Charles Dickens and other Victorians

DICKENS (IV)

PREFACE

I think it meet, Gentlemen, that before we resume our subject to-day, a word should be said on a loss that has befallen English letters in general and our sister-University in particular, since I last addressed you.

Walter Raleigh was an authentic son of Cambridge: and although he spent the most of his life teaching in other places the better understanding of a literature—our own literature—which in his undergraduate days had not found adequate recognition here, yet Cambridge had been his pasture, and he carried everywhere the mettle of that pasture: yes, and unmistakably, and although by the gay sincerity of his nature he would win men to like him, wherever he went.

Personal affection may count for too much in my faith that he will some day be recognised, not only for a true son of Cambridge, but for a great one in his generation. I put, however, that reckoning on one side. He did, very gaily and manfully and well, all the work that fell to his hand; and his end was in this wise. He had, in the first and second weeks of August, 1914, been eye-witness at Oxford of one of two amazing scenes—the other simultaneously passing here—when in these precincts, in these courts of unconscious preparation, by these two sacred streams, all on a sudden the spirit of youth was a host incorporate.

“The mettle of your pasture” ... “Multitudes, multitudes in the valley of decision” ... and the host, so suddenly gathered, as suddenly in motion, gone, for their country’s sake challenging the scythe. Raleigh saw that with his eyes, and could not forget.

The Dean of St. Paul’s returned, the other day, to a rightly respectful Cambridge, to deliver a Rede Lecture to us on The Victorian Age. Now he is a fool who denies or doubts Dean Inge to be a great man of our time—though he may now and then be a little too apt to regard himself as the only widow of another. Dean Inge, at any rate, felt himself strong enough to tell you he had no doubt that, to the historian of the future, the Elizabethan and Victorian Ages will appear as “the twin peaks in which English civilisation culminated.”

Now I have been talking to you—already through three lectures—upon the best-beloved writer of that Victorian Age—its most representative writer, perhaps—and preaching his eminence. But I should be nervous of claiming quite all that! It seems to me, if I may put it so without offence, a somewhat complacent view for us to take of an Age in which we were born—he, to unseal the vials of prophecy, I, just to happen along with the compensation of a more sanguine temperament. He admits that he has “no wish to offer an unmeasured panegyric on an age which after all cannot be divested of the responsibility for making our own inevitable.” He admits that “the twentieth century will doubtless be full of interest, and may even develop some elements of greatness.” But as regards this country, “the signs are that our work on a grand scale, with the whole world as our stage, is probably nearing its end.” Well, I dare to say that such talk from a man of the Dean’s age or mine is more than unhopeful; is ungrateful:

Difficilis, querulus, laudator temporis acti....

Would he but go back in memory to the tempus actum of August, 1914, it may dawn upon him that “fears may be liars” and the likelier for that some hopes were not dupes: that some men less gifted, less eloquent, than he, in those August days of 1914 saw this vision as of a farther Pacific:

Silent, upon a peak in Darien.

Raleigh at any rate saw it: I would not use extravagant language, but I verily believe Raleigh, from that hour, saw the assembled chivalry of those boys of 1914 as a meadow of cloth-of-gold spreading past all known or prophetical horizons—a prairie, the scent over which was a scent of sacrifice, at once holy and intolerable. Let me repeat—for one does not ring changes on the loss of a friend—the mourning bell strikes once and repeats itself—let me repeat some words written, the other night, under durance on returning from his funeral:

It is a purely simple story: of a great teacher who saw his pupils go from him on a call more instant than his teaching, and followed their shades with no thought of

So were I equall’d with them in renown

but the thought only to overtake them in service.

Forgive the length of my discourse, Gentlemen. It is right, I think, that our sister-Universities should feel one for the other’s pride, one for the other’s wound.

I

To take up our tale—

It has already been objected against these lectures on Dickens—or against such parts of them as the newspapers honour me by quoting—that they treat Dickens as a genius of the first class. That term has little meaning for me who seldom or never think—can hardly bring myself to think—of great men in class-lists, in terms of a Tripos. (I reserve that somewhat crude method of criticism to practise it upon those who are going to be great men; and even so—if you will credit me—derive scant enjoyment from it.) But I foresaw the objection, and forestalled it by quoting a famous saying of Tasso, and I take my stand on that: as I take not the smallest interest in weighing Chaucer against Pope, Shakespeare against Milton, Scott against Burns, or Dickens against Thackeray. Chaucer, Shakespeare, Scott, Dickens—their other qualities apart—are grand creators, lords of literature all, by this specific virtue; and, were there sense in challenging, with this quadriga alone we could securely challenge any literature in any living tongue. Note you, moreover: it is to this creative power that other artists less creative, but great and therefore generous, instinctively pay homage: Dryden, for instance, or Byron:

