Thackeray Part 2

_Virginibus puerisque!_ That was the gist of his objection. There was a project in a gentleman's mind,--as told in my story,--to run away with a married woman! Thackeray's letter was very kind, very regretful,--full of apology for such treatment to such a contributor. But--_Virginibus puerisque!_ I was quite sure that Thackeray had not taken the trouble to read the story himself. Some moral deputy had read it, and disapproving, no doubt properly, of the little project to which I have alluded, had incited the editor to use his authority. That Thackeray had suffered when he wrote it was easy to see, fearing that he was giving pain to one he would fain have pleased. I wrote him a long letter in return, as full of drollery as I knew how to make it. In four or five days there came a reply in the same spirit,--boiling over with fun. He had kept my letter by him, not daring to open it,--as he says that he did with that eligible invitation. At last he had given it to one of his girls to examine,--to see whether the thorn would be too sharp, whether I had turned upon him with reproaches. A man so susceptible, so p.r.o.ne to work by fits and starts, so unmethodical, could not have been a good editor.

In 1862 he went into the new house which he had built for himself at Palace Green. I remember well, while this was still being built, how his friends used to discuss his imprudence in building it. Though he had done well with himself, and had made and was making a large income, was he ent.i.tled to live in a house the rent of which could not be counted at less than from five hundred to six hundred pounds a year? Before he had been there two years, he solved the question by dying,--when the house was sold for two thousand pounds more than it had cost. He himself, in speaking of his project, was wont to declare that he was laying out his money in the best way he could for the interest of his children;--and it turned out that he was right.

In 1863 he died in the house which he had built, and at the period of his death was writing a new novel in numbers, called _Denis Duval_. In _The Cornhill_, _The Adventures of Philip_ had appeared. This new enterprise was destined for commencement on 1st January, 1864, and, though the writer was gone, it kept its promise, as far as it went.

Three numbers, and what might probably have been intended for half of a fourth, appeared. It may be seen, therefore, that he by no means held to my theory, that the author should see the end of his work before the public sees the commencement. But neither did d.i.c.kens or Mrs. Gaskell, both of whom died with stories not completed, which, when they died, were in the course of publication. All the evidence goes against the necessity of such precaution. Nevertheless, were I giving advice to a tiro in novel writing, I should recommend it.

With the last chapter of _Denis Duval_ was published in the magazine a set of notes on the book, taken for the most part from Thackeray's own papers, and showing how much collateral work he had given to the fabrication of his novel. No doubt in preparing other tales, especially _Esmond_, a very large amount of such collateral labour was found necessary. He was a man who did very much of such work, delighting to deal in little historical incidents. They will be found in almost everything that he did, and I do not know that he was ever accused of gross mistakes. But I doubt whether on that account he should be called a laborious man. He could go down to Winchelsea, when writing about the little town, to see in which way the streets lay, and to provide himself with what we call local colouring. He could jot down the suggestions, as they came to his mind, of his future story. There was an irregularity in such work which was to his taste. His very notes would be delightful to read, partaking of the nature of pearls when prepared only for his own use. But he could not bring himself to sit at his desk and do an allotted task day after day. He accomplished what must be considered as quite a sufficient life's work. He had about twenty-five years for the purpose, and that which he has left is an ample produce for the time.

Nevertheless he was a man of fits and starts, who, not having been in his early years drilled to method, never achieved it in his career.

He died on the day before Christmas Day, as has been said above, very suddenly, in his bed, early in the morning, in the fifty-third year of his life. To those who saw him about in the world there seemed to be no reason why he should not continue his career for the next twenty years.

