Appreciations and Criticisms of the Works of Charles Dickens Part 6

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 d.i.c.kens. But if the figures are touched more faintly, it is partly because they are figures in a fog--the fog of Chancery. d.i.c.kens 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, d.i.c.kens 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 const.i.tuted 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 slight 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; d.i.c.kens (in his consciousness at any rate) was impatient with everything, but especially impatient with the past.

A collection of the works of d.i.c.kens 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 surpa.s.sed 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 c.o.c.k-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 doc.u.ments 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 d.i.c.kens. 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 b.l.o.o.d.y 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 sc.r.a.p 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 d.i.c.kens of that great man, St. Dunstan. It is not that the pert c.o.c.kney 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 n.o.body in the place except he cared a b.u.t.ton 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 d.i.c.kens 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 d.i.c.kens school of popular history lies, not in the application of a plain rule of right and wrong to all circ.u.mstances, but in ignorance of the circ.u.mstances 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 d.i.c.kens'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 d.i.c.kens, 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 coa.r.s.e and cruel times it was right to be coa.r.s.e 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 d.i.c.kens's history, which ill.u.s.trates 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. d.i.c.kens'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 d.i.c.kens in his childish but robust way does perceive the main point about him: that he was a wicked man. He misses 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.

The time will soon come when the mere common-sense of d.i.c.kens, like the mere common-sense of Macaulay (though his was poisoned by learning and Whig politics), will appear to give a plainer and therefore truer picture of the ma.s.s of history than the mystical perversity of a man of genius writing only out of his own temperament, like Carlyle or Taine.

If a man has a new theory of ethics there is one thing he must not be allowed to do. Let him give laws on Sinai, let him dictate a Bible, let him fill the world with cathedrals if he can. But he must not be allowed to write a history of England; or a history of any country. All history was conducted on ordinary morality: with his extraordinary morality he is certain to read it all askew. Thus Carlyle tries to write of the Middle Ages with a bias against humility and mercy; that is, with a bias against the whole theoretic morality of the Middle Ages. The result is that he turns into a mere turmoil of arrogant German savages what was really the most complete and logical, if not the highest, of human civilisations. Historically speaking, it is better to be d.i.c.kens than to be this; better to be ignorant, provincial, slap-dash, seeing only the pa.s.sing moment, but in that moment, to be true to eternal things.

It must be remembered, of course, that d.i.c.kens deliberately offers this only as a "child's" history of England. That is, he only professes to be able to teach history as any father of a little boy of five professes to be able to teach him history. And although the history of England would certainly be taught very differently (as regards the actual criticism of events and men) in a family with a wider culture or with another religion, the general method would be the same. For the general method is quite right. This black-and-white history of heroes and villains; this history full of pugnacious ethics and of nothing else, is the right kind of history for children. I have often wondered how the scientific Marxians and the believers in "the materialist view of history" will ever manage to teach their dreary economic generalisations to children: but I suppose they will have no children. d.i.c.kens's history will always be popular with the young; almost as popular as d.i.c.kens's novels, and for the same reason: because it is full of moralising. Science and art without morality are not dangerous in the sense commonly supposed. They are not dangerous like a fire, but dangerous like a fog. A fire is dangerous in its brightness; a fog in its dulness; and thought without morals is merely dull, like a fog. The fog seems to be creeping up the street; putting out lamp after lamp. But this c.o.c.kney lamp-post which the children love is still crowned with its flame; and when the fathers have forgotten ethics, their babies will turn and teach them.

HARD TIMES

I have heard that in some debating clubs there is a rule that the members may discuss anything except religion and politics. I cannot imagine what they do discuss; but it is quite evident that they have ruled out the only two subjects which are either important or amusing.

The thing is a part of a certain modern tendency to avoid things because they lead to warmth; whereas, obviously, we ought, even in a social sense, to seek those things specially. The warmth of the discussion is as much a part of hospitality as the warmth of the fire. And it is singularly suggestive that in English literature the two things have died together. The very people who would blame d.i.c.kens for his sentimental hospitality are the very people who would also blame him for his narrow political conviction. The very people who would mock him for his narrow radicalism are those who would mock him for his broad fireside. Real conviction and real charity are much nearer than people suppose. d.i.c.kens was capable of loving all men; but he refused to love all opinions. The modern humanitarian can love all opinions, but he cannot love all men; he seems, sometimes, in the ecstasy of his humanitarianism, even to hate them all. He can love all opinions, including the opinion that men are unlovable.

