Gilbert Keith Chesterton Part 4

'The Book of Sn.o.bs' was one of those literary rarities that has genius in its very name. No one probably really thinks himself a sn.o.b; every one likes to read of one. Thackeray brought sn.o.bbishness to a cla.s.sic.

There had been books of scoundrels, there had been books of heroes, there had been books of nincomp.o.o.ps, now there was a book of those people who abound in every community, and who are sn.o.bs.

'This work was much needed and very admirably done. The solemn philosophic framework, the idea of treating sn.o.bbishness as a science, was original and sound; for sn.o.bbishness is indeed a disease in our Society.'

Unfortunately Chesterton is not nearly hard enough on sn.o.bbishness. Were it a disease, it might be excusable as being at times unavoidable; it is nothing of the sort, it is a deliberate thing that undermines society more than anything; it is entirely spontaneous, and flourishes in every community, from the Church to the Jockey Club.

'Aristocracy does not have sn.o.bs any more than democracy'; but this 'Thackeray was too restrained and early Victorian to see.' There are at the present day a great number of people who will not see that Bolshevism is as sn.o.bbish as Suburbia, that the poor man in the Park Lodge is as much a sn.o.b as his master, who only knows the county folks.

Sn.o.bbery is not the monopoly of any one set; even also is it, as Thackeray says,'a mean admiration' that thinks it is better to be a 'made' peer than an honest gardener.

'The true source of sn.o.bs in England was the refusal to take one side or the other in the crisis of the French Revolution.'

The t.i.tle of 'Vanity Fair' was an inspiration. It gives the ideas of the disharmonies that can be found in any market place in any English market town on any English market day. It brings out 'the irrelevancy of Thackeray.' A good motto for the book is, for Chesterton, that attributed to Cardinal Newman: 'Evil always fails by overleaping its aim and good by falling short of it.' Our critic feels that the critics have been unfair to Thackeray with respect to their denouncement of the character of Amelia Sedley as being much too soft, whereas Chesterton thinks she was really a fool, which is the logical outcome of being the reverse of hard.

But Amelia was soft in a very delightful way. She was 'open to all emotions as they came'--in fact, she was a fool who was wise because she has retained her power of happiness, while the hard Rebecca has arrived at h.e.l.l, 'the h.e.l.l of having all outward forces open, but all receptive organs closed.'

It is necessary again to refer to the charge of cynicism that is levelled against Thackeray. The mistake is, as our critic points out, 'taking a vague word and applying it precisely.' It all depends upon what cynicism really means. 'If it means a war on comfort, then Thackeray was, to his eternal credit, a cynic'; 'if it means a war on virtue, then Thackeray, to his eternal honour, was the reverse of a cynic.' His object is to show that silly goodness is better than clever vice. As I have indicated, the long and the short of the matter is that Thackeray created a lot of villains, and has therefore been called a cynic by those who don't even know what the word means, or that there is a literary blessedness in the making of villains to bring out the more excellent virtues of the heroes.

From these two monumental works that were original in every way and might almost be called propaganda, Thackeray pa.s.sed on to a novel which bore the name of 'Pendennis.' It was 'a novel with nothing else but a hero, only that the hero is not very heroic,' which makes him all the more interesting, for it makes him all the more human.

But Pendennis is more than a man--he is a type or symbol. He is 'the old mystical tragedian of the Middle Ages, Everyman.' It is an epic, because it celebrates the universal man with all his glorious failings and glorious virtues. The love of Pendennis for Miss Fotheringay is a different thing to the ordinary love of man for woman; it is rather the love that is in every man for every woman. This is what I think Chesterton means when he says 'it is the veritable Divine disease, which seems a part of the very health of youth.'

The Everyman of the Middle Ages was a symbol of what man really was.

Chesterton feels that every outside force that came to Everyman had to be abnormal--for instance, 'Death had to be bony'--so he contends in 'Pendennis' that the shapes that intrude on the life of Arthur Pendennis have aggressive and allegorical influences.