But those who knew him were so well aware of his constant sufferings, that, though they expected no sudden catastrophe, they were hardly surprised when it came. His death was probably caused by those spasms of which he had complained ten years before, in his letter to Mr. Reed. On the last day but one of the year, a crowd of sorrowing friends stood over his grave as he was laid to rest in Kensal Green; and, as quickly afterwards as it could be executed, a bust to his memory was put up in Westminster Abbey. It is a fine work of art, by Marochetti; but, as a likeness, is, I think, less effective than that which was modelled, and then given to the Garrick Club, by Durham, and has lately been put into marble, and now stands in the upper vestibule of the club. Neither of them, in my opinion, give so accurate an idea of the man as a statuette in bronze, by Boehm, of which two or three copies were made. One of them is in my possession. It has been alleged, in reference to this, that there is something of a caricature in the lengthiness of the figure, in the two hands thrust into the trousers pockets, and in the protrusion of the chin. But this feeling has originated in the general idea that any face, or any figure, not made by the artist more beautiful or more graceful than the original is an injustice. The face must be smoother, the pose of the body must be more dignified, the proportions more perfect, than in the person represented, or satisfaction is not felt.

Mr. Boehm has certainly not flattered, but, as far as my eye can judge, he has given the figure of the man exactly as he used to stand before us. I have a portrait of him in crayon, by Samuel Lawrence, as like, but hardly as natural.

A little before his death Thackeray told me that he had then succeeded in replacing the fortune which he had lost as a young man. Ho had, in fact, done better, for he left an income of seven hundred and fifty pounds behind him.

It has been said of Thackeray that he was a cynic. This has been said so generally, that the charge against him has become proverbial. This, stated barely, leaves one of two impressions on the mind, or perhaps the two together,--that this cynicism was natural to his character and came out in his life, or that it is the characteristic of his writings. Of the nature of his writings generally, I will speak in the last chapter of this little book. As to his personal character as a cynic, I must find room to quote the following first stanzas of the little poem which appeared to his memory in _Punch_, from the pen of Shirley Brooks;

He was a cynic! By his life all wrought Of generous acts, mild words, and gentle ways; His heart wide open to all kindly thought, His hand so quick to give, his tongue to praise!

He was a cynic! You might read it writ In that broad brow, crowned with its silver hair; In those blue eyes, with childlike candour lit, In that sweet smile his lips were wont to wear!

He was a cynic! By the love that clung About him from his children, friends, and kin; By the sharp pain light pen and gossip tongue Wrought in him, chafing the soft heart within!

The spirit and nature of the man have been caught here with absolute truth. A public man should of course be judged from his public work. If he wrote as a cynic,--a point which I will not discuss here,--it may be fair that he who is to be known as a writer should be so called. But, as a man, I protest that it would be hard to find an individual farther removed from the character. Over and outside his fancy, which was the gift which made him so remarkable,--a certain feminine softness was the most remarkable trait about him. To give some immediate pleasure was the great delight of his life,--a sovereign to a schoolboy, gloves to a girl, a dinner to a man, a compliment to a woman. His charity was overflowing. His generosity excessive. I heard once a story of woe from a man who was the dear friend of both of us. The gentleman wanted a large sum of money instantly,--something under two thousand pounds,--had no natural friends who could provide it, but must go utterly to the wall without it. Pondering over this sad condition of things just revealed to me, I met Thackeray between the two mounted heroes at the Horse Guards, and told him the story. "Do you mean to say that I am to find two thousand pounds?" he said, angrily, with some expletives. I explained that I had not even suggested the doing of anything,--only that we might discuss the matter. Then there came over his face a peculiar smile, and a wink in his eye, and he whispered his suggestion, as though half ashamed of his meanness. "I'll go half," he said, "if anybody will do the rest." And he did go half, at a day or two's notice, though the gentleman was no more than simply a friend. I am glad to be able to add that the money was quickly repaid. I could tell various stories of the same kind, only that I lack s.p.a.ce, and that they, if simply added one to the other, would lack interest.