Or again:

Note you particularly, if you will, the words “planets of its own....” We talk too often, perhaps (I have talked in this fashion myself unheedingly), as if these men had been makers of picture-galleries, lining their walls with lively characters, brilliant portraits. But in truth neither Chaucer’s Prologue nor Shakespeare’s succession of women, neither Redgauntlet nor David Copperfield, is a gallery of characters; but a planet rather, with its own atmosphere which the characters breathe; in which as proper inhabitants they move easily and have their natural being: while for us all great literature is a catholic hostelry, in which we seat ourselves at the board with Falstaff, Dugald Dalgetty, Sam Weller, the Wife of Bath, Mrs. Gamp and Mrs. Quickly, and wonder how soon Don Quixote, My Uncle Toby, or The Three Musketeers will knock in to share the good meat and the wine.

II

So, between a discussion of Dickens’ plots—which we examined a fortnight ago and found wanting—at once stagey and ill-knit and, at that, repetitive, poor in invention; and of his characters, which teemed from his brain in a procession closed only by their author’s death, so inexhaustibly various and withal so individual, vivid and distinct, that the critic can scarcely help telling himself, “Here, and only here, must lie the secret of the man’s genius”; I shall interpose to-day a few words upon this world of Dickens, with its atmosphere.

For it is a strange world, with an atmosphere of its own, as strange as itself.

I have already noted some things of that world of his—that it was a crowded world: a world of the city, of the streets; that his novels, when they visit the country, take us at a violent rate in post-chaises to find, with Shenstone,

The warmest welcome at an inn.

For one moment, at the term of Little Nell’s wanderings, in the quiet of the old schoolmaster’s garden, we almost touch a sense of country rest and repose. But of real country, of solid growth in rest, of sport, of gardens, of farms and tenantry, of harvests, of generations rooted, corroborated in old grudges, old charities; of all that England stood for in Dickens’ day and, of its sap, fed what Cobbett had already called the “Great Wen” of London, our author had about as much sense as Mr. Winkle of a horse, or a snipe.

Now I wish to be rather particularly scrupulous just here: for we are dealing with a peculiarly, an unmistakably genuine, English writer; who, himself a child of the streets, acquainted, by eyesight and daily wont, with an industrial England into which the old agricultural England—what with railway and factory, gas, and everything extractible from coal—was rapidly converting itself; did yet by instinct seize on the ancient virtues. Take away the hospitality, the punch and mistletoe, from Dingley Dell, and what sort of a country house is left? Why, the Handley Cross series, for which Messrs. Chapman and Hall intended Pickwick as a stale challenge, could give Pickwick ten and a beating from the first. As the season comes round you play cricket at Dingley Dell, or you skate, or you mix the bowl and turn the toe. But the stubble-fields are not there, nor the partridges; nor the turnips, nor the gallops to hounds, nor the tillage and reaping, nor the drowsed evenings with tired dogs a-stretch by the hearth. Of all this side of England Dickens knew, of acquaintance, nothing. I am not speaking, you will understand, of any Wordsworthian intimacy with natural scenery tender or sublime, of anything imparted or suggested to the imagination by a primrose or in the “sounding cataract” haunting it “like a passion.” I am speaking rather of human life as lived in rural England in Dickens’ time and in some corners yet surviving the week-end habit. Of these Sabine virtues, of these Sabine amenities and hardships, of the countryman’s eye on the weather-glass for “snow and vapours, wind and storm, fulfilling His word,” Dickens (I repeat) had no sense, having no tradition, of field life, of that neighbourliness which existed in quiet places and persisted around ancient houses:

Dickens loved the old stage-coaches and travel by them. What he thought of the new railways and their effect upon landscape, you may read in Dombey and Son. He lived, moreover, to undergo the chastening experience of a railway collision. But his actual sense of the country you may translate for yourself from the account, in Bleak House, of the country life of Sir Leicester and Lady Dedlock. It is worse than stupid: it is vapid: or, rather, it is not there at all. Will you conceive Dickens, closing one of those Adelphi-Dedlock chapters and running his head suddenly into Mr. Wilfrid Blunt’s ballad of The Old Squire?

For a figure like that—hopelessly conservative, if you will, but conceived of truth, Dickens could only substitute a week-ender (as we should say nowadays) and make him a pompous ass. By one touch or two, of understanding what “the stately homes of England” really stood for—their virtue along with their stupidity—by one touch of Jane Austen’s wit, shall we say?—Dickens might have made some sort of a fist of it. As it is, when he wanders anywhere into the country, he is a lost child, mooning incuriously along the hedgerows with an impercipience rivalling that of a famous Master of Trinity who once confessed that his ignorance of botany was conterminous with all Solomon’s knowledge, since it ranged from the cedar of Lebanon to the hyssop that grows in the wall. Dickens’ favourite flower (we have it on record) was a scarlet geranium!

