Studies in Literature and History Part 4

The book's success, Mrs. Ritchie tells us, was slow; the sale hung fire. 'One has heard of the journeys which the ma.n.u.script made to various publishers' houses before it could find any one ready to undertake the venture, and how long its appearance was delayed by various doubts and hesitations, until it was at last brought out in its yellow covers by Messrs. Bradbury and Evans on January 1, 1847.'

But when the last numbers were appearing Thackeray wrote that, 'although it does everything but sell, it appears really to increase my reputation immensely'--as it a.s.suredly did. That a signal success in literature is nearly always achieved, not by following the beaten road, but by a bold departure from it, is a principle that could be abundantly established by examples, and which seems almost a truism when it is stated. _Vanity Fair_ was decidedly a work of great freshness and originality; but publishers are circ.u.mspect and rarely adventurous, they distrust novelties and prefer to follow the prevailing fas.h.i.+on as far as it will go, wherein we may discern one reason why the accouchement of the first literary child is usually so laborious.

To criticise at length any single novel of Thackeray's would be far beyond the scope or purpose of this article. Our object is rather to ill.u.s.trate the course and development of his distinctive literary qualities, the slow effacement of prejudices which never entirely disappeared, and the rapid expansion of his highest artistic faculties. To begin with the prejudices. In _Vanity Fair_ he still makes merciless war upon the poor paltry sn.o.b, whom one must suppose to have infested English society of that day in a very rampant form; though unless we have had great changes for the better in the last fifty years, one might suspect exaggeration. And another important reform of manners must have supervened in the same period if we are to believe that in these novels the English servant is not unfairly caricatured. As we know him at the present day, in the cla.s.s that lives with gentle-folk, he may be touchy and troublesome, with much self-a.s.sertiveness, but also with much self-respect. He has as many faults as other people, but among them brutal rudeness is practically unknown; yet when Rebecca Sharp is driven in Mr. Sedley's carriage to Sir Pitt Crawley's, having given nothing to the domestics on leaving the Sedleys, the coachman is ludicrously rude to a poor governess.

'"I shall write to Mr. Sedley, and inform him of your conduct,"

said Miss Sharp to him.

'"Don't," replied that functionary; "I hope you've forgot nothink?

Miss 'Melia's gownds--have you got them--as the lady's maid was to have 'ad? I hope they'll fit you. Shut the door, Jim, you'll get no good out of _'er_," continued John, pointing with his thumb towards Miss Sharp; "a bad lot, I tell you, a bad lot."'

One may conjecture that Thackeray's natural turn for comic burlesque, which comes out so plainly in his drawings, had become ingrained and inveterate by early practice, and certainly his immoderate delight in setting sn.o.bs and flunkeys on a pillory became a flaw in the perfection of his higher composition. It might well produce, among foreigners at any rate, an unreal impression of the true relations existing between different cla.s.ses of English society.

But these are slight blemishes upon the surface of an epoch-making book, for _Vanity Fair_ inaugurated a new school of novel-writing in this country, with its combined vigour and subtlety of character-drawing, and with the marvellous dexterity of its scenes and dramatic situations. The army and military life in all its phases had a remarkable attraction for him; in all his larger books one or more officers are brought prominently upon the foreground of his canvas. He hits off the strong and weak points of the profession, in war and peace, with a truth and humour that gave freshness and originality to the whole subject, and the best of these pictures are in _Vanity Fair_. There is not one of its leading _militaires_--Dobbin and Osborne, Crawley and Major O'Dowd--in whom a typical representative of well-known varieties may not be recognised. His fine picturesque handiwork, his consistent preference of the real to the romantic, and his reserve in the use of such tempting materials as the battlefield affords to the story-teller, are shown in his treatment of the episode of Waterloo. He is far too good an artist to lay out for us a grand scene of fierce fighting and carnage; nor does he, like Lever, produce Wellington and Bonaparte acting or speaking up to the popular conception of these mighty heroes. He is content to follow his own personages into that famous field, and to show how perilous circ.u.mstance brings out the force or feebleness of each character, male and female, whether of the wives left behind at Brussels, or the soldiers in the fighting line at Waterloo. It is only at the end of his chapter, after some seriocomic incidents and dialogues exhibiting the behaviour of the non-combatants--of Jos Sedley, Mrs. O'Dowd, Lady Bareacres, and the rest--that his narrative rises suddenly to the epic note in a brief pa.s.sage full of admirable energy and pathos:

'All our friends took their share and fought like men in the great field. All day long, whilst the women were praying ten miles away, the lines of the dauntless English infantry were receiving and repelling the furious charges of the French hors.e.m.e.n. Guns which were heard at Brussels were ploughing up their ranks, and comrades falling, and the resolute survivors closing in. Toward evening the attack of the French, repeated and resisted so bravely, slackened in its fury ... they were preparing for a final onset. It came at last, the columns of the Imperial Guard marched up the hill of St.

