It is an interesting question what should be the relation of illustration
to the story, and of the artist to the story-teller; and what are the
limitations of their respective provinces. Both should work
independently of each other; that is, the artist should tell the story
from his own point of view--he is not merely to servilely translate the
situations into "black and white." He should be, in fact, what the actor
is to a drama. When Eugene Delacroix's illustrations to Goethe's "Faust"
were shown to the great author, he expressed admiration of their truth
and spirit; and on his secretary saying that they would lead to a better
understanding of his poem, said: "With that we have naught to do; on the
contrary, the more complete imagination of such an artist compels us to
believe that the situations as he represents them are preferable to them
as described. It is therefore likely that the readers will find that he
exerts a strong force upon their imagination." This shows, allowing
something for the compliment, what a distinct force the great writer
attributed to the artist, that he did not consider him an assistant or
merely subsidiary. The actor becomes, after his fashion, a distinct
creator and originator, supplying details, etc., of his own, but taking
care that these are consistent with the text and do not contradict it in
any way.
This large treatment was exactly "Phiz's." He seems to "act" "Boz's"
drama, yet he did not introduce anything that was not warranted by the
spirit of the text. He found himself present at the scene, and felt how
it _must_ have occurred. He had a wonderful power of selecting what was
essential and what should be essential. Nor did he make a minute
inventory of such details as were mentioned in the text. Hence the
extraordinary vitality and spirit of his work. There is action in all,
and each picture tells its own story. To see the merit of this system,
we have only to contrast with it such attempts as we find in modern
productions, where the artist's method is to present to us figures
grouped together, apparently talking but not _acting_--such things as we
have week by week in _Punch_. The late Sir John Millais and other
artists of almost equal rank used to furnish illustrations to serial
stories, and all their pictures were of this kind--two or three
figures--well drawn, certainly--one standing, the others sitting down, it
may be, engaged in conversation. This brought us "no forrarder" and
supplied no dramatic interest.
It should be said, however, that it is only to "Pickwick" that this high
praise can be extended. With every succeeding story the character of the
work seemed to fall off, or rather the methods of the artist to change.
It may have been, too, the inspiration from a dramatic spirited story
also failed, for "Boz" had abandoned the free, almost reckless style of
his first tale. There was a living distinctness, too, in the Pickwickian
_coterie_, and every figure, familiar and recognizable, seemed to have
infinite possibilities. The very look of them would inspire.
In this spirit of vitality and reality also, "Phiz" rather suggests a
famous foreign illustrator, Chodowiecki, who a century ago was in
enormous request for the illustration of books of all kinds, and whose
groups and figures, drawn with much spirit and roundness, arrested the
eye at once and told the situation. Later "Phiz" fell off in his work
and indeed adopted quite new and more commercial methods, such as would
enable him to get through the vast amount of work that came to him. There
were no longer these telling situations to limn which spoke for
themselves, and without straw, bricks are not to be made. In this later
manner we seem to have bid adieu to the inspiration--to the fine old
_round_ style of drawing--where the figures "stand out" completely. He
adopted a sort of sketchy fashion; his figures became silhouettes and
quite flat. There was also a singular carelessness in finish--a mere
outline served for a face. The result was a monotony and similarity of
treatment, with a certain unreality and grotesqueness which are like
nothing in life. In this, however, he may have been inspired by the
grotesque personages he was put to illustrate--the Smallweeds and the
like.
It would be an interesting speculation to consider what would have become
of "Pickwick" had this artist not been forthcoming. Would we have really
known our Mr. Pickwick and his "followers" as we do now, or, indeed,
would we have so keenly appreciated the humorous situations? I believe
not. It was the graven figures of these personages, and the brilliant
way in which the situations were concentrated, as it were, into a point,
that produced such striking effect: without these adjuncts the Head of
the Club and his friends would have been more or less abstractions, very
much what the characters in Theodore Hook's "Gilbert Gurney" are. Take
Mr. Pickwick. The author supplied only a few hints as to his personal
appearance--he was bald, mild, pale, wore spectacles and gaiters; but who
would have imagined him as we have him now, with his high forehead, bland
air, protuberant front. The same with the others. Mr. Thackeray tried
in many ways to give some corporeal existence to his own characters to
"Becky," Pendennis, and others; but who sees them as we do Mr. Pickwick?
