THE PRINCIPLES OF DISGUISE

It is universally admitted that Datchery was disguised.

Before seeking to identify him with a character already known to us I shall give a short note on the principles and limitations of disguise.

Suppose one wishes to disguise himself, how far is it possible for him to succeed? What are the limits within which success is possible?

The question was very carefully discussed in the _Berliner Tageblatt_ for 15th May 1912, under the t.i.tle 'On the Psychology of Dissimulation.' The author, Dr. Hugo Eick, uses the word _Verstellung_ entirely in the sense of mental disguise or purposeful deception. In the closing paragraph he limits the possibilities. His remarks on this question are not without value for the students of certain literary problems.

According to Dr. Eick, the really fundamental things which can never be imitated are all manifestations of positive life. For example, we cannot simulate courage, enthusiasm, humility. It is true that we can reproduce certain distinctive marks of courage and enthusiasm which may deceive the inexperienced; but the essence of these qualities can be expressed only by a person who has experienced them, and who possesses them. A brave man may simulate timidity and cowardice, the man who is capable of enthusiasm may wear the mask of apathetic indolence; all depressive and negative conditions may be imitated. But fulness of life and the sap which quickens it cannot be replaced by any dissimulation. The stupid person may persuade another stupid person to believe in his cleverness.

But it is impossible to counterfeit cleverness before a clever person unless we possess a minimum of cleverness, because a certain amount of cleverness is needed for the deception itself. The real tone of truth's voice can no more be copied than the fiery gleam of enthusiasm. At this point all the arts of deception fail; the voice contradicts the words.

The man who possesses something of these qualities of soul can indeed simulate higher degrees of the same qualities, and can exploit them in unlimited measure. But the elemental things of life are inimitable, and lie beyond the reach of falsehood. He who imitates an elemental thing is immediately discovered-supposing, of course, that the discoverer has himself some share in the element.

THE NECESSARY QUALIFICATIONS

The idea that Datchery is a new character may safely be dismissed. It is in one of the characters already on the stage that we must find Datchery.

I might proceed by taking the characters one by one, and by a process of exhaustion arrive at Datchery. But a simpler way may be to enumerate the qualifications required in Datchery, and to show that one character of the story possesses them all. The claims of the other characters may be then discussed.

Datchery is a.s.signed the task of collecting and co-ordinating all the evidence of diverting suspicion from the innocent Neville Landless, and fixing it on the true criminal. In order to do this satisfactorily he required a combination of qualities.

1. We need mental alertness and ability. Stupidity would be fatal.

2. We need high courage and firm resolution.

3. We need an individual who is at once fearless and skilful, one who knows the art of disguise, one who can a.s.sume a new character and carry through the a.s.sumption to a triumphant end.

4. We need supremely a character whose whole heart goes with the effort at detection. There must be behind all his actions a pa.s.sionate, personal, intimate concern. These requirements, I believe, are satisfied in Helena Landless, and in Helena Landless alone. The identification is naturally received at first with a certain measure of incredulity and surprise, but a careful and patient study of the story will confirm it.

The theory was put forth by Mr. c.u.ming Walters in 1905 in his book _Clues to d.i.c.kens's_ '_Mystery of Edwin Drood_.' It is one of the most brilliant conjectures or identifications in literary history. In arguing for its truth I must follow largely on the lines of Mr. c.u.ming Walters, but I hope to supply some fresh and fortifying considerations.

HELENA LANDLESS

No one will ever understand this problem unless he studies the method of d.i.c.kens as explained by d.i.c.kens himself in his letter to Wilkie Collins (page 92), and in his reply to the _Edinburgh_, (page 105). d.i.c.kens is supremely an artist, and he tries to insert nothing without a purpose.

Sometimes his hints are intended to help at the time, sometimes to mislead temporarily. Sometimes they are intended to be plain when the end is reached, and the reader peruses the story in the light of the conclusion.

1. Helena has the mental alertness and ability which qualified her for the task. It is interesting to see from the original ma.n.u.script and the proofs how d.i.c.kens kept raising and lowering the lights which fell upon the Landlesses. We have seen from the original ma.n.u.script in chapter vi.

how d.i.c.kens heightened his description of the pair. He changed 'A handsome young fellow, and a handsome girl; both dark and rich in colour,' into 'An unusually handsome, lithe young fellow, and an unusually handsome, lithe girl; much alike; both very dark, and very rich in colour.' He emphasises Helena's personal characteristics: 'Slender, supple, quick of eye and limb; half shy, half defiant; fierce of look; an indefinable kind of pause coming and going on their whole expression, both of face and form, which might be equally likened to the pause before a crouch or a bound.' She fought her way through her tragical childhood, was beaten by a cruel stepfather, and would have allowed him to 'tear her to pieces before she would have let him believe that he could make her shed a tear.' 'She had a masterful look.' Rosa said to her: 'You seem to have resolution and power enough to crush me. I shrink into nothing by the side of your presence.' But it is soon manifest that Helena has a tender heart. She and her brother came to the Crisparkles 'to quarrel with you, and affront you, and break away again.' But they are touched by Mr. Crisparkle's kindness, and Helena is more than touched. Neville tells Crisparkle that in describing his own imperfections he is not describing his sister's. 'She has come out of the disadvantages of our miserable life, as much better than I am as that cathedral tower is higher than these chimneys.' Describing the misery of their childhood to Crisparkle, Neville says: 'You ought to know, to her honour, that nothing in our misery ever subdued her, though it often cowed me. When we ran away from it (we ran away four times in six years, to be soon brought back and cruelly punished), the flight was always of her planning and leading. Each time she dressed as a boy, and showed the daring of a man.

