When I read this passage as a child, it seemed to me that those were exactly the pictures that those particular names would call up. The reason, of course, is the sound-associations of the words (Demple - 'temple'; Traddles - probably 'skedaddle'). But how many people, before Dickens, had ever noticed such things? A sympathetic attitude towards children was a much rarer thing in Dickens's day than it is now. The early nineteenth century was not a good time to be a child. In Dickens's youth children were still being 'solemnly tried at a criminal bar, where they were held up to be seen', and it was not so long since boys of thirteen had been hanged for petty theft. The doctrine of 'breaking the child's spirit' was in full vigour, and The Fairchild Family 1 was a standard book for children till late into the century. This evil book is now issued in pretty-pretty expurgated editions, but it is well worth reading in the original version. It gives one some idea of the lengths to which child-discipline was sometimes carried. Mr Fairchild, for instance, when he catches his children quarrelling, first thrashes them, reciting Doctor Watts's 'Let dogs delight to bark and bite' between blows of the cane, and then takes them to spend the afternoon beneath a gibbet where the rotting corpse of a murderer is hanging. In the earlier part of the century scores of thousands of children, aged sometimes as young as six, were literally worked to death in the mines or cotton mills, and even at the fashionable public schools boys were flogged till they ran with blood for a mistake in their Latin verses. One thing which Dickens seems to have recognized, and which most of his contemporaries did not, is the sadistic sexual element in flogging. I think this can be inferred from David Copperfield and Nicholas Nickleby. But mental cruelty to a child infuriates him as much as physical, and though there is a fair number of exceptions, his schoolmasters are generally scoundrels.
Except for the universities and the big public schools, every kind of education then existing in England gets a mauling at Dickens's hands. There is Doctor Blimber's Academy, where little boys are blown up with Greek until they burst, and the revolting charity schools of the period, which produced specimens like Noah Claypole and Uriah Heep, and Salem House, and Dotheboys Hall, and the disgraceful little dame-school kept by Mr Wopsle's great-aunt. Some of what Dickens says remains true even today. Salem House is the ancestor of the modern 'prep school', which still has a good deal of resemblance to it; and as for Mr Wopsle's great-aunt, some old fraud of much the same stamp is carrying on at this moment in nearly every small town in England. But, as usual, Dickens's criticism is neither creative nor destructive. He sees the idiocy of an educational system founded on the Greek lexicon and the wax-ended cane; on the other hand, he has no use for the new kind of school that is coming up in the fifties and sixties, the 'modern' school, with its gritty insistence on 'facts'. What, then, does he want? As always, what he appears to want is a moralized version of the existing thing - the old type of school, but with no caning, no bullying or underfeeding, and not quite so much Greek. Doctor Strong's school, to which David Copperfield goes after he escapes from Murdstone & Grinby's, is simply Salem House with the vices left out and a good deal of 'old grey stones' atmosphere thrown in:
Doctor Strong's was an excellent school, as different from Mr Creakle's as good is from evil. It was very gravely and decorously ordered, and on a sound system; with an appeal, in everything, to the honour and good faith of the boys... which worked wonders. We all felt that we had a part in the management of the place, and in sustaining its character and dignity. Hence, we soon became warmly attached to it - I am sure I did for one, and I never knew, in all my time, of any boy being otherwise - and learnt with a good will, desiring to do it credit. We had noble games out of hours, and plenty of liberty; but even then, as I remember, we were well spoken of in the town, and rarely did any disgrace, by our appearance or manner, to the reputation of Doctor Strong and Doctor Strong's boys.
In the woolly vagueness of this passage one can see Dickens's utter lack of any educational theory. He can imagine the moral atmosphere of a good school, but nothing further. The boys 'learnt with a good will', but what did they learn? No doubt it was Doctor Blimber's curriculum, a little watered down. Considering the attitude to society that is everywhere implied in Dickens's novels, it comes as rather a shock to learn that he sent his eldest son to Eton and sent all his children through the ordinary educational mill. Gissing seems to think that he may have done this because he was painfully conscious of being under-educated himself. Here perhaps Gissing is influenced by his own love of classical learning. Dickens had had little or no formal education, but he lost nothing by missing it, and on the whole he seems to have been aware of this. If he was unable to imagine a better school than Doctor Strong's, or, in real life, than Eton, it was probably due to an intellectual deficiency rather different from the one Gissing suggests.
