but whoe'er you be Who in this desert inaccessible, Under the shade of melancholy boughs Lose and neglect the creeping hours of time. If ever you have looked on better things, If ever been where bells have knolled to church.
If, in short, you have ever had the advantage of being born within the sound of Bow bells. Dickens could not really conceive that there was any other city but his own.
It is necessary thus to insist that Dickens never understood the Continent, because only thus can we appreciate the really remarkable thing he did in _A Tale of Two Cities_. It is necessary to feel, first of all, the fact that to him London was the centre of the universe. He did not understand at all the real sense in which Paris is the capital of Europe. He had never realised that all roads lead to Rome. He had never felt (as an Englishman can feel) that he was an Athenian before he was a Londoner. Yet with everything against him he did this astonishing thing. He wrote a book about two cities, one of which he understood; the other he did not understand. And his description of the city he did not know is almost better than his description of the city he did know. This is the entrance of the unquestionable thing about Dickens; the thing called genius; the thing which every one has to talk about directly and distinctly because no one knows what it is. For a plain word (as for instance the word fool) always covers an infinite mystery.
_A Tale of Two Cities_ is one of the more tragic tints of the later life of Dickens. It might be said that he grew sadder as he grew older; but this would be false, for two reasons. First, a man never or hardly ever does grow sad as he grows old; on the contrary, the most melancholy young lovers can be found forty years afterwards chuckling over their port wine. And second, Dickens never did grow old, even in a physical sense. What weariness did appear in him appeared in the prime of life; it was due not to age but to overwork, and his exaggerative way of doing everything. To call Dickens a victim of elderly disenchantment would be as absurd as to say the same of Keats. Such fatigue as there was, was due not to the slowing down of his blood, but rather to its unremitting rapidity. He was not wearied by his age; rather he was wearied by his youth. And though _A Tale of Two Cities_ is full of sadness, it is full also of enthusiasm; that pathos is a young pathos rather than an old one. Yet there is one circumstance which does render important the fact that _A Tale of Two Cities_ is one of the later works of Dickens. This fact is the fact of his dependence upon another of the great writers of the Victorian era. And it is in connection with this that we can best see the truth of which I have been speaking; the truth that his actual ignorance of France went with amazing intuitive perception of the truth about it. It is here that he has most clearly the plain mark of the man of genius; that he can understand what he does not understand.
Dickens was inspired to the study of the French Revolution and to the writing of a romance about it by the example and influence of Carlyle. Thomas Carlyle undoubtedly rediscovered for Englishmen the revolution that was at the back of all their policies and reforms. It is an entertaining side joke that the French Revolution should have been discovered for Britons by the only British writer who did not really believe in it. Nevertheless, the most authoritative and the most recent critics on that great renaissance agree in considering Carlyle's work one of the most searching and detailed power. Carlyle had read a great deal about the French Revolution. Dickens had read nothing at all, except Carlyle. Carlyle was a man who collected his ideas by the careful collation of documents and the verification of references. Dickens was a man who collected his ideas from loose hints in the streets, and those always the same streets; as I have said, he was the citizen of one city. Carlyle was in his way learned; Dickens was in every way ignorant. Dickens was an Englishman cut off from France; Carlyle was a Scotsman, historically connected with France. And yet, when all this is said and certified, Dickens is more right than Carlyle. Dickens's French Revolution is probably more like the real French Revolution than Carlyle's. It is difficult, if not impossible, to state the grounds of this strong conviction. One can only talk of it by employing that excellent method which Cardinal Newman employed when he spoke of the "notes" of Catholicism. There were certain "notes" of the Revolution. One note of the Revolution was the thing which silly people call optimism, and sensible people call high spirits. Carlyle could never quite get it, because with all his spiritual energy he had no high spirits. That is why he preferred prose to poetry. He could understand rhetoric; for rhetoric means singing with an object. But he could not understand lyrics; for the lyric means singing without an object; as every one does when he is happy. Now for all its blood and its black guillotines, the French Revolution was full of mere high spirits. Nay, it was full of happiness. This actual lilt and levity Carlyle never really found in the Revolution, because he could not find it in himself. Dickens knew less of the Revolution, but he had more of it. When Dickens attacked abuses, he battered them down with exactly that sort of cheery and quite one-sided satisfaction with which the French mob battered down the Bastille. Dickens utterly and innocently believed in certain things; he would, I think, have drawn the sword for them. Carlyle half believed in half a hundred things; he was at once more of a mystic and more of a sceptic. Carlyle was the perfect type of the grumbling servant; the old grumbling servant of the aristocratic comedies. He followed the aristocracy, but he growled as he followed. He was obedient without being servile, just as Caleb Balderstone was obedient without being servile. But Dickens was the type of the man who might really have rebelled instead of grumbling. He might have gone out into the street and fought, like the man who took the Bastille. It is somewhat nationally significant that when we talk of the man in the street it means a figure silent, slouching, and even feeble. When the French speak of the man in the street, it means danger in the street.
