Dickens and His Illustrators Part 2

[Ill.u.s.tration]

I am enabled to reproduce in _facsimile_ a very interesting sheet of sketches for prominent characters in "Oliver Twist," containing no less than five studies of f.a.gin, including the "first idea" for the famous etching of the Jew in the condemned cell. Still more noteworthy are four studies of Bill Sikes in the condemned cell, evidently made early in the progress of the book, thus seeming to indicate that the artist conjectured this would be the fate of the burglar instead of the Jew; or is it possible that the existence of these studies may be considered as a corroboration of his a.s.sertion (in a letter to the _Times_, presently to be quoted) that he, and not d.i.c.kens, must be credited with the idea of putting either Sikes or f.a.gin in the cell?

Concerning Cruikshank's powerful conception of f.a.gin in the condemned cell ("the immortal f.a.gin of 'Oliver Twist,'" as Thackeray styled him), it is related by Mr. George Hodder (in "Memories of my Time") that when the great George brought forth this picture, where the Jew is seen biting his finger-nails and suffering the tortures of remorse and chagrin, Horace Mayhew took an opportunity of asking him by what mental process he had conceived such an extraordinary notion; and his answer was, that he had been labouring at the subject for several days, but had not succeeded in getting the effect he desired. At length, beginning to think the task was almost hopeless, he was sitting up in bed one morning, with his hand covering his chin and the tips of his fingers between his lips, the whole att.i.tude expressive of disappointment and despair, when he saw his face in a cheval-gla.s.s which stood on the floor opposite to him. "That's it!" he involuntarily exclaimed; "that's just the expression I want!" and by this accidental process the picture was formed in his mind. Many years afterwards Cruikshank declared this statement to be absurd, and when interrogated by Mr. Austin Dobson, who met the artist at Mr. Frederick Locker's house in 1877, he said he had never been perplexed about the matter, but attributed the story to the fact that, not being satisfied whether the knuckles should be raised or depressed, he had made studies of his own hand in a gla.s.s, and ill.u.s.trated his account by putting his hand to his mouth, looking, with his hooked nose, wonderfully like the character he was speaking of.

Respecting another ill.u.s.tration in the story, where "The Jew and Morris Bolter begin to Understand each Other," Professor Ruskin observes that it is "the intensest rendering of vulgarity, absolute and utter," with which he is acquainted.

The latter portion of "Oliver Twist" was written in antic.i.p.ation of the magazine, in order that the complete story might be promptly launched in volume form. The ill.u.s.trations for the final chapters had consequently to be produced simultaneously and with all possible speed, so that the artist had no time to submit his designs to d.i.c.kens. One of these plates, viz., "Rose Maylie and Oliver," depicted a scene in the new home of the Rev. Harry Maylie; he, his wife, and mother, are seated by the fire, while Oliver stands by Rose Maylie's side. When d.i.c.kens first saw this etching he so strongly disapproved of it that the plate was forthwith cancelled and another design subst.i.tuted; but, the book being then on the eve of publication, it was impossible to prevent a small number of impressions of this ill.u.s.tration being circulated, and copies of the work containing the scarce "Fireside" plate are therefore eagerly sought after by collectors. d.i.c.kens, in expressing to Cruikshank his disapprobation of this etching, undoubtedly realised the delicacy of the situation, in the possibility of injuring the susceptibilities of the artist, as the following carefully-worded intimation testifies:--

"I returned suddenly to town yesterday afternoon, to look at the latter pages of 'Oliver Twist' before it was delivered to the booksellers, when I saw the majority of the plates in the last volume for the first time.

"With reference to the last one--Rose Maylie and Oliver--without entering into the question of great haste, or any other cause, which may have led to its being what it is, I am quite sure there can be little difference of opinion between us with respect to the result. May I ask you whether you will object to designing this plate afresh, and doing so _at once_, in order that as few impressions as possible of the present one may go forth?

"I feel confident you know me too well to feel hurt by this enquiry, and, with equal confidence in you, I have lost no time in preferring it."

PLATE IX

"MR. CLAYPOLE AS HE APPEARED WHEN HIS MASTER WAS OUT"

_Facsimile_ of the Original Sketch for "Oliver Twist" by

GEORGE CRUIKSHANK

The Inscriptions are in the Autograph of the Artist.

[Ill.u.s.tration]

It seems, however, that Cruikshank did not immediately proceed to carry out the author's wish, but endeavoured to improve the plate by retouching and adding further tints by means of stippling, &c. In the South Kensington Collection there is an early proof of the etching in which the shadow tints are washed in with a brush, and the fact that these alterations were subsequently carried out is established by the existence of a unique impression of the plate in its second state. This proof was probably submitted to d.i.c.kens and again rejected, for no impressions having the stippled additions are known to have been published. The subst.i.tuted design, bearing the same t.i.tle as the suppressed one, does not much excel it in point of interest, as the artist himself readily admitted; it represents Rose Maylie and Oliver standing in front of the tablet put up in the church to the memory of Oliver's mother, this etching appearing in _Bentley's Miscellany_ and in all but the earliest copies of the book. The subst.i.tuted plate (like many others in the volume) was afterwards considerably "touched up," for it will be noticed that in the earlier impressions Rose's dress is light in tone, while subsequently it was changed to black.

