, and makes his joking complaint of the readers of his time because they will not endure with patience the true picture of a natural man. "Even the gentlemen of our age," he says,--adding that the story of _Pendennis_ is an attempt to describe one of them, just as he is,--"even those we cannot show as they are with the notorious selfishness of their time and their education. Since the author of _Tom Jones_ was buried, no writer of fiction among us has been permitted to depict to his utmost power a MAN. We must shape him, and give him a certain conventional temper." Then he rebukes his audience because they will not listen to the truth. "You will not hear what moves in the real world, what pa.s.ses in society, in the clubs, colleges, mess-rooms,--what is the life and talk of your sons." You want the Raffaellistic touch, or that of some painter of horrors equally removed from the truth. I tell you how a man really does act,--as did Fielding with Tom Jones,--but it does not satisfy you. You will not sympathise with this young man of mine, this Pendennis, because he is neither angel nor imp. If it be so, let it be so. I will not paint for you angels or imps, because I do not see them. The young man of the day, whom I do see, and of whom I know the inside and the out thoroughly, him I have painted for you; and here he is, whether you like the picture or not. This is what Thackeray meant, and, having this in his mind, he produced _Pendennis_.

The object of a novel should be to instruct in morals while it amuses. I cannot think but that every novelist who has thought much of his art will have realised as much as that for himself. Whether this may best be done by the transcendental or by the commonplace is the question which it more behoves the reader than the author to answer, because the author may be fairly sure that he who can do the one will not, probably cannot, do the other. If a lad be only five feet high he does not try to enlist in the Guards. Thackeray complains that many ladies have "remonstrated and subscribers left him," because of his realistic tendency.

Nevertheless he has gone on with his work, and, in _Pendennis_, has painted a young man as natural as Tom Jones. Had he expended himself in the attempt, he could not have drawn a Master of Ravenswood.

It has to be admitted that Pendennis is not a fine fellow. He is not as weak, as selfish, as untrustworthy as that George Osborne whom Amelia married in _Vanity Fair_; but nevertheless, he is weak, and selfish, and untrustworthy. He is not such a one as a father would wish to see his son, or a mother to welcome as a lover for her daughter. But then, fathers are so often doomed to find their sons not all that they wish, and mothers to see their girls falling in love with young men who are not Paladins. In our individual lives we are contented to endure an admixture of evil, which we should resent if imputed to us in the general. We presume ourselves to be truth-speaking, n.o.ble in our sentiments, generous in our actions, modest and unselfish, chivalrous and devoted. But we forgive and pa.s.s over in silence a few delinquencies among ourselves. What boy at school ever is a coward,--in the general?

What gentleman ever tells a lie? What young lady is greedy? We take it for granted, as though they were fixed rules in life, that our boys from our public schools look us in the face and are manly; that our gentlemen tell the truth as a matter of course; and that our young ladies are refined and unselfish. Thackeray is always protesting that it is not so, and that no good is to be done by blinking the truth. He knows that we have our little home experiences. Let us have the facts out, and mend what is bad if we can. This novel of _Pendennis_ is one of his loudest protests to this effect.

I will not attempt to tell the story of Pendennis, how his mother loved him, how he first came to be brought up together with Laura Bell, how he thrashed the other boys when he was a boy, and how he fell in love with Miss Fotheringay, nee Costigan, and was determined to marry her while he was still a hobbledehoy, how he went up to Boniface, that well-known college at Oxford, and there did no good, spending money which he had not got, and learning to gamble. The English gentleman, as we know, never lies; but Pendennis is not quite truthful; when the college tutor, thinking that he hears the rattling of dice, makes his way into Pen's room, Pen and his two companions are found with three _Homers_ before them, and Pen asks the tutor with great gravity; "What was the present condition of the river Scamander, and whether it was navigable or no?"

He tells his mother that, during a certain vacation he must stay up and read, instead of coming home,--but, nevertheless, he goes up to London to amuse himself. The reader is soon made to understand that, though Pen may be a fine gentleman, he is not trustworthy. But he repents and comes home, and kisses his mother; only, alas! he will always be kissing somebody else also.

