Dickens devoted his genius in a somewhat special sense to the description of happiness. No other literary man of his eminence has made this central human aim so specially his subject matter. Happiness is a mystery--generally a momentary mystery--which seldom stops long enough to submit itself to artistic observation, and which, even when it is habitual, has something about it which renders artistic description almost impossible. There are twenty tiny minor poets who can describe fairly impressively an eternity of agony; there are very few even of the eternal poets who can describe ten minutes of satisfaction. Nevertheless, mankind being half divine is always in love with the impossible, and numberless attempts have been made from the beginning of human literature to describe a real state of felicity. Upon the whole, I think, the most successful have been the most frankly physical and symbolic; the flowers of Eden or the jewels of the New Jerusalem. Many writers, for instance, have called the gold and chrysolite of the Holy City a vulgar lump of jewellery. But when these critics themselves attempt to describe their conceptions of future happiness, it is always some priggish nonsense about "planes," about "cycles of fulfilment," or "spirals of spiritual evolution." Now a cycle is just as much a physical metaphor as a flower of Eden; a spiral is just as much a physical metaphor as a precious stone. But, after all, a garden is a beautiful thing; whereas this is by no means necessarily true of a cycle, as can be seen in the case of a bicycle. A jewel, after all, is a beautiful thing; but this is not necessarily so of a spiral, as can be seen in the case of a corkscrew. Nothing is gained by dropping the old material metaphors, which did hint at heavenly beauty, and adopting other material metaphors which do not even give a hint of earthly beauty. This modern or spiral method of describing indescribable happiness may, I think, be dismissed. Then there has been another method which has been adopted by many men of a very real poetical genius. It was the method of the old pastoral poets like Theocritus. It was in another way that adopted by the elegance and piety of Spenser. It was certainly expressed in the pictures of Watteau; and it had a very sympathetic and even manly expression in modern England in the decorative poetry of William Morris. These men of genius, from Theocritus to Morris, occupied themselves in endeavouring to describe happiness as a state of certain human beings, the atmosphere of a commonwealth, the enduring climate of certain cities or islands. They poured forth treasures of the truest kind of imagination upon describing the happy lives and landscapes of Utopia or Atlantis or the Earthly Paradise. They traced with the most tender accuracy the tracery of its fruit-trees or the glimmering garments of its women; they used every ingenuity of colour or intricate shape to suggest its infinite delight. And what they succeeded in suggesting was always its infinite melancholy. William Morris described the Earthly Paradise in such a way that the only strong emotional note left on the mind was the feeling of how homeless his travellers felt in that alien Elysium; and the reader sympathised with them, feeling that he would prefer not only Elizabethan England but even twentieth-century Camberwell to such a land of shining shadows. Thus literature has almost always failed in endeavouring to describe happiness as a state. Human tradition, human custom and folk-lore (though far more true and reliable than literature as a rule) have not often succeeded in giving quite the correct symbols for a real atmosphere of _camaraderie_ and joy. But here and there the note has been struck with the sudden vibration of the _vox humana_. In human tradition it has been struck chiefly in the old celebrations of Christmas. In literature it has been struck chiefly in Dickens's Christmas tales.
In the historic celebration of Christmas as it remains from Catholic times in certain northern countries (and it is to be remembered that in Catholic times the northern countries were, if possible, more Catholic than anybody else), there are three qualities which explain, I think, its hold upon the human sense of happiness, especially in such men as Dickens. There are three notes of Christmas, so to speak, which are also notes of happiness, and which the pagans and the Utopians forget. If we state what they are in the case of Christmas, it will be quite sufficiently obvious how important they are in the case of Dickens.