No one can fail to notice this deep difference between Dickens and the Carlyle whom he avowedly copied. Splendid and symbolic as are Carlyle's scenes of the French Revolution, we have in reading them a curious sense that everything is happening at night. In Dickens even massacre happens by daylight. Carlyle always assumes that because things were tragedies therefore the men who did them felt tragic. Dickens knows that the man who works the worst tragedies is the man who feels comic; as for example, Mr. Quilp. The French Revolution was a much simpler world than Carlyle could understand; for Carlyle was subtle and not simple. Dickens could understand it, for he was simple and not subtle. He understood that plain rage against plain political injustice; he understood again that obvious vindictiveness and that obvious brutality which followed. "Cruelty and the abuse of absolute power," he told an American slave-owner, "are two of the bad passions of human nature." Carlyle was quite incapable of rising to the height of that uplifted common-sense. He must always find something mystical about the cruelty of the French Revolution. The effect was equally bad whether he found it mystically bad and called the thing anarchy, or whether he found it mystically good and called it the rule of the strong. In both cases he could not understand the common-sense justice or the common-sense vengeance of Dickens and the French Revolution.
Yet Dickens has in this book given a perfect and final touch to this whole conception of mere rebellion and mere human nature. Carlyle had written the story of the French Revolution and had made the story a mere tragedy. Dickens writes the story about the French Revolution, and does not make the Revolution itself the tragedy at all. Dickens knows that an outbreak is seldom a tragedy; generally it is the avoidance of a tragedy. All the real tragedies are silent. Men fight each other with furious cries, because men fight each other with chivalry and an unchangeable sense of brotherhood. But trees fight each other in utter stillness; because they fight each other cruelly and without quarter. In this book, as in history, the guillotine is not the calamity, but rather the solution of the calamity. The sin of Sydney Carton is a sin of habit, not of revolution. His gloom is the gloom of London, not the gloom of Paris.
[Charles Dickens, Circa 1860 Photograph by J. & C. Watkins.]
GREAT EXPEC
TATIONS
_Great Expectations_, which was written in the afternoon of Dickens's life and fame, has a quality of serene irony and even sadness, which puts it quite alone among his other works. At no time could Dickens possibly be called cynical, he had too much vitality; but relatively to the other books this book is cynical; but it has the soft and gentle cynicism of old age, not the hard cynicism of youth. To be a young cynic is to be a young brute; but Dickens, who had been so perfectly romantic and sentimental in his youth, could afford to admit this touch of doubt into the mixed experience of his middle age. At no time could any books by Dickens have been called Thackerayan. Both of the two men were too great for that. But relatively to the other Dickensian productions this book may be called Thackerayan. It is a study in human weakness and the slow human surrender. It describes how easily a free lad of fresh and decent instincts can be made to care more for rank and pride and the degrees of our stratified society than for old affection and for honour. It is an extra chapter to _The Book of Snobs_.
The best way of stating the change which this book marks in Dickens can be put in one phrase. In this book for the first time the hero disappears. The hero had descended to Dickens by a long line which begins with the gods, nay, perhaps if one may say so, which begins with God. First comes Deity and then the image of Deity; first comes the god and then the demi-god, the Hercules who labours and conquers before he receives his heavenly crown. That idea, with continual mystery and modification, has continued behind all romantic tales; the demi-god became the hero of paganism; the hero of paganism became the knight-errant of Christianity; the knight-errant who wandered and was foiled before he triumphed became the hero of the later prose romance, the romance in which the hero had to fight a duel with the villain but always survived, in which the hero drove desperate horses through the night in order to rescue the heroine, but always rescued her.
