The Essential G. K. Chesterton
Page 39
So far so good. Now we come to the funny part. To describe the high visionary and mystic Jew like Spinoza or Zangwill is a great and delicate task in which even Dickens might have failed. But most of us know something of the make and manners of the low Jew, who is generally the successful one. Most of us know the Jew who calls himself De Valancourt. Now to any one who knows a low Jew by sight or hearing, the story called _Our Mutual Friend_ is literally full of Jews. Like all Dickens's best characters they are vivid; we know them. And we know them to be Hebrew. Mr. Veneering, the Man from Nowhere, dark, sphinx-like, smiling, with black curling hair, and a taste in florid vulgar furniture--of what stock was he? Mr. Lammle, with "too much nose in his face, too much ginger in his whiskers, too much sparkle in his studs and manners"--of what blood was he? Mr. Lammle's friends, coarse and thick-lipped, with fingers so covered with rings that they could hardly hold their gold pencils--do they remind us of anybody? Mr. Fledgeby, with his little ugly eyes and social flashiness and craven bodily servility--might not some fanatic like M. Drumont make interesting conjectures about him? The particular types that people hate in Jewry, the types that are the shame of all good Jews, absolutely run riot in this book, which is supposed to contain an apology to them. It looks at first sight as if Dickens's apology were one hideous sneer. It looks as if he put in one good Jew whom nobody could believe in, and then balanced him with ten bad Jews whom nobody could fail to recognise. It seems as if he had avenged himself for the doubt about Fagin by introducing five or six Fagins--triumphant Fagins, fashionable Fagins, Fagins who had changed their names. The impeccable old Aaron stands up in the middle of this ironic carnival with a peculiar solemnity and silliness. He looks like one particularly stupid Englishman pretending to be a Jew, amidst all that crowd of clever Jews who are pretending to be Englishmen.
But this notion of a sneer is not admissible. Dickens was far too frank and generous a writer to employ such an elaborate plot of silence. His satire was always intended to attack, never to entrap; moreover, he was far too vain a man not to wish the crowd to see all his jokes. Vanity is more divine than pride, because it is more democratic than pride. Third, and most important, Dickens was a good Liberal, and would have been horrified at the notion of making so venomous a vendetta against one race or creed. Nevertheless the fact is there, as I say, if only as a curiosity of literature. I defy any man to read through _Our Mutual Friend_ after hearing this suggestion, and to get out of his head the conviction that Lammle is the wrong kind of Jew. The explanation lies, I think, in this, that Dickens was so wonderfully sensitive to that change that has come over our society, that he noticed the type of the oriental and cosmopolitan financier without even knowing that it was oriental or cosmopolitan. He had, in fact, fallen a victim to a very simple fallacy affecting this problem. Somebody said, with great wit and truth, that treason cannot prosper, because when it prospers it cannot be called treason. The same argument soothed all possible Anti-Semitism in men like Dickens. Jews cannot be sneaks and snobs, because when they are sneaks and snobs they do not admit that they are Jews.
I have taken this case of the growth of the cosmopolitan financier, because it is not so stale in discussion as its parallel, the growth of Socialism. But as regards Dickens, the same criticism applies to both. Dickens knew that Socialism was coming, though he did not know its name. Similarly, Dickens knew that the South African millionaire was coming, though he did not know the millionaire's name. Nobody does. His was not a type of mind to disentangle either the abstract truths touching the Socialist, nor the highly personal truth about the millionaire. He was a man of impressions; he has never been equalled in the art of conveying what a man looks like at first sight--and he simply felt the two things as atmospheric facts. He felt that the mercantile power was oppressive, past all bearing by Christian men; and he felt that this power was no longer wholly in the hands even of heavy English merchants like Podsnap. It was largely in the hands of a feverish and unfamiliar type, like Lammle and Veneering. The fact that he felt these things is almost more impressive because he did not understand them.