The story of the Amorys and the Claverings, and that wonderful French cook M. Alcide Mirobolant, forms one of those delightful digressions which Thackeray scatters through his novels rather than weaves into them. They generally have but little to do with the story itself, and are brought in only as giving scope for some incident to the real hero or heroine. But in this digression Pen is very much concerned indeed, for he is brought to the very verge of matrimony with that peculiarly disagreeable lady Miss Amory. He does escape at last, but only within a few pages of the end, when we are made unhappy by the lady's victory over that poor young sinner Foker, with whom we have all come to sympathise, in spite of his vulgarity and fast propensities. She would to the last fain have married Pen, in whom she believes, thinking that he would make a name for her. "Il me faut des emotions," says Blanche.

Whereupon the author, as he leaves her, explains the nature of this Miss Amory's feelings. "For this young lady was not able to carry out any emotion to the full, but had a sham enthusiasm, a sham hatred, a sham love, a sham taste, a sham grief; each of which flared and shone very vehemently for an instant, but subsided and gave place to the next sham emotion." Thackeray, when he drew this portrait, must certainly have had some special young lady in his view. But though we are made unhappy for Foker, Foker too escapes at last, and Blanche, with her emotions, marries that very doubtful n.o.bleman Comte Montmorenci de Valentinois.

But all this of Miss Amory is but an episode. The purport of the story is the way in which the hero is made to enter upon the world, subject as he has been to the sweet teaching of his mother, and subject as he is made to be to the worldly lessons of his old uncle the major. Then he is ill, and nearly dies, and his mother comes up to nurse him. And there is his friend Warrington, of whose family down in Suffolk we shall have heard something when we have read _The Virginians_,--one I think of the finest characters, as it is certainly one of the most touching, that Thackeray ever drew. Warrington, and Pen's mother, and Laura are our hero's better angels,--angels so good as to make us wonder that a creature so weak should have had such angels about him; though we are driven to confess that their affection and loyalty for him are natural.

There is a melancholy beneath the roughness of Warrington, and a feminine softness combined with the reticent manliness of the man, which have endeared him to readers beyond perhaps any character in the book.

Major Pendennis has become immortal. Selfish, worldly, false, padded, caring altogether for things mean and poor in themselves; still the reader likes him. It is not quite all for himself. To Pen he is good,--to Pen who is the head of his family, and to come after him as the Pendennis of the day. To Pen and to Pen's mother he is beneficent after his lights. In whatever he undertakes it is so contrived that the reader shall in some degree sympathise with him. And so it is with poor old Costigan, the drunken Irish captain, Miss Fotheringay's papa. He was not a pleasant person. "We have witnessed the deshabille of Major Pendennis," says our author; "will any one wish to be valet-de-chambre to our other hero, Costigan? It would seem that the captain, before issuing from his bedroom, scented himself with otto of whisky." Yet there is a kindliness about him which softens our hearts, though in truth he is very careful that the kindness shall always be shown to himself.

Among these people Pen makes his way to the end of the novel, coming near to shipwreck on various occasions, and always deserving the shipwreck which he has almost encountered. Then there will arise the question whether it might not have been better that he should be altogether shipwrecked, rather than housed comfortably with such a wife as Laura, and left to that enjoyment of happiness forever after, which is the normal heaven prepared for heroes and heroines who have done their work well through three volumes. It is almost the only instance in all Thackeray's works in which this state of bliss is reached. George Osborne, who is the beautiful lover in _Vanity Fair_, is killed almost before our eyes, on the field of battle, and we feel that Nemesis has with justice taken hold of him. Poor old Dobbin does marry the widow, after fifteen years of further service, when we know him to be a middle-aged man and her a middle-aged woman. That glorious Paradise of which I have spoken requires a freshness which can hardly be attributed to the second marriage of a widow who has been fifteen years mourning for her first husband. Clive Newcome, "the first young man," if we may so call him, of the novel which I shall mention just now, is carried so far beyond his matrimonial elysium that we are allowed to see too plainly how far from true may be those promises of hymeneal happiness forever after. The cares of married life have settled down heavily upon his young head before we leave him. He not only marries, but loses his wife, and is left a melancholy widower with his son. Esmond and Beatrix certainly reach no such elysium as that of which we are speaking. But Pen, who surely deserved a Nemesis, though perhaps not one so black as that demanded by George Osborne's delinquencies, is treated as though he had been pa.s.sed through the fire, and had come out,--if not pure gold, still gold good enough for goldsmiths. "And what sort of a husband will this Pendennis be?" This is the question asked by the author himself at the end of the novel; feeling, no doubt, some hesitation as to the justice of what he had just done. "And what sort of a husband will this Pendennis be?" many a reader will ask, doubting the happiness of such a marriage and the future of Laura. The querists are referred to that lady herself, who, seeing his faults and wayward moods--seeing and owning that there are better men than he--loves him always with the most constant affection. The a.s.sertion could be made with perfect confidence, but is not to the purpose. That Laura's affection should be constant, no one would doubt; but more than that is wanted for happiness. How about Pendennis and his constancy?