'Pendennis' is an epic because it celebrates not the strength of man but his weakness. In the character of Major Pendennis, Chesterton feels that Thackeray did a great work, because he showed that the life of the so-called man of the world is not the gay and careless one that fiction depicts. It is the religious people who can afford to be careless. 'If you want carelessness you must go to the martyrs.' The reason is fairly obvious. The worldling has to be careful, as he wants to remain in the world; the religious man, of whom the martyr was the true prototype, can afford to be careless; he is not necessarily careless of life, but he can put things at their proper value. The martyr facing the lions in the Roman arena knew what life really was; the worldly woman spending her life trying to be in the company of t.i.tled people has no real idea of the value of it. It is the religious people who know the world; it is the worldly people who know nothing of it.

With the publication of 'Pendennis' the reputation of Thackeray reached that position which is sought by all authors, that of being able to write a book that should not, on publication, be put to the indignity of being asked who the writer was. Thackeray was now in the delightful position of being well established, a position that very often results in careless and poor work. It has been said with some truth that once a writer is established he can write anything he likes. This is to an extent true, and such work may even be published and fairly popular, but he will find sooner or later that his influence is on the wane.

In the 'Newcomes' Thackeray drew a character in Colonel Newcome, to whom was given the highest of literary honours, that of being spoken of apart from the book--I mean in the way that people speak of Micawber or Scrooge, almost unconsciously, without really having the actual work in which the character appears in mind. Of this book Chesterton says 'the public has largely forgotten all the Newcomes except one, the Colonel who has taken his place with Don Quixote, Sir Roger de Coverley, Uncle Toby, and Mr. Pickwick.'

Chesterton feels that Thackeray at times falls into the trick common to many writers, that of repeating himself, a trick that is natural, as it does seem in some ways that the human mind, like history, is apt to move in circles. The reason was that in some way Thackeray became tired of Barnes Newcome; the result was that from being a convincing villain he develops into a stereotyped one, the type who fires pistols into the air and is the squire's runaway son, so often found at the Lyceum.

If Thackeray 'sprawled' in the Newcomes he atones for this in 'Esmond,'

if any atonement is needed for sprawling, which is probably only that Thackeray felt that there is nothing so elastic and sprawling as a human person, whether he be a villain or the reverse.

For Chesterton, 'Esmond' is in the modern sense a work of art, which is to say that it was a book that could be read anywhere. 'It had no word that might not have been used at the court of Queen Anne.' It is a highly romantic tale, but it is a sad story. It is a great Queen Anne romance; but, 'there broods a peculiar conviction that Queen Anne is dead.' The whole tale moves round a complicated situation in which a young man loves a mother and her daughter, and finally marries the mother. This work is, for Chesterton, Thackeray's 'most difficult task.'

It is difficult for the reason that the situation of the tale is placed between possibilities of grace and possibilities even of indecency. It is not hard to write a graceful tale, it is easy to write a loose story; it is extremely difficult to write a story that may by a stroke of the pen be either beautiful or merely sordid. But Thackeray manipulates the keys of the tale so that 'it moves like music,' an extremely apt metaphor, where harmonies can be made disharmonies by a single note.

It is a strange fact that a sequel is seldom to be compared to its forerunner: 'Tom Brown's Schooldays' is of a schoolboy who is an eternal type; 'Tom Brown at Oxford' is a poor book that does not in the least understand Oxford. The fact is, I think, that an author cannot be inspired twice on the same subject--the G.o.ds give but sparingly, their gifts do not fall as the rains.

The sequel to 'Esmond' that Thackeray wrote, 'The Virginians,' is an 'inadequate sequel,' which is not to say that it is a poor book, but rather that it is an unnecessary one. Yet, as Chesterton says, 'Thackeray never struck a smarter note than when, in "The Virginians,"

he created the terrible little Yankee Countess of Castlewood.' In the same way as 'The Virginians' was a sequel to 'Esmond,' so 'Philip' was a sequel (also an inadequate one) to the 'Newcomes.'

It is strange that in two things at least Thackeray's life followed the same course as d.i.c.kens. Both occupied the editorial chair: d.i.c.kens that of the _Daily News_, Thackeray that of the _Cornhill Magazine_. Both left unfinished works: d.i.c.kens that of 'The Mystery of Edwin Drood,'

Thackeray that of 'Denis Duval.'