Now for this reason Dickens must definitely be considered in the light of the changes which his soul foresaw. Thackeray has become classical; but Dickens has done more: he has remained modern. The grand retrospective spirit of Thackeray is by its nature attached to places and times; he belongs to Queen Victoria as much as Addison belongs to Queen Anne, and it is not only Queen Anne who is dead. But Dickens, in a dark prophetic kind of way, belongs to the developments. He belongs to the times since his death when Hard Times grew harder, and when Veneering became not only a Member of Parliament, but a Cabinet Minister; the times when the very soul and spirit of Fledgeby carried war into Africa. Dickens can be criticised as a contemporary of Bernard Shaw or Anatole France or C. F. G. Masterman. In talking of him one need no longer talk merely of the Manchester School or Puseyism or the Charge of the Light Brigade; his name comes to the tongue when we are talking of Christian Socialists or Mr. Roosevelt or County Council Steam Boats or Guilds of Play. He can be considered under new lights, some larger and some meaner than his own; and it is a very rough effort so to consider him which is the excuse of these pages. Of the essays in this book I desire to say as little as possible; I will discuss any other subject in preference with a readiness which reaches to avidity. But I may very curtly apply the explanation used above to the cases of two or three of them. Thus in the article on _David Copperfield_ I have done far less than justice to that fine book considered in its relation to eternal literature; but I have dwelt at some length upon a particular element in it which has grown enormous in England after Dickens's death. Thus again, in introducing the _Sketches by Boz_ I have felt chiefly that I am introducing them to a new generation insufficiently in sympathy with such palpable and unsophisticated fun. A Board School education, evolved since Dickens's day, has given to our people a queer and inadequate sort of refinement, one which prevents them from enjoying the raw jests of the _Sketches by Boz_, but leaves them easily open to that slight but poisonous sentimentalism which I note amid all the merits of David Copperfield. In the same way I shall speak of _Little Dorrit_, with reference to a school of pessimistic fiction which did not exist when it was written, of _Hard Times_ in the light of the most modern crises of economics, and of _The Child's History of England_ in the light of the most matured authority of history. In short, these criticisms are an intrinsically ephemeral comment from one generation upon work that will delight many more. Dickens was a very great man, and there are many ways of testing and stating the fact. But one permissible way is to say this, that he was an ignorant man, ill-read in the past, and often confused about the present. Yet he remains great and true, and even essentially reliable, if we suppose him to have known not only all that went before his lifetime, but also all that was to come after.
From this vanishing of the Victorian compromise (I might say the Victorian illusion) there begins to emerge a menacing and even monstrous thing--we may begin again to behold the English people. If that strange dawn ever comes, it will be the final vindication of Dickens. It will be proved that he is hardly even a caricaturist; that he is something very like a realist. Those comic monstrosities which the critics found incredible will be found to be the immense majority of the citizens of this country. We shall find that Sweedlepipe cuts our hair and Pumblechook sells our cereals; that Sam Weller blacks our boots and Tony Weller drives our omnibus. For the exaggerated notion of the exaggerations of Dickens (as was admirably pointed out by my old friend and enemy Mr. Blatchford in a _Clarion_ review) is very largely due to our mixing with only one social class, whose conventions are very strict, and to whose affectations we are accustomed. In cabmen, in cobblers, in charwomen, individuality is often pushed to the edge of insanity. But as long as the Thackerayan platform of gentility stood firm all this was, comparatively speaking, concealed. For the English, of all nations, have the most uniform upper class and the most varied democracy. In France it is the peasant
s who are solid to uniformity; it is the marquises who are a little mad. But in England, while good form restrains and levels the universities and the army, the poor people are the most motley and amusing creatures in the world, full of humorous affections and prejudices and twists of irony. Frenchmen tend to be alike, because they are all soldiers; Prussians because they are all something else, probably policemen; even Americans are all something, though it is not easy to say what it is; it goes with hawk-like eyes and an irrational eagerness. Perhaps it is savages. But two English cabmen will be as grotesquely different as Mr. Weller and Mr. Wegg. Nor is it true to say that I see this variety because it is in my own people. For I do not see the same degree of variety in my own class or in the class above it; there is more superficial resemblance between two Kensington doctors or two Highland dukes. No; the democracy is really composed of Dickens characters, for the simple reason that Dickens was himself one of the democracy.