A very circ.u.mstantial story relative to Cruikshank's connection with "Oliver Twist" was published in a Transatlantic journal called _The Round Table_, and reprinted immediately after d.i.c.kens's death in a biography of the novelist by Dr. Shelton Mackenzie, who avers that he had been informed that d.i.c.kens intended to locate Oliver in Kent, and to introduce hop-picking and other picturesque features of the county he knew so well: that the author changed his purpose, and brought the boy to London: and further, that for such important alterations in the plot Cruikshank was responsible. But the more remarkable portion of this narrative is Dr. Mackenzie's account of his visit to Cruikshank in 1847, at the artist's house in Myddleton Terrace, Pentonville, concerning which he writes:--

"I had to wait while he was finis.h.i.+ng an etching, for which a printer's boy was waiting. To while away the time, I gladly complied with his suggestion that I should look over a portfolio crowded with etchings, proofs, and drawings, which lay upon the sofa. Among these, carelessly tied together in a wrap of brown paper, was a series of some twenty-five to thirty drawings, very carefully finished, through most of which were carried the now well-known portraits of f.a.gin, Bill Sikes and his dog, Nancy, the Artful Dodger, and Master Charles Bates--all well known to the readers of 'Oliver Twist'--and many others who were not introduced.

There was no mistake about it, and when Cruikshank turned round, his work finished, I said as much. He told me that it had long been in his mind to show the life of a London thief by a series of drawings, engraved by himself, in which, without a single line of letterpress, the story would be strikingly and clearly told. 'd.i.c.kens,' he continued, 'dropped in here one day just as you have done, and, while waiting until I could speak with him, took up that identical portfolio and ferreted out that bundle of drawings. When he came to that one which represents f.a.gin in the condemned cell, he silently studied it for half-an-hour, and told me that he was tempted to change the whole plot of his story; not to carry Oliver Twist through adventures in the country, but to take him up into the thieves' den in London, show what their life was, and bring Oliver safely through it without sin or shame. I consented to let him write up to as many of the designs as he thought would suit his purpose; and that was the way in which f.a.gin, Sikes, and Nancy were created. My drawings suggested them, rather than his strong individuality suggested my drawings."

PLATE X

"OLIVER AMAZED AT THE DODGER'S MODE OF 'GOING TO WORK'"

_Facsimile_ of the First Sketch for the Etching by

GEORGE CRUIKSHANK

[Ill.u.s.tration]

Forster naturally characterises this story as a deliberate untruth, related with "a minute conscientiousness and particularity of detail that might have raised the reputation of Sir Benjamin Backbite himself,"

and points out that the artist's version, as here narrated, is completely refuted by d.i.c.kens's letter to Cruikshank, which unquestionably proves that the closing ill.u.s.trations had not even been seen by the novelist until the book was ready for publication.

Cruikshank, on reading in the _Times_ a criticism of Forster's biography, in which this charge against d.i.c.kens was commented upon, at once indited the following letter to that journal, where it appeared on December 30, 1871:--

"_To the Editor of 'The Times._'

"SIR,--As my name is mentioned in the second notice of Mr.

John Forster's 'Life of Charles d.i.c.kens,' in your paper of the 26th inst., in connection with a statement made by an American gentleman (Dr. Shelton Mackenzie) respecting the origin of 'Oliver Twist,' I shall be obliged if you will allow me to give some explanation upon this subject. For some time past I have been preparing a work for publication, in which I intend to give an account of the origin of 'Oliver Twist,' and I now not only deeply regret the sudden and unexpected decease of Mr. Charles d.i.c.kens, but regret also that my proposed work was not published during his life-time. I should not now have brought this matter forward, but as Dr. Mackenzie states that he got the information from me, and as Mr. Forster declares his statement to be a falsehood, to which, in fact, he would apply a word of three letters, I feel called upon, not only to defend the Doctor, but myself also from such a gross imputation. Dr. Mackenzie has confused some circ.u.mstances with respect to Mr. d.i.c.kens looking over some drawings and sketches in my studio, but there is no doubt whatever that I did tell this gentleman that I was the originator of the story of 'Oliver Twist,' as I have told very many others who may have spoken to me on the subject, and which facts I now beg permission to repeat in the columns of the _Times_, for the information of Mr. Forster and the public generally.

"When _Bentley's Miscellany_ was first started, it was arranged that Charles d.i.c.kens should write a serial in it, and which was to be ill.u.s.trated by me; and in a conversation with him as to what the subject should be for the first serial, I suggested to Mr. d.i.c.kens that he should write the life of a London boy, and strongly advised him to do this, a.s.suring him that I would furnish him with the subject and supply him with all the characters, which my large experience of London life would enable me to do.