So with his various "situations"--many most dramatic and effective, but
no one would guess it from the etchings. The Pickwick scenes all tell a
story of their own; and a person--say a foreigner--who had never even
heard of the story would certainly smile over the situations, and be
piqued into speculating what could be the ultimate meaning.
At the exhibition "illustrating a century and a half of English
humorists," given by the Fine Art Society--under the direction of Mr.
Joseph Grego--in October, 1896, there was a collection of original
Pickwick drawings no less than fifty-six in number. There were three by
Seymour, two by Bass and thirty-four by Phiz, all used in the book; while
of those unused--probably found unsuitable, there were five by Buss,
including a proposed title-page, and two of the Fat Boy "awake on this
occasion only." There were also five by Phiz, which were not engraved,
and one by Leech. The drawing of the dying clown, Seymour was engaged
upon when he committed suicide. Of Buss' there were two of Mr. Pickwick
at the Review, two of the cricket match, two of the Fat Boy "awake," "the
influence of the salmon"--unused, "Mr. Winkle's first shot"--unused,
studies of character in Pickwick, and a study for the title-page. The
poor, discarded Buss took a vast deal of pains therefore to accomplish
his task. Of Phiz's unused designs there was "Mr. Winkle's first shot"
and two for the Gabriel Grub story, also one for "the Warden's room."
Most interesting of all was his "original study" for the figure of Mr.
Pickwick.
Mr. Grego, himself an excellent artist, placed at the door of the society
a very telling figure of Mr. Pickwick displayed on a poster and
effectively coloured. It was new to find our genial old friend smiling
an invitation to us--in Bond Street. This--which I took for a
lithographed "poster"--was Mr. Grego's own work, portrayed in water
colours.
There have been many would-be illustrators of the chronicle, some on
original lines of their own; but these must be on the whole pronounced to
be failures. On looking at them we somehow feel that the figures and
situations are wholly strange to us; that we don't know them or recognize
them. The reason is possibly that the artists are not in perfect
sympathy or intelligence with the story; they do not know every turning,
corner and cranny of it, as did "Phiz"--and indeed as did everyone else
living at that time; they were not inspired, above all, by its author.
But there was a more serious reason still for the failure. It will be
seen that in Phiz's wonderful plates the faces and figures are more or
less _generalized_. We cannot tell exactly, for instance, what were Mr.
Winkle's or even Sam Weller's features. Neither their mouths, eyes, or
noses, could be put in distinct shape. We have only the general air and
tone and suggestion--as of persons seen afar off in a crowd. Yet they
are always recognizable. This is art, and it gave the artist a greater
freedom in his treatment. Now when an illustrator like the late
Frederick Barnard came, he drew his Jingle, his Pickwick, Weller, and
Winkle, with _all_ their features, in quite a literal and particular
fashion--the features were minutely and carefully brought out, with the
result that they seem almost strange to us. Nor do they express the
characters. There _is_ an expression, but it seems not the one to which
we are accustomed. Mr. Pickwick is generally shown as a rather "cranky"
and testy old gentleman in his expressions, whereas the note of all
"Phiz's" faces is a good softness and unctuousness even. Now this
somewhat philosophical analysis points to a principle in art illustration
which accounts in a great measure for the unsatisfactory results where it
is attempted to illustrate familiar works--such as those of Tennyson,
Shakespeare, etc. The reader has a fixed idea before him, which he has
formed for himself--an indistinct, shapeless one it might be, but still
of sufficient outline to be disturbed. Among the innumerable
presentments of Shakespeare's heroines no one has ever seen any that
satisfied or that even corresponded. They are usually not generalized
enough. Again, the readers of "Pickwick" grew month by month, or number
by number, more and more acquainted with the characters: for the figures
and faces appeared over and over and yet over again.