_The Newcomes_, which I bracket in this chapter with _Pendennis_, was not written till after _Esmond_, and appeared between that novel and _The Virginians_, which was a sequel to _Esmond_. It is supposed to be edited by Pen, whose own adventures we have just completed, and is commenced by that celebrated night pa.s.sed by Colonel Newcome and his boy Clive at the Cave of Harmony, during which the colonel is at first so pleasantly received and so genially entertained, but from which he is at last banished, indignant at the iniquities of our drunken old friend Captain Costigan, with whom we had become intimate in Pen's own memoirs.

The boy Clive is described as being probably about sixteen. At the end of the story he has run through the adventures of his early life, and is left a melancholy man, a widower, one who has suffered the extremity of misery from a stepmother, and who is wrapped up in the only son that is left to him,--as had been the case with his father at the beginning of the novel. _The Newcomes_, therefore, like Thackeray's other tales, is rather a slice from the biographical memoirs of a family, than a romance or novel in itself.

It is full of satire from the first to the last page. Every word of it seems to have been written to show how vile and poor a place this world is; how p.r.o.ne men are to deceive, how p.r.o.ne to be deceived. There is a scene in which "his Excellency Rummun Loll, otherwise his Highness Rummun Loll," is introduced to Colonel Newcome,--or rather presented,--for the two men had known each other before. All London was talking of Rummun Loll, taking him for an Indian prince, but the colonel, who had served in India, knew better. Rummun Loll was no more than a merchant, who had made a precarious fortune by doubtful means.

All the girls, nevertheless, are running after his Excellency. "He's known to have two wives already in India," says Barnes Newcome; "but, by gad, for a settlement, I believe some of the girls here would marry him." We have a delightful ill.u.s.tration of the London girls, with their bare necks and shoulders, sitting round Rummun Loll and worshipping him as he reposes on his low settee. There are a dozen of them so enchanted that the men who wish to get a sight of the Rummun are quite kept at a distance. This is satire on the women. A few pages on we come upon a clergyman who is no more real than Rummun Loll. The clergyman, Charles Honeyman, had married the colonel's sister and had lost his wife, and now the brothers-in-law meet. "'Poor, poor Emma!' exclaimed the ecclesiastic, casting his eyes towards the chandelier and pa.s.sing a white cambric pocket-handkerchief gracefully before them. No man in London understood the ring business or the pocket-handkerchief business better, or smothered his emotion more beautifully. 'In the gayest moments, in the giddiest throng of fashion, the thoughts of the past will rise; the departed will be among us still. But this is not the strain wherewith to greet the friend newly arrived on our sh.o.r.es. How it rejoices me to behold you in old England.'" And so the satirist goes on with Mr. Honeyman the clergyman. Mr. Honeyman the clergyman has been already mentioned, in that extract made in our first chapter from _Lovel the Widower_. It was he who a.s.sisted another friend, "with his wheedling tongue," in inducing Thackeray to purchase that "neat little literary paper,"--called then _The Museum_, but which was in truth _The National Standard_. In describing Barnes Newcome, the colonel's relative, Thackeray in the same scene attacks the sharpness of the young men of business of the present day. There were, or were to be, some transactions with Rummun Loll, and Barnes Newcome, being in doubt, asks the colonel a question or two as to the certainty of the Rummun's money, much to the colonel's disgust. "The young man of business had dropped his drawl or his languor, and was speaking quite unaffectedly, good-naturedly, and selfishly. Had you talked to him for a week you would not have made him understand the scorn and loathing with which the colonel regarded him. Here was a young fellow as keen as the oldest curmudgeon,--a lad with scarce a beard to his chin, that would pursue his bond as rigidly as Shylock." "Barnes Newcome never missed a church,"

he goes on, "or dressing for dinner. He never kept a tradesman waiting for his money. He seldom drank too much, and never was late for business, or huddled over his toilet, however brief his sleep or severe his headache. In a word, he was as scrupulously whited as any sepulchre in the whole bills of mortality." Thackeray had lately seen some Barnes Newcome when he wrote that.

