By this time anyone who is a lover of Dickens, and who has read as far as this, will probably be angry with me.
I have been discussing Dickens simply in terms of his ‘message’, and almost ignoring his literary qualities. But every writer, especially every novelist, has a ‘message’, whether he admits it or not, and the minutest details of his work are influenced by it. All art is propaganda. Neither Dickens himself nor the majority of Victorian novelists would have thought of denying this. On the other hand, not all propaganda is art. As I said earlier, Dickens is one of those writers who are felt to be worth stealing. He has been stolen by Marxists, by Catholics and, above all, by Conservatives. The question is, What is there to steal? Why does anyone care about Dickens? Why do I care about Dickens?
That kind of question is never easy to answer. As a rule, an aesthetic preference is either something inexplicable or it is so corrupted by non-aesthetic motives as to make one wonder whether the whole of literary criticism is not a huge network of humbug. In Dickens’s case the complicating factor is his familiarity. He happens to be one of those ‘great authors’ who are ladled down everyone’s throat in childhood. At the time this causes rebellion and vomiting, but it may have different after-effects in later life. For instance, nearly everyone feels a sneaking affection for the patriotic poems that he learned by heart as a child, ‘Ye Mariners of England’, the ‘Charge of the Light Brigade’ and so forth. What one enjoys is not so much the poems themselves as the memories they call up. And with Dickens the same forces of association are at work. Probably there are copies of one or two of his books lying about in an actual majority of English homes. Many children begin to know his characters by sight before they can even read, for on the whole Dickens was lucky in his illustrators. A thing that is absorbed as early as that does not come up against any critical judgement. And when one thinks of this, one thinks of all that is bad and silly in Dickens — the cast-iron ‘plots’, the characters who don’t come off, the longueurs, the paragraphs in blank verse, the awful pages of ‘pathos’. And then the thought arises, when I say I like Dickens, do I simply mean that I like thinking about my childhood? Is Dickens merely an institution?
If so, he is an institution that there is no getting away from. How often one really thinks about any writer, even a writer one cares for, is a difficult thing to decide; but I should doubt whether anyone who has actually read Dickens can go a week without remembering him in one context or another. Whether you approve of him or not, he is there, like the Nelson Column. At any moment some scene or character, which may come from some book you cannot even remember the name of, is liable to drop into your mind. Micawber’s letters! Winkle in the witness-box! Mrs. Gamp! Mrs. Wititterly and Sir Tumley Snuffim! Todgers’s! (George Gissing said that when he passed the Monument it was never of the Fire of London that he thought, always of Todgers’s.) Mrs. Leo Hunter! Squeers! Silas Wegg and the Decline and Fall-off of the Russian Empire! Miss Mills and the Desert of Sahara! Wopsle acting Hamlet! Mrs. Jellyby! Mantalini, Jerry Cruncher, Barkis, Pumblechook, Tracy Tupman, Skimpole, Joe Gargery, Pecksniff — and so it goes on and on. It is not so much a series of books, it is more like a world. And not a purely comic world either, for part of what one remembers in Dickens is his Victorian morbidness and necrophilia and the blood-and-thunder scenes — the death of Sykes, Krook’s spontaneous combustion, Fagin in the condemned cell, the women knitting round the guillotine. To a surprising extent all this has entered even into the minds of people who do not care about it. A music-hall comedian can (or at any rate could quite recently) go on the stage and impersonate Micawber or Mrs. Gamp with a fair certainty of being understood, although not one in twenty of the audience had ever read a book of Dickens’s right through. Even people who affect to despise him quote him unconsciously.