The first quality is what may be called the dramatic quality. The happiness is not a state; it is a crisis. All the old customs surrounding the celebration of the birth of Christ are made by human instinct so as to insist and re-insist upon this crucial quality. Everything is so arranged that the whole household may feel, if possible, as a household does when a child is actually being born in it. The thing is a vigil and a vigil with a definite limit. People sit up at night until they hear the bells ring. Or they try to sleep at night in order to see their presents the next morning. Everywhere there is a limitation, a restraint; at one moment the door is shut, at the moment after it is opened. The hour has come or it has not come; the parcels are undone or they are not undone; there is no evolution of Christmas presents. This sharp and theatrical quality in pleasure, which human instinct and the mother wit of the world has wisely put into the popular celebrations of Christmas, is also a quality which is essential in such romantic literature as Dickens wrote. In romantic literature the hero and heroine must indeed be happy, but they must also be unexpectedly happy. This is the first connecting link between literature and the old religious feast; this is the first connecting link between Dickens and Christmas.
The second element to be found in all such festivity and all such romance is the element which is represented as well as it could be represented by the mere fact that Christmas occurs in the winter. It is the element not merely of contrast, but actually of antagonism. It preserves everything that was best in the merely primitive or pagan view of such ceremonies or such banquets. If we are carousing, at least we are warriors carousing. We hang above us, as it were, the shields and battle-axes with which we must do battle with the giants of the snow and hail. All comfort must be based on discomfort. Man chooses when he wishes to be most joyful the very moment when the whole material universe is most sad. It is this contradiction and mystical defiance which gives a quality of manliness and reality to the old winter feasts which is not characteristic of the sunny felicities of the Earthly Paradise. And this curious element has been carried out even in all the trivial jokes and tasks that have always surrounded such occasions as these. The object of the jovial customs was not to make everything artificially easy: on the contrary, it was rather to make everything artificially difficult. Idealism is not only expressed by shooting an arrow at the stars; the fundamental principle of idealism is also expressed by putting a leg of mutton at the top of a greasy pole. There is in all such observances a quality which can be called only the quality of divine obstruction. For instance, in the game of snapdragon (that admirable occupation) the conception is that raisins taste much nicer if they are brands saved from the burning. About all Christmas things there is something a little nobler, if only nobler in form and theory, than mere comfort; even holly is prickly. It is not hard to see the connection of this kind of historic instinct with a romantic writer like Dickens. The healthy novelist must always play snapdragon with his principal characters; he must always be snatching the hero and heroine like raisins out of the fire.
The third great Christmas element is the element of the grotesque. The grotesque is the natural expression of joy; and all the Utopias and new Edens of the poets fail to give a real impression of enjoyment, very largely because they leave out the grotesque. A man in most modern Utopias cannot really be happy; he is too dignified. A man in Morris's Earthly Paradise cannot really be enjoying himself; he is too decorative. When real human beings have real delights they tend to express them entirely in grotesques--I might almost say entirely in goblins. On Christmas Eve one may talk about ghosts so long as they are turnip ghosts. But one would not be allowed (I hope, in any decent family) to talk on Christmas Eve about astral bodies. The boar's head of old Yule-time was as grotesque as the donkey's head of Bottom the Weaver. But there is only one set of goblins quite wild enough to express the wild goodwill of Christmas. Those goblins are the c
haracters of Dickens.
Arcadian poets and Arcadian painters have striven to express happiness by means of beautiful figures. Dickens understood that happiness is best expressed by ugly figures. In beauty, perhaps, there is something allied to sadness; certainly there is something akin to joy in the grotesque, nay, in the uncouth. There is something mysteriously associated with happiness not only in the corpulence of Falstaff and the corpulence of Tony Weller, but even in the red nose of Bardolph or the red nose of Mr. Stiggins. A thing of beauty is an inspiration for ever--a matter of meditation for ever. It is rather a thing of ugliness that is strictly a joy for ever.