In feeling d.i.c.kens as a lover we must never forget him as a fighter, and a fighter for a creed; but indeed there is no other kind of fighter. The geniality which he spread over all his creations was geniality spread from one centre, from one flaming peak. He was willing to excuse Mr.

Micawber for being extravagant; but d.i.c.kens and d.i.c.kens's doctrine were strictly to decide how far he was to be excused. He was willing to like Mr. Twemlow in spite of his sn.o.bbishness, but d.i.c.kens and d.i.c.kens's doctrine were alone to be judges of how far he was sn.o.bbish. There was never a more didactic writer: hence there was never one more amusing. He had no mean modern notion of keeping the moral doubtful. He would have regarded this as a mere piece of slovenliness, like leaving the last page illegible.

Everywhere in d.i.c.kens's work these angles of his absolute opinion stood up out of the confusion of his general kindness, just as sharp and splintered peaks stand up out of the soft confusion of the forests.

d.i.c.kens is always generous, he is generally kind-hearted, he is often sentimental, he is sometimes intolerably maudlin; but you never know when you will not come upon one of the convictions of d.i.c.kens; and when you do come upon it you do know it. It is as hard and as high as any precipice or peak of the mountains. The highest and hardest of these peaks is _Hard Times_.

It is here more than anywhere else that the sternness of d.i.c.kens emerges as separate from his softness; it is here, most obviously, so to speak, that his bones stick out. There are indeed many other books of his which are written better and written in a sadder tone. _Great Expectations_ is melancholy in a sense; but it is doubtful of everything, even of its own melancholy. _The Tale of Two Cities_ is a great tragedy, but it is still a sentimental tragedy. It is a great drama, but it is still a melodrama. But this tale of _Hard Times_ is in some way harsher than all these. For it is the expression of a righteous indignation which cannot condescend to humour and which cannot even condescend to pathos. Twenty times we have taken d.i.c.kens's hand and it has been sometimes hot with revelry and sometimes weak with weariness; but this time we start a little, for it is inhumanly cold; and then we realise that we have touched his gauntlet of steel.

One cannot express the real value of this book without being irrelevant.

It is true that one cannot express the real value of anything without being irrelevant. If we take a thing frivolously we can take it separately, but the moment we take a thing seriously, if it were only an old umbrella, it is obvious that that umbrella opens above us into the immensity of the whole universe. But there are rather particular reasons why the value of the book called _Hard Times_ should be referred back to great historic and theoretic matters with which it may appear superficially to have little or nothing to do. The chief reason can perhaps be stated thus--that English politics had for more than a hundred years been getting into more and more of a hopeless tangle (a tangle which, of course, has since become even worse) and that d.i.c.kens did in some extraordinary way see what was wrong, even if he did not see what was right.

The Liberalism which d.i.c.kens and nearly all of his contemporaries professed had begun in the American and the French Revolutions. Almost all modern English criticism upon those revolutions has been vitiated by the a.s.sumption that those revolutions burst upon a world which was unprepared for their ideas--a world ignorant of the possibility of such ideas. Somewhat the same mistake is made by those who suggest that Christianity was adopted by a world incapable of criticising it; whereas obviously it was adopted by a world that was tired of criticising everything. The vital mistake that is made about the French Revolution is merely this--that everyone talks about it as the introduction of a new idea. It was not the introduction of a new idea; there are no new ideas. Or if there are new ideas, they would not cause the least irritation if they were introduced into political society; because the world having never got used to them there would be no ma.s.s of men ready to fight for them at a moment's notice. That which was irritating about the French Revolution was this--that it was not the introduction of a new ideal, but the practical fulfilment of an old one. From the time of the first fairy tales men had always believed ideally in equality; they had always thought that something ought to be done, if anything could be done, to redress the balance between Cinderella and the ugly sisters.