There remains one thing to be added to this attempt to exhibit Dickens in the growing and changing lights of our time. God forbid that any one (especially any Dickensian) should dilute or discourage the great efforts towards social improvement. But I wish that social reformers would more often remember that they are imposing their rules not on dots and numbers, but on Bob Sawyer and Tim Linkinwater, on Mrs. Lirriper and Dr. Marigold. I wish Mr. Sidney Webb would shut his eyes until he _sees_ Sam Weller.
A great many circumstances have led to the neglect in literature of these exuberant types which do actually exist in the ruder classes of society. Perhaps the principal cause is that since Dickens's time the study of the poor has ceased to be an art and become a sort of sham science. Dickens took the poor individually: all modern writing tends to take them collectively. It is said that the modern realist produces a photograph rather than a picture. But this is an inadequate objection. The real trouble with the realist is not that he produces a photograph, but that he produces a composite photograph. It is like all composite photographs, blurred; like all composite photographs, hideous; and like all composite photographs, unlike anything or anybody. The new sociological novels, which attempt to describe the abstract type of the working-classes, sin in practice against the first canon of literature, true when all others are subject to exception. Literature must always be a pointing out of what is interesting in life; but these books are duller than the life they represent. Even supposing that Dickens did exaggerate the degree to which one man differs from another--that was at least an exaggeration upon the side of literature; it was better than a mere attempt to reduce what is actually vivid and unmistakable to what is in comparison colourless or unnoticeable. Even the creditable and necessary efforts of our time in certain matters of social reform have discouraged the old distinctive Dickens treatment. People are so anxious to do something for the poor man that they have a sort of subconscious desire to think that there is only one kind of man to do it for. Thus while the old accounts were sometimes too steep and crazy, the new became too sweeping and flat. People write about the problem of drink, for instance, as if it were one problem. Dickens could have told them that there is the abyss between heaven and hell between the incongruous excesses of Mr. Pickwick and the fatalistic soaking of Mr. Wickfield. He could have shown that there was nothing in common between the brandy and water of Bob Sawyer and the rum and water of Mr. Stiggins. People talk of imprudent marriages among the poor, as if it were all one question. Dickens could have told them that it is one thing to marry without much money, like Stephen Blackpool, and quite another to marry without the smallest intention of ever trying to get any, like Harold Skimpole. People talk about husbands in the working-classes being kind or brutal to their wives, as if that was the one permanent problem and no other possibility need be considered. Dickens could have told them that there was the case (the by no means uncommon case) of the husband of Mrs. Gargery as well as of the wife of Mr. Quilp. In short, Dickens saw the problem of the poor not as a dead and definite business, but as a living and very complex one. In some ways he would be called much more conservative than the modern sociologists, in some ways much more revolutionary.
LITTLE DORRIT
In the time of the decline and death of Dickens, and even more strongly after it, there arose a school of criticism which substantially maintained that a man wrote better when he was ill. It was some such sentiment as this that made Mr. George Gissing, that able writer, come near to contending that _Little Dorrit_ is Dickens's best book. It was the principle of his philosophy to maintain (I know not why) that a man was more likely to perceive the truth when in low spirits than when in high spirits.
