The Essential G. K. Chesterton

by G. K. Chesterton

  The clumsy journalist would have made Rick Carstone turn on John Jarndyce with an explosion of hatred, as of one who had made an exposure--who had found out what low people call "a false friend" in what they call "his true colours." The great artist knew better; he knew that a good man going wrong tries to salve his soul to the last with the sense of generosity and intellectual justice. He will try to love his enemy if only out of mere love of himself. As the wolf dies fighting, the good man gone wrong dies arguing. This is what constitutes the true and real tragedy of Richard Carstone. It is strictly the one and only great tragedy that Dickens wrote. It is like the tragedy of Hamlet. The others are not tragedies because they deal almost with dead men. The tragedy of old Dorrit is merely the sad spectacle of a dotard dragged about Europe in his last childhood. The tragedy of Steerforth is only that of one who dies suddenly; the tragedy of old Dombey only that of one who was dead all the time. But Rick is a real tragedy, for he is still alive when the quicksand sucks him down.

  It is impossible to avoid putting in the first place this pall of smoke which Dickens has deliberately spread over the story. It is quite true that the country underneath is clear enough to contain any number of unconscious comedians or of merry monsters such as he was in the custom of introducing into the carnival of his tales. But he meant us to take the smoky atmosphere seriously. Charles Dickens, who was, like all men who are really funny about funny things, horribly serious about serious things, certainly meant us to read this story in terms of his protest and his insurrection against the emptiness and arrogance of law, against the folly and the pride of judges. Everything else that there is in this story entered into it through the unconscious or accidental energy of his genius, which broke in at every gap. But it was the tragedy of Richard Carstone that he meant, not the comedy of Harold Skimpole. He could not help being amusing; but he meant to be depressing.

  Another case might be taken as testing the greater seriousness of this tale. The passages about Mrs. Jellyby and her philanthropic schemes show Dickens at his best in his old and more familiar satiric manner. But in the midst of the Jellyby pandemonium, which is in itself described with the same _abandon_ and irrelevance as the boarding-house of Mrs. Todgers or the travelling theatre of Mr. Crummles, the elder Dickens introduced another piece of pure truth and even tenderness. I mean the account of Caddy Jellyby. If Carstone is a truly masculine study of how a man goes wrong, Caddy is a perfectly feminine study of how a girl goes right. Nowhere else perhaps in fiction, and certainly nowhere else in Dickens, is the mere female paradox so well epitomised, the unjust use of words covering so much capacity for a justice of ultimate estimate; the seeming irresponsibility in language concealing such a fixed and pitiless sense of responsibility about things; the air of being always at daggers-drawn with her own kindred, yet the confession of incurable kinship implied in pride and shame; and, above all, that thirst for order and beauty as for something physical; that strange female power of hating ugliness and waste as good men can only hate sin and bad men virtue. Every touch in her is true, from her first bewildering outbursts of hating people because she likes them, down to the sudden quietude and good sense which announces that she has slipped into her natural place as a woman. Miss Clare is a figure-head, Miss Summerson in some ways a failure; but Miss Caddy Jellyby is by far the greatest, the most human, and the most really dignified of all the heroines of Dickens.

  With one or two exceptions, all the effects in this story are of this somewhat quieter kind, though none of them are so subtly successful as Rick Carstone and Caddy. Harold Skimpole begins as a sketch drawn with a pencil almost as airy and fanciful as his own. The humour of the earlier scenes is delightful--the scenes in which Skimpole looks on at other people paying his debts with the air of a kindly outsider, and suggests in formless legal phraseology that they might "sign something" or "make over something," or the scene in which he tries to explain the advantages of accepting everything to the apoplectic Mr. Boythorn. But it was one of the defects of Dickens as a novelist that his characters always became coarser and clumsier as they passed through the practical events of a story, and this would necessarily be so with Skimpole, whose position was conceivable even to himself only on the assumption that he was a mere spectator of life. Poor Skimpole only asked to be kept out of the business of this world, and Dickens ought to have kept him out of the business of _Bleak House_. By the end of the tale he has brought Skimpole to doing acts of mere low villainy. This altogether spoils the ironical daintiness of the original notion. Skimpole was meant to end with a note of interrogation. As it is, he ends with a big, black, unmistakable blot. Speaking purely artistically, we may say that this is as great a collapse or vulgarisation as if Richard Carstone had turned into a common blackguard and wife-beater, or Caddy Jellyby into a comic and illiterate landlady. Upon the whole it may, I think, be said that the character of Skimpole is rather a piece of brilliant moralising than of pure observation or creation. Dickens had a singularly just mind. He was wild in his caricatures, but very sane in his impressions. Many of his books were devoted, and this book is partly devoted, to a denunciation of aristocracy--of the idle class that lives easily upon the toil of nations. But he was fairer than many modern revolutionists, and he insisted on satirising also those who prey on society not in the name of rank or law, but in the name of intellect and beauty. Sir Leicester Dedlock and Mr. Harold Skimpole are alike in accepting with a royal unconsciousness the anomaly and evil of their position. But the idleness and insolence of the aristocrat is human and humble compared to the idleness and insolence of the artist.

