PENDENNIS AND THE NEWCOMES.
The absence of the heroic was, in Thackeray, so palpable to Thackeray
himself that in his original preface to _Pendennis_, when he began to be
aware that his reputation was made, he tells his public what they may
expect and what they may not, and makes his joking complaint of the
readers of his time because they will not endure with patience the true
picture of a natural man. "Even the gentlemen of our age," he
says,--adding that the story of _Pendennis_ is an attempt to describe
one of them, just as he is,--"even those we cannot show as they are with
the notorious selfishness of their time and their education. Since the
author of _Tom Jones_ was buried, no writer of fiction among us has been
permitted to depict to his utmost power a MAN. We must shape him, and
give him a certain conventional temper." Then he rebukes his audience
because they will not listen to the truth. "You will not hear what moves
in the real world, what passes in society, in the clubs, colleges,
mess-rooms,--what is the life and talk of your sons." You want the
Raffaellistic touch, or that of some painter of horrors equally removed
from the truth. I tell you how a man really does act,--as did Fielding
with Tom Jones,--but it does not satisfy you. You will not sympathise
with this young man of mine, this Pendennis, because he is neither
angel nor imp. If it be so, let it be so. I will not paint for you
angels or imps, because I do not see them. The young man of the day,
whom I do see, and of whom I know the inside and the out thoroughly, him
I have painted for you; and here he is, whether you like the picture or
not. This is what Thackeray meant, and, having this in his mind, he
produced _Pendennis_.
The object of a novel should be to instruct in morals while it amuses. I
cannot think but that every novelist who has thought much of his art
will have realised as much as that for himself. Whether this may best be
done by the transcendental or by the commonplace is the question which
it more behoves the reader than the author to answer, because the author
may be fairly sure that he who can do the one will not, probably cannot,
do the other. If a lad be only five feet high he does not try to enlist
in the Guards. Thackeray complains that many ladies have "remonstrated
and subscribers left him," because of his realistic tendency.
Nevertheless he has gone on with his work, and, in _Pendennis_, has
painted a young man as natural as Tom Jones. Had he expended himself in
the attempt, he could not have drawn a Master of Ravenswood.
It has to be admitted that Pendennis is not a fine fellow. He is not as
weak, as selfish, as untrustworthy as that George Osborne whom Amelia
married in _Vanity Fair_; but nevertheless, he is weak, and selfish, and
untrustworthy. He is not such a one as a father would wish to see his
son, or a mother to welcome as a lover for her daughter. But then,
fathers are so often doomed to find their sons not all that they wish,
and mothers to see their girls falling in love with young men who are
not Paladins. In our individual lives we are contented to endure an
admixture of evil, which we should resent if imputed to us in the
general. We presume ourselves to be truth-speaking, noble in our
sentiments, generous in our actions, modest and unselfish, chivalrous
and devoted. But we forgive and pass over in silence a few delinquencies
among ourselves. What boy at school ever is a coward,--in the general?
What gentleman ever tells a lie? What young lady is greedy? We take it
for granted, as though they were fixed rules in life, that our boys from
our public schools look us in the face and are manly; that our gentlemen
tell the truth as a matter of course; and that our young ladies are
refined and unselfish. Thackeray is always protesting that it is not so,
and that no good is to be done by blinking the truth. He knows that we
have our little home experiences. Let us have the facts out, and mend
what is bad if we can. This novel of _Pendennis_ is one of his loudest
protests to this effect.
I will not attempt to tell the story of Pendennis, how his mother loved
him, how he first came to be brought up together with Laura Bell, how he
thrashed the other boys when he was a boy, and how he fell in love with
Miss Fotheringay, née Costigan, and was determined to marry her while he
was still a hobbledehoy, how he went up to Boniface, that well-known
college at Oxford, and there did no good, spending money which he had
not got, and learning to gamble. The English gentleman, as we know,
never lies; but Pendennis is not quite truthful; when the college tutor,
thinking that he hears the rattling of dice, makes his way into Pen's
room, Pen and his two companions are found with three _Homers_ before
them, and Pen asks the tutor with great gravity; "What was the present
condition of the river Scamander, and whether it was navigable or no?"