Dickens is a writer who can be imitated, up to a certain point. In genuinely popular literature — for instance, the Elephant and Castle version of Sweeny Todd— he has been plagiarized quite shamelessly. What has been imitated, however, is simply a tradition that Dickens himself took from earlier novelists and developed, the cult of ‘character’, i.e. eccentricity. The thing that cannot be imitated is his fertility of invention, which is invention not so much of characters, still less of ‘situations’, as of turns of phrase and concrete details. The outstanding, unmistakable mark of Dickens’s writing is the unnecessary detail. Here is an example of what I mean. The story given below is not particularly funny, but there is one phrase in it that is as individual as a fingerprint. Mr. Jack Hopkins, at Bob Sawyer’s party, is telling the story of the child who swallowed its sister’s necklace:
Next day, child swallowed two beads; the day after that, he treated himself to three, and so on, till in a week’s time he had got through the necklace — five-and-twenty beads in all. The sister, who was an industrious girl and seldom treated herself to a bit of finery, cried her eyes out at the loss of the necklace; looked high and low for it; but I needn’t say, didn’t find it. A few days afterwards, the family were at dinner — baked shoulder of mutton and potatoes under it — the child, who wasn’t hungry, was playing about the room, when suddenly there was the devil of a noise, like a small hailstorm. ‘Don’t do that, my boy’, says the father. ‘I ain’t a-doin’ nothing’, said the child. ‘Well, don’t do it again’, said the father. There was a short silence, and then the noise began again, worse than ever. ‘If you don’t mind what I say, my boy’, said the father, ‘you’ll find yourself in bed, in something less than a pig’s whisper.’ He gave the child a shake to make him obedient, and such a rattling ensued as nobody ever heard before. ‘Why dam’ me, it’s in the child’, said the father; ‘he’s got the croup in the wrong place!’ ‘No, I haven’t, father’, said the child, beginning to cry, ‘it’s the necklace; I swallowed it, father.’ The father caught the child up, and ran with him to the hospital, the beads in the boy’s stomach rattling all the way with the jolting; and the people looking up in the air, and down in the cellars, to see where the unusual sound came from. ‘He’s in the hospital now’, said Jack Hopkins, ‘and he makes such a devil of a noise when he walks about, that they’re obliged to muffle him in a watchman’s coat, for fear he should wake the patients.’
As a whole, this story might come out of any nineteenth-century comic paper. But the unmistakable Dickens touch, the thing that nobody else would have thought of, is the baked shoulder of mutton and potatoes under it. How does this advance the story? The answer is that it doesn’t. It is something totally unnecessary, a florid little squiggle on the edge of the page; only, it is by just these squiggles that the special Dickens atmosphere is created. The other thing one would notice here is that Dickens’s way of telling a story takes a long time. An interesting example, too long to quote, is Sam Weller’s story of the obstinate patient in Chapter XLIV of The Pickwick Papers. As it happens, we have a standard of comparison here, because Dickens is plagiarizing, consciously or unconsciously. The story is also told by some ancient Greek writer. I cannot now find the passage, but I read it years ago as a boy at school, and it runs more or less like this:
A certain Thracian, renowned for his obstinacy, was warned by his physician that if he drank a flagon of wine it would kill him. The Thracian thereupon drank the flagon of wine and immediately jumped off the house-top and perished. ‘For’, said he, ‘in this way I shall prove that the wine did not kill me.’
As the Greek tells it, that is the whole story — about six lines. As Sam Weller tells it, it takes round about a thousand words. Long before getting to the point we have been told all about the patient’s clothes, his meals, his manners, even the newspapers he reads, and about the peculiar construction of the doctor’s carriage, which conceals the fact that the coachman’s trousers do not match his coat. Then there is the dialogue between the doctor and the patient. ‘‘Crumpets is wholesome, sir,’ said the patient. ‘Crumpets is not wholesome, sir,’ says the doctor, wery fierce,’ etc., etc. In the end the original story had been buried under the details. And in all of Dickens’s most characteristic passages it is the same. His imagination overwhelms everything, like a kind of weed. Squeers stands up to address his boys, and immediately we are hearing about Bolder’s father who was two pounds ten short, and Mobbs’s stepmother who took to her bed on hearing that Mobbs wouldn’t eat fat and hoped Mr. Squeers would flog him into a happier state of mind. Mrs. Leo Hunter writes a poem, ‘Expiring Frog’; two full stanzas are given. Boffin takes a fancy to pose as a miser, and instantly we are down among the squalid biographies of eighteenth-century misers, with names like Vulture Hopkins and the Rev. Blewberry Jones, and chapter headings like ‘The Story of the Mutton Pies’ and ‘The Treasures of a Dunghill’. Mrs. Harris, who does not even exist, has more detail piled on to her than any three characters in an ordinary novel. Merely in the middle of a sentence we learn, for instance, that her infant nephew has been seen in a bottle at Greenwich Fair, along with the pink-eyed lady, the Prussian dwarf and the living skeleton. Joe Gargery describes how the robbers broke into the house of Pumblechook, the corn and seed merchant —‘and they took his till, and they took his cashbox, and they drinked his wine, and they partook of his wittles, and they slapped his face, and they pulled his nose, and they tied him up to his bedpust, and they give him a dozen, and they stuffed his mouth full of flowering annuals to perwent his crying out.’ Once again the unmistakable Dickens touch, the flowering annuals; but any other novelist would only have mentioned about half of these outrages. Everything is piled up and up, detail on detail, embroidery on embroidery. It is futile to object that this kind of thing is rococo — one might as well make the same objection to a wedding-cake. Either you like it or you do not like it. Other nineteenth-century writers, Surtees, Barham, Thackeray, even Marryat, have something of Dickens’s profuse, overflowing quality, but none of them on anything like the same scale. The appeal of all these writers now depends partly on period-flavour and though Marryat is still officially a ‘boy’s writer’ and Surtees has a sort of legendary fame among hunting men, it is probable that they are read mostly by bookish people.