The most diverting, however, of all these imitators and
extra-illustrators is assuredly the artist of the German edition. The
series is admirably drawn, every figure well finished, but figures,
faces, and scenes are unrecognizable. It is the Frenchman's idea of
Hamlet. Mr. Pickwick and his friends are stout Germans, dressed in
German garments, sitting in German restaurants with long tankards with
_lids_ before them. The incidents are made as literal and historical as
possible. The difficulty, of course, was that none of their adventures
could have occurred in a country like Germany, or if they did, would have
become an affair of police. No German could see humour in that.
Notwithstanding all this, the true Pickwickian will welcome them as a
pleasant contribution to the Pickwickian humour, and no one would have
laughed so loudly at them as Boz himself.
The original illustrations form a serious and important department of
Pickwickian lore, and entail an almost _scientific_ knowledge. Little,
indeed, did the young "Boz" dream, when he was settling with his
publishers that the work was to contain forty-two plates--an immense
number it might seem--that these were to fructify into such an enormous
progeny. We, begin, of course, with the regular official plates that
belong strictly to the work. Here we find three artists at work--each
succeeding the other--the unfortunate Robert Seymour coming first with
his seven spirited pictures; next the unlucky Buss, with his two
condemned productions, later to be dismissed from the book altogether;
and finally, "Phiz," or Hablot K. Browne, who furnished the remaining
plates to the end. As is well known, so great was the run upon the book
that the plates were unequal to the duty, and "Phiz" had to re-engrave
them several times--often duplicates on the one plate--naturally not
copying them very closely. Hence we have the rather interesting
"variations." He by-and-bye re-engraved Seymour's seven, copying them
with wonderful exactness, and finally substituted two of his own for
those of the condemned Buss. The volume, therefore, was furnished with
seven Seymours, and their seven replicas, the two Buss's, their two
replicas, and the thirty-three "Phiz" pictures, each with its
"variation."
These variations are very interesting, and even amusing. On an ordinary
careless glance one would hardly detect much difference--the artist, who
seemed to wish to have a certain freedom, made these changes either to
amuse himself or as if resenting the monotony of copying. In any case
they represent an amount of patient labour that is quite unique in such
things.
The Pickwickian "student" may be glad to go with us through some of the
plates and have an account of these differences. We must premise that
the first state of the plates may be considered "proofs before
letters"--the descriptive titles being only found in the later editions.
1. "The Frontispiece." (We shall call the second state _b_, the first
_a_.) In _a_ the signature "Phiz," "fct." or "fecit" is on the left, in
_b_ it is divided half on each side. The harlequin painting has a full
face in _a_, a side face in _b_. The face at the apex of the picture has
a mouth closed in _b_, and open in _a_. There are variations in nearly
all the grotesque faces; and in _b_ the faces of Mr. Pickwick and Sam are
fuller and more animated. In _b_ the general treatment of the whole is
richer.
2. "The Title-page." In _a_ the sign has Veller, in _b_ Weller. Old
Weller's face in _b_ is more resolved and animated; in _a_ water is
flowing from the pail.
3. "Mr. Pickwick Addressing the Club." Mr. Pickwick in _b_ is more
cantankerous than in _a_--all the faces scarcely correspond in
expression, though the outlines are the same. The work, shading, etc.,
is much bolder in _b_.
4. "Scene with the Cabman." Very little difference between the plates,
save in the spectacles lying on the ground. These are trivialities.
5. "The Sagacious Dog." _b_ is more heavily shaded, but _a_ is much
superior in the dog and face of the sportsman. Trees in _b_ more
elaborate.
6. "Dr. Slammer's Defiance." The figures on the top of the stairs are
much darker and bolder in _b_. Jingle's and Tupman's faces are better in
_b_ than in _a_, and Jingle's legs are better drawn in _b_.
7. "The Dying Clown." A most dramatic and tragic conception, which
shows that Seymour would have been invaluable later on for Dickens' more
serious work. The chief differences are in the face of the man at his
bedside and the candle.
8. "Mr. Pickwick in Search of his Hat." The drawing of Mr. Pickwick's
legs is rather strange. The right leg could hardly be so much twisted
back while Mr. Pickwick runs straight forward; his left hand or arm is
obscure in both. All the faces differ--the hat in _b_ has much more the
look of being blown along than that in _a_.
9. "Mr. Winkle Soothes a Refractory Steed." Seymour's horse is
infinitely more spirited and better drawn than Phiz's. Its struggling
attitude is admirable. Seymour's landscape is touched more delicately;
the faces differ in both.
10. "The Cricket Match." First Buss plate. He introduced a farcical
incident not in the text--the ball knocking off the fielder's hat, who is
quite close to the batsman. A very poor production. Observe the
"antediluvian" shape of the bat--no paddings on the legs. The sketch is
valuable as showing how _not_ to interpret Dickens' humour, or rather how
to interpret it in a strictly _literal_ way--that is, without humour.
11. "Tupman in the Arbour." Second Buss plate--rather ostentatiously
signed "Drawn and etched by R. W. Buss." Tupman appears to be tumbling
over Miss Wardle.
12. The same subject by "Phiz." A remarkable contrast in treatment;
there is the suggestion of the pair being surprised. We see how the fat
boy came on them. The old Manor Farm in the background, with its gables,
etc., is a pleasing addition, and like all "Phiz's" landscapes,
delicately touched in. The scared alarm on the two faces is
first-rate--even Miss Wardle's foot as well as Tupman's is expressive.
There appears to be no "variation" of this plate.
13. "The Influence of the Salmon." A truly dramatic group overflowing
with humour. Note no fewer than ten faces in the background, servants,
etc., all expressing interest according to their class and degree. The
five chief characters express drunkenness in five different fashions: the
hopeless, combative, despairing, affectionate, etc. Wardle's stolid calm
is good.
14. "The Breakdown." This was "Phiz's" _coup d'essai_ after he was
called in, and is a most spirited piece. But the variations make the
second plate almost a new one. The drawing, grouping, etc., in _b_ are
an enormous improvement, and supply life and animation. The three
figures, Pickwick, Wardle, and the postillion, are all altered for the
better. In _b_ Mr. Pickwick's nervousness, as he is extricated from the
chaise, is well shown. The postillion becomes a round spirited figure,
instead of a mere sketch; Wardle, as in the text, instead of stooping
down and merely showing his back, is tramping about gesticulating. A
very spirited white horse is introduced with a postillion as spirited;
the single chaise in the distance, the horses drawn back, and Jingle
stretching out, is admirable. It is somehow conveyed in a clever way in
_b_ that Miss Wardle is peeping through the hind window at the scene.
There is a wheel on the ground in _b_, and one hat; in _a_ there are two
hats--Mr. Pickwick's, which is recognizable, and Wardle's.
15. "First Appearance of Mr. S. Weller." In the first issue a faint
"Nemo" can be made out in the corner, and it is said the same signature
is on the preceding plate, though I have never been able to trace it
clearly. This plate, as is well known, represents the court of the Old
White Hart Inn in the Borough, which was pulled down some years ago. On
this background--the galleries, etc., being picturesquely indicated--stand
out brilliantly the four figures. The plate was varied in important
ways. In the _b_ version some fine effects of light and shade are
brought out by the aid of the loaded cart and Wardle's figure. Wardle's
hat is changed from a common round one to a low broad-leafed one, his
figure made stouter, and he is clothed with dark instead of white
breeches, his face broadened and made more good-humoured. Sam's face in
_b_ is made much more like the ideal Sam; that in _a_ is grotesque.
Perker's face and attitude are altered in _b_, where he is made more
interrogative. Mr. Pickwick in _b_ is much more placid and bland than in
_a_, and he carries his hat more jauntily. Top-boots in _b_ are
introduced among those which Sam is cleaning. He, oddly, seems to be
cleaning a _white_ boot. A capital dog in _b_ is sniffing at Mr.
Pickwick's leg; in _a_ there is a rather unmeaning skulking animal. All
the smaller figures are altered.
16. "Mrs. Bardell Faints." The first plate is feeble and ill-drawn,
though Mrs. Bardell's and Tupman's faces are good, the latter somewhat
farcical; the boy "Tommy" is decidedly bad and too small. Mr. Pickwick's
face in _a_ is better than in _b_. In the second attempt all is bolder
and more spirited. The three Pickwickians are made to express
astonishment, even in their legs. There is a table-desk in _a_, not in
_b_. A clock and two vases are introduced, and a picture over the mirror
representing a sleeping beauty with a cupid.
17. "The Election at Eatanswill." The first plate represents an
election riot in front of the hustings, which is wild and fairly
spirited. But no doubt it appeared somewhat confused to the artist. In
his second he made it quite another matter. Over the hustings he
introduced a glimpse of the old Ipswich gables. He changed the figure
and dress of Fizkin, the rival candidate. He had Perker sitting on the
rail, but substituted a standing-up figure, talking--presumably Perker,
but taller than that gentleman. In _b_, Mr. Pickwick's face expresses
astonishment at the disorder; in _a_ he is mildly placid. In _b_ the
figure behind Mr. Pickwick is turned into Sam by placing a cockade on his
hat. Next to Fizkin is a new portly figure introduced. The figures in
the crowd are changed in wholesale fashion, and yet the "root idea" in
both is the same. An artist, we fancy, would learn much from these
contrasts, seeing how strikingly "Phiz" could shift his characters. In
the first draft there was not sufficient movement. To the left there was
a stout sailor in a striped jacket who was thrusting a pole into the
chest of a thin man in check trousers. This, as drawn, seemed too
tranquil, and he substituted a stouter, more jovial figure with gymnastic
action--the second was made more contrasted. Next him was a confused
group--a man with a paper cap, in place of which he supplied a stout man
on whom the other was driven back, and who was being pushed from behind.
The animation of the background is immensely increased by hats, and arms,
and sticks being waved. Everything is bolder and clearer. The second
trombone player, however, is not so spirited as the first, and the drum-
beater becomes rather a "Punch and Judy" showman. An artistic effect of
light is produced by this drum. There are a great many more boards, too,
introduced in _b_.
"Mrs. Leo Hunter's Fancy dress Dejeune." In _b_ the finish and treatment
are infinitely improved. Mr. Pickwick's face and figure is more refined
and artistic. The way he holds his hat in his right hand and his left
also are improved; both are more extended. Mr. Snodgrass's left leg is
brought behind Mr. Pickwick's in _b_. Water--a pond perhaps--is in
front. Tupman's hat is altered in _b_, and feathers added; his face is
more serious and less grotesque. Mrs. Pott is more piquant, as the
author suggested to the artist. The birdcage, instead of being high in
the tree, is lowered and hangs from it. The most curious change is that
of Pott, who in _a_ is out of all scale, seeming to be about seven feet
high. He was lowered in _b_, and given a beard and a more hairy cap. It
was said, indeed, that the original face was too like Lord Brougham's,
but the reason for the change was probably what I have given.
"The Young Ladies' Seminary." All details are changed. The rather
"cranky" face of Mr. Pickwick, utterly unlike him, was improved and
restored to its natural benevolence; more detail put into the faces,
notably the cook's. The girls are made more distinct and attractive--the
lady principal at the back made effective; all the foliage treated
differently, a tree on the left removed. In _a_ there is a sort of hook
on the inside of the door to hold a bell, which is absent; in _b_ it is
added. The bolts, etc., are different.
"Mr. Pickwick in the Pound." _b_ is more brilliant and vastly improved;
the smaller donkey is removed, the three reduced to two; the sweep's cap
is made _white_; the faces are altered, and made more animated. Mr.
Pickwick's figure in the barrow is perhaps _not_ improved, but his face
is.
"Mr. Pickwick in the Attorney's Office." Sam's face in _a_ was quite
unlike, and was improved; the position of his legs altered. The other
points are much the same.
"Last Visit of Heyland to the Old Man." This is a sort of anticipation
of "Phiz's" later treatment of tragic subjects, as supplied for "Bleak
House" and such stories. Heyling's cloak in _b_ is draped over his left
arm, the boards of the door are outlined differently. In _a_ the face of
the old man a side one, with little expression; in _b_ it was made three-
quarters, and contorted with horror--the attitude powerfully expressive,
indeed. The figures of both are worth comparing.
"The Double-bedded Room." In _b_ the lady's face is refined, and made
less of the "nut-cracker" type. The comb is removed, her feet are
separated, and the figure becomes not ungraceful. A white night-gown in
_b_ is introduced; in _a_ it is her day-gown, and dark; the back of the
chair in _b_ is treated more ornamentally; in _a_ a plain frilled
nightcap is hung on the chair, changed in _b_ to a more grotesque and
"Gamp-like" headgear. Nothing can be better in _a_ than the effect of
light from the rushlight on the floor. This is helped by the lady's
figure, which is darkened in _a_, and thrown out by the white curtains
behind. Mr. Pickwick's face in _a_ is not good, and much improved in
_b_. It will be noted that the artist often thus failed in his hero's
face--"missing his tip," as it were. This picture admirably illustrates
the artist's power of _legitimately_ emphasizing details--such as the
night-cap--to add to the comic situation.
"Mr. Weller Attacks the Executive of Ipswich." There is scarcely any
alteration worth notice.
"Job Trotter Encounters Sam." The two plates are nearly the same, except
that Mary's face is made prettier. Sam's is improved, and Job Trotter's
figure and face more marked and spirited.
"Christmas Eve at Mr. Wardle's." The changes here are a cat and dog
introduced in the foreground in _b_, instead of the dog which in _a_ is
between Mr. Pickwick and the old lady.
"Gabriel Grubb." A face is introduced into a branch or knot of the
tree--an odd, rather far-fetched effect. The effectively outlined church
in the background is St. Albans Abbey.
"Mr. Pickwick Slides." In _b_ Mr. Winkle's skates are introduced. In
one version there are _five_ stakes instead of four, and Miss Allen's fur
boots and feet are depicted differently in each.
"Conviviality at Bob Sawyer's." The two plates correspond almost
exactly--save for a slight alteration in the arrangement of the books in
the case.
"Mr. Pickwick Sits for his Portrait." Slight alterations in the faces
and in the bird-cage. The arrangement of the panes in the window is also
different. Mr. Pickwick's face is made more intelligent. A handle is
supplied to a pewter pot on the floor.
"The Warden's Room." Almost exactly the same in both. But why has Mr.
Pickwick his spectacles on when just roused from sleep? There is a
collar to the shirt hanging from the cord.
"The Meeting with Jingle." Very slight changes in the faces. The
child's face in _b_ is admirable, and, like one of Cruikshank's
miniatures, it conveys alarm and grief. The face of the woman watering
her plant is improved. Note the Hogarthian touch of the initials carved
on the window, sufficiently distinct and yet not intrusively so. This is
a most skilfully grouped and dramatic picture, and properly conveys the
author's idea.
"The Ghostly Passenger." This illustration of what is one of the best
tales of mystery is equally picturesque and original. The five figures
in front are truly remarkable. The elegant interesting figure of the
woman, the fop with his hat in the air, the bully with the big sword, the
man with the blunderbuss, and the bewildered rustic, to say nothing of
the muffled figures on the coach, make up a perfect _play_. There seems
a flutter over all; it is like, as it was intended to be, a scene in a
dream.
"Mr. Winkle Returns under Extraordinary Circumstances." There is little
difference between the plates, save as to the details of the objects in
the cupboard. In _b_ some bottles have been introduced on the top shelf.
Mrs. Winkle's is a pleasing, graceful figure in both, and improved and
refined in _b_. More spirit, too, is put into Mr. Pickwick's figure as
he rises in astonishment. It may be noted what a graceful type of
womanhood then prevailed, the face being thrown out by "bands" of hair
and ringlets, the large spreading bonnets and white veils. Mary wears an
enormous bonnet or hat like her mistress.
"Mr. Sawyer's Mode of Travelling." The amazing spirit and movement of
this picture cannot be too much praised. The chaise seems whirling
along, so that the coach, meeting it, seems embarrassed and striving to
get out of the way. The Irish family, struggling to keep up with the
chaise, is inimitable. There are some changes in _b_. The man with the
stick behind has a bundle or bag attached. The mother with her three
children is a delightful group, and much improved in the second plate.