He tells his mother that, during a certain vacation he must stay up and
read, instead of coming home,--but, nevertheless, he goes up to London
to amuse himself. The reader is soon made to understand that, though Pen
may be a fine gentleman, he is not trustworthy. But he repents and comes
home, and kisses his mother; only, alas! he will always be kissing
somebody else also.
The story of the Amorys and the Claverings, and that wonderful French
cook M. Alcide Mirobolant, forms one of those delightful digressions
which Thackeray scatters through his novels rather than weaves into
them. They generally have but little to do with the story itself, and
are brought in only as giving scope for some incident to the real hero
or heroine. But in this digression Pen is very much concerned indeed,
for he is brought to the very verge of matrimony with that peculiarly
disagreeable lady Miss Amory. He does escape at last, but only within a
few pages of the end, when we are made unhappy by the lady's victory
over that poor young sinner Foker, with whom we have all come to
sympathise, in spite of his vulgarity and fast propensities. She would
to the last fain have married Pen, in whom she believes, thinking that
he would make a name for her. "Il me faut des émotions," says Blanche.
Whereupon the author, as he leaves her, explains the nature of this Miss
Amory's feelings. "For this young lady was not able to carry out any
emotion to the full, but had a sham enthusiasm, a sham hatred, a sham
love, a sham taste, a sham grief; each of which flared and shone very
vehemently for an instant, but subsided and gave place to the next sham
emotion." Thackeray, when he drew this portrait, must certainly have
had some special young lady in his view. But though we are made unhappy
for Foker, Foker too escapes at last, and Blanche, with her emotions,
marries that very doubtful nobleman Comte Montmorenci de Valentinois.
But all this of Miss Amory is but an episode. The purport of the story
is the way in which the hero is made to enter upon the world, subject as
he has been to the sweet teaching of his mother, and subject as he is
made to be to the worldly lessons of his old uncle the major. Then he is
ill, and nearly dies, and his mother comes up to nurse him. And there is
his friend Warrington, of whose family down in Suffolk we shall have
heard something when we have read _The Virginians_,--one I think of the
finest characters, as it is certainly one of the most touching, that
Thackeray ever drew. Warrington, and Pen's mother, and Laura are our
hero's better angels,--angels so good as to make us wonder that a
creature so weak should have had such angels about him; though we are
driven to confess that their affection and loyalty for him are natural.
There is a melancholy beneath the roughness of Warrington, and a
feminine softness combined with the reticent manliness of the man, which
have endeared him to readers beyond perhaps any character in the book.
Major Pendennis has become immortal. Selfish, worldly, false, padded,
caring altogether for things mean and poor in themselves; still the
reader likes him. It is not quite all for himself. To Pen he is
good,--to Pen who is the head of his family, and to come after him as
the Pendennis of the day. To Pen and to Pen's mother he is beneficent
after his lights. In whatever he undertakes it is so contrived that the
reader shall in some degree sympathise with him. And so it is with poor
old Costigan, the drunken Irish captain, Miss Fotheringay's papa. He was
not a pleasant person. "We have witnessed the déshabille of Major
Pendennis," says our author; "will any one wish to be valet-de-chambre
to our other hero, Costigan? It would seem that the captain, before
issuing from his bedroom, scented himself with otto of whisky." Yet
there is a kindliness about him which softens our hearts, though in
truth he is very careful that the kindness shall always be shown to
himself.
Among these people Pen makes his way to the end of the novel, coming
near to shipwreck on various occasions, and always deserving the
shipwreck which he has almost encountered. Then there will arise the
question whether it might not have been better that he should be
altogether shipwrecked, rather than housed comfortably with such a wife
as Laura, and left to that enjoyment of happiness forever after, which
is the normal heaven prepared for heroes and heroines who have done
their work well through three volumes. It is almost the only instance in
all Thackeray's works in which this state of bliss is reached. George
Osborne, who is the beautiful lover in _Vanity Fair_, is killed almost
before our eyes, on the field of battle, and we feel that Nemesis has
with justice taken hold of him. Poor old Dobbin does marry the widow,
after fifteen years of further service, when we know him to be a
middle-aged man and her a middle-aged woman. That glorious Paradise of
which I have spoken requires a freshness which can hardly be attributed
to the second marriage of a widow who has been fifteen years mourning
for her first husband. Clive Newcome, "the first young man," if we may
so call him, of the novel which I shall mention just now, is carried so
far beyond his matrimonial elysium that we are allowed to see too
plainly how far from true may be those promises of hymeneal happiness
forever after. The cares of married life have settled down heavily upon
his young head before we leave him. He not only marries, but loses his
wife, and is left a melancholy widower with his son. Esmond and Beatrix
certainly reach no such elysium as that of which we are speaking. But
Pen, who surely deserved a Nemesis, though perhaps not one so black as
that demanded by George Osborne's delinquencies, is treated as though he
had been passed through the fire, and had come out,--if not pure gold,
still gold good enough for goldsmiths. "And what sort of a husband will
this Pendennis be?" This is the question asked by the author himself at
the end of the novel; feeling, no doubt, some hesitation as to the
justice of what he had just done. "And what sort of a husband will this
Pendennis be?" many a reader will ask, doubting the happiness of such a
marriage and the future of Laura. The querists are referred to that lady
herself, who, seeing his faults and wayward moods--seeing and owning
that there are better men than he--loves him always with the most
constant affection. The assertion could be made with perfect confidence,
but is not to the purpose. That Laura's affection should be constant, no
one would doubt; but more than that is wanted for happiness. How about
Pendennis and his constancy?
_The Newcomes_, which I bracket in this chapter with _Pendennis_, was
not written till after _Esmond_, and appeared between that novel and
_The Virginians_, which was a sequel to _Esmond_. It is supposed to be
edited by Pen, whose own adventures we have just completed, and is
commenced by that celebrated night passed by Colonel Newcome and his boy
Clive at the Cave of Harmony, during which the colonel is at first so
pleasantly received and so genially entertained, but from which he is at
last banished, indignant at the iniquities of our drunken old friend
Captain Costigan, with whom we had become intimate in Pen's own memoirs.
The boy Clive is described as being probably about sixteen. At the end
of the story he has run through the adventures of his early life, and is
left a melancholy man, a widower, one who has suffered the extremity of
misery from a stepmother, and who is wrapped up in the only son that is
left to him,--as had been the case with his father at the beginning of
the novel. _The Newcomes_, therefore, like Thackeray's other tales, is
rather a slice from the biographical memoirs of a family, than a romance
or novel in itself.
It is full of satire from the first to the last page. Every word of it
seems to have been written to show how vile and poor a place this world
is; how prone men are to deceive, how prone to be deceived. There is a
scene in which "his Excellency Rummun Loll, otherwise his Highness
Rummun Loll," is introduced to Colonel Newcome,--or rather
presented,--for the two men had known each other before. All London was
talking of Rummun Loll, taking him for an Indian prince, but the
colonel, who had served in India, knew better. Rummun Loll was no more
than a merchant, who had made a precarious fortune by doubtful means.