It seems that in every attack Dickens makes upon society he is always pointing to a change of spirit rather than a change of structure. It is hopeless to try and pin him down to any definite remedy, still more to any political doctrine. His approach is always along the moral plane, and his attitude is sufficiently summed up in that remark about Strong's school being as different from Creakle's 'as good is from evil'. Two things can be very much alike and yet abysmally different. Heaven and Hell are in the same place. Useless to change institutions without a 'change of heart' - that, essentially, is what he is always saying.
If that were all, he might be no more than a cheer-up writer, a reactionary humbug. A 'change of heart' is in fact the alibi of people who do not wish to endanger the status quo. But Dickens is not a humbug, except in minor matters, and the strongest single impression one carries away from his books is that of a hatred of tyranny. I said earlier that Dickens is not in the accepted sense a revolutionary writer. But it is not at all certain that a merely moral criticism of society may not be just as 'revolutionary' - and revolution, after all, means turning things upside down - as the politico-economic criticism which is fashionable at this moment. Blake was not a politician, but there is more understanding of the nature of capitalist society in a poem like 'I wander through each charter'd street' than in three quarters of Socialist literature. Progress is not an illusion, it happens, but it is slow and invariably disappointing. There is always a new tyrant waiting to take over from the old - generally not quite so bad, but still a tyrant. Consequently two viewpoints are always tenable. The one, how can you improve human nature until you have changed the system? The other, what is the use of changing the system before you have improved human nature? They appeal to different individuals, and they probably show a tendency to alternate in point of time. The moralist and the revolutionary are constantly undermining one another. Marx exploded a hundred tons of dynamite beneath the moralist position, and we are still living in the echo of that tremendous crash. But already, somewhere or other, the sappers are at work and fresh dynamite is being stamped in place to blow Marx at the moon. Then Marx, or somebody like him, will come back with yet more dynamite, and so the process continues, to an end we cannot yet foresee. The central problem - how to prevent power from being abused - remains unsolved. Dickens, who had not the vision to see that private property is an obstructive nuisance, had the vision to see that. 'If men would behave decently the world would be decent' is not such a platitude as it sounds.
II
More completely than most writers, perhaps, Dickens can be explained in terms of his social origin, though actually his family history was not quite what one would infer from his novels. His father was a clerk in government service, and through his mother's family he had connexions with both the army and the navy. But from the age of nine onwards he was brought up in London in commercial surroundings, and generally in an atmosphere of struggling poverty. Mentally he belongs to the small urban bourgeoisie, and he happens to be an exceptionally fine specimen of this class, with all the 'points', as it were, very highly developed. That is partly what makes him so interesting. If one wants a modern equivalent, the nearest would be H. G. Wells, w
ho has had a rather similar history and who obviously owes something to Dickens as a novelist. Arnold Bennett was essentially of the same type, but, unlike the other two, he was a midlander, with an industrial and Nonconformist rather than commercial and Anglican background.
The great disadvantage, and advantage, of the small urban bourgeois is his limited outlook. He sees the world as a middle-class world, and everything outside those limits is either laughable or slightly wicked. On the one hand, he has no contact with industry or the soil; on the other, no contact with the governing classes. Anyone who has studied Wells's novels in detail will have noticed that though he hates the aristocrat like poison, he has no particular objection to the plutocrat, and no enthusiasm for the proletarian. His most hated types, the people he believes to be responsible for all human ills, are kings, landowners, priests, nationalists, soldiers, scholars and peasants. At first sight a list beginning with kings and ending with peasants looks like a mere omnium gatherum, but in reality all these people have a common factor. All of them are archaic types, people who are governed by tradition and whose eyes are turned towards the past - the opposite, therefore, of the rising bourgeois who has put his money on the future and sees the past simply as a dead hand.