Jean.... Unscared by the thunder of the artillery, which hurled death from the English line, the dark rolling column pressed on and up the hill. It seemed almost to crest the eminence, when it began to wave and falter. Then it stopped, still facing the shot. Then at last the English troops rushed from the post from which no enemy had been able to dislodge them, and the Guard turned and fled.

'No more firing was heard at Brussels; the pursuit rolled miles away. Darkness came down on the field and city; and Amelia was praying for George who was lying on his face, dead, with a bullet through his heart.'

The military critic might pick holes in this description, and Thackeray might as well have thrown the English infantry into squares instead of into line. Yet the pa.s.sage is instinct with compressed emotion; and the sudden transition from the general battle to the single death is a good touch of tragic art.

In _Pendennis_ (1850) we may discern the slowly softening influences of years that bring the philosophic mind, of a calmer and easier time, and perhaps also of a different cla.s.s of readers. Thackeray has now discovered that, as he says in his preface, 'to describe a real rascal you must make him too hideous to show;' and that 'Society will not tolerate the Natural in our Art.' Even the attempt to describe, in _Pendennis_, one of 'the gentlemen of our age, no better nor worse than most educated men,' has startled the prudery of the public for whom he now finds himself writing. 'Many ladies have remonstrated, and subscribers left me, because, in the course of the story, I described a young man resisting and affected by temptation.' Here, again, is another instance of the changes which rules of taste and convention may undergo in the course of a generation; for surely not even the straitest middle-cla.s.s sect would in our day banish _Pendennis_ on the score of impropriety. Mrs. Ritchie mentions that the author's descriptions of literary life were criticised on the ground that he was trying to win favour with the non-literary cla.s.ses by decrying his own profession--an absurd accusation which nettled him into replying.

The truth seems to be that Thackeray, who poked fun at the weak sides of every cla.s.s and calling, saw no reason why he should leave out his own; and the men of letters might have been comforted by observing that he dealt with them much more tenderly than with their natural enemy the publisher, who has taken philosophically, for all we have ever heard, the unmerciful caricatures of Bungay and Bacon in Paternoster Row. Yet it may have been annoying to find such a writer confidentially whispering to his readers 'that there is no race of people who talk about books, or perhaps read books, so little as literary men.'

_Pendennis_ is in Thackeray's best style, as the novelist of manners.

It opens, like _Vanity Fair_, with a short amusing scene that poses, as the French say, some leading actor in the play, and encourages the reader to go on. Next follows, as is usual with our author, a short retrospective account of the people and places among whom the plot is laid, with a descriptive pedigree of his hero. In his habit of setting his portraits in a framework of family history (compare the Crawleys, the Newcomes, the Esmonds) he resembles, though with less prolixity, Balzac, and he displays much knowledge and observation of English provincial life. He is, we imagine, the first high-cla.s.s writer who brought the Bohemian, possibly an importation from France, into the English novel; and the contrast between the seedy strolling adventurer and strait-laced respectability provides him with material for inexhaustible irony, with much good-natured sympathy for the waifs and strays. He has always a soft corner in his heart for reckless hardihood; and every one must be glad that his 'poor friend Colonel Altamont,' who had been doomed to execution, was respited at the last moment, as Thackeray tells us in his preface, on the very technical plea that the author had not sufficient experience of gaol-birds and the gallows. Merciful good nature toward a daring scamp, who was free with his money and kind to women, was probably at the bottom of the condonation. We know from a paper, reproduced (to our thinking unnecessarily) in one of these volumes, that in 1840 Thackeray went to see Courvoisier hanged, and was so much upset by the spectacle that he prayed for the abolition of capital punishment to wipe out its stain of national blood-guiltiness. It may be noticed, moreover, that his stern denunciation of crime and folly has by this time settled down into a philosophic mood that is almost fatalistic, as when he suggests that 'circ.u.mstance only brings out the latent defect or quality, and does not create it'; that 'our mental changes are, like our grey hairs and wrinkles, no more than the fulfilment of the plan of mortal growth and decay,' so that each man is born with the natural seed of fortune or failure. The voyage of life

'has been prosperous, and you are riding into port, the people huzzaing and the guns saluting, and the lucky captain bows from the s.h.i.+p's side, and there is a care under the star on his breast that n.o.body knows of; or you are wrecked and lashed, hopeless, to a solitary spar out at sea; the sinking man and the successful one are thinking each about home, very likely, and remembering the time when they were children; alone on the hopeless spar, drowning out of sight; alone in the midst of the crowd applauding you.'