All the girls, nevertheless, are running after his Excellency. "He's
known to have two wives already in India," says Barnes Newcome; "but, by
gad, for a settlement, I believe some of the girls here would marry
him." We have a delightful illustration of the London girls, with their
bare necks and shoulders, sitting round Rummun Loll and worshipping him
as he reposes on his low settee. There are a dozen of them so enchanted
that the men who wish to get a sight of the Rummun are quite kept at a
distance. This is satire on the women. A few pages on we come upon a
clergyman who is no more real than Rummun Loll. The clergyman, Charles
Honeyman, had married the colonel's sister and had lost his wife, and
now the brothers-in-law meet. "'Poor, poor Emma!' exclaimed the
ecclesiastic, casting his eyes towards the chandelier and passing a
white cambric pocket-handkerchief gracefully before them. No man in
London understood the ring business or the pocket-handkerchief business
better, or smothered his emotion more beautifully. 'In the gayest
moments, in the giddiest throng of fashion, the thoughts of the past
will rise; the departed will be among us still. But this is not the
strain wherewith to greet the friend newly arrived on our shores. How it
rejoices me to behold you in old England.'" And so the satirist goes on
with Mr. Honeyman the clergyman. Mr. Honeyman the clergyman has been
already mentioned, in that extract made in our first chapter from _Lovel
the Widower_. It was he who assisted another friend, "with his wheedling
tongue," in inducing Thackeray to purchase that "neat little literary
paper,"--called then _The Museum_, but which was in truth _The National
Standard_. In describing Barnes Newcome, the colonel's relative,
Thackeray in the same scene attacks the sharpness of the young men of
business of the present day. There were, or were to be, some
transactions with Rummun Loll, and Barnes Newcome, being in doubt, asks
the colonel a question or two as to the certainty of the Rummun's money,
much to the colonel's disgust. "The young man of business had dropped
his drawl or his languor, and was speaking quite unaffectedly,
good-naturedly, and selfishly. Had you talked to him for a week you
would not have made him understand the scorn and loathing with which the
colonel regarded him. Here was a young fellow as keen as the oldest
curmudgeon,--a lad with scarce a beard to his chin, that would pursue
his bond as rigidly as Shylock." "Barnes Newcome never missed a church,"
he goes on, "or dressing for dinner. He never kept a tradesman waiting
for his money. He seldom drank too much, and never was late for
business, or huddled over his toilet, however brief his sleep or severe
his headache. In a word, he was as scrupulously whited as any sepulchre
in the whole bills of mortality." Thackeray had lately seen some Barnes
Newcome when he wrote that.
It is all satire; but there is generally a touch of pathos even through
the satire. It is satire when Miss Quigley, the governess in Park
Street, falls in love with the old colonel after some dim fashion of her
own. "When she is walking with her little charges in the Park, faint
signals of welcome appear on her wan cheeks. She knows the dear colonel
amidst a thousand horsemen." The colonel had drunk a glass of wine with
her after his stately fashion, and the foolish old maid thinks too much
of it. Then we are told how she knits purses for him, "as she sits alone
in the schoolroom,--high up in that lone house, when the little ones are
long since asleep,--before her dismal little tea-tray, and her little
desk containing her mother's letters and her mementoes of home." Miss
Quigley is an ass; but we are made to sympathise entirely with the ass,
because of that morsel of pathos as to her mother's letters.
Clive Newcome, our hero, who is a second Pen, but a better fellow, is
himself a satire on young men,--on young men who are idle and ambitious
at the same time. He is a painter; but, instead of being proud of his
art, is half ashamed of it,--because not being industrious he has not,
while yet young, learned to excel. He is "doing" a portrait of Mrs.
Pendennis, Laura, and thus speaks of his business. "No. 666,"--he is
supposed to be quoting from the catalogue of the Royal Academy for the
year,--"No. 666. Portrait of Joseph Muggins, Esq., Newcome, George
Street. No. 979. Portrait of Mrs. Muggins on her gray pony, Newcome. No.