This heroic modern hero, this demi-god in a top-hat, may be said to reach his supreme moment and typical example about the time when Dickens was writing that thundering and thrilling and highly unlikely scene in _Nicholas Nickleby_, the scene where Nicholas hopelessly denounces the atrocious Gride in his hour of grinning triumph, and a thud upon the floor above tells them that the heroine's tyrannical father has died just in time to set her free. That is the apotheosis of the pure heroic as Dickens found it, and as Dickens in some sense continued it. It may be that it does not appear with quite so much unmistakable youth, beauty, valour, and virtue as it does in Nicholas Nickleby. Walter Gay is a simpler and more careless hero, but when he is doing any of the business of the story he is purely heroic. Kit Nubbles is a humbler hero, but he is a hero; when he is good he is very good. Even David Copperfield, who confesses to boyish tremors and boyish evasions in his account of his boyhood, acts the strict stiff part of the chivalrous gentleman in all the active and determining scenes of the tale. But _Great Expectations_ may be called, like _Vanity Fair_, a novel without a hero. Almost all Thackeray's novels except Esmond are novels without a hero, but only one of Dickens's novels can be so described. I do not mean that it is a novel without a _jeune premier_, a young man to make love; _Pickwick_ is that and _Oliver Twist_, and, perhaps, _The Old Curiosity Shop_. I mean that it is a novel without a hero in the same far deeper and more deadly sense in which _Pendennis_ is also a novel without a hero. I mean that it is a novel which aims chiefly at showing that the hero is unheroic.
All such phrases as these must appear of course to overstate the case. Pip is a much more delightful person than Nicholas Nickleby. Or to take a stronger case for the purpose of our argument, Pip is a much more delightful person than Sydney Carton. Still the fact remains. Most of Nicholas Nickleby's personal actions are meant to show that he is heroic. Most of Pip's actions are meant to show that he is not heroic. The study of Sydney Carton is meant to indicate that with all his vices Sydney Carton was a hero. The study of Pip is meant to indicate that with all his virtues Pip was a snob. The motive of the literary explanation is different. Pip and Pendennis are meant to show how circumstances can corrupt men. Sam Weller and Hercules are meant to show how heroes can subdue circumstances.
This is the preliminary view of the book which is necessary if we are to regard it as a real and separate fact in the life of Dickens. Dickens had many moods because he was an artist; but he had one great mood, because he was a great artist. Any real difference therefore from the general drift, or rather (I apologise to Dickens) the general drive of his creation is very important. This is the one place in his work in which he does, I will not say feel like Thackeray, far less think like Thackeray, less still write like Thackeray, but this is the one of his works in which he understands Thackeray. He puts himself in some sense in the same place; he considers mankind at somewhat the same angle as mankind is considered in one of the sociable and sarcastic novels of Thackeray. When he deals with Pip he sets out not to show his strength like the strength of Hercules, but to show his weakness like the weakness of Pendennis. When he sets out to describe Pip's great expectation he does not set out, as in a fairytale, with the idea that these great expectations will be fulfilled; he sets out from the first with the idea that these great expectations will be disappointing. We might very well, as I have remarked elsewhere, apply to all Dickens's books the title _Great Expectations_. All his books are full of an airy and yet ardent expectation of everything; of the next person who shall happen to speak, of the next chimney that shall happen to smoke, of the next event, of the next ecstasy; of the next fulfilment of any eager human fancy. All his books might be called _Great Expectations_. But the only book to which he gave the name of _Great Expectations_ was the only book in which the expectation was never realised. It was so with the whole of that splendid and unconscious generation to which he belonged. The whole glory of that old English middle class was that it was unconscious; its excellence was entirely in that, that it was the culture of the nation, and that it did not know it. If Dickens had ever known that he was optimistic, he would have ceased to be happy.