It is all satire; but there is generally a touch of pathos even through the satire. It is satire when Miss Quigley, the governess in Park Street, falls in love with the old colonel after some dim fashion of her own. "When she is walking with her little charges in the Park, faint signals of welcome appear on her wan cheeks. She knows the dear colonel amidst a thousand hors.e.m.e.n." The colonel had drunk a gla.s.s of wine with her after his stately fashion, and the foolish old maid thinks too much of it. Then we are told how she knits purses for him, "as she sits alone in the schoolroom,--high up in that lone house, when the little ones are long since asleep,--before her dismal little tea-tray, and her little desk containing her mother's letters and her mementoes of home." Miss Quigley is an a.s.s; but we are made to sympathise entirely with the a.s.s, because of that morsel of pathos as to her mother's letters.

Clive Newcome, our hero, who is a second Pen, but a better fellow, is himself a satire on young men,--on young men who are idle and ambitious at the same time. He is a painter; but, instead of being proud of his art, is half ashamed of it,--because not being industrious he has not, while yet young, learned to excel. He is "doing" a portrait of Mrs.

Pendennis, Laura, and thus speaks of his business. "No. 666,"--he is supposed to be quoting from the catalogue of the Royal Academy for the year,--"No. 666. Portrait of Joseph Muggins, Esq., Newcome, George Street. No. 979. Portrait of Mrs. Muggins on her gray pony, Newcome. No.

579. Portrait of Joseph Muggins, Esq.'s dog Toby, Newcome. This is what I am fit for. These are the victories I have set myself on achieving. Oh Mrs. Pendennis! isn't it humiliating? Why isn't there a war? Why haven't I a genius? There is a painter who lives hard by, and who begs me to come and look at his work. He is in the Muggins line too. He gets his canvases with a good light upon them; excludes the contemplation of other objects; stands beside his picture in an att.i.tude himself; and thinks that he and they are masterpieces. Oh me, what drivelling wretches we are! Fame!--except that of just the one or two,--what's the use of it?" In all of which Thackeray is speaking his own feelings about himself as well as the world at large. What's the use of it all? Oh vanitas vanitatum! Oh vanity and vexation of spirit! "So Clive Newcome,"

he says afterwards, "lay on a bed of down and tossed and tumbled there.

He went to fine dinners, and sat silent over them; rode fine horses, and black care jumped up behind the moody horseman." As I write this I have before me a letter from Thackeray to a friend describing his own success when _Vanity Fair_ was coming out, full of the same feeling. He is making money, but he spends it so fast that he never has any; and as for the opinions expressed on his books, he cares little for what he hears. There was always present to him a feeling of black care seated behind the horseman,--and would have been equally so had there been no real care present to him. A sardonic melancholy was the characteristic most common to him,--which, however, was relieved by an always present capacity for instant frolic. It was these attributes combined which made him of all satirists the most humorous, and of all humorists the most satirical. It was these that produced the Osbornes, the Dobbins, the Pens, the Clives, and the Newcomes, whom, when he loved them the most, he could not save himself from describing as mean and unworthy. A somewhat heroic hero of romance,--such a one, let us say, as Waverley, or Lovel in _The Antiquary_, or Morton in _Old Mortality_,--was revolting to him, as lacking those foibles which human nature seemed to him to demand.

The story ends with two sad tragedies, neither of which would have been demanded by the story, had not such sadness been agreeable to the author's own idiosyncrasy. The one is the ruin of the old colonel's fortunes, he having allowed himself to be enticed into bubble speculations; and the other is the loss of all happiness, and even comfort, to Clive the hero, by the abominations of his mother-in-law.