Still, I would be fair, and must mention a fact which I have experimentally discovered for myself and tested of late in the slow process of compiling a Book of English Prose (an “Oxford Book,” if you will forgive me), that, while our poetry from the very first—from “Sumer is icumen in; Lhude sing cuccu!”—positively riots in country scenes, sounds, scents, country delights:

—all foison, all abundance,

and soothes us with the deep joy of it, with music and “the herb called heart’s-ease,” of all such joy, even of all such perception, our prose, until we come to the middle of the last century, is correspondently barren. Consider what a unique thing, and unique for generations, was The Compleat Angler! Try of your memory to match it. An Essay of Temple’s? a few pages of Bunyan, of Evelyn? The Sir Roger de Coverly papers?—charming; but of the town, surely, and with something of Saturday-to-Monday patronage not only in pose but in raison d’être? Fielding understood the country better—witness his Squire Allworthy. But on the whole, and in fairness, if Dickens’ pages exhibit—and they do—a thin theatrical picture of rural England, without core or atmosphere, against his childhood’s disinheritance—against the mean streets and the Marshalsea—we must balance (if I may use a paradoxical term) the weight of traditional vacuity.

III

But I fear we have a great deal more to empty out of this world of his.

To begin with, we must jettison religion; or at any rate all religion that gets near to definition by words in a Credo. Religious formulae I think we may say that he hated; and equally that he had little use for ministers of religion. I can recall but one sympathetic portrait of an Anglican parson—the Reverend Septimus Crisparkle, Minor Canon of Cloisterham—and that in his last book, and with scarcely a shadow of a quality impinged upon it by his vocation, by Holy Orders: Crisparkle, Minor Canon and muscular Christian, well visualised, is a good fellow just as Tartar in the same story is a good fellow: nothing more. George Eliot and Charlotte Brontë, who disliked ecclesiastics, have to give them understanding, even sympathy, in some degree. Dickens merely neglects them. Unaccredited missionaries of the Gospel are humbugs all, in Dickens; uneducated Pharisees, Stiggins’s, Chadbands; devourers of widows’ (and widowers’) houses; spongers on the kindness and credulity of poor folk just a little more ignorant than they, while far more innocent. As for sacred edifices—cathedrals, churches—Dickens uses them as picturesque, romantic, mouldy, just as suits his convenience—a last harbourage for Little Nell or an object with a steeple suggesting to Mr. Wemmick—“Hullo! here’s a church!... let’s get married!” If Dickens ever conceives of a church as a tabernacle of any faith, I have yet to find the passage.

You must remember that, while Dickens wrote, Tractarian Movements, Unitarian Movements, Positivist Movements—Wiseman’s claim, Newman’s secession, the Gorham judgment, Bishop Colenso’s heresies—Darwin’s hypothesis, Huxley’s agnostic rejection of doctrine, and so on—that all these were agitating men’s thoughts as with a succession of shocks of earthquake. But all these passed Dickens by, as little observed as felt by him: simply disregarded.

IV

Of political thought, again, his world is almost as empty. He was, in his way, an early-Victorian Radical. When he saw a legal or political hardship which hurt or depressed the poor, conventions injurious to the Commonwealth—the Poor Laws, Debtors’ Prisons, the Court of Chancery, the Patent (or Circumlocution) Office and so forth, with the people who batten on such conventions, taking them for granted as immutable—Dickens struck hard and often effectively. But he struck at what he saw under his own eyes. Beyond this immediate indignation he had no reasoned principles of political or social reform. I have to hand, at this moment, no evidence to confirm a guess which I will nevertheless hazard, that he hated Jeremy Bentham and all his works. Certainly the professional, bullying, committee-working philanthropists—Mrs. Jellaby and Mr. Honeythunder, whose successors pullulate in this age—were the very devil to him. His simple formula ever was—in an age when Parliament carried a strong tradition of respect—“Yes, my Lords and Gentlemen, look on this waif, this corpse, this broken life. Lost, broken, dead, my Lords and Gentlemen, and all through your acquiescence, your misfeasance, your neglect!” To the immediate reader his message ran simply, “Take into your heart God’s most excellent gift of Charity: by which I mean let Charity begin at home, in that kingdom of God which is within you, let it operate in your own daily work; let it but extend to your own neighbours who need your help; and so—and only so—will the city of God be established on earth.”

V

I perceive, Gentlemen, that in my hurry I have let slip a great part of the secret, and so will add but this in hasty summary, catching up, before retreat, my cloak of advocatus diaboli:

(1) In the first place, Dickens’ world was not a world of ideas at all, but a city “full of folk.” Compared with the world as Carlyle saw it, or Clough, or Martineau, or Newman, or Arnold, it is void of ideas, if not entirely unintellectual.