  With the exception of a few fine freaks, such as Turveydrop and Chadband, all the figures in this book are touched more delicately, even more faintly, than is common with Dickens. But if the figures are touched more faintly, it is partly because they are figures in a fog--the fog of Chancery. Dickens meant that twilight to be oppressive; for it was the symbol of oppression. Deliberately he did not dispel the darkness at the end of this book, as he does dispel it at the end of most of his books. Pickwick gets out of the Fleet Prison; Carstone never gets out of Chancery but by death. This tyranny, Dickens said, shall not be lifted by the light subterfuge of a fiction. This tyranny shall never be lifted till all Englishmen lift it together.

  CHILD'S HISTORY OF ENGLAND

  There are works of great authors manifestly inferior to their typical work which are yet necessary to their fame and their figure in the world. It is not difficult to recall examples of them. No one, for instance, would talk of Scott's _Tales of a Grandfather_ as indicating the power that produced _Kenilworth_ and _Guy Mannering_. Nevertheless, without this chance minor compilation we should not really have the key of Scott. Without this one insignificant book we should not see his significance. For the truth was that Scott loved history more than romance, because he was so constituted as to find it more romantic than romance. He preferred the deeds of Wallace and Douglas to those of Marmion and Ivanhoe. Therefore his garrulous gossip of old times, his rambles in dead centuries, give us the real material and impulse of all his work; they represent the quarry in which he dug and the food on which he fed. Almost alone among novelists Scott actually preferred those parts of his historical novels which he had not invented himself. He exults when he can boast in an eager note that he has stolen some saying from history. Thus _The Tales of a Grandfather_, though small, is in some sense the frame of all the Waverley novels. We realise that all Scott's novels are tales of a grandfather.

  What has been said here about Scott might be said in a less degree about Thackeray's _Four Georges_. Though standing higher among his works than _The Tales of a Grandfather_ among Scott's they are not his works of genius; yet they seem in some way to surround, supplement, and explain such works. Without the _Four Georges_ we should know less of the link that bound Thackeray to the beginning and to the end of the eighteenth century; thence we should have known less of Colonel Esmond and also less of Lord Steyne. To these two examples I have given of the sl
ight historical experiments of two novelists a third has to be added. The third great master of English fiction whose glory fills the nineteenth century also produced a small experiment in the popularisation of history. It is separated from the other two partly by a great difference of merit but partly also by an utter difference of tone and outlook. We seem to hear it suddenly as in the first words spoken by a new voice, a voice gay, colloquial, and impatient. Scott and Thackeray were tenderly attached to the past; Dickens (in his consciousness at any rate) was impatient with everything, but especially impatient with the past.

  A collection of the works of Dickens would be incomplete in an essential as well as a literal sense without his _Child's History of England_. It may not be important as a contribution to history, but it is important as a contribution to biography; as a contribution to the character and the career of the man who wrote it, a typical man of his time. That he had made no personal historical researches, that he had no special historical learning, that he had not had, in truth, even anything that could be called a good education, all this only accentuates not the merit but at least the importance of the book. For here we may read in plain popular language, written by a man whose genius for popular exposition has never been surpassed among men, a brief account of the origin and meaning of England as it seemed to the average Englishman of that age. When subtler views of our history, some more false and some more true than his, have become popular, or at least well known, when in the near future Carlylean or Catholic or Marxian views of history have spread themselves among the reading public, this book will always remain as a bright and brisk summary of the cock-sure, healthy-minded, essentially manly and essentially ungentlemanly view of history which characterised the Radicals of that particular Radical era. The history tells us nothing about the periods that it talks about; but it tells us a great deal about the period that it does not talk about; the period in which it was written. It is in no sense a history of England from the Roman invasion; but it is certainly one of the documents which will contribute to a history of England in the nineteenth century.