He was no cynic, but he was a satirist, and could now and then be a satirist in conversation, hitting very hard when he did hit. When he was in America he met at dinner a literary gentleman of high character, middle-aged, and most dignified deportment. The gentleman was one whose character and acquirements stood very high,--deservedly so,--but who, in society, had that air of wrapping his toga around him, which adds, or is supposed to add, many cubits to a man's height. But he had a broken nose. At dinner he talked much of the tender pa.s.sion, and did so in a manner which stirred up Thackeray's feeling of the ridiculous. "What has the world come to," said Thackeray out loud to the table, "when two broken-nosed old fogies like you and me sit talking about love to each other!" The gentleman was astounded, and could only sit wrapping his toga in silent dismay for the rest of the evening. Thackeray then, as at other similar times, had no idea of giving pain, but when he saw a foible he put his foot upon it, and tried to stamp it out.

Such is my idea of the man whom many call a cynic, but whom I regard as one of the most soft-hearted of human beings, sweet as Charity itself, who went about the world dropping pearls, doing good, and never wilfully inflicting a wound.

FOOTNOTES:

[1] The report that he had lost all his money and was going to live by painting in Paris, was still prevalent in London in 1836. Macready, on the 27th April of that year, says in his _Diary_; "At Garrick Club, where I dined and saw the papers. Met Thackeray, who has spent all his fortune, and is now about to settle in Paris, I believe as an artist."

But at this time he was, in truth, turning to literature as a profession.

[2] The article was written by Abraham Hayward, who is still with us, and was no doubt instigated by a desire to a.s.sist Thackeray in his struggle upwards, in which it succeeded.

[3] For a week there existed at the _Punch_ office a grudge against Thackeray in reference to this awkward question: "What would you give for your _Punch_ without John Leech?" Then he asked the confraternity to dinner,--_more Thackerayano_,--and the confraternity came. Who can doubt but they were very jolly over the little blunder? For years afterwards Thackeray was a guest at the well-known _Punch_ dinner, though he was no longer one of the contributors.

[4] I had begun an Irish story and half finished it, which would reach just the required length. Would that do, I asked. I was civilly told that my Irish story would no doubt be charming, but was not quite the thing that was wanted. Could I not begin a new one,--English,--and if possible about clergymen? The details were so interesting that had a couple of archbishops been demanded, I should have produced them.

CHAPTER II.

FRASER'S MAGAZINE AND PUNCH.

How Thackeray commenced his connection with _Fraser's Magazine_ I am unable to say. We know how he had come to London with a view to a literary career, and that he had at one time made an attempt to earn his bread as a correspondent to a newspaper from Paris. It is probable that he became acquainted with the redoubtable Oliver Yorke, otherwise Dr.

Maginn, or some of his staff, through the connection which he had thus opened with the press. He was not known, or at any rate he was unrecognised, by _Fraser_ in January, 1835, in which month an amusing catalogue was given of the writers then employed, with portraits of them, all seated at a symposium. I can trace no article to his pen before November, 1837, when the _Yellowplush Correspondence_ was commenced, though it is hardly probable that he should have commenced with a work of so much pretension. There had been published a volume called _My Book, or the Anatomy of Conduct_, by John Skelton, and a very absurd book no doubt it was. We may presume that it contained maxims on etiquette, and that it was intended to convey in print those invaluable lessons on deportment which, as d.i.c.kens has told us, were subsequently given by Mr. Turveydrop, in the academy kept by him for that purpose.

Thackeray took this as his foundation for the _Fashionable Fax and Polite Annygoats_, by Jeames Yellowplush, with which he commenced those repeated attacks against sn.o.bbism which he delighted to make through a considerable portion of his literary life. Oliver Yorke has himself added four or five pages of his own to Thackeray's lucubrations; and with the second, and some future numbers, there appeared ill.u.s.trations by Thackeray himself, ill.u.s.trations at this time not having been common with the magazine. From all this I gather that the author was already held in estimation by _Fraser's_ confraternity. I remember well my own delight with _Yellowplush_ at the time, and how I inquired who was the author. It was then that I first heard Thackeray's name.

The _Yellowplush Papers_ were continued through nine numbers. No further reference was made to Mr. Skelton and his book beyond that given at the beginning of the first number, and the satire is only shown by the attempt made by Yellowplush, the footman, to give his ideas generally on the manners of n.o.ble life. The idea seems to be that a gentleman may, in heart and in action, be as vulgar as a footman. No doubt he may, but the chances are very much that he won't. But the virtue of the memoir does not consist in the lessons, but in the general drollery of the letters.