The child holding up flowers is admirably drawn. The child who has
fallen is given a different attitude in _b_. The dog, too, is slightly
altered.
"The Rival Editors." There is little change made, save that more plates,
jugs, etc., are introduced. The "row" is shown with extraordinary
spirit. Note the grotesque effect of Pott's face, shown through the
cloth that Sam has put over his head. The onions have got detached from
the hank hung to the ceiling, and are tumbling on the combatants, and--a
capital touch this--the blackbird, whose cage has been covered over to
secure its repose, is shown in _b_ dashing against the bars. We might
ask, however, what does the cook there, and why does she "trouble herself
about the warming-pan"?
"Mary and the Fat Boy." Both plates nearly the same, the languishing
face of the Fat Boy admirable. Mary's figure, as she draws the chair,
charming, though somewhat stout at the back. The cook is present, and a
plate laid for her, which is contrary to the text.
"Mr. Weller and his Friends Drinking to Mr. Pell." Plates almost the
same, save for a slight alteration in the faces, and a vinegar cruet
introduced next to Mr. Pell's oysters. Admirable and most original and
distinct are the figures of the four coachmen, even the one of whom we
have only a back view.
Perhaps no one of the plates displays Phiz's vivid power so forcibly as
the one of the trial "Bardell v. Pickwick." Observe the dramatic
animation, with the difficulty of treating a number of figures seated in
regular rows. The types of the lawyers are truly admirable. In this
latter piece there are no less than thirty-five faces, all
characteristic, showing the peculiar smug and pedantic cast of the
barristerial lineaments. Note specially the one at the end of the third
bench who is engrossed in his brief, the pair in the centre who are
discussing something, the two standing up. But what is specially
excellent is the selection of faces for the four counsel concerned in the
case. Nothing could be more appropriate or better suit the author's
description. What could excel, or "beat" Buzfuz with his puffed, coarse
face and hulking form? His brother Serjeant has the dried, "peaked" look
of the overworked barrister, and though he is in his wig we recognize him
at once, having seen him before at his chambers. Mr. Phunkey, behind, is
the well-meaning but incapable performer to be exhibited in his
examination of Winkle; and Mr. Skimpin is the alert, unscrupulous, wide-
awake practitioner who "made such a hare" of Mr. Winkle. The composition
of this picture is indeed a work of high art.
In "Mr. Pickwick sliding," how admirably caught is the tone of a genial,
frosty day at a country-house, with the animation of the spectators--the
charming landscape. In the scene of "Under the Mistletoe" at Manor Farm,
the Fat Boy, by some mistake of size, cannot be more than five or six
years old, and Tupman is shown on one knee "making up" to one of the
young ladies. Beaux seemed to have been very scarce in the district
where stout, elderly gentlemen were thus privileged.
The curious thing is that hardly a single face of Mr. Pickwick's
corresponds with its fellows, yet all are sufficiently like and
recognizable. In the first picture of the club he is a cantankerous,
sour, old fellow, but the artist presently mellowed him. The bald,
benevolent forehead, the portly little figure, the gaiters, eye-glass and
ribbon always put on expressively, seem his likeness. The "Mr. Pickwick
sliding" and the "Mr. Pickwick sitting for his portrait in the Fleet"
have different faces.
There has always been a sort of fascination in tracing out and
identifying the Pickwickian localities. It is astonishing the number of
persons that have been engrossed with this pursuit. Take Muggleton for
instance, which seems to have hitherto defied all attempts at discovery.
The younger Charles Dickens fancied that town, Malling, which lies to the
south of Rochester. Mr. Frost, Mr. Hughes, and other "explorers" all
have their favourite town. I, myself, had fixed on Maidstone as
fulfilling the necessary conditions of having a Mayor and Corporation; as
against this choice and that of all the towns that were south of
Rochester there was always this fact, that Boz describes the party going
up the street as they left Rochester, a route that led them north-east.