All Dickens's books are Christmas books. But this is still truest of his two or three famous Yuletide tales--The _Christmas Carol_ and _The Chimes_ and _The Cricket on the Hearth_. Of these _The Christmas Carol_ is beyond comparison the best as well as the most popular. Indeed, Dickens is in so profound and spiritual a sense a popular author that in his case, unlike most others, it can generally be said that the best work is the most popular. It is for _Pickwick_ that he is best known; and upon the whole it is for Pickwick that he is best worth knowing. In any case this superiority of _The Christmas Carol_ makes it convenient for us to take it as an example of the generalisations already made. If we study the very real atmosphere of rejoicing and of riotous charity in _The Christmas Carol_ we shall find that all the three marks I have mentioned are unmistakably visible. _The Christmas Carol_ is a happy story first, because it describes an abrupt and dramatic change. It is not only the story of a conversion, but of a sudden conversion; as sudden as the conversion of a man at a Salvation Army meeting. Popular religion is quite right in insisting on the fact of a crisis in most things. It is true that the man at the Salvation Army meeting would probably be converted from the punch bowl; whereas Scrooge was converted to it. That only means that Scrooge and Dickens represented a higher and more historic Christianity.
Again, _The Christmas Carol_ owes much of its hilarity to our second source--the fact of its being a tale of winter and of a very wintry winter. There is much about comfort in the story; yet the comfort is never enervating: it is saved from that by a tingle of something bitter and bracing in the weather. Lastly, the story exemplifies throughout the power of the third principle--the kinship between gaiety and the grotesque. Everybody is happy because nobody is dignified. We have a feeling somehow that Scrooge looked even uglier when he was kind than he had looked when he was cruel. The turkey that Scrooge bought was so fat, says Dickens, that it could never have stood upright. That top-heavy and monstrous bird is a good symbol of the top-heavy happiness of the stories.
It is less profitable to criticise the other two tales in detail because they represent variations on the theme in two directions; and variations that were not, upon the whole, improvements. _The Chimes_ is a monument of Dickens's honourable quality of pugnacity. He could not admire anything, even peace, without wanting to be warlike about it. That was all as it should be.
DOMBEY AND SON
In Dickens's literary life _Dombey and Son_ represents a break so important as to necessitate our casting back to a summary and a generalisation. In order fully to understand what this break is, we must say something of the previous character of Dickens's novels, and even something of the general character of novels in themselves. How essential this is we shall see shortly.
It must first be remembered that the novel is the most typical of modern forms. It is typical of modern forms especially in this, that it is essentially formless. All the ancient modes or structures of literature were definite and severe. Any one composing them had to abide by their rules; they were what their name implied. Thus a tragedy might be a bad tragedy, but it was always a tragedy. Thus an epic might be a bad epic, but it was always an epic. Now in the sense in which there is such a thing as an epic, in that sense there is no such thing as a novel. We call any long fictitious narrative in prose a novel, just as we call any short piece of prose without any narrative an essay. Both these forms are really quite formless, and both of them are really quite new. The difference between a good epic by Mr. John Milton and a bad epic by Mr. John Smith was simply the difference between the same thing done well and the same thing done badly. But it was not (for instance) like the difference between _Clarissa Harlowe_ and _The Time Machine_. If we class Richardson's book with Mr. Wells's book it is really only for convenience; if we say that they are both novels we shall certainly be puzzled in that case to say what on earth a novel is. But the note of our age, both for good and evil, is a highly poetical and largely illogical faith in liberty. Liberty is not a negation or a piece of nonsense, as the cheap reactionaries say; it is a belief in variety and growth. But it is a purely poetic and even a merely romantic belief. The nineteenth century was an age of romance as certainly as the Middle Ages was an age of reason. Medivals liked to have everything defined and defensible; the modern world prefers to run some risks for the sake of spontaneity and diversity. Consequently the modern world is full of a phenomenon peculiar to itself--I mean the spectacle of small or originally small things swollen to enormous size and power. The modern world is like a world in which toadstools should be as big as trees, and insects should walk about in the sun as large as elephants. Thus, for instance, the shopkeeper, almost an unimportant figure in carefully ordered states, has in our time become the millionaire, and has more power than ten kings. Thus again a practical knowledge of nature, of the habits of animals or the properties of fire and water, was in the old ordered state either an almost servile labour or a sort of joke; it was left to old women and gamekeepers and boys who went birds'-nesting. In our time this commonplace daily knowledge has swollen into the enormous miracle of physical size, weighing the stars and talking under the sea. In short, our age is a sort of splendid jungle in which some of the most towering weeds and blossoms have come from the smallest seed.