The irritating thing about the French was not that they said this ought to be done; everybody said that. The irritating thing about the French was that they did it. They proposed to carry out into a positive scheme what had been the vision of humanity; and humanity was naturally annoyed. The kings of Europe did not make war upon the Revolution because it was a blasphemy, but because it was a copy-book maxim which had been just too accurately copied. It was a plat.i.tude which they had always held in theory unexpectedly put into practice. The tyrants did not hate democracy because it was a paradox; they hated it because it was a truism which seemed in some danger of coming true.

Now it happens to be hugely important to have this right view of the Revolution in considering its political effects upon England. For the English, being a deeply and indeed excessively romantic people, could never be quite content with this quality of cold and bald obviousness about the republican formula. The republican formula was merely this--that the State must consist of its citizens ruling equally, however unequally they may do anything else. In their capacity of members of the State they are all equally interested in its preservation. But the English soon began to be romantically restless about this eternal truism; they were perpetually trying to turn it into something else, into something more picturesque--progress perhaps, or anarchy. At last they turned it into the highly exciting and highly unsound system of politics, which was known as the Manchester School, and which was expressed with a sort of logical flightiness, more excusable in literature, by Mr. Herbert Spencer. Of course Danton or Washington or any of the original republicans would have thought these people were mad. They would never have admitted for a moment that the State must not interfere with commerce or compet.i.tion; they would merely have insisted that if the State did interfere, it must really be the State--that is, the whole people. But the distance between the common sense of Danton and the mere ecstasy of Herbert Spencer marks the English way of colouring and altering the revolutionary idea. The English people as a body went blind, as the saying is, for interpreting democracy entirely in terms of liberty. They said in substance that if they had more and more liberty it did not matter whether they had any equality or any fraternity. But this was violating the sacred trinity of true politics; they confounded the persons and they divided the substance.

Now the really odd thing about England in the nineteenth century is this--that there was one Englishman who happened to keep his head. The men who lost their heads lost highly scientific and philosophical heads; they were great cosmic systematisers like Spencer, great social philosophers like Bentham, great practical politicians like Bright, great political economists like Mill. The man who kept his head kept a head full of fantastic nonsense; he was a writer of rowdy farces, a demagogue of fiction, a man without education in any serious sense whatever, a man whose whole business was to turn ordinary c.o.c.kneys into extraordinary caricatures. Yet when all these other children of the revolution went wrong he, by a mystical something in his bones, went right. He knew nothing of the Revolution; yet he struck the note of it.

He returned to the original sentimental commonplace upon which it is forever founded, as the Church is founded on a rock. In an England gone mad about a minor theory he rea.s.serted the original idea--the idea that no one in the State must be too weak to influence the State.

This man was d.i.c.kens. He did this work much more genuinely than it was done by Carlyle or Ruskin; for they were simply Tories making out a romantic case for the return of Toryism. But d.i.c.kens was a real Liberal demanding the return of real Liberalism. d.i.c.kens was there to remind people that England had rubbed out two words of the revolutionary motto, had left only Liberty and destroyed Equality and Fraternity. In this book, _Hard Times_, he specially champions equality. In all his books he champions fraternity.

The atmosphere of this book and what it stands for can be very adequately conveyed in the note on the book by Lord Macaulay, who may stand as a very good example of the spirit of England in those years of eager emanc.i.p.ation and expanding wealth--the years in which Liberalism was turned from an omnipotent truth to a weak scientific system.

Macaulay's private comment on _Hard Times_ runs, "One or two pa.s.sages of exquisite pathos and the rest sullen Socialism." That is not an unfair and certainly not a specially hostile criticism, but it exactly shows how the book struck those people who were mad on political liberty and dead about everything else. Macaulay mistook for a new formula called Socialism what was, in truth, only the old formula called political democracy. He and his Whigs had so thoroughly mauled and modified the original idea of Rousseau or Jefferson that when they saw it again they positively thought that it was something quite new and eccentric. But the truth was that d.i.c.kens was not a Socialist, but an unspoilt Liberal; he was not sullen; nay, rather, he had remained strangely hopeful. They called him a sullen Socialist only to disguise their astonishment at finding still loose about the London streets a happy republican.

d.i.c.kens is the one living link between the old kindness and the new, between the good will of the past and the good works of the future. He links May Day with Bank Holiday, and he does it almost alone. All the men around him, great and good as they were, were in comparison puritanical, and never so puritanical as when they were also atheistic.

He is a sort of solitary pipe down which pours to the twentieth century the original river of Merry England. And although this _Hard Times_ is, as its name implies, the hardest of his works, although there is less in it perhaps than in any of the others of the _abandon_ and the buffoonery of d.i.c.kens, this only emphasises the more clearly the fact that he stood almost alone for a more humane and hilarious view of democracy. None of his great and much more highly-educated contemporaries could help him in this. Carlyle was as gloomy on the one side as Herbert Spencer on the other. He protested against the commercial oppression simply and solely because it was not only an oppression but a depression. And this protest of his was made specially in the case of the book before us. It may be bitter, but it was a protest against bitterness. It may be dark, but it is the darkness of the subject and not of the author. He is by his own account dealing with hard times, but not with a hard eternity, not with a hard philosophy of the universe. Nevertheless, this is the one place in his work where he does not make us remember human happiness by example as well as by precept. This is, as I have said, not the saddest, but certainly the harshest of his stories. It is perhaps the only place where d.i.c.kens, in defending happiness, for a moment forgets to be happy.

He describes Bounderby and Gradgrind with a degree of grimness and sombre hatred very different from the half affectionate derision which he directed against the old tyrants or humbugs of the earlier nineteenth century--the pompous Dedlock or the fatuous Nupkins, the grotesque b.u.mble or the inane Tigg. In those old books his very abuse was benignant; in _Hard Times_ even his sympathy is hard. And the reason is again to be found in the political facts of the century. d.i.c.kens could be half genial with the older generation of oppressors because it was a dying generation. It was evident, or at least it seemed evident then, that Nupkins could not go on much longer making up the law of England to suit himself; that Sir Leicester Dedlock could not go on much longer being kind to his tenants as if they were dogs and cats. And some of these evils the nineteenth century did really eliminate or improve. For the first half of the century d.i.c.kens and all his friends were justified in feeling that the chains were falling from mankind. At any rate, the chains did fall from Mr. Rouncewell the Iron-master. And when they fell from him he picked them up and put them upon the poor.

[Ill.u.s.tration: Charles d.i.c.kens, 1858 From a black and white drawing by Baughiet.]

LITTLE DORRIT

_Little Dorrit_ stands in d.i.c.kens's life chiefly as a signal of how far he went down the road of realism, of sadness, and of what is called modernity. True, it was by no means the best of the books of his later period; some even think it the worst. _Great Expectations_ is certainly the best of the later novels; some even think it the best of all the novels. Nor is it the novel most concerned with strictly recent problems; that t.i.tle must be given to _Hard Times_. Nor again is it the most finely finished or well constructed of the later books; that claim can be probably made for _Edwin Drood_. By a queer verbal paradox the most carefully finished of his later tales is the tale that is not finished at all. In form, indeed, the book bears a superficial resemblance to those earlier works by which the young d.i.c.kens had set the whole world laughing long ago. Much of the story refers to a remote time early in the nineteenth century; much of it was actually recalled and copied from the life of d.i.c.kens's father in the old Marshalsea prison. Also the narrative has something of the form, or rather absence of form, which belonged to _Nicholas Nickleby_ or _Martin Chuzzlewit_.

It has something of the old air of being a string of disconnected adventures, like a boy's book about bears and Indians. The Dorrits go wandering for no particular reason on the Continent of Europe, just as young Martin Chuzzlewit went wandering for no particular reason on the continent of America. The story of _Little Dorrit_ stops and lingers at the doors of the Circ.u.mlocution Office much in the same way that the story of Samuel Pickwick stops and lingers in the political excitement of Eatanswill. The villain, Blandois, is a very stagey villain indeed; quite as stagey as Ralph Nickleby or the mysterious Monk. The secret of the dark house of Clennam is a very silly secret; quite as silly as the secret of Ralph Nickleby or the secret of Monk. Yet all these external similarities between _Little Dorrit_ and the earliest books, all this loose, melodramatic quality, only serves to make more obvious and startling the fact that some change has come over the soul of d.i.c.kens.

_Hard Times_ is harsh; but then _Hard Times_ is a social pamphlet; perhaps it is only harsh as a social pamphlet must be harsh. _Bleak House_ is a little sombre; but then _Bleak House_ is almost a detective story; perhaps it is only sombre in the sense that a detective story must be sombre. _A Tale of Two Cities_ is a tragedy; but then _A Tale of Two Cities_ is a tale of the French Revolution; perhaps it is only a tragedy because the French Revolution was a tragedy. _The Mystery of Edwin Drood_ is dark; but then the mystery of anybody must be dark. In all these other cases of the later books an artistic reason can be given--a reason of theme or of construction for the slight sadness that seems to cling to them. But exactly because _Little Dorrit_ is a mere d.i.c.kens novel, it shows that something must somehow have happened to d.i.c.kens himself. Even in resuming his old liberty, he cannot resume his old hilarity. He can re-create the anarchy, but not the revelry.

It so happens that this strange difference between the new and the old mode of d.i.c.kens can be symbolised and stated in one separate and simple contrast. d.i.c.kens's father had been a prisoner in a debtors' prison, and d.i.c.kens's works contain two pictures partly suggested by the personality of that prisoner. Mr. Micawber is one picture of him. Mr. Dorrit is another. This truth is almost incredible, but it is the truth. The joyful Micawber, whose very despair was exultant, and the desolate Dorrit, whose very pride was pitiful, were the same man. The valiant Micawber and the nervous, shaking Dorrit were the same man. The defiant Micawber and the sn.o.bbish, essentially obsequious Dorrit were the same man. I do not mean of course that either of the pictures was an exact copy of anybody. The whole d.i.c.kens genius consisted of taking hints and turning them into human beings. As he took twenty real persons and turned them into one fict.i.tious person, so he took one real person and turned him into twenty fict.i.tious persons. This quality would suggest one character, that quality would suggest another. But in this case, at any rate, he did take one real person and turn him into two. And what is more, he turned him into two persons who seem to be quite opposite persons. To ordinary readers of d.i.c.kens, to say that Micawber and Dorrit had in any sense the same original, will appear unexpected and wild. No conceivable connection between the two would ever have occurred to anybody who had read d.i.c.kens with simple and superficial enjoyment, as all good literature ought to be read. It will seem to them just as silly as saying that the Fat Boy and Mr. Alfred Jingle were both copied from the same character. It will seem as insane as saying that the character of Smike and the character of Major Bagstock were both copied from d.i.c.kens's father. Yet it is an unquestionable historical fact that Micawber and Dorrit were both copied from d.i.c.kens's father, in the only sense that any figures in good literature are ever copied from anything or anybody. d.i.c.kens did get the main idea of Micawber from his father; and that idea is that a poor man is not conquered by the world. And d.i.c.kens did get the main idea of Dorrit from his father; and that idea is that a poor man may be conquered by the world. I shall take the opportunity of discussing, in a moment, which of these ideas is true.

Doubtless old John d.i.c.kens included both the gay and the sad moral; most men do. My only purpose here is to point out that d.i.c.kens drew the gay moral in 1849, and the sad moral in 1857.

There must have been some real sadness at this time creeping like a cloud over d.i.c.kens himself. It is nothing that a man dwells on the darkness of dark things; all healthy men do that. It is when he dwells on the darkness of bright things that we have reason to fear some disease of the emotions. There must really have been some depression when a man can only see the sad side of flowers or the sad side of holidays or the sad side of wine. And there must be some depression of an uncommonly dark and genuine character when a man has reached such a point that he can see only the sad side of Mr. Wilkins Micawber.

Yet this is in reality what had happened to d.i.c.kens about this time.