(2) Moreover, and secondly, it is a vivid hurrying world; but the characters in it—until you come to Pip, say, in Great Expectations—are all quite curiously static; and, as the exception proves the rule, I am not afraid to back this assertion against Martin Chuzzlewit, for example, in which young Martin is, of set purpose, to be converted out of the family selfishness. Things happen to Mr. Pecksniff, to Little Nell, to Mr. Micawber, to Mr. Dombey, to Bradley Headstone and Eugene Wraybourne, to Sally Brass and her brother: but, as the rule, these things do not happen within them, as such things happen in the soul of any protagonist in a novel by Tolstoy or Dostoievsky, or as they are intended and traced as happening (say) in Romola. Dombey’s conversion is a mere stage-trick; and, for Micawber’s apotheosis as a prosperous colonist, let him believe it who will.

VI

Further—and to conclude on this point—over and beyond its infertility of thought, Dickens’ is a world in which technical or professional skill never comes into play to promote anything on earth. We have spoken of his clergy. His innumerous lawyers, from the Lord Chancellor to Messrs. Dodson and Fogg (assisted by his own personal experience in the Law’s service), draw their money for exculpating the guilty or slowly killing the righteous through hope deferred:

Equally with lawyers (readers of epitaphs and of David Copperfield will take the allusion) “physicians are in vain.” It would be interesting [I do not suggest it as a subject of research for a Ph.D. degree] to count the number of births in Dickens’ novels and discover an accoucheur who did not contrive to lose either the mother or the child, or both.

VII

What remains, then, of a world thus emptied of religion, thought, science?

I reserve the answer for a minute or two.

But I start my approach to it thus: Be the world of Dickens what you will, he had the first demiurgic gift, of entirely believing in what he created. The belief may be as frantic as you will: for any true artist it is the first condition. Well, this remains: nobody has ever doubted that, in the preface to David Copperfield, he wrote the strict truth:

Well, there, Gentlemen—just there, and so simply—you have the first condition of a work of art—its own creator is so possessed that he thoroughly believes in it. As Henry James once said to me (I recall the words as nearly as I can), “Ah, yes, how jollily the little figures dance under the circle of the lamp, until Good-bye, and off they go, to take their chance of the dark!”

VIII

Having that, you have artistic sincerity: of which I wonder, as experience enlarges, how many faults it cannot excuse—or indeed what is the fault it cannot excuse.

All that remains of the merely artistic secret has been summarised by Mr. Saintsbury:

Well, there you have the artistic secret of Dickens’ world accurately given, and not by me. It lies in the combination of the strictest realism of detail with a fairy-tale unrealism of general atmosphere.

Let me give you, to illustrate this, a single instance out of many. In his Christmas story, The Perils of Certain English Prisoners—an adventurous story of the sort that Stevenson loved and some of you make the mistake of despising—a handful of a British garrison with their women and children in a stockaded fort in South America tensely await an attack of pirates hopelessly outnumbering them. Now listen to one paragraph:

(It is a corporal of Marines who tells it.)

Defoe within his limits does that sort of thing to perfection: but then Defoe’s world observes the limits of the “real” (as we absurdly call everything that is not spiritual), has little emotion, scintillates scarce a glimmer of humour. Dickens handles it in a phantasmagoric world, charged even to excess with emotion, and is not in the least afraid to employ it—I quote Mr. Saintsbury again:

I need but to instance a writer whose acquaintance Hazlitt had not the joy to make, nor Lamb—woe upon these divisions of time!—Lewis Carroll, in whom both would have revelled for his insane logicality of detail—or, if you prefer it, I will fall back upon Lear’s Nonsense Books or even upon A Midsummer-Night’s Dream—to convince you that, as a nation, we have this appanage: and if it bewilder a foreigner, or he deride it, why then we will give him a look, and pass.

IX

Yes, but there is something else.

What else—no mere artistic secret—ties this phantasmagoric world to ours and makes it universal with ours, conterminous, and so real?

It is no dodge or trick of artistry that can work so incredible a feat—that can open our hearts to such beings as Dick Swiveller and Mrs. Gamp (whom in private life you or I would avoid like the plague)—to enjoy their company, to hang on every word they utter. It must be some very simple catholic gift, thus to unite the unreal with the real, thus to make brothers and sisters of all men and women, high or low.

It is: nor shall I delay you by elaborate pretence to search for it. For I know; and you know, or will recognise it as soon as I utter the word. It is Charity; the inestimable gift of Charity that Dickens flings over all things as his magic mantle: so that, whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away; and whether there be little critics tormented about Dickens’ style, in the folds of that mantle they shall be folded and hushed:

That is the last secret of Dickens: and that is what George Santayana means when he writes: