ON ENGLISH NOVELISTS OF THE PRESENT DAY.
In this chapter I will venture to name a few successful novelists of
my own time, with whose works I am acquainted; and will endeavour to
point whence their success has come, and why they have failed when
there has been failure.
I do not hesitate to name Thackeray the first. His knowledge of human
nature was supreme, and his characters stand out as human beings,
with a force and a truth which has not, I think, been within the
reach of any other English novelist in any period. I know no
character in fiction, unless it be Don Quixote, with whom the reader
becomes so intimately acquainted as with Colonel Newcombe. How great
a thing it is to be a gentleman at all parts! How we admire the man
of whom so much may be said with truth! Is there any one of whom
we feel more sure in this respect than of Colonel Newcombe? It is
not because Colonel Newcombe is a perfect gentleman that we think
Thackeray's work to have been so excellent, but because he has had
the power to describe him as such, and to force us to love him, a
weak and silly old man, on account of this grace of character.
It is evident from all Thackeray's best work that he lived with the
characters he was creating. He had always a story to tell until quite
late in life; and he shows us that this was so, not by the interest
which he had in his own plots,--for I doubt whether his plots did
occupy much of his mind,--but by convincing us that his characters
were alive to himself. With Becky Sharpe, with Lady Castlewood and
her daughter, and with Esmond, with Warrington, Pendennis, and
the Major, with Colonel Newcombe, and with Barry Lyndon, he must
have lived in perpetual intercourse. Therefore he has made these
personages real to us.
Among all our novelists his style is the purest, as to my ear it is
also the most harmonious. Sometimes it is disfigured by a slight
touch of affectation, by little conceits which smell of the oil;--but
the language is always lucid. The reader, without labour, knows what
he means, and knows all that he means. As well as I can remember, he
deals with no episodes. I think that any critic, examining his work
minutely, would find that every scene, and every part of every scene,
adds something to the clearness with which the story is told. Among
all his stories there is not one which does not leave on the mind
a feeling of distress that women should ever be immodest or men
dishonest,--and of joy that women should be so devoted and men
so honest. How we hate the idle selfishness of Pendennis, the
worldliness of Beatrix, the craft of Becky Sharpe!--how we love the
honesty of Colonel Newcombe, the nobility of Esmond, and the devoted
affection of Mrs. Pendennis! The hatred of evil and love of good can
hardly have come upon so many readers without doing much good.
Late in Thackeray's life,--he never was an old man, but towards the
end of his career,--he failed in his power of charming, because he
allowed his mind to become idle. In the plots which he conceived,
and in the language which he used, I do not know that there is any
perceptible change; but in _The Virginians_ and in _Philip_ the
reader is introduced to no character with which he makes a close
and undying acquaintance. And this, I have no doubt, is so because
Thackeray himself had no such intimacy. His mind had come to be weary
of that fictitious life which is always demanding the labour of new
creation, and he troubled himself with his two Virginians and his
Philip only when he was seated at his desk.
At the present moment George Eliot is the first of English novelists,
and I am disposed to place her second of those of my time. She is
best known to the literary world as a writer of prose fiction, and
not improbably whatever of permanent fame she may acquire will come
from her novels. But the nature of her intellect is very far removed
indeed from that which is common to the tellers of stories. Her
imagination is no doubt strong, but it acts in analysing rather than
in creating. Everything that comes before her is pulled to pieces so
that the inside of it shall be seen, and be seen if possible by her
readers as clearly as by herself. This searching analysis is carried
so far that, in studying her latter writings, one feels oneself to
be in company with some philosopher rather than with a novelist. I
doubt whether any young person can read with pleasure either _Felix
Holt_, _Middlemarch_, or _Daniel Deronda_. I know that they are very
difficult to many that are not young.
Her personifications of character have been singularly terse and
graphic, and from them has come her great hold on the public,--though
by no means the greatest effect which she has produced. The lessons
which she teaches remain, though it is not for the sake of the
lessons that her pages are read. Seth Bede, Adam Bede, Maggie and Tom
Tulliver, old Silas Marner, and, much above all, Tito, in _Romola_,
are characters which, when once known, can never be forgotten. I
cannot say quite so much for any of those in her later works, because
in them the philosopher so greatly overtops the portrait-painter,
that, in the dissection of the mind, the outward signs seem to have
been forgotten. In her, as yet, there is no symptom whatever of that
weariness of mind which, when felt by the reader, induces him to
declare that the author has written himself out. It is not from
decadence that we do not have another Mrs. Poyser, but because the
author soars to things which seem to her to be higher than Mrs.
Poyser.
It is, I think, the defect of George Eliot that she struggles too
hard to do work that shall be excellent. She lacks ease. Latterly the
signs of this have been conspicuous in her style, which has always
been and is singularly correct, but which has become occasionally
obscure from her too great desire to be pungent. It is impossible
not to feel the struggle, and that feeling begets a flavour of
affectation. In _Daniel Deronda_, of which at this moment only a
portion has been published, there are sentences which I have found
myself compelled to read three times before I have been able to take
home to myself all that the writer has intended. Perhaps I may be
permitted here to say, that this gifted woman was among my dearest
and most intimate friends. As I am speaking here of novelists, I will
not attempt to speak of George Eliot's merit as a poet.
There can be no doubt that the most popular novelist of my
time--probably the most popular English novelist of any time--has
been Charles Dickens. He has now been dead nearly six years, and the
sale of his books goes on as it did during his life. The certainty
with which his novels are found in every house--the familiarity of
his name in all English-speaking countries--the popularity of such
characters as Mrs. Gamp, Micawber, and Pecksniff, and many others
whose names have entered into the English language and become
well-known words--the grief of the country at his death, and the
honours paid to him at his funeral,--all testify to his popularity.
Since the last book he wrote himself, I doubt whether any book
has been so popular as his biography by John Forster. There is
no withstanding such testimony as this. Such evidence of popular
appreciation should go for very much, almost for everything, in
criticism on the work of a novelist. The primary object of a novelist
is to please; and this man's novels have been found more pleasant
than those of any other writer. It might of course be objected to
this, that though the books have pleased they have been injurious,
that their tendency has been immoral and their teaching vicious; but
it is almost needless to say that no such charge has ever been made
against Dickens. His teaching has ever been good. From all which,
there arises to the critic a question whether, with such evidence
against him as to the excellence of this writer, he should not
subordinate his own opinion to the collected opinion of the world of
readers. To me it almost seems that I must be wrong to place Dickens
after Thackeray and George Eliot, knowing as I do that so great a
majority put him above those authors.
My own peculiar idiosyncrasy in the matter forbids me to do so. I
do acknowledge that Mrs. Gamp, Micawber, Pecksniff, and others have
become household words in every house, as though they were human
beings; but to my judgment they are not human beings, nor are any of
the characters human which Dickens has portrayed. It has been the
peculiarity and the marvel of this man's power, that he has invested
his puppets with a charm that has enabled him to dispense with human
nature. There is a drollery about them, in my estimation, very much
below the humour of Thackeray, but which has reached the intellect of
all; while Thackeray's humour has escaped the intellect of many. Nor
is the pathos of Dickens human. It is stagey and melodramatic. But
it is so expressed that it touches every heart a little. There is
no real life in Smike. His misery, his idiotcy, his devotion for
Nicholas, his love for Kate, are all overdone and incompatible with
each other. But still the reader sheds a tear. Every reader can find
a tear for Smike. Dickens's novels are like Boucicault's plays. He
has known how to draw his lines broadly, so that all should see the
colour.
He, too, in his best days, always lived with his characters;--and he,
too, as he gradually ceased to have the power of doing so, ceased to
charm. Though they are not human beings, we all remember Mrs. Gamp
and Pickwick. The Boffins and Veneerings do not, I think, dwell in
the minds of so many.
Of Dickens's style it is impossible to speak in praise. It is jerky,
ungrammatical, and created by himself in defiance of rules--almost
as completely as that created by Carlyle. To readers who have taught
themselves to regard language, it must therefore be unpleasant. But
the critic is driven to feel the weakness of his criticism, when
he acknowledges to himself--as he is compelled in all honesty to
do--that with the language, such as it is, the writer has satisfied
the great mass of the readers of his country. Both these great
writers have satisfied the readers of their own pages; but both
have done infinite harm by creating a school of imitators. No young
novelist should ever dare to imitate the style of Dickens. If such a
one wants a model for his language, let him take Thackeray.
Bulwer, or Lord Lytton,--but I think that he is still better known
by his earlier name,--was a man of very great parts. Better educated
than either of those I have named before him, he was always able to
use his erudition, and he thus produced novels from which very much
not only may be but must be learned by his readers. He thoroughly
understood the political status of his own country, a subject
on which, I think, Dickens was marvellously ignorant, and which
Thackeray had never studied. He had read extensively, and was always
apt to give his readers the benefit of what he knew. The result has
been that very much more than amusement may be obtained from Bulwer's
novels. There is also a brightness about them--the result rather
of thought than of imagination, of study and of care, than of mere
intellect--which has made many of them excellent in their way. It is
perhaps improper to class all his novels together, as he wrote in
varied manners, making in his earlier works, such as _Pelham_ and
_Ernest Maltravers_, pictures of a fictitious life, and afterwards
pictures of life as he believed it to be, as in _My Novel_ and _The
Caxtons_. But from all of them there comes the same flavour of an
effort to produce effect. The effects are produced, but it would have
been better if the flavour had not been there.
I cannot say of Bulwer as I have of the other novelists whom I have
named that he lived with his characters. He lived with his work, with
the doctrines which at the time he wished to preach, thinking always
of the effects which he wished to produce; but I do not think he ever
knew his own personages,--and therefore neither do we know them. Even
Pelham and Eugene Aram are not human beings to us, as are Pickwick,
and Colonel Newcombe, and Mrs. Poyser.
In his plots Bulwer has generally been simple, facile, and
successful. The reader never feels with him, as he does with Wilkie
Collins, that it is all plot, or, as with George Eliot, that there
is no plot. The story comes naturally without calling for too much
attention, and is thus proof of the completeness of the man's
intellect. His language is clear, good, intelligible English, but
it is defaced by mannerism. In all that he did, affectation was his
fault.
How shall I speak of my dear old friend Charles Lever, and his
rattling, jolly, joyous, swearing Irishmen. Surely never did a sense
of vitality come so constantly from a man's pen, nor from man's
voice, as from his! I knew him well for many years, and whether in
sickness or in health, I have never come across him without finding
him to be running over with wit and fun. Of all the men I have
encountered, he was the surest fund of drollery. I have known many
witty men, many who could say good things, many who would sometimes
be ready to say them when wanted, though they would sometimes
fail;--but he never failed. Rouse him in the middle of the night, and
wit would come from him before he was half awake. And yet he never
monopolised the talk, was never a bore. He would take no more than
his own share of the words spoken, and would yet seem to brighten all
that was said during the night. His earlier novels--the later I have
not read--are just like his conversation. The fun never flags, and
to me, when I read them, they were never tedious. As to character
he can hardly be said to have produced it. Corney Delaney, the old
man-servant, may perhaps be named as an exception.
Lever's novels will not live long,--even if they may be said to be
alive now,--because it is so. What was his manner of working I do not
know, but I should think it must have been very quick, and that he
never troubled himself on the subject, except when he was seated with
a pen in his hand.
Charlotte Brontë was surely a marvellous woman. If it could be right
to judge the work of a novelist from one small portion of one novel,
and to say of an author that he is to be accounted as strong as he
shows himself to be in his strongest morsel of work, I should be
inclined to put Miss Brontë very high indeed. I know no interest
more thrilling than that which she has been able to throw into the
characters of Rochester and the governess, in the second volume of
_Jane Eyre_. She lived with those characters, and felt every fibre of
the heart, the longings of the one and the sufferings of the other.
And therefore, though the end of the book is weak, and the beginning
not very good, I venture to predict that _Jane Eyre_ will be read
among English novels when many whose names are now better known shall
have been forgotten. _Jane Eyre_, and _Esmond_, and _Adam Bede_ will
be in the hands of our grandchildren, when _Pickwick_, and _Pelham_,
and _Harry Lorrequer_ are forgotten; because the men and women
depicted are human in their aspirations, human in their sympathies,
and human in their actions.
In _Villette_, too, and in _Shirley_, there is to be found human
life as natural and as real, though in circumstances not so full of
interest as those told in _Jane Eyre_. The character of Paul in the
former of the two is a wonderful study. She must herself have been in
love with some Paul when she wrote the book, and have been determined
to prove to herself that she was capable of loving one whose exterior
circumstances were mean and in every way unprepossessing.
There is no writer of the present day who has so much puzzled me by
his eccentricities, impracticabilities, and capabilities as Charles
Reade. I look upon him as endowed almost with genius, but as one who
has not been gifted by nature with ordinary powers of reasoning. He
can see what is grandly noble and admire it with all his heart. He
can see, too, what is foully vicious and hate it with equal ardour.
But in the common affairs of life he cannot see what is right or
wrong; and as he is altogether unwilling to be guided by the opinion
of others, he is constantly making mistakes in his literary career,
and subjecting himself to reproach which he hardly deserves. He means
to be honest. He means to be especially honest,--more honest than
other people. He has written a book called _The Eighth Commandment_
on behalf of honesty in literary transactions,--a wonderful work,
which has I believe been read by a very few. I never saw a copy
except that in my own library, or heard of any one who knew the
book. Nevertheless it is a volume that must have taken very great
labour, and have been written,--as indeed he declares that it was
written,--without the hope of pecuniary reward. He makes an appeal
to the British Parliament and British people on behalf of literary
honesty, declaring that should he fail--"I shall have to go on
blushing for the people I was born among." And yet of all the writers
of my day he has seemed to me to understand literary honesty the
least. On one occasion, as he tells us in this book, he bought for a
certain sum from a French author the right of using a plot taken from
a play,--which he probably might have used without such purchase, and
also without infringing any international copyright act. The French
author not unnaturally praises him for the transaction, telling
him that he is "un vrai gentleman." The plot was used by Reade in
a novel; and a critic discovering the adaptation, made known his
discovery to the public. Whereupon the novelist became angry, called
his critic a pseudonymuncle, and defended himself by stating the fact
of his own purchase. In all this he seems to me to ignore what we
all mean when we talk of literary plagiarism and literary honesty.
The sin of which the author is accused is not that of taking another
man's property, but of passing off as his own creation that which he
does not himself create. When an author puts his name to a book he
claims to have written all that there is therein, unless he makes
direct signification to the contrary. Some years subsequently there
arose another similar question, in which Mr. Reade's opinion was
declared even more plainly, and certainly very much more publicly.
In a tale which he wrote he inserted a dialogue which he took from
Swift, and took without any acknowledgment. As might have been
expected, one of the critics of the day fell foul of him for this
barefaced plagiarism. The author, however, defended himself, with
much abuse of the critic, by asserting, that whereas Swift had found
the jewel he had supplied the setting;--an argument in which there
was some little wit, and would have been much excellent truth, had he
given the words as belonging to Swift and not to himself.
The novels of a man possessed of so singular a mind must themselves
be very strange,--and they are strange. It has generally been his
object to write down some abuse with which he has been particularly
struck,--the harshness, for instance, with which paupers or lunatics
are treated, or the wickedness of certain classes,--and he always,
I think, leaves upon his readers an idea of great earnestness of
purpose. But he has always left at the same time on my mind so strong
a conviction that he has not really understood his subject, that I
have ever found myself taking the part of those whom he has accused.
So good a heart, and so wrong a head, surely no novelist ever before
had combined! In story-telling he has occasionally been almost great.
Among his novels I would especially recommend _The Cloister and the
Hearth_. I do not know that in this work, or in any, that he has left
a character that will remain; but he has written some of his scenes
so brightly that to read them would always be a pleasure.
Of Wilkie Collins it is impossible for a true critic not to speak
with admiration, because he has excelled all his contemporaries in a
certain most difficult branch of his art; but as it is a branch which
I have not myself at all cultivated, it is not unnatural that his
work should be very much lost upon me individually. When I sit down
to write a novel I do not at all know, and I do not very much care,
how it is to end. Wilkie Collins seems so to construct his that he
not only, before writing, plans everything on, down to the minutest
detail, from the beginning to the end; but then plots it all back
again, to see that there is no piece of necessary dove-tailing which
does not dove-tail with absolute accuracy. The construction is most
minute and most wonderful. But I can never lose the taste of the
construction. The author seems always to be warning me to remember
that something happened at exactly half-past two o'clock on Tuesday
morning; or that a woman disappeared from the road just fifteen yards
beyond the fourth mile-stone. One is constrained by mysteries and
hemmed in by difficulties, knowing, however, that the mysteries will
be made clear, and the difficulties overcome at the end of the third
volume. Such work gives me no pleasure. I am, however, quite prepared
to acknowledge that the want of pleasure comes from fault of my
intellect.
There are two ladies of whom I would fain say a word, though I feel
that I am making my list too long, in order that I may declare
how much I have admired their work. They are Annie Thackeray and
Rhoda Broughton. I have known them both, and have loved the former
almost as though she belonged to me. No two writers were ever more
dissimilar,--except in this that they are both feminine. Miss
Thackeray's characters are sweet, charming, and quite true to human
nature. In her writings she is always endeavouring to prove that good
produces good, and evil evil. There is not a line of which she need
be ashamed,--not a sentiment of which she should not be proud. But
she writes like a lazy writer who dislikes her work, and who allows
her own want of energy to show itself in her pages.
Miss Broughton, on the other hand, is full of energy,--though she
too, I think, can become tired over her work. She, however, does take
the trouble to make her personages stand upright on the ground. And
she has the gift of making them speak as men and women do speak. "You
beast!" said Nancy, sitting on the wall, to the man who was to be her
husband,--thinking that she was speaking to her brother. Now Nancy,
whether right or wrong, was just the girl who would, as circumstances
then were, have called her brother a beast. There is nothing wooden
about any of Miss Broughton's novels; and in these days so many
novels are wooden! But they are not sweet-savoured as are those by
Miss Thackeray, and are, therefore, less true to nature. In Miss
Broughton's determination not to be mawkish and missish, she has made
her ladies do and say things which ladies would not do and say. They
throw themselves at men's heads, and when they are not accepted only
think how they may throw themselves again. Miss Broughton is still
so young that I hope she may live to overcome her fault in this
direction.
There is one other name, without which the list of the best known
English novelists of my own time would certainly be incomplete,
and that is the name of the present Prime Minister of England. Mr.
Disraeli has written so many novels, and has been so popular as a
novelist that, whether for good or for ill, I feel myself compelled
to speak of him. He began his career as an author early in life,
publishing _Vivian Grey_ when he was twenty-three years old. He was
very young for such work, though hardly young enough to justify the
excuse that he makes in his own preface, that it is a book written by
a boy. Dickens was, I think, younger when he wrote his _Sketches by
Boz_, and as young when he was writing the _Pickwick Papers_. It was
hardly longer ago than the other day when Mr. Disraeli brought out
_Lothair_, and between the two there were eight or ten others. To
me they have all had the same flavour of paint and unreality. In
whatever he has written he has affected something which has been
intended to strike his readers as uncommon and therefore grand.
Because he has been bright and a man of genius, he has carried his
object as regards the young. He has struck them with astonishment and
aroused in their imagination ideas of a world more glorious, more
rich, more witty, more enterprising, than their own. But the glory
has been the glory of pasteboard, and the wealth has been a wealth of
tinsel. The wit has been the wit of hairdressers, and the enterprise
has been the enterprise of mountebanks. An audacious conjurer has
generally been his hero,--some youth who, by wonderful cleverness,
can obtain success by every intrigue that comes to his hand. Through
it all there is a feeling of stage properties, a smell of hair-oil,
an aspect of buhl, a remembrance of tailors, and that pricking of the
conscience which must be the general accompaniment of paste diamonds.
I can understand that Mr. Disraeli should by his novels have
instigated many a young man and many a young woman on their way in
life, but I cannot understand that he should have instigated any
one to good. Vivian Grey has had probably as many followers as Jack
Sheppard, and has led his followers in the same direction.
_Lothair_, which is as yet Mr. Disraeli's last work, and, I think,
undoubtedly his worst, has been defended on a plea somewhat similar
to that by which he has defended _Vivian Grey_. As that was written
when he was too young, so was the other when he was too old,--too
old for work of that nature, though not too old to be Prime Minister.
If his mind were so occupied with greater things as to allow him to
write such a work, yet his judgment should have sufficed to induce
him to destroy it when written. Here that flavour of hair-oil, that
flavour of false jewels, that remembrance of tailors, comes out
stronger than in all the others. Lothair is falser even than Vivian
Grey, and Lady Corisande, the daughter of the Duchess, more inane and
unwomanlike than Venetia or Henrietta Temple. It is the very bathos
of story-telling. I have often lamented, and have as often excused to
myself, that lack of public judgment which enables readers to put up
with bad work because it comes from good or from lofty hands. I never
felt the feeling so strongly, or was so little able to excuse it,
as when a portion of the reading public received _Lothair_ with
satisfaction.