Staring at Wilkins Micawber he could see only the weakness and the tragedy that was made possible by his indifference, his indulgence, and his bravado. He had already indeed been slightly moved towards this study of the feebleness and ruin of the old epicurean type with which he had once sympathised, the type of Bob Sawyer or d.i.c.k Swiveller. He had already attacked the evil of it in _Bleak House_ in the character of Harold Skimpole, with its essentially cowardly carelessness and its highly selfish communism. Nevertheless, as I have said before, it must have been no small degree of actual melancholia which led d.i.c.kens to look for a lesson of disaster and slavery in the very same career from which he had once taught lessons of continual recuperation and a kind of fantastic freedom. There must have been at this time some melancholy behind the writings. There must have existed on this earth at the time that portent and paradox--a somewhat depressed d.i.c.kens.

Perhaps it was a reminiscence of that metaphorical proverb which tells us that "truth lies at the bottom of a well." Perhaps these people thought that the only way to find truth in the well was to drown oneself. But on whatever thin theoretic basis, the type and period of George Gissing did certainly consider that d.i.c.kens, so far as he went, was all the worse for the optimism of the story of Micawber; hence it is not unnatural that they should think him all the better for the comparative pessimism of the story of _Little Dorrit_. The very things in the tale that would naturally displease the ordinary admirers of d.i.c.kens, are the things which would naturally please a man like George Gissing. There are many of these things, but one of them emerges pre-eminent and unmistakable. This is the fact that when all is said and done the main business of the story of _Little Dorrit_ is to describe the victory of circ.u.mstances over a soul. The circ.u.mstances are the financial ruin and long imprisonment of Edward Dorrit; the soul is Edward Dorrit himself. Let it be granted that the circ.u.mstances are exceptional and oppressive, are denounced as exceptional and oppressive, are finally exploded and overthrown; still, they are circ.u.mstances. Let it be granted that the soul is that of a man perhaps weak in any case and retaining many merits to the last, still it is a soul. Let it be granted, above all, that the admission that such spiritual tragedies do occur does not decrease by so much as an iota our faith in the validity of any spiritual struggle. For example, Stevenson has made a study of the breakdown of a good man's character under a burden for which he is not to blame, in the tragedy of Henry Durie in _The Master of Ballantrae_. Yet he has added, in the mouth of Mackellar, the exact common sense and good theology of the matter, saying "It matters not a jot; for he that is to pa.s.s judgment upon the records of our life is the same that formed us in frailty." Let us concede then all this, and the fact remains that the study of the slow demoralisation of a man through mere misfortune was not a study congenial to d.i.c.kens, not in accordance with his original inspiration, not connected in any manner with the special thing that he had to say. In a word, the thing is not quite a part of himself; and he was not quite himself when he did it.

He was still quite a young man; his depression did not come from age.

In fact, as far as I know, mere depression never does come from mere age. Age can pa.s.s into a beautiful reverie. Age can pa.s.s into a sort of beautiful idiocy. But I do not think that the actual decline and close of our ordinary vitality brings with it any particular heaviness of the spirits. The spirits of the old do not as a rule seem to become more and more ponderous until they sink into the earth. Rather the spirits of the old seem to grow lighter and lighter until they float away like thistledown. Wherever there is the definite phenomenon called depression, it commonly means that something else has been closer to us than so normal a thing as death. There has been disease, bodily or mental, or there has been sin, or there has been some struggle or effort, breaking past the ordinary boundaries of human custom. In the case of d.i.c.kens there had been two things that are not of the routine of a wholesome human life; there had been the quarrel with his wife, and there had been the strain of incessant and exaggerated intellectual labour. He had not an easy time; and on top of that (or perhaps rather at the bottom of it) he had not an easy nature. Not only did his life necessitate work, but his character necessitated worry about work; and that combination is always one which is very dangerous to the temperament which is exposed to it. The only people who ought to be allowed to work are the people who are able to shirk. The only people who ought to be allowed to worry are the people who have nothing to worry about. When the two are combined, as they were in d.i.c.kens, you are very likely to have at least one collapse. _Little Dorrit_ is a very interesting, sincere, and fascinating book. But for all that, I fancy it is the one collapse.