The "orthogwaphy is inaccuwate," as a certain person says in the memoirs,--"so inaccuwate" as to take a positive study to "compwehend"

it; but the joke, though old, is so handled as to be very amusing.

Thackeray soon rushes away from his criticisms on sn.o.bbism to other matters. There are the details of a card-sharping enterprise, in which we cannot but feel that we recognise something of the author's own experiences in the misfortunes of Mr. Dawkins; there is the Earl of Crab's, and then the first of those attacks which he was tempted to make on the absurdities of his brethren of letters, and the only one which now has the appearance of having been ill-natured. His first victims were Dr. Dionysius Lardner and Mr. Edward Bulwer Lytton, as he was then. We can surrender the doctor to the whip of the satirist; and for "Sawedwadgeorgeearllittnbulwig," as the novelist is made to call himself, we can well believe that he must himself have enjoyed the _Yellowplush Memoirs_ if he ever re-read them in after life. The speech in which he is made to dissuade the footman from joining the world of letters is so good that I will venture to insert it: "Bullwig was violently affected; a tear stood in his glistening i. 'Yellowplush,'

says he, seizing my hand, 'you _are_ right. Quit not your present occupation; black boots, clean knives, wear plush all your life, but don't turn literary man. Look at me. I am the first novelist in Europe.

I have ranged with eagle wings over the wide regions of literature, and perched on every eminence in its turn. I have gazed with eagle eyes on the sun of philosophy, and fathomed the mysterious depths of the human mind. All languages are familiar to me, all thoughts are known to me, all men understood by me. I have gathered wisdom from the honeyed lips of Plato, as we wandered in the gardens of the Academies; wisdom, too, from the mouth of Job Johnson, as we smoked our backy in Seven Dials.

Such must be the studies, and such is the mission, in this world of the Poet-Philosopher. But the knowledge is only emptiness; the initiation is but misery; the initiated a man shunned and banned by his fellows. Oh!'

said Bullwig, clasping his hands, and throwing his fine i's up to the chandelier, 'the curse of Pwomethus descends upon his wace. Wath and punishment pursue them from genewation to genewation! Wo to genius, the heaven-scaler, the fire-stealer! Wo and thrice-bitter desolation! Earth is the wock on which Zeus, wemorseless, stwetches his withing wictim;--men, the vultures that feed and fatten on him. Ai, ai! it is agony eternal,--gwoaning and solitawy despair! And you, Yellowplush, would penet.w.a.te these mystewies; you would waise the awful veil, and stand in the twemendous Pwesence. Beware, as you value your peace, beware! Withdraw, wash Neophyte! For heaven's sake! O for heaven's sake!'--Here he looked round with agony;--'give me a gla.s.s of bwandy-and-water, for this clawet is beginning to disagwee with me.'" It was thus that Thackeray began that vein of satire on his contemporaries of which it may be said that the older he grew the more amusing it was, and at the same time less likely to hurt the feelings of the author satirised.

The next tale of any length from Thackeray's pen, in the magazine, was that called _Catherine_, which is the story taken from the life of a wretched woman called Catherine Hayes. It is certainly not pleasant reading, and was not written with a pleasant purpose. It a.s.sumes to have come from the pen of Ikey Solomon, of Horsemonger Lane, and its object is to show how disgusting would be the records of thieves, cheats, and murderers if their doings and language were described according to their nature instead of being handled in such a way as to create sympathy, and therefore imitation. Bulwer's _Eugene Aram_, Harrison Ainsworth's _Jack Sheppard_, and d.i.c.kens' Nancy were in his mind, and it was thus that he preached his sermon against the selection of such heroes and heroines by the novelists of the day. "Be it granted," he says, in his epilogue, "Solomon is dull; but don't attack his morality. He humbly submits that, in his poem, no man shall mistake virtue for vice, no man shall allow a single sentiment of pity or admiration to enter his bosom for any character in the poem, it being from beginning to end a scene of unmixed rascality, performed by persons who never deviate into good feeling." The intention is intelligible enough, but such a story neither could have been written nor read,--certainly not written by Thackeray, nor read by the ordinary reader of a first-cla.s.s magazine,--had he not been enabled to adorn it by infinite wit. Captain Brock, though a brave man, is certainly not described as an interesting or gallant soldier; but he is possessed of great resources. Captain Macshane, too, is a thorough blackguard; but he is one with a dash of loyalty about him, so that the reader can almost sympathise with him, and is tempted to say that Ikey Solomon has not quite kept his promise.

_Catherine_ appeared in 1839 and 1840. In the latter of those years _The Shabby Genteel_ story also came out. Then in 1841 there followed _The History of Samuel t.i.tmarsh and the Great Hoggarty Diamond_, ill.u.s.trated by Samuel's cousin, Michael Angelo. But though so announced in _Fraser_, there were no ill.u.s.trations, and those attached to the story in later editions are not taken from sketches by Thackeray. This, as far as I know, was the first use of the name t.i.tmarsh, and seems to indicate some intention on the part of the author of creating a hoax as to two personages,--one the writer and the other the ill.u.s.trator. If it were so he must soon have dropped the idea. In the last paragraph he has shaken off his cousin Michael. The main object of the story is to expose the villany of bubble companies, and the danger they run who venture to have dealings with city matters which they do not understand. I cannot but think that he altered his mind and changed his purpose while he was writing it, actuated probably by that editorial monition as to its length.

In 1842 were commenced _The Confessions of George Fitz-Boodle_, which were continued into 1843. I do not think that they attracted much attention, or that they have become peculiarly popular since. They are supposed to contain the reminiscences of a younger son, who moans over his poverty, complains of womankind generally, laughs at the world all round, and intersperses his pages with one or two excellent ballads. I quote one, written for the sake of affording a parody, with the parody along with it, because the two together give so strong an example of the condition of Thackeray's mind in regard to literary products. The "humbug" of everything, the pretence, the falseness of affected sentiment, the remoteness of poetical pathos from the true condition of the average minds of men and women, struck him so strongly, that he sometimes allowed himself almost to feel,--or at any rate, to say,--that poetical expression, as being above nature, must be unnatural. He had declared to himself that all humbug was odious, and should be by him laughed down to the extent of his capacity. His Yellowplush, his Catherine Hayes, his Fitz-Boodle, his Barry Lyndon, and Becky Sharp, with many others of this kind, were all invented and treated for this purpose and after this fashion. I shall have to say more on the same subject when I come to _The Sn.o.b Papers_. In this instance he wrote a very pretty ballad, _The Willow Tree_,--so good that if left by itself it would create no idea of absurdity or extravagant pathos in the mind of the ordinary reader,--simply that he might render his own work absurd by his own parody.

THE WILLOW-TREE.

No. I.

THE WILLOW-TREE.

No. II.

Know ye the willow-tree, Whose gray leaves quiver, Whispering gloomily To yon pale river?

Lady, at eventide Wander not near it!

They say its branches hide A sad lost spirit!

Long by the willow-tree Vainly they sought her, Wild rang the mother's screams O'er the gray water.

"Where is my lovely one?

Where is my daughter?

Rouse thee, sir constable-- Rouse thee and look.

Fisherman, bring your net, Boatman, your hook.

Beat in the lily-beds, Dive in the brook."

Once to the willow-tree A maid came fearful, Pale seemed her cheek to be, Her blue eye tearful.

Soon as she saw the tree, Her steps moved fleeter.

No one was there--ah me!-- No one to meet her!

Vainly the constable Shouted and called her.

Vainly the fisherman Beat the green alder.

Vainly he threw the net.

Never it hauled her!

Quick beat her heart to hear The far bells' chime Toll from the chapel-tower The trysting-time.

But the red sun went down In golden flame, And though she looked around, Yet no one came!