But the late Miss Dickens--"Mamie" as she was affectionately called--in
her pleasing and very natural little book, "My Father as I Recall Him,"
has casually dropped a hint which puts us on the right track. When
driving with her on the "beautiful back road to Cobham once, he pointed
out a spot. There it was, he said, where Mr. Pickwick dropped his whip."
The distressed travellers had to walk some twelve or fourteen miles--about
the distance of Muggleton--which was important enough to have a Mayor and
Corporation, etc. We ourselves have walked this road, and it led us
to--Gravesend. Gravesend we believe to be Muggleton--against all
competitors. Further, when chasing Jingle, Wardle went straight from
Muggleton to town, as you can do from Gravesend; from which place there
is a long walk to Cobham.
For abundance of editions the immortal Pickwick can hold its own with any
modern of its "weight, age, and size." From the splendid yet unwieldy
_edition de luxe_, all but Bible-like in its proportions, to the one
penny edition sold on barrows in Cheapside, every form and pattern has
been supplied.
The Gadshill Edition, with Introduction by Andrew Lang, has recently been
issued by Messrs. Chapman and Hall, and is all that can be desired.
Print, paper, and size are excellent, perfect, even captivating. The old
illustrations, from the original plates, are bright and clear, unworn and
unclogged with ink. The editor has been judiciously reserved in his
introduction and annotations. While Mr. Lang's lack of sympathy with
Dickens is well-known, and, like Sam Weller after leaving the witness-
box, he has said just as little respecting Mr. Pickwick as might be,
"which was precisely the object he had in view all along." But it almost
seems as though one required to be "brought up" in Pickwick, so to speak,
thoroughly to understand him. No true Pickwickian would ever have called
Tuckle the Bath Footman, "Blazer," or Jingle, "Jungle." It were better,
too, not to adopt a carping tone in dealing with so joyous and
irresponsible a work. "Dickens," we are told, "knew nothing of cricket."
Yet in his prime the present writer has seen him "marking" all day long,
or acting as umpire, with extraordinary knowledge and enthusiasm. In
Pickwickian days the game was not what it is now; it was always more or
less irregular and disorderly. As proof of "Boz's" ignorance, Mr. Lang
says it is a mystery why Podder "missed the bad balls, blocked the
doubtful ones, took the good ones, and sent them flying, etc." Surely
nothing could be plainer. He "missed"--that is, did not strike--the
balls of which nothing could be made, blocked the dangerous ones, and hit
the good ones all over the field. What more or what better could Dr.
Grace do?
* * * * *
The original agreement for "Pickwick" I have not seen, though it is
probably in existence, but there is now being shown at the Earl's Court
Victorian Era Exhibition a very interesting Pickwickian curio. When the
last number had appeared, a deed was created between the two publishers,
Edward Chapman and William Hall, giving them increased control over the
book. It is dated November 18th, 1837, and sets out that the property
consisted of three shares held by the two publishers and author. It was
contracted that the former should purchase for a period of five years the
author's third share. And it was further stipulated that at the end of
that term, they, and no one else, should have the benefit of any new
arrangement. There was also an arrangement about purchasing the "stock,"
etc., at the end of the term. No mention, however, is made of the terms
or "consideration," for which reference is made to another deed. The
whole is commendably short and intelligible.
Footnotes:
{24} As I write it is mentioned in some "society case" that the valet
received 63 pounds a year, and 30s. a month "beer money."
{30} Not long since, we noticed the general merriment at the Victoria
Station on the apparition of one of these curios carried by a rural
looking man.
{34} _Vide_ "History of Pickwick."
{47} NOTE--We have even in London the regular Pickwickian publisher,
whose work is stimulated by a generous ardour and prepared knowledge of
"States," Curios of all kinds associated with Boz in general, and
Pickwick in particular. Among these is Mr. Spencer, of High Holborn--"who
will get you up a Pickwick" with all the advertisements, wrappers, etc.,
within a reasonable period--and who will point out to you some mysterious
error in the paging, which has escaped previous commentators. There is
also Mr. Robson, of Coventry Street, and Mr. Harvey, of St. James'
Street.