The complete proof of this depression may be difficult to advance; because it will be urged, and entirely with reason, that the actual examples of it are artistic and appropriate. d.i.c.kens, the Gissing school will say, was here pointing out certain sad truths of psychology; can any one say that he ought not to point them out? That may be; in any case, to explain depression is not to remove it. But the instances of this more sombre quality of which I have spoken are not very hard to find. The thing can easily be seen by comparing a book like _Little Dorrit_ with a book like _David Copperfield_. David Copperfield and Arthur Clennam have both been brought up in unhappy homes, under bitter guardians and a black, disheartening religion. It is the whole point of David Copperfield that he has broken out of a Calvinistic tyranny which he cannot forgive. But it is the whole point of Arthur Clennam that he has not broken out of the Calvinistic tyranny, but is still under its shadow. Copperfield has come from a gloomy childhood; Clennam, though forty years old, is still in a gloomy childhood. When David meets the Murdstones again it is to defy them with the health and hilarious anger that go with his happy delirium about Dora. But when Clennam re-enters his sepulchral house there is a weight upon his soul which makes it impossible for him to answer, with any spirit, the morbidities of his mother, or even the grotesque interferences of Mr. Flintwinch. This is only another example of the same quality which makes the d.i.c.kens of _Little Dorrit_ insist on the degradation of the debtor, while the d.i.c.kens of _David Copperfield_ insisted on his splendid irresponsibility, his essential emanc.i.p.ation. Imprisonments pa.s.sed over Micawber like summer clouds. But the imprisonment in _Little Dorrit_ is like a complete natural climate and environment; it has positively modified the shapes and functions of the animals that dwell in it. A horrible thing has happened to d.i.c.kens; he has almost become an Evolutionist. Worse still, in studying the Calvinism of Mrs. Clennam's house, he has almost become a Calvinist. He half believes (as do some of the modern scientists) that there is really such a thing as "a child of wrath," that a man on whom such an early shadow had fallen could never shake it off. For ancient Calvinism and modern Evolutionism are essentially the same things. They are both ingenious logical blasphemies against the dignity and liberty of the human soul.

The workmanship of the book in detail is often extremely good. The one pa.s.sage in the older and heartier d.i.c.kens manner (I mean the description of the Circ.u.mlocution Office) is beyond praise. It is a complete picture of the way England is actually governed at this moment. The very core of our politics is expressed in the light and easy young Barnacle who told Clennam with a kindly frankness that he, Clennam, would "never go on with it." d.i.c.kens. .h.i.t the mark so that the bell rang when he made all the lower officials, who were cads, tell Clennam coldly that his claim was absurd, until the last official, who is a gentleman, tells him genially that the whole business is absurd. Even here, perhaps, there is something more than the old exuberant derision of d.i.c.kens; there is a touch of experience that verges on scepticism. Everywhere else, certainly, there is the note which I have called Calvinistic; especially in the predestined pa.s.sion of Tattycoram or the incurable cruelty of Miss Wade. Even Little Dorrit herself had, we are told, one stain from her prison experience; and it is spoken of like a bodily stain; like something that cannot be washed away.

There is no denying that this is d.i.c.kens's dark moment. It adds enormously to the value of his general view of life that such a dark moment came. He did what all the heroes and all the really happy men have done; he descended into h.e.l.l. Nor is it irreverent to continue the quotation from the Creed, for in the next book he was to write he was to break out of all these dreams of fate and failure, and with his highest voice to speak of the triumph of the weak of this world. His next book was to leave us saying, as Sydney Carton mounted the scaffold, words which, splendid in themselves, have never been so splendidly quoted--"I am the Resurrection and the Life; whoso believeth in Me though he be dead yet he shall live." In Sydney Carton at least, d.i.c.kens shows none of that dreary submission to the environment of the irrevocable that had for an instant lain on him like a cloud. On this occasion he sees with the old heroic clearness that to be a failure may be one step to being a saint. On the third day he rose again from the dead.

[Ill.u.s.tration: Charles d.i.c.kens, 1859 From an oil painting by W. P. Frith, R.A.]