I take it we were seven years old when we first decamped.' He says again to Crisparkle: 'You don't know, sir, what a complete understanding can exist between my sister and me, though no spoken word-perhaps hardly as much as a look-may have pa.s.sed between us.'

2. She has been from the beginning a born planner and leader. She has shown the daring of a man. When her brother lost the pocket-knife with which she was to have cut her hair short, she tried desperately to tear it out or to bite it off. Yet this strong and fiercely pa.s.sionate girl had herself under the strictest control.

She had no fear of Jasper. Rosa, Helena, Neville, Jasper, and Edwin meet in Crisparkle's drawing-room. Rosa is singing under the control of Jasper. She bursts into tears and shrieks out: 'I can't bear this! I am frightened! Take me away!' Helena immediately comes to the rescue, and with one swift turn of her lithe figure lays the little beauty on a sofa.

Edwin says to Jasper:

'You are such a conscientious master, and require so much, that I believe you make her afraid of you. No wonder.'

'No wonder,' repeated Helena.

'There, Jack, you hear! You would be afraid of him, under similar circ.u.mstances, wouldn't you, Miss Landless?'

'Not under any circ.u.mstances,' returned Helena.

This to my mind is the first unmistakable suggestion of what was to be developed. Here we have Jasper and Helena falling into enmity almost at the first moment of their meeting, challenging one another to battle.

Helena accepts the challenge. Not under any circ.u.mstances would she be afraid of Jasper. She lives to redeem that word.

3. d.i.c.kens expressly tells us that Helena from her childhood was accustomed to disguise herself as a boy. 'When we ran away from it (we ran away four times in six years, to be soon brought back and cruelly punished), the flight was always of her planning and leading. Each time she dressed as a boy, and showed the daring of a man.' This is the strongest reason for the identification of Helena with Datchery. I find it difficult to suppose that any careful student of d.i.c.kens will believe that these facts about Helena's disguise were put in without intent. It was one of those facts which d.i.c.kens intended his readers to interpret by the backward look. Those who were amazed when Datchery appeared as Helena would be referred back to the significant words which they had missed.

Helena protects her unhappy brother in London, and plans against his enemies. She surmises that 'Neville's movements are watched, and that the purpose of his foes is to isolate him from all friends and acquaintances, and wear out his daily life grain by grain.' She secures the help of Mr. Tartar.

In her conference with Grewgious, Helena plans for checkmating Jasper, and inquires whether 'it would be best to wait until any more maligning and pursuing of Neville on the part of this wretch shall disclose itself, or to try to antic.i.p.ate it.'

4. Helena's whole heart went with the effort at detection. We have seen her hatred of Jasper. In the conversation between Helena and Rosa about Drood and Jasper, Rosa betrays her horror of Jasper and his mesmeric power over her, which makes her ashamed and pa.s.sionately hurt. They resume on the same strain.

Says Rosa:

'But you said to-night that you would not be afraid of him, under any circ.u.mstances, and that gives me-who am so much afraid of him-courage to tell only you. Hold me! Stay with me! I am too frightened to be left by myself.'

The l.u.s.trous gipsy-face drooped over the clinging arms and bosom, and the wild black hair fell down protectingly over the childish form.

There was a slumbering gleam of fire in the intense dark eyes, though they were then softened with compa.s.sion and admiration. Let whomsoever it most concerned look well to it!

This last sentence is another of the unmistakably prophetic sentences in d.i.c.kens. Helena was the sworn champion thenceforth of Rosa against Jasper. Helena submits herself to the fairy bride and learns from her what she knows. When Jasper is mentioned and Rosa says, 'I could not hold any terms with him, could I?' Helena answers with indignation, 'You know how I love you, darling. But I would sooner see you dead at his wicked feet.'

As to the close and tender affection between Helena and Neville, and her vehement sympathy with his trial, there is no question. I quote one pa.s.sage because it seems to me a most striking fact that in the proofs of d.i.c.kens the whole of it is struck out:

'I don't think so,' said the Minor Canon. 'There is duty to be done here; and there are womanly feeling, sense, and courage wanted here.'

'I meant,' explained Neville, 'that the surroundings are so dull and unwomanly, and that Helena can have no suitable friend or society here.'

'You have only to remember,' said Mr. Crisparkle, 'that you are here yourself, and that she has to draw you into the sunlight.'

They were silent for a little while, and then Mr. Crisparkle began anew.

'When we first spoke together, Neville, you told me that your sister had risen out of the disadvantages of your past lives as superior to you as the tower of Cloisterham Cathedral is higher than the chimneys of Minor Canon Corner. Do you remember that?'

'Right well!'

'I was inclined to think it at the time an enthusiastic flight. No matter what I think it now. What I would emphasise is, that under the head of Pride your sister is a great and opportune example to you.'

'Under _all_ heads that are included in the composition of a fine character, she is.'

'Say so; but take this one. . . . She can dominate it even when it is wounded through her sympathy with you. . . . Every day and hour of her life since Edwin Drood's disappearance she has faced malignity and folly for you as only a brave nature well directed can. So it will be with her to the end . . . [pride] which knows no shrinking, and can get no mastery over her.'

Immediately after, Neville says: 'I will do all I can to imitate her.'

'Do so, and be a truly brave man, as she is a truly brave woman,'