The woman is so iniquitous, and so tremendous in her iniquities, that she rises to tragedy. Who does not know Mrs. Mack the Campaigner? Why at the end of his long story should Thackeray have married his hero to so lackadaisical a heroine as poor little Rosey, or brought on the stage such a she-demon as Rosey's mother? But there is the Campaigner in all her vigour, a marvel of strength of composition,--one of the most vividly drawn characters in fiction;--but a woman so odious that one is induced to doubt whether she should have been depicted.

The other tragedy is altogether of a different kind, and though unnecessary to the story, and contrary to that practice of story-telling which seems to demand that calamities to those personages with whom we are to sympathise should not be brought in at the close of a work of fiction, is so beautifully told that no lover of Thackeray's work would be willing to part with it. The old colonel, as we have said, is ruined by speculation, and in his ruin is brought to accept the alms of the brotherhood of the Grey Friars. Then we are introduced to the Charter House, at which, as most of us know, there still exists a brotherhood of the kind. He dons the gown,--this old colonel, who had always been comfortable in his means, and latterly apparently rich,--and occupies the single room, and eats the doled bread, and among his poor brothers sits in the chapel of his order. The description is perhaps as fine as anything that Thackeray ever did. The gentleman is still the gentleman, with all the pride of gentry;--but not the less is he the humble bedesman, aware that he is living upon charity, not made to grovel by any sense of shame, but knowing that, though his normal pride may be left to him, an outward demeanour of humility is befitting.

And then he dies. "At the usual evening hour the chapel bell began to toll, and Thomas Newcome's hands outside the bed feebly beat time,--and, just as the last bell struck, a peculiar sweet smile shone over his face, and he lifted up his head a little, and quickly said, 'Adsum,'--and fell back. It was the word we used at school when names were called; and, lo, he whose heart was as that of a little child had answered to his name, and stood in the presence of his Maker!"

CHAPTER V.

ESMOND AND THE VIRGINIANS.

The novel with which we are now going to deal I regard as the greatest work that Thackeray did. Though I do not hesitate to compare himself with himself, I will make no comparison between him and others; I therefore abstain from a.s.signing to _Esmond_ any special niche among prose fictions in the English language, but I rank it so high as to justify me in placing him among the small number of the highest cla.s.s of English novelists. Much as I think of _Barry Lyndon_ and _Vanity Fair_, I cannot quite say this of them; but, as a chain is not stronger than its weakest link, so is a poet, or a dramatist, or a novelist to be placed in no lower level than that which he has attained by his highest sustained flight. The excellence which has been reached here Thackeray achieved, without doubt, by giving a greater amount of forethought to the work he had before him than had been his wont. When we were young we used to be told, in our house at home, that "elbow-grease" was the one essential necessary to getting a tough piece of work well done. If a mahogany table was to be made to shine, it was elbow-grease that the operation needed. Forethought is the elbow-grease which a novelist,--or poet, or dramatist,--requires. It is not only his plot that has to be turned and re-turned in his mind, not his plot chiefly, but he has to make himself sure of his situations, of his characters, of his effects, so that when the time comes for hitting the nail he may know where to hit it on the head,--so that he may himself understand the pa.s.sion, the calmness, the virtues, the vices, the rewards and punishments which he means to explain to others,--so that his proportions shall be correct, and he be saved from the absurdity of devoting two-thirds of his book to the beginning, or two-thirds to the completion of his task. It is from want of this special labour, more frequently than from intellectual deficiency, that the tellers of stories fail so often to hit their nails on the head. To think of a story is much harder work than to write it.

The author can sit down with the pen in his hand for a given time, and produce a certain number of words. That is comparatively easy, and if he have a conscience in regard to his task, work will be done regularly.

But to think it over as you lie in bed, or walk about, or sit cosily over your fire, to turn it all in your thoughts, and make the things fit,--that requires elbow-grease of the mind. The arrangement of the words is as though you were walking simply along a road. The arrangement of your story is as though you were carrying a sack of flour while you walked. Fielding had carried his sack of flour before he wrote _Tom Jones_, and Scott his before he produced _Ivanhoe_. So had Thackeray done,--a very heavy sack of flour,--in creating _Esmond_. In _Vanity Fair_, in _Pendennis_, and in _The Newcomes_, there was more of that mere wandering in which no heavy burden was borne. The richness of the author's mind, the beauty of his language, his imagination and perception of character are all there. For that which was lovely he has shown his love, and for the hateful his hatred; but, nevertheless, they are comparatively idle books. His only work, as far as I can judge them, in which there is no touch of idleness, is _Esmond_. _Barry Lyndon_ is consecutive, and has the well-sustained purpose of exhibiting a finished rascal; but _Barry Lyndon_ is not quite the same from beginning to end.

All his full-fledged novels, except _Esmond_, contain rather strings of incidents and memoirs of individuals, than a completed story. But _Esmond_ is a whole from beginning to end, with its tale well told, its purpose developed, its moral brought home,--and its nail hit well on the head and driven in.

I told Thackeray once that it was not only his best work, but so much the best, that there was none second to it. "That was what I intended,"

he said, "but I have failed. n.o.body reads it. After all, what does it matter?" he went on after awhile. "If they like anything, one ought to be satisfied. After all, Esmond was a prig." Then he laughed and changed the subject, not caring to dwell on thoughts painful to him. The elbow-grease of thinking was always distasteful to him, and had no doubt been so when he conceived and carried out this work.

To the ordinary labour necessary for such a novel he added very much by his resolution to write it in a style different, not only from that which he had made his own, but from that also which belonged to the time. He had devoted himself to the reading of the literature of Queen Anne's reign, and having chosen to throw his story into that period, and to create in it personages who were to be peculiarly concerned with the period, he resolved to use as the vehicle for his story the forms of expression then prevalent. No one who has not tried it can understand how great is the difficulty of mastering a phase of one's own language other than that which habit has made familiar. To write in another language, if the language be sufficiently known, is a much less arduous undertaking. The lad who attempts to write his essay in Ciceronian Latin struggles to achieve a style which is not indeed common to him, but is more common than any other he has become acquainted with in that tongue.

But Thackeray in his work had always to remember his Swift, his Steele, and his Addison, and to forget at the same time the modes of expression which the day had adopted. Whether he asked advice on the subject, I do not know. But I feel sure that if he did he must have been counselled against it. Let my reader think what advice he would give to any writer on such a subject. Probably he asked no advice, and would have taken none. No doubt he found himself, at first imperceptibly, gliding into a phraseology which had attractions for his ear, and then probably was so charmed with the peculiarly masculine forms of sentences which thus became familiar to him, that he thought it would be almost as difficult to drop them altogether as altogether to a.s.sume the use of them. And if he could do so successfully, how great would be the a.s.sistance given to the local colouring which is needed for a novel in prose, the scene of which is thrown far back from the writer's period! Were I to write a poem about Coeur de Lion I should not mar my poem by using the simple language of the day; but if I write a prose story of the time, I cannot altogether avoid some attempt at far-away quaintnesses in language. To call a purse a "gypsire," and to begin your little speeches with "Marry come up," or to finish them with "Quotha," are but poor attempts. But even they have had their effect. Scott did the best he could with his Coeur de Lion. When we look to it we find that it was but little; though in his hands it pa.s.sed for much. "By my troth," said the knight, "thou hast sung well and heartily, and in high praise of thine order."

We doubt whether he achieved any similarity to the language of the time; but still, even in the little which he attempted there was something of the picturesque. But how much more would be done if in very truth the whole language of a story could be thrown with correctness into the form of expression used at the time depicted?

It was this that Thackeray tried in his _Esmond_, and he has done it almost without a flaw. The time in question is near enough to us, and the literature sufficiently familiar to enable us to judge. Whether folk swore by their troth in the days of king Richard I. we do not know, but when we read Swift's letters, and Addison's papers, or Defoe's novels we do catch the veritable sounds of Queen Anne's age, and can say for ourselves whether Thackeray has caught them correctly or not. No reader can doubt that he has done so. Nor is the reader ever struck with the affectation of an a.s.sumed dialect. The words come as though they had been written naturally,--though not natural to the middle of the nineteenth century. It was a tour de force; and successful as such a tour de force so seldom is. But though Thackeray was successful in adopting the tone he wished to a.s.sume, he never quite succeeded, as far as my ear can judge, in altogether dropping it again.