REPRINTED PIECES
The three articles on Sunday of which I speak are almost the last expression of an articulate sort in English literature of the ancient and existing morality of the English people. It is always asserted that Puritanism came in with the seventeenth century and thoroughly soaked and absorbed the English. We are now, it is constantly said, an incurably Puritanic people. Personally, I have my doubts about this. I shall not refuse to admit to the Puritans that they conquered and crushed the English people; but I do not think that they ever transformed it. My doubt is chiefly derived from three historical facts. First, that England was never so richly and recognisably English as in the Shakespearian age before the Puritan had appeared. Second, that ever since he did appear there has been a long unbroken line of brilliant and typical Englishmen who belonged to the Shakespearian and not the Puritanic tradition; Dryden, Johnson, Wilkes, Fox, Nelson, were hardly Puritans. And third, that the real rise of a new, cold, and illiberal morality in these matters seems to me to have occurred in the time of Queen Victoria, and not of Queen Elizabeth. All things considered, it is likely that future historians will say that the Puritans first really triumphed in the twentieth century, and that Dickens was the last cry of Merry England.
And about these additional, miscellaneous, and even inferior works of Dickens there is, moreover, another use and fascination which all Dickensians will understand; which, after a manner, is not for the profane. All who love Dickens have a strange sense that he is really inexhaustible. It is this fantastic infinity that divides him even from the strongest and healthiest romantic artists of a later day--from Stevenson, for example. I have read _Treasure Island_ twenty times; nevertheless I know it. But I do not really feel as if I knew all _Pickwick_; I have not so much read it twenty times as read in it a million times; and it almost seemed as if I always read something new. We of the true faith look at each other and understand; yes, our master was a magician. I believe the books are alive; I believe that leaves still grow in them, as leaves grow on the trees. I believe that this fairy library flourishes and increases like a fairy forest: but the world is listening to us, and we will put our hand upon our mouth.
OUR MUTUAL FRIEND
One thing at least seems certain. Dickens may or may not have been socialist in his tendencies; one might quote on the affirmative side his satire against Mr. Podsnap, who thought Centralisation "un-English"; one might quote in reply the fact that he satirised quite as unmercifully state and municipal officials of the most modern type. But there is one condition of affairs which Dickens would certainly have detested and denounced, and that is the condition in which we actually stand to-day. At this moment it is vain to discuss whether socialism will be a selling of men's liberty for bread. The men have already sold the liberty; only they have not yet got the bread. A most incessant and exacting interference with the poor is already in operation; they are already ruled like slaves, only they are not fed like slaves. The children are forcibly provided with a school; only they are not provided with a house. Officials give the most detailed domestic directions about the fireguard; only they do not give the fireguard. Officials bring round the most stringent directions about the milk; only they do not bring round the milk. The situation is perhaps the most humorous in the whole history of oppression. We force the nigger to dig; but as a concession to him we do not give him a spade. We compel Sambo to co
ok; but we consult his dignity so far as to refuse him a fire.
This state of things at least cannot conceivably endure. We must either give the workers more property and liberty, or we must feed them properly as we work them properly. If we insist on sending the menu into them, they will naturally send the bill into us. This may possibly result (it is not my purpose here to prove that it will) in the drilling of the English people into hordes of humanely herded serfs; and this again may mean the fading from our consciousness of all those elves and giants, monsters and fantastics whom we are faintly beginning to feel and remember in the land. If this be so, the work of Dickens may be considered as a great vision--a vision, as Swinburne said, between a sleep and a sleep. It can be said that between the grey past of territorial depression and the grey future of economic routine the strange clouds lifted, and we beheld the land of the living.
Lastly, Dickens is even astonishingly right about Eugene Wrayburne. So far from reproaching him with not understanding a gentleman, the critic will be astonished at the accuracy with which he has really observed the worth and the weakness of the aristocrat. He is quite right when he suggests that such a man has intelligence enough to despise the invitations which he has not the energy to refuse. He is quite right when he makes Eugene (like Mr. Balfour) constantly right in argument even when he is obviously wrong in fact. Dickens is quite right when he describes Eugene as capable of cultivating a sort of secondary and false industry about anything that is not profitable; or pursuing with passion anything that is not his business. He is quite right in making Eugene honestly appreciative of essential goodness--in other people. He is quite right in making him really good at the graceful combination of satire and sentiment, both perfectly sincere. He is also right in indicating that the only cure for this intellectual condition is a violent blow on the head.