Thackeray's last work, 'Lovell the Widower,' is 'a very clever sketch, but as a novel is rather drawn out.' 'The Roundabout Papers' make very pleasant reading. In one 'he compares himself to a pagan conqueror driving in his chariot up the Hill of Coru, with a slave behind him to remind him that he is only mortal.' In 1863, suddenly, Thackeray died, seven years before d.i.c.kens also pa.s.sed away.

Chesterton has in the s.p.a.ce of a short introduction given a very clear account of the chief characteristics of Thackeray's works; it is no easy matter to give in a few lines the essence of a great novel, and Chesterton is not always the most concise of writers. It will now be convenient to take a few of the characteristics of Thackeray and observe what he says of them.

At once he is aware of the fact that there is no writer from whom it is more difficult to make extracts than from Thackeray. The reason is that Thackeray worked by 'diffuseness of style.' If he wished to be satirical about a character he was not so directly; rather he worked his way to the inside of the character, got to know all about it, and then began to be satirical. This is what Chesterton feels about the matter; it is no doubt the fairest way of being satirical and the most effective. Many people and writers are satirical without first of all demonstrating upon what grounds they have the right to be so. Satire is a wholly laudable thing if it is directed in a fair minded manner, but if it is only an excuse for bitter cynicism it is altogether contemptible. Thus he says of the Thackerean treatment of 'Vanity Fair,' 'he was attacking "Vanity Fair" from the inside.' It comes to this: if you want to make an extract from Thackeray you must dive about all over the place to make apparent irrelevancy become relevancy.

If the use of the grotesque was a strength of Browning (as Chesterton contends against other critics), so in the case of Thackeray that which some critics have held to be a weakness--I mean his 'irrelevancy'--is for our critic a strength. It was a strength, because it was 'a very delicate and even cunning literary approach.' It is the perfect art of Thackeray to get the right situation, not by an a.s.sumption of it, but by so approaching it that there is no way out, which is arriving at the situation by the fairest means possible.

'No other novelist ever carried to such perfection as Thackeray the art of saying a thing without saying it. Thus he may say that a man drinks too much, yet it may be false to say that he drinks.' What he did was not to say that a man had arrived at such and such a state, but rather that things must change. If, as Chesterton says, Miss Smith finds marriage the reverse of the honeymoon, Thackeray does not say that the marriage is a failure, but that joy cannot last for ever; that if there are roses there are also thorns. It is an admirable method, far better than saying a thing straight out. It is better to tell a man who is a cad that there is such a thing as being a gentleman, than to tell him he is a cad.

In his later life Thackeray was inclined to imitate himself. It is, I think, that the human brain is p.r.o.ne to move in circles. In the case of Thackeray, as our critic points out, in later days he used his rambling style, and, as was to be expected, he rather lost himself. 'He did not merely get into a parenthesis, he never got out of it,' which is to say that as Thackeray got older he inherited the tendencies of old age.

I have said earlier in this chapter that the charge against Thackeray of cynicism was one that was founded on a false premise. The charge that his irrelevancy was a weakness is based on another false but popular premise, that the direct method is always the best. It is usually the worst. It is the worst in warfare, it is the worst in literature, but it is possibly the best in literary criticism.

Thackeray had another quality that has laid him open to adverse criticism; that is, his 'perpetual reference to the remote past.' This repeated reference to the past may be a matter of conceit, or it may be that the influence of the past is genuinely felt. The reason that, as Chesterton points out, Thackeray referred so much to the remote past, was that he wished it to be known that 'there was nothing new under the sun'; not even, as our critic says, 'the sunstroke.' Chesterton admits that at times Thackeray carried this tendency to an excess; also Thackeray wanted to show that the oldest thing in the world was its youth. Thus in writing of a fashionable drawing-room in Mayfair, if he referred to some cla.s.sic, it was to 'remind people how many _debutantes_ had come out since the age of Horace.' It was quite a different thing to the pompous bishop quoting Greek at the squire's house to show that his doctor's degree, though an honorary one, had some cla.s.sical learning behind it, or the small boy translating Horace to avoid the headmaster's cane. In the case of the bishop and the schoolboy, the use of the cla.s.sics is, on the one hand, pomposity; on the other, discretion. In the case of Thackeray it was a reverence for the past, that it was a very large part of the present.