Actually, although Dickens lived in a period when the bourgeoisie was really a rising class, he displays this characteristic less strongly than Wells. He is almost unconscious of the future and has a rather sloppy love of the picturesque (the 'quaint old church' etc.). Nevertheless his list of most hated types is like enough to Wells's for the similarity to be striking. He is vaguely on the side of the working class - has a sort of generalized sympathy with them because they are oppressed - but he does not in reality know much about them; they come into his books chiefly as servants, and comic servants at that. At the other end of the scale he loathes the aristocrat and - going one better than Wells in this - loathes the big bourgeois as well. His real sympathies are bounded by Mr Pickwick on the upper side and Mr Barkis on the lower. But the term 'aristocrat', for the type Dickens hates, is vague and needs defining.
Actually Dickens's target is not so much the great aristocracy, who hardly enter into his books, as their petty offshoots, the cadging dowagers who live up mews in Mayfair, and the bureaucrats and professional soldiers. All through his books there are countless hostile sketches of these people, and hardly any that are friendly. There are practically no friendly pictures of the landowning class, for instance. One might make a doubtful exception of Sir Leicester Dedlock; otherwise there is only Mr Wardle (who is a stock figure - the 'good old squire') and Haredale in Barnaby Rudge, who has Dickens's sympathy because he is a persecuted Catholic. There are no friendly pictures of soldiers (i.e. officers), and none at all of naval men. As for his bureaucrats, judges and magistrates, most of them would feel quite at home in the Circumlocution Office. The only officials whom Dickens handles with any kind of friendliness are, significantly enough, policemen.
Dickens's attitude is easily intelligible to an Englishman, because it is part of the English puritan tradition, which is not dead even at this day. The class Dickens belonged to, at least by adoption, was growing suddenly rich after a couple of centuries of obscurity. It had grown up mainly in the big towns, out of contact with agriculture, and politically impotent; government, in its experience, was something which either interfered or persecuted. Consequently it was a class with no tradition of public service and not much tradition of usefulness. What now strikes us as remarkable about the new moneyed class of the nineteenth century is their complete irresponsibility; they see everything in terms of individual success, with hardly any consciousness that the community exists. On the other hand, a Tite Barnacle, even when he was neglecting his duties, would have some vague notion of what duties he was neglecting. Dickens's attitude is never irresponsible, still less does he take the money-grubbing Smilesian line; but at the back of his mind there is usually a half-belief that the whole apparatus of government is unnecessary. Parliament is simply Lord Coodle and Sir Thomas Doodle, the Empire is simply Major Bagstock and his Indian servant, the army is simply Colonel Chowser and Doctor Slammer, the public services are simply Bumble and the Circumlocution Office - and so on and so forth. What he does not see, or only intermittently sees, is that Coodle and Doodle and all the other corpses left over from the eighteenth century are performing a function which neither Pickwick nor Boffin would ever bother about.