Significantly, Dickens’s most successful books (not his best books) are The Pickwick Papers, which is not a novel, and Hard Times and A Tale of Two Cities, which are not funny. As a novelist his natural fertility greatly hampers him, because the burlesque which he is never able to resist, is constantly breaking into what ought to be serious situations. There is a good example of this in the opening chapter of Great Expectations. The escaped convict, Magwitch, has just captured the six-year-old Pip in the churchyard. The scene starts terrifyingly enough, from Pip’s point of view. The convict, smothered in mud and with his chain trailing from his leg, suddenly starts up among the tombs, grabs the child, turns him upside down and robs his pockets. Then he begins terrorizing him into bringing foal and a file:
He held me by the arms in an upright position on the top of the stone, and went on in these fearful terms:
‘You bring me, tomorrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and liver shall be tore out, roasted and ate. Now, I ain’t alone, as you may think I am. There’s a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his doors, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep his way to him and tear him open. I am keeping that young man from harming you at the present moment, but with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?’
Here Dickens has simply yielded to temptation. To begin with, no starving and hunted man would speak in the least like that. Moreover, although the speech shows a remarkable knowledge of the way in which a child’s mind works, its actual words are quite out of tune with what is to follow. It turns Magwitch into a sort of pantomime wicked uncle, or, if one sees him through the child’s eyes, into an appalling monster. Later in the book he is to be represented as neither, and his exaggerated gratitude, on which the plot turns, is to be incredible because of just this speech. As usual, Dickens’s imagination has overwhelmed him. The picturesque details were too good to be left out. Even with characters who are more of a piece than Magwitch he is liable to be tripped up by some seductive phrase. Mr. Murdstone, for instance, is in the habit of ending David Copperfield’s lessons every morning with a dreadful sum in arithmetic. ‘If I go into a cheesemonger’s shop, and buy four thousand double-Gloucester cheeses at fourpence halfpenny each, present payment’, it always begins. Once again the typical Dickens detail, the double-Gloucester cheeses. But it is far too human a touch for Murdstone; he would have made it five thousand cashboxes. Every time this note is struck, the unity of the novel suffers. Not that it matters very much, because Dickens is obviously a writer whose parts are greater than his wholes. He is all fragments, all details — rotten architecture, but wonderful gargoyles — and never better than when he is building up some character who will later on be forced to act inconsistently.
Of course it is not usual to urge against Dickens that he makes his characters behave inconsistently. Generally he is accused of doing just the opposite. His characters are supposed to be mere ‘types’, each crudely representing some single trait and fitted with a kind of label by which you recognize him. Dickens is ‘only a caricaturist’— that is the usual accusation, and it does him both more and less than justice. To begin with, he did not think of himself as a caricaturist, and was constantly setting into action characters who ought to have been purely static. Squeers, Micawber, Miss Mowcher,* Wegg, Skimpole, Pecksniff and many others are finally involved in ‘plots’ where they are out of place and where they behave quite incredibly. They start off as magic-lantern slides and they end by getting mixed up in a third-rate movie. Sometimes one can put one’s finger on a single sentence in which the original illusion is destroyed. There is such a sentence in David Copperfield. After the famous dinner-party (the one where the leg of mutton was underdone), David is showing his guests out. He stops Traddles at the top of the stairs:
* Dickens turned Miss Mowcher into a sort of heroine because the real woman whom he had caricatured had read the earlier chapters and was bitterly hurt. He had previously meant her to play a villainous part. But any action by such a character would seem incongruous. (Author’s footnote)
‘Traddles’, said I, ‘Mr. Micawber don’t mean any harm, poor fellow: but if I were you I wouldn’t lend him anything.’
‘My dear Copperfield’, returned Traddles, smiling, ‘I haven’t got anything to lend.’