579. Portrait of Joseph Muggins, Esq.'s dog Toby, Newcome. This is what
I am fit for. These are the victories I have set myself on achieving. Oh
Mrs. Pendennis! isn't it humiliating? Why isn't there a war? Why haven't
I a genius? There is a painter who lives hard by, and who begs me to
come and look at his work. He is in the Muggins line too. He gets his
canvases with a good light upon them; excludes the contemplation of
other objects; stands beside his picture in an attitude himself; and
thinks that he and they are masterpieces. Oh me, what drivelling
wretches we are! Fame!--except that of just the one or two,--what's the
use of it?" In all of which Thackeray is speaking his own feelings about
himself as well as the world at large. What's the use of it all? Oh
vanitas vanitatum! Oh vanity and vexation of spirit! "So Clive Newcome,"
he says afterwards, "lay on a bed of down and tossed and tumbled there.
He went to fine dinners, and sat silent over them; rode fine horses, and
black care jumped up behind the moody horseman." As I write this I have
before me a letter from Thackeray to a friend describing his own
success when _Vanity Fair_ was coming out, full of the same feeling. He
is making money, but he spends it so fast that he never has any; and as
for the opinions expressed on his books, he cares little for what he
hears. There was always present to him a feeling of black care seated
behind the horseman,--and would have been equally so had there been no
real care present to him. A sardonic melancholy was the characteristic
most common to him,--which, however, was relieved by an always present
capacity for instant frolic. It was these attributes combined which made
him of all satirists the most humorous, and of all humorists the most
satirical. It was these that produced the Osbornes, the Dobbins, the
Pens, the Clives, and the Newcomes, whom, when he loved them the most,
he could not save himself from describing as mean and unworthy. A
somewhat heroic hero of romance,--such a one, let us say, as Waverley,
or Lovel in _The Antiquary_, or Morton in _Old Mortality_,--was
revolting to him, as lacking those foibles which human nature seemed to
him to demand.
The story ends with two sad tragedies, neither of which would have been
demanded by the story, had not such sadness been agreeable to the
author's own idiosyncrasy. The one is the ruin of the old colonel's
fortunes, he having allowed himself to be enticed into bubble
speculations; and the other is the loss of all happiness, and even
comfort, to Clive the hero, by the abominations of his mother-in-law.
The woman is so iniquitous, and so tremendous in her iniquities, that
she rises to tragedy. Who does not know Mrs. Mack the Campaigner? Why at
the end of his long story should Thackeray have married his hero to so
lackadaisical a heroine as poor little Rosey, or brought on the stage
such a she-demon as Rosey's mother? But there is the Campaigner in all
her vigour, a marvel of strength of composition,--one of the most
vividly drawn characters in fiction;--but a woman so odious that one is
induced to doubt whether she should have been depicted.
The other tragedy is altogether of a different kind, and though
unnecessary to the story, and contrary to that practice of story-telling
which seems to demand that calamities to those personages with whom we
are to sympathise should not be brought in at the close of a work of
fiction, is so beautifully told that no lover of Thackeray's work would
be willing to part with it. The old colonel, as we have said, is ruined
by speculation, and in his ruin is brought to accept the alms of the
brotherhood of the Grey Friars. Then we are introduced to the Charter
House, at which, as most of us know, there still exists a brotherhood of
the kind. He dons the gown,--this old colonel, who had always been
comfortable in his means, and latterly apparently rich,--and occupies
the single room, and eats the doled bread, and among his poor brothers
sits in the chapel of his order. The description is perhaps as fine as
anything that Thackeray ever did. The gentleman is still the gentleman,
with all the pride of gentry;--but not the less is he the humble
bedesman, aware that he is living upon charity, not made to grovel by
any sense of shame, but knowing that, though his normal pride may be
left to him, an outward demeanour of humility is befitting.
And then he dies. "At the usual evening hour the chapel bell began to
toll, and Thomas Newcome's hands outside the bed feebly beat time,--and,
just as the last bell struck, a peculiar sweet smile shone over his
face, and he lifted up his head a little, and quickly said,
'Adsum,'--and fell back. It was the word we used at school when names
were called; and, lo, he whose heart was as that of a little child had
answered to his name, and stood in the presence of his Maker!"