And of course this narrowness of vision is in one way a great advantage to him, because it is fatal for a caricaturist to see too much. From Dickens's point of view 'good' society is simply a collection of village idiots. What a crew! Lady Tippins! Mrs Gowan! Lord Verisopht! The Honourable Bob Stables! Mrs Sparsit (whose husband was a Powler)! The Tite Barnacles! Nupkins! It is practically a case-book in lunacy. But at the same time his remoteness from the landowning-military-bureaucratic class incapacitates him for full-length satire. He only succeeds with this class when he depicts them as mental defectives. The accusation which used to be made against Dickens in his lifetime, that he 'could not paint a gentleman', was an absurdity, but it is true in this sense, that what he says against the 'gentleman' class is seldom very damaging. Sir Mulberry Hawk, for instance, is a wretched attempt at the wicked-baronet type. Harthouse in Hard Times is better, but he would be only an ordinary achievement for Trollope or Thackeray. Trollope's thoughts hardly move outside the 'gentleman' class, but Thackeray has the great advantage of having a foot in two moral camps. In some ways his outlook is very similar to Dickens's. Like Dickens, he identifies with the puritanical moneyed class against the card-playing, debt-bilking aristocracy. The eighteenth century, as he sees it, is sticking out into the nineteenth in the person of the wicked Lord Steyne. Vanity Fair is a full-length version of what Dickens did for a few chapters in Little Dorrit. But by origins and upbringing Thackeray happens to be somewhat nearer to the class he is satirizing. Consequently he can produce such comparatively subtle types as, for instance, Major Pendennis and Rawdon Crawley. Major Pendennis is a shallow old snob, and Rawdon Crawley is a thick-headed ruffian who sees nothing wrong in living for years by swindling tradesmen; but what Thackeray realizes is that according to their tortuous code they are neither of them bad men. Major Pendennis would not sign a dud cheque, for instance. Rawdon certainly would, but on the other hand he would not desert a friend in a tight corner. Both of them would behave well on the field of battle - a thing that would not particularly appeal to Dickens. The result is that at the end one is left with a kind of amused tolerance for Major Pendennis and with something approaching respect for Rawdon; and yet one sees, better than any diatribe could make one, the utter rottenness of that kind of cadging, toadying life on the fringes of smart society. Dickens would be quite incapable of this. In his hands both Rawdon and the Major would dwindle to traditional caricatures. And, on the whole, his attacks on 'good' society are rather perfunctory. The aristocracy and the big bourgeoisie exist in his books chiefly as a kind of 'noises off ', a haw-hawing chorus somewhere in the wings, like Podsnap's dinner-parties. When he produces a really subtle and damaging portrait, like John Dorrit or Harold Skimpole, it is generally of some rather middling, unimportant person.
One very striking thing about Dickens, especially considering the time he lived in, is his lack of vulgar nationalism. All peoples who have reached the point of becoming nations tend to despise foreigners, but there is not much doubt that the English-speaking races are the worst offenders. Once can see this from the fact that as soon as they become fully aware of any foreign race, they invent an insulting nickname for it. Wop, Dago, Froggy, Squarehead, Kike, Sheeny, Nigger, Wog, Chink, Greaser, Yellowbelly - these are merely a selection. Any time before 1870 the list would have been shorter because the map of the world was different from what it is now, and there were only three or four foreign races that had fully entered into the English consciousness. But towards these, and especially towards France, the nearest and best-hated nation, the English attitude of patronage wa
s so intolerable that English 'arrogance' and 'xenophobia' are still a legend. And of course they are not a completely untrue legend even now. Till very recently nearly all English children were brought up to despise the southern European races, and history as taught in schools was mainly a list of battles won by England. But one has got to read, say, the Quarterly Review of the thirties to know what boasting really is. Those were the days when the English built up their legend of themselves as 'sturdy islanders' and 'stubborn hearts of oak' and when it was accepted as a kind of scientific fact that one Englishman was the equal of three foreigners. All through nineteenth-century novels and comic papers there runs the traditional figure of the 'Froggy' - a small ridiculous man with a tiny beard and a pointed top-hat, always jabbering and gesticulating, vain, frivolous and fond of boasting of his martial exploits, but generally taking to flight when real danger appears. Over against him was John Bull, the 'sturdy English yeoman', or (a more public-school version) the 'strong, silent Englishman' of Charles Kingsley, Tom Hughes and others.
Thackeray, for instance, has this outlook very strongly, though there are moments when he sees through it and laughs at it. The one historical fact that is firmly fixed in his mind is that the English won the battle of Waterloo. One never reads far in his books without coming upon some reference to it. The English, as he sees it, are invincible because of their tremendous physical strength, due mainly to living on beef. Like most Englishmen of his time, he has the curious illusion that the English are larger than other people (Thackeray, as it happened, was larger than most people), and therefore he is capable of writing passages like this:
I say to you that you are better than a Frenchman. I would lay even money that you who are reading this are more than five feet seven in height, and weigh eleven stone; while a Frenchman is five feet four and does not weigh nine. The Frenchman has after his soup a dish of vegetables, where you have one of meat. You are a different and superior animal - a French-beating animal (the history of hundreds of years has shown you to be so), etc. etc.
Shooting an Elephant Page 7