‘You have got a name, you know,’ I said.
At the place where one reads it this remark jars a little though something of the kind was inevitable sooner or later. The story is a fairly realistic one, and David is growing up; ultimately he is bound to see Mr. Micawber for what he is, a cadging scoundrel. Afterwards, of course, Dickens’s sentimentality overcomes him and Micawber is made to turn over a new leaf. But from then on, the original Micawber is never quite recaptured, in spite of desperate efforts. As a rule, the ‘plot’ in which Dickens’s characters get entangled is not particularly credible, but at least it makes some pretence at reality, whereas the world to which they belong is a never-never land, a kind of eternity. But just here one sees that ‘only a caricaturist’ is not really a condemnation. The fact that Dickens is always thought of as a caricaturist, although he was constantly trying to be something else, is perhaps the surest mark of his genius. The monstrosities that he created are still remembered as monstrosities, in spite of getting mixed up in would-be probable melodramas. Their first impact is so vivid that nothing that comes afterwards effaces it. As with the people one knew in childhood, one seems always to remember them in one particular attitude, doing one particular thing. Mrs. Squeers is always ladling out brimstone and treacle, Mrs. Gummidge is always weeping, Mrs. Gargery is always banging her husband’s head against the wall, Mrs. Jellyby is always scribbling tracts while her children fall into the area — and there they all are, fixed up for ever like little twinkling miniatures painted on snuffbox lids, completely fantastic and incredible, and yet somehow more solid and infinitely more memorable than the efforts of serious novelists. Even by the standards of his time Dickens was an exceptionally artificial writer. As Ruskin said, he ‘chose to work in a circle of stage fire.’ His characters are even more distorted and simplified than Smollett’s. But there are no rules in novel-writing, and for any work of art there is only one test worth bothering about — survival. By this test Dickens’s characters have succeeded, even if the people who remember them hardly think of them as human beings. They are monsters, but at any rate they exist.
But all the same there is a disadvantage in writing about monsters. It amounts to this, that it is only certain moods that Dickens can speak to. There are large areas of the human mind that he never touches. There is no poetic feeling anywhere in his books, and no genuine tragedy, and even sexual love is almost outside his scope. Actually his books are not so sexless as they are sometimes declared to be, and considering the time in which he was writing, he is reasonably frank. But there is not a trace in him of the feeling that one finds in Manon Lescaut, Salammbô, Carmen, Wuthering Heights. According to Aldous Huxley, D.H. Lawrence once said that Balzac was ‘a gigantic dwarf’, and in a sense the same is true of Dickens. There are whole worlds which he either knows nothing about or does not wish to mention. Except in a rather roundabout way, one cannot learn very much from Dickens. And to say this is to think almost immediately of the great Russian novelists of the nineteenth century. Why is it that Tolstoy’s grasp seems to be so much larger than Dickens’s — why is it that he seems able to tell you so much more about yourself? It is not that he is more gifted, or even, in the last analysis, more intelligent. It is because he is writing about people who are growing. His characters are struggling to make their souls, whereas Dickens’s are already finished and perfect. In my own mind Dickens’s people are present far more often and far more. vividly than Tolstoy’s, but always in a single unchangeable attitude, like pictures or pieces of furniture. You cannot hold an imaginary conversation with a Dickens character as you can with, say, Peter Bezoukhov. And this is not merely because of Tolstoy’s greater seriousness, for there are also comic characters that you can imagine yourself talking to — Bloom, for instance, or Pecuchet, or even Wells’s Mr. Polly. It is because Dickens’s characters have no mental life. They say perfectly the thing that they have to say, but they cannot be conceived as talking about anything else. They never learn, never speculate. Perhaps the most meditative of his characters is Paul Dombey, and his thoughts are mush. Does this mean that Tolstoy’s novels are ‘better’ than Dickens’s? The truth is that it is absurd to make such comparisons in terms of ‘better’ and ‘worse’. If I were forced to compare Tolstoy with Dickens, I should say that Tolstoy’s appeal will probably be wider in the long run, because Dickens is scarcely intelligible outside the English-speaking culture; on the other hand, Dickens is able to reach simple people, which Tolstoy is not. Tolstoy’s characters can cross a frontier, Dickens can be portrayed on a cigarette-card. But one is no more obliged to choose between them than between a sausage and a rose. Their purposes barely intersect.
Last updated Monday, December 22, 2014 at 10:53