There are, then, roughly three main characteristics of Thackeray: his irrelevancy, his rambling style, and his frequent reference to the past.

All these, Chesterton makes it clear, are matters in which the strength of Thackeray lies. Not that they are free always from exaggerations.

Sometimes Thackeray became lost in his irrelevancy, sometimes he became almost unintelligible in his rambling style, now and then his use of ancient quotation became irritating. 'Above all things, Thackeray was receptive. The world imposed on Thackeray, and d.i.c.kens imposed on the world.' But it could not be put more truly than that Thackeray represents, in that gigantic parody called genius, the spirit of the Englishman in repose. 'This spirit is the idle embodiment of all of us; by his weakness we shall fail, and by his enormous sanities we shall endure.' This is the crux of the matter which Chesterton brings out, that the weaknesses of Thackeray are his strength. He loved liberty, not because it meant restraint from law, but because he 'was a novelist'; he was open to all the influences round him, not because he had no standpoint, but because he could see merit in selection; he had an open mind, but knew when to shut it.

The pa.s.sages selected from the various works have been chosen with care.

It was evidently by no means an easy task. The pa.s.sage chosen to show Colonel Newcome in the 'Cave of Harmony' gives in one poignant incident his character; the selection from 'Pendennis' does much the same. In the pa.s.sage from 'Esmond' the story of the duel is a fine selection; the chapter on 'Some Country Sn.o.bs' is an apt choosing; the celebrated 'Essay on George IV' demonstrates Thackeray in a very different mood.

The 'Fall of Becky Sharp,' taken from 'Vanity Fair,' has not been included without forethought.

Of Thackeray's poems, Chesterton has included the most significant, and not without due 'The Cane-Bottomed Chair' finds a prominent place.

Enough has been said to show that Chesterton is not a critic of Thackeray who has no discrimination in choosing from his works. He knows what Thackeray was, wherein lay his strength and weakness. He has added a worthy companion to his fuller works on Browning and d.i.c.kens.

_Chapter Four_

BROWNING

It will be convenient for our purpose to adhere as closely as possible to the order of Chesterton's book. It is a hard task to do justice to Browning even in a long book; the task is not simplified when, in a chapter, it is hoped to give a criticism of an intricate criticism of Browning.

There are two ways to approach such a task: The first is to take the book as a whole and write a review of it, which is a method liable to a superficiality; the second is to take such a work chapter by chapter, and to piece the various criticisms into an ordered whole. This I have attempted to do. I make no attempt to criticize the method of Chesterton's approach to Browning, or his combination of the effect of his life on his work; rather I wish to take what the critic says and comment on his remarks.

There is undoubtedly a fundamental difference between Browning and d.i.c.kens which is at once clear to any critic of these two writers.

d.i.c.kens was, as I have said in an earlier chapter, born at the psychological moment. Browning happened to be born early in the nineteenth century. I cannot see that it would have mattered had he been born at the beginning of the twentieth. His early life, unlike d.i.c.kens, was normal, but it did not affect Browning adversely. Had d.i.c.kens' life been uneventful, I think it not improbable that his literary output would have been commonplace instead of, as nearly as possible, divine.

There is no particular account of Browning's family, which was probably a typical middle-cla.s.s family, which is to say that they were, like many thousands of their kind, lovers of the normal--a very good reason why later Browning should have acquired a love for the grotesque, which many people quite wrongly define as the abnormal.

The grotesque is a queer psychological state of mind; the abnormal is an extreme kind of individualism that is probably insane, provided the opposite is sane.

What is important, as Chesterton feels, is that we shall get some account of Browning's home. It is in the home that we can usually detect the embryo of future activity. The germ, although sometimes hidden, is nevertheless there, which is exactly why the commonplace home life of a genius, before the public has discovered the fact, is interesting.