It is necessary to make this first point clear: that in _Great Expectations_ Dickens was really trying to be a quiet, a detached, and even a cynical observer of human life. Dickens was trying to be Thackeray. And the final and startling triumph of Dickens is this: that even to this moderate and modern story, he gives an incomparable energy which is not moderate and which is not modern. He is trying to be reasonable; but in spite of himself he is inspired. He is trying to be detailed, but in spite of himself he is gigantic. Compared to the rest of Dickens this is Thackeray; but compared to the whole of Thackeray we can only say in supreme praise of it that it is Dickens.
Take, for example, the one question of snobbishness. Dickens has achieved admirably the description of the doubts and vanities of the wretched Pip as he walks down the street in his new gentlemanly clothes, the clothes of which he is so proud and so ashamed. Nothing could be so exquisitely human, nothing especially could be so exquisitely masculine as that combination of self-love and self-assertion and even insolence with a naked and helpless sensibility to the slightest breath of ridicule. Pip thinks himself better than every one else, and yet anybody can snub him; that is the everlasting male, and perhaps the everlasting gentleman. Dickens has described perfectly this quivering and defenceless dignity. Dickens has described perfectly how ill-armed it is against the coarse humour of real humanity--the real humanity which Dickens loved, but which idealists and philanthropists do not love, the humanity of cabmen and costermongers and men singing in a third-class carriage; the humanity of Trabb's boy. In describing Pip's weakness Dickens is as true and as delicate as Thackeray. But Thackeray might have been easily as true and as delicate as Dickens. This quick and quiet eye for the tremors of mankind is a thing which Dickens possessed, but which others possessed also. George Eliot or Thackeray could have described the weakness of Pip. Exactly what George Eliot and Thackeray could not have described was the vigour of Trabb's boy. There would have been admirable humour and observation in thei
r accounts of that intolerable urchin. Thackeray would have given us little light touches of Trabb's boy, absolutely true to the quality and colour of the humour, just as in his novels of the eighteenth century, the glimpses of Steele or Bolingbroke or Doctor Johnson are exactly and perfectly true to the colour and quality of their humour. George Eliot in her earlier books would have given us shrewd authentic scraps of the real dialect of Trabb's boy, just as she gave us shrewd and authentic scraps of the real talk in a Midland country town. In her later books she would have given us highly rationalistic explanations of Trabb's boy; which we should not have read. But exactly what they could never have given, and exactly what Dickens does give, is the _bounce_ of Trabb's boy. It is the real unconquerable rush and energy in a character which was the supreme and quite indescribable greatness of Dickens. He conquered by rushes; he attacked in masses; he carried things at the spear point in a charge of spears; he was the Rupert of Fiction. The thing about any figure of Dickens, about Sam Weller or Dick Swiveller, or Micawber, or Bagstock, or Trabb's boy,--the thing about each one of these persons is that he cannot be exhausted. A Dickens character hits you first on the nose and then in the waistcoat, and then in the eye and then in the waistcoat again, with the blinding rapidity of some battering engine. The scene in which Trabb's boy continually overtakes Pip in order to reel and stagger as at a first encounter is a thing quite within the real competence of such a character; it might have been suggested by Thackeray, or George Eliot, or any realist. But the point with Dickens is that there is a rush in the boy's rushings; the writer and the reader rush with him. They start with him, they stare with him, they stagger with him, they share an inexpressible vitality in the air which emanates from this violent and capering satirist. Trabb's boy is among other things a boy; he has a physical rapture in hurling himself like a boomerang and in bouncing to the sky like a ball. It is just exactly in describing this quality that Dickens is Dickens and that no one else comes near him. No one feels in his bones that Felix Holt was strong as he feels in his bones that little Quilp was strong. No one can feel that even Rawdon Crawley's splendid smack across the face of Lord Steyne is quite so living and life-giving as the "kick after kick" which old Mr. Weller dealt the dancing and quivering Stiggins as he drove him towards the trough. This quality, whether expressed intellectually or physically, is the profoundly popular and eternal quality in Dickens; it is the thing that no one else could do. This quality is the quality which has always given its continuous power and poetry to the common people everywhere. It is life; it is the joy of life felt by those who have nothing else but life. It is the thing that all aristocrats have always hated and dreaded in the people. And it is the thing which poor Pip really hates and dreads in Trabb's boy.
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