"My idea was to raise a boy from a most humble position up to a high and respectable one--in fact, to ill.u.s.trate one of those cases of common occurrence, where men of humble origin, by natural ability, industry, honest and honourable conduct, raise themselves to first-cla.s.s positions in Society. And as I wished particularly to bring the habits and manners of the thieves of London before the public (and this for a most important purpose, which I shall explain one of these days), I suggested that the poor boy should fall among thieves, but that his honesty and natural good disposition should enable him to pa.s.s through this ordeal without contamination; and after I had fully described the full-grown thieves (the Bill Sykeses) and their female companions, also the young thieves (the Artful Dodgers) and the receivers of stolen goods, Mr. d.i.c.kens agreed to act on my suggestion, and the work was commenced, but we differed as to what sort of boy the hero should be. Mr. d.i.c.kens wanted rather a queer kind of chap, and, although this was contrary to my original idea, I complied with his request, feeling that it would not be right to dictate too much to the writer of the story, and then appeared 'Oliver Asking for More;' but it so happened just about this time that an inquiry was being made in the parish of St. James's, Westminster, as to the cause of the death of some of the workhouse children who had been 'farmed out,' and in which inquiry my late friend Joseph Pettigrew (surgeon to the Dukes of Kent and Suss.e.x) came forward on the part of the poor children, and by his interference was mainly the cause of saving the lives of many of these poor little creatures.

I called the attention of Mr. d.i.c.kens to this inquiry, and said that if he took up this matter, his doing so might help to save many a poor child from injury and death; and I earnestly begged of him to let me make Oliver a nice pretty little boy, and if we so represented him, the public--and particularly the ladies--would be sure to take a greater interest in him, and the work would then be a certain success. Mr. d.i.c.kens agreed to that request, and I need not add here that my prophecy was fulfilled: and if any one will take the trouble to look at my representations of 'Oliver,'

they will see that the appearance of the boy is altered after the two first ill.u.s.trations, and, by a reference to the records of St. James's parish, and to the date of the publication of the _Miscellany_, they will see that both dates tally, and therefore support my statement.

PLATE XI

STUDIES FOR

BILL SIKES, NANCY, AND THE ARTFUL DODGER

_Facsimile_ of Original Sketches by

GEORGE CRUIKSHANK

_Lent by Messrs. Robson & Co._

[Ill.u.s.tration]

"I had, a long time previously to this, directed Mr.

d.i.c.kens's attention to Field Lane, Holborn Hill, wherein resided many thieves and receivers of stolen goods, and it was suggested that one of these receivers, a Jew, should be introduced into the story; and upon one occasion Mr. d.i.c.kens and Mr. Harrison Ainsworth called upon me at my house in Myddleton Terrace, Pentonville, and in course of conversation I then and there described and performed the character of one of these Jew receivers, whom I had long had my eye upon; and this was the origin of 'f.a.gin.'

"Some time after this, Mr. Ainsworth said to me one day, 'I was so much struck with your description of that Jew to Mr.

d.i.c.kens, that I think you and I could do something together,' which notion of Mr. Ainsworth's, as most people are aware, was afterwards carried out in various works. Long before 'Oliver Twist' was ever thought of, I had, by permission of the city authorities, made a sketch of one of the condemned cells in Newgate prison; and as I had a great object in letting the public see what sort of places these cells were, and how they were furnished, and also to show a wretched condemned criminal therein, I thought it desirable to introduce such a subject into this work; but I had the greatest difficulty to get Mr. d.i.c.kens to allow me to carry out my wishes in this respect; but I said I must have either what is called a Christian or what is called a Jew in a condemned cell, and therefore it must be 'Bill Sikes' or 'f.a.gin;' at length he allowed me to exhibit the latter.

"Without going further into particulars, I think it will be allowed from what I have stated that I am the originator of 'Oliver Twist,' and that all the princ.i.p.al characters are mine; but I was much disappointed by Mr. d.i.c.kens not fully carrying out my first suggestion.

"I must here mention that nearly all the designs were made from conversation and mutual suggestion upon each subject, and that I never saw any ma.n.u.script of Mr. d.i.c.kens until the work was nearly finished, and the letter of Mr. d.i.c.kens which Mr. Forster mentions only refers to the last etching--done in great haste--no proper time being allowed, and of a subject without any interest; in fact, there was not anything in the latter part of the ma.n.u.script that would suggest an ill.u.s.tration; but to oblige Mr. d.i.c.kens I did my best to produce another etching, working hard day and night, but when done, what is it? Why, merely a lady and a boy standing inside of a church looking at a stone wall!

"Mr. d.i.c.kens named all the characters in this work himself, but before he had commenced writing the story he told me that he had heard an omnibus conductor mention some one as Oliver Twist, which name, he said, he would give the boy, as he thought it would answer his purpose. I wanted the boy to have a very different name, such as Frank Foundling or Frank Steadfast; but I think the word Twist proves to a certain extent that the boy he was going to employ for his purpose was a very different sort of boy from the one introduced and recommended to him by, Sir, your obedient servant,

"GEORGE CRUIKSHANK.

"HAMPSTEAD ROAD, _December 29, 1871_."

PLATE XII

STUDIES FOR