In such fine pa.s.sages as these we hear the elegiac strain of the antique world, wherein remorseless fate held dominion over human efforts and destiny. Like other great writers who are touched with humorous melancholy, he falls often into the moralising vein; he stops his narrative to address his reader with some ironical observation, after the manner of Fielding, whose leisurely tone of satire is so audible in the following quotation from _Pendennis_ that he might well have written it:

'Even his child, his cruel Emily, he would have taken to his heart and forgiven with tears; and what more can one say of the Christian charity of a man than that he is actually ready to forgive those who have done him every kindness, and with whom he is wrong in a dispute?'

As we have said that _Vanity Fair_ touches the climax of Thackeray's peculiar genius, so in our judgment _Esmond_ shows the gathered strength and maturity of his literary power, and has won for him an eminent place in the distinguished order of historical novelists. We may say that the art of historical romance was brought to perfection in our own century, although French writers trace far back into the eighteenth century, and even further, the method of weaving authentic events and famous personages into the tissue of a story which turns upon fict.i.tious adventures in love and war. The elder novelists dealt largely in extravagant sentiment, in conventional language, and in marvellous exploits embroidered upon the sober chronicles which served as the framework of their drama; they were content to set upon stilts the traditional hero or heroine of former days, whose ideas and conversation expressed with little disguise the manners, not of the period to which they belonged, but of the author's own time and of the society for whom he was writing. These books are, therefore, full of glaring anachronisms and improbabilities; the knights and dames are sometimes (as in the _Grand Cyrus_) thinly veiled portraits of contemporary notabilities, but they are often mere lay figures representing the prevailing fas.h.i.+ons of thought and feeling. The virtuous hero abounds in judicious reflections; the heroines are chaste and beauteous damsels--Joan of Arc herself appears in one romance as an adorable shepherdess--and love-making is conducted after the model of a Parisian _precieuse_.

It is the opinion of a recent French critic, who has made careful study of his subject, that the new school was founded by Chateaubriand, who first, at the last century's end, laid an axe to the root of all this rhetorical artifice, these frigid and grotesque incongruities, and filled his romances with local colour, stamping them with the impress of reality and conformity to nature, by picturesque reproduction of the landscape, costumes, usages, and conditions of existence of the time and country in which he might be unwinding his tale. But Chateaubriand, like Byron (who was of a similar temperament), never could put himself, to use a French phrase, into another man's skin; he is to be detected soliloquising and dispensing n.o.ble sentiments under the costume of a Christian martyr or an American savage, and thus the fidelity of his scene-painting was still marred by the artificiality of the discourse. It was the Waverley novel that lifted the historical romance far beyond Chateaubriand's level, that established it, in England, France, and Italy on the true principle of creating vivid representations of a bygone age by a skilful mixture of fact and fiction, and by a correct and harmonious combination of characters, manners, and environment.

But during the twenty years that intervene between the dates, taken roughly, of Scott's worst novel and Thackeray's best, the flood tide of romanticism had risen to its highest point, and had then ebbed very low, on both sides of the British Channel. And we can see that the younger writer was no votary of the older school of high-flying chivalrous romance, with its tournaments, its crusaders, its valiant warriors, and distressed maidens. His youthful aversion for shams and conventionalities, his strong propensity toward burlesque and persiflage, his early life among cities and commonplace folk, seem to have obscured in some degree his appreciation of even such splendid compositions as _Ivanhoe_ or _The Talisman_; or, at any rate, his sense of the ridiculous overpowered his admiration. The result was that, as Scott had exalted his mediaeval heroes and heroines far above the level of real life, had revived the legendary age of chivalry and adventure with all the magnificence of his poetic imagination, Thackeray had at first set himself, conversely, to strip the trappings off these fine folk, and to poke his fun at the feudal lords and ladies by treating them as ordinary middle-cla.s.s men and women masquerading in old armour or drapery. He came in as a writer on the ebb-tide of romanticism, when the reaction showed its popular form in a curious outburst of the taste for burlesques and parodies on the stage and in the light reading of the time. Whether the creation of this taste is to be ascribed to the appearance of two writers with such genius for wit and fun as Thackeray and d.i.c.kens, or whether they only supplied a natural demand, may be questionable; they undoubtedly headed the army of Comus, and thereby raised the whole standard of facetious literature. But the defect of this school was its propensity to take a hilarious or sardonic view, not only of mediaeval romance, but of quaint old times generally; and one leading embodiment of this mocking spirit was _Punch_ founded in 1841. A'Beckett's _Comic History of England_, which ran through many numbers, seems to this generation a dreary and deleterious specimen of misplaced farce; though historically it is not quite such bad work as d.i.c.kens's _Child's History of England_, which he meant to be serious. Among Thackeray's very numerous contributions to _Punch_ are _Miss Tickletoby's Lectures on English History_, which might well have been consigned to oblivion, _Rebecca and Rowena_, and _The Prize Novelists_. The sarcastic and the sentimental temper must always be hostile to each other; between romance and ridicule the antipathy is fundamental; and although one regrets that he ever wrote _Rebecca and Rowena_, the melodramatic novels of Bulwer-Lytton were fair enough game for the parodist. However, it is certain that in his earlier writings Thackeray did much to laugh away the novel of mediaeval chivalry; and while we think he often carried his irreverent jocosity much too far, since after all chivalry is better than c.o.c.kneyism, we may award him the very high honour of becoming, latterly, one of the founders of a new and admirable historical school in England.