  Of the actual nature of its philosophical and technical limitations it is, I suppose, unnecessary to speak. They all resolve themselves into one fault common in the modern world, and certainly characteristic of historians much more learned and pretentious than Dickens. That fault consists simply in ignoring or underrating the variety of strange evils and unique dangers in the world. The Radicals of the nineteenth century were engaged, and most righteously engaged, in dealing with one particular problem of human civilisation; they were shifting and apportioning more equally a load of custom that had really become unmeaning, often accidental, and nearly always unfair. Thus, for instance, a fierce and fighting penal code, which had been perfectly natural when the robbers were as strong as the Government, had become in more ordered times nothing but a base and bloody habit. Thus again Church powers and dues, which had been human when every man felt the Church as the best part of himself, were mere mean privileges when the nation was full of sects and full of freethinkers. This clearing away of external symbols that no longer symbolised anything was an honourable and needful work; but it was so difficult that to the men engaged in it it blocked up the perspective and filled the sky, so that they slid into a very natural mental mistake which coloured all their views of history. They supposed that this particular problem on which they were engaged was the one problem upon which all mankind had always been engaged. They got it into their heads that breaking away from a dead past was the perpetual process of humanity. The truth is obviously that humanity has found itself in many difficulties very different from that. Sometimes the best business of an age is to resist some alien invasion; sometimes to preach practical self-control in a world too self-indulgent and diffused; sometimes to prevent the growth in the State of great new private enterprises that would poison or oppress it. Above all it may sometimes happen that the highest task of a thinking citizen may be to do the exact opposite of the work which the Radicals had to do. It may be his highest duty to cling on to every scrap of the past that he can find, if he feels that the ground is giving way beneath him and sinking into mere savagery and forgetfulness of all human culture. This was exactly the position of all thinking men in what we call the dark ages, say from the sixth to the tenth century. The cheap progressive view of history can never make head or tail of that epoch; it was an epoch upside down. We think of the old things as barbaric and the new things as enlightened. In that age all the enlightened things were old; all the barbaric and brutally ignorant things were new and up to date. Republicanism was a fading legend; despotism was a new and successful experiment. Christianity was not only better than the clans that rebelled against it; Christianity was more rationalistic than they were. When men looked back they saw progress and reason; when they looked forward they saw shapeless tradition and tribal terror. Touching such an age it is obvious that all our modern terms describing reform or conservation are foolish and beside the mark. The Conservative was then the only possible reformer. If a man did not strengthen the remains of Roman order and the root of Roman Christianity, he was simply helping the world to roll downhill into ruin and idiotcy. Remember all these evident historical truths and then turn to the account given by Charles Dickens of that great man, St. Dunstan. It is not that the pert cockney tone of the abuse is irritating to the nerves: it is that he has got the whole hang of the thing wrong. His head is full of the nineteenth-century situation; that a priest imposing discipline is a person somehow blocking the way to equality and light. Whereas the point about such a man as Dunstan was that nobody in the place except he cared a button about equality or light: and that he was defending what was left of them against the young and growing power of darkness and division and caste.

  Nevertheless the case against such books as this is commonly stated wrong. The fault of Dickens is not (as is often said) that he "applies the same moral standard to all ages." Every sane man must do that: a moral standard must remain the same or it is not a moral standard. If we call St. Anthony of Padua a good man, we must mean what we mean when we call Huxley a good man, or else there is no sense in using the word "good." The fault of the Dickens school of popular history lies, not in the application of a plain rule of right and wrong to all circumstances, but in ignorance of the circumstances to which it was applied. It is not that they wrongly enforce the fixed principle that life should be saved; it is that they take a fire-engine to a shipwreck and a lifeboat to a house on fire. The business of a good man in Dickens's time was to bring justice up to date. The business of a good man in Dunstan's time was to toil to ensure the survival of any justice at all.

  And Dickens, through being a living and fighting man of his own time, kept the health of his own heart, and so saw many truths with a single eye: truths that were spoilt for subtler eyes. He was much more really right than Carlyle; immeasurably more right than Froude. He was more right precisely because he applied plain human morals to all facts as he saw them. Carlyle really had a vague idea that in coarse and cruel times it was right to be coarse and cruel; that tyranny was excusable in the twelfth century: as if the twelfth century did not denounce tyrants as much or more than any other. Carlyle, in fact, fancied that Rufus was the right sort of man; a view which was not only not shared by Anselm, but was probably not shared by Rufus. In this connection, or rather in connection with the other case of Froude, it is worth while to take another figure from Dickens's history, which illustrates the other and better side of the facile and popular method. Sheer ignorance of the environment made him wrong about Dunstan. But sheer instinct and good moral tradition made him right, for instance, about Henry VIII.; right where Froude is wildly wrong. Dickens's imagination could not re-picture an age where learning and liberty were dying rather than being born: but Henry VIII. lived in a time of expanding knowledge and unrest; a time therefore somewhat like the Victorian. And Dickens in his childish but robust way does perceive the main point about him: that he was a wicked man. He m
isses all the fine shades, of course; he makes him every kind of wicked man at once. He leaves out the serious interests of the man: his strange but real concern for theology; his love of certain legal and moral forms; his half-unconscious patriotism. But he sees the solid bulk of definite badness simply because it was there; and Froude cannot see it at all; because Froude followed Carlyle and played tricks with the eternal conscience. Henry VIII. _was_ "a blot of blood and grease upon the history of England." For he was the embodiment of the Devil in the Renascence, that wild worship of mere pleasure and scorn, which with its pictures and its palaces has enriched and ruined the world.