And this is, generally speaking, the explanation of the novel. The novel is not so much the filling up of an artistic plan, however new or fantastic. It is a thing that has grown from some germ of suggestion, and has often turned out much larger than the author intended. And this, lastly, is the final result of these facts, that the critic can generally trace in a novel what was the original artistic type or shape of thought from which the whole matter started, and he will generally find that this is different in every case. In one novel he will find that the first impulse is a character. In another novel he will find that the first impulse is a landscape, the atmosphere of some special countryside. In another novel he will find that the first impulse is the last chapter. Or it may be a thrust with sword or dagger, it may be a theology, it may be a song. Somewhere embedded in every ordinary book are the five or six words for which really all the rest will be written. Some of our enterprising editors who set their readers to hunt for banknotes and missing ladies might start a competition for finding those words in every novel. But whether or no this is possible, there is no doubt that the principle in question is of great importance in the case of Dickens, and especially in the case of _Dombey and Son_.
In all the Dickens novels can be seen, so to speak, the original thing that they were before they were novels. The same may be observed, for the matter of that, in the great novels of most of the great modern novelists. For example, Sir Walter Scott wrote poetical romances before he wrote prose romances. Hence it follows that, with all their much greater merit, his novels may still be described as poetical romances in prose. While adding a new and powerful element of popular humours and observation, Scott still retains a certain purely poetical right--a right to make his heroes and outlaws and great kings speak at the great moments with a rhetoric so rhythmical that it partakes of the nature of song, the same quite metrical rhetoric which is used in the metrical speeches of Marmion or Roderick Dhu. In the same way, although _Don Quixote_ is a modern novel in its irony and subtlety, we can see that it comes from the old long romances of chivalry. In the same way, although _Clarissa_ is a modern novel in its intimacy and
actuality, we can see that it comes from the old polite letter-writing and polite essays of the period of the _Spectator_. Any one can see that Scott formed in _The Lay of the Last Minstrel_ the style that he applied again and again afterwards, like the reappearances of a star taking leave of the stage. All his other romances were positively last appearances of the positively last Minstrel. Any one can see that Thackeray formed in fragmentary satires like _The Book of Snobs_ or _The Yellowplush Papers_ the style, the rather fragmentary style, in which he was to write _Vanity Fair_. In most modern cases, in short (until very lately, at any rate), the novel is an enormous outgrowth from something that was not a novel. And in Dickens this is very important. All his novels are outgrowths of the original notion of taking notes, splendid and inspired notes, of what happens in the street. Those in the modern world who cannot reconcile themselves to his method--those who feel that there is about his books something intolerably clumsy or superficial--have either no natural taste for strong literature at all, or else have fallen into their error by too persistently regarding Dickens as a modern novelist and expecting all his books to be modern novels. Dickens did not know at what exact point he really turned into a novelist. Nor do we. Dickens did not know, in his deepest soul, whether he ever really did turn into a novelist. Nor do we. The novel being a modern product is one of the few things to which we really can apply that disgusting method of thought--the method of evolution. But even in evolution there are great gaps, there are great breaks, there are great crises. I have said that the first of these breaks in Dickens may be placed at the point when he wrote _Nicholas Nickleby_. This was his first serious decision to be a novelist in any sense at all, to be anything except a maker of momentary farces. The second break, and that a far more important break, is in _Dombey and Son_. This marks his final resolution to be a novelist and nothing else, to be a serious constructor of fiction in the serious sense. Before _Dombey and Son_ even his pathos had been really frivolous. After _Dombey and Son_ even his absurdity was intentional and grave.
The Essential G. K. Chesterton Page 49