And yet it has to be remembered that though _Esmond_ deals with the times of Queen Anne, and "copies the language" of the time, as Thackeray himself says in the dedication, the story is not supposed to have been written till the reign of George II. Esmond in his narrative speaks of Fielding and Hogarth, who did their best work under George II. The idea is that Henry Esmond, the hero, went out to Virginia after the events told, and there wrote the memoir in the form of an autobiography. The estate of Castlewood in Virginia had been given to the Esmond family by Charles II., and this Esmond, our hero, finding that expatriation would best suit both his domestic happiness and his political difficulties,--as the reader of the book will understand might be the case,--settles himself in the colony, and there writes the history of his early life. He retains the manners, and with the manners the language of his youth. He lives among his own people, a country gentleman with a broad domain, mixing but little with the world beyond, and remains an English gentleman of the time of Queen Anne. The story is continued in _The Virginians_, the name given to a record of two lads who were grandsons of Harry Esmond, whose names are Warrington. Before _The Virginians_ appeared we had already become acquainted with a scion of that family, the friend of Arthur Pendennis, a younger son of Sir Miles Warrington, of Suffolk. Henry Esmond's daughter had in a previous generation married a younger son of the then baronet. This is mentioned now to show the way in which Thackeray's mind worked afterwards upon the details and characters which he had originated in _Esmond_.

It is not my purpose to tell the story here, but rather to explain the way in which it is written, to show how it differs from other stories, and thus to explain its effect. Harry Esmond, who tells the story, is of course the hero. There are two heroines who equally command our sympathy,--Lady Castlewood the wife of Harry's kinsman, and her daughter Beatrix. Thackeray himself declared the man to be a prig, and he was not altogether wrong. Beatrix, with whom throughout the whole book he is in love, knew him well. "Shall I be frank with you, Harry,"

she says, when she is engaged to another suitor, "and say that if you had not been down on your knees and so humble, you might have fared better with me? A woman of my spirit, cousin, is to be won by gallantry, and not by sighs and rueful faces. All the time you are worshipping and singing hymns to me, I know very well I am no G.o.ddess." And again: "As for you, you want a woman to bring your slippers and cap, and to sit at your feet and cry, O caro, caro! O bravo! whilst you read your Shakespeares and Miltons and stuff." He was a prig, and the girl he loved knew him, and being quite of another way of thinking herself, would have nothing to say to him in the way of love. But without something of the apt.i.tudes of a prig the character which the author intended could not have been drawn. There was to be courage,--military courage,--and that propensity to fighting which the tone of the age demanded in a finished gentleman. Esmond therefore is ready enough to use his sword. But at the same time he has to live as becomes one whose name is in some degree under a cloud; for though he be not in truth an illegitimate offshoot of the n.o.ble family which is his, and though he knows that he is not so, still he has to live as though he were. He becomes a soldier, and it was just then that our army was accustomed "to swear horribly in Flanders." But Esmond likes his books, and cannot swear or drink like other soldiers. Nevertheless he has a sort of liking for fast ways in others, knowing that such are the ways of a gallant cavalier. There is a melancholy over his life which makes him always, to himself and to others, much older than his years. He is well aware that, being as he is, it is impossible that Beatrix should love him. Now and then there is a dash of lightness about him, as though he had taught himself in his philosophy that even sorrow may be borne with a smile,--as though there was something in him of the Stoic's doctrine, which made him feel that even disappointed love should not be seen to wound too deep. But still when he smiles, even when he indulges in some little pleasantry, there is that garb of melancholy over him which always makes a man a prig. But he is a gentleman from the crown of his head to the sole of his foot. Thackeray had let the whole power of his intellect apply itself to a conception of the character of a gentleman.

This man is brave, polished, gifted with that old-fashioned courtesy which ladies used to love, true as steel, loyal as faith himself, with a power of self-abnegation which astonishes the criticising reader when he finds such a virtue carried to such an extent without seeming to be unnatural. To draw the picture of a man and say that he is gifted with all the virtues is easy enough,--easy enough to describe him as performing all the virtues. The difficulty is to put your man on his legs, and make him move about, carrying his virtues with a natural gait, so that the reader shall feel that he is becoming acquainted with flesh and blood, not with a wooden figure. The virtues are all there with Henry Esmond, and the flesh and blood also, so that the reader believes in them. But still there is left a flavour of the character which Thackeray himself tasted when he called his hero a prig.