The eighteenth century was always Thackeray's favourite period; he liked the rational, unpretentious tone of its best literature, its practical politics and tolerance, its common sense, and its habit of keeping very close, in art as in action, to the realities of the world as we find it. Swift is the most unromantic of any writer that possessed great imaginative faculty; Defoe was a master of minute life-like detail, an inimitable imitator of truth; Hogarth's paintings are like Wesley's or Whitefield's sermons, they are stern, unvarnished denunciations of vice and profligacy; Fielding was the easy, large-hearted moralist, who hated above all sins cant and knavery, loved to banter the parsons, to bring fops and b.o.o.bies upon his stage, and to place in contrast the wide difference that then separated manners in town and in country. Perhaps Thackeray owes more to Fielding than to any other single literary ancestor; but all these influences were most congenial to his temperament, and informed his best work. His instinctive dislike of unreality, exaggeration, and fanciful ideals would have always prevented him from laying the situation of his story in some distant age, of which hardly anything is known accurately, and supplementing his ignorance by giving free scope to fantastic invention, as was the usage of the humble followers who tried in vain to conjure with the wand of Scott. He required a period which he could study, master, and sympathise with, and he found it in the eighteenth century; though in _Esmond_ the plot, being founded on Jacobite intrigues and conspiracies, opens with the Revolution of 1688. He had taken great trouble, as usual, with the localities, knowing well that you never understand a battle clearly until you have seen its field.

'"I was pleased to find Blenheim," he wrote to his mother, "was just exactly the place I had figured to myself, except that the village is larger; but I fancied I had actually been there, so like the aspect of it was to what I looked for. I saw the brook which Harry Esmond crossed, and almost the spot where he fell wounded."'

Mrs. Ritchie quotes this letter as ill.u.s.trating 'a sort of second sight as to places which my father used to speak of'; and it certainly attests his possession of the strong imaginative faculty which puts together vivid mental pictures.

The first page strikes the note of disenchantment, of escape from the spell of conventionalism and the sh.o.r.es of romance. Colonel Esmond, who tells his own tale, wishes the Muse of History to disrobe, to discard her buskins, and to deliver herself like a woman of the everyday world.

'I wonder shall History ever pull off her periwig and cease to be court-ridden? Shall we see something of France and England besides Versailles and Windsor? I saw Queen Anne tearing down the Park slopes after her staghounds, in her one-horse chaise--a hot redfaced woman.... She was neither better bred nor wiser than you and me, though we knelt to hand her a letter or a washhand basin.

Why shall History go on kneeling to the end of time? I am for having her rise off her knees, and take her natural posture, not to be for ever performing cringes and congees like a Court chamberlain, and shuffling backward out of doors in the presence of the sovereign. In a word, I would have History familiar rather than heroic.'

No very deep philosophy in this, we might say, for surely historians up to Esmond's day had not all been pompous and servile, while something like dignity is desirable. But here we have Thackeray speaking through Esmond his own thoughts about history, and proclaiming the rise of naturalism against the romantic high-heeled school. And in a much later chapter, where Esmond visits Addison, we have the true realistic method of Tolstoi and other quite modern novelists, as compared with the old cla.s.sic style of describing war.

Addison has been writing a poem on the Blenheim campaign:

'"I admire your art," says Esmond to Addison; "the murder of the campaign is done to military music, like a battle at the opera, and the virgins shriek in harmony, as our victorious grenadiers march into their villages. Do you know what a scene it was? what a triumph you are celebrating, what scenes of shame and horror were enacted, over which the commander's genius presided as calm as though he didn't belong to our sphere? You talk of 'the listening soldier fixed in sorrow,' the 'leader's grief swayed by generous pity'; to my belief the leader cared no more for bleating flocks than he did for infants' cries, and many of our ruffians butchered one or the other with equal alacrity. You hew out of your polished verses a stately image of smiling victory; I tell you 'tis an uncouth, distorted, savage idol, hideous, b.l.o.o.d.y, and barbarous.

The rites performed before it are shocking to think of. You great poets should show it as it is, ugly and horrible, not beautiful and serene."'

When Colonel Esmond has to describe the battles in which he himself took part, he avoids, as might be supposed, the high romantic style.

But he does not, therefore, fall on the other side, into the mire of the writers who at the present day conscientiously give us the horrors of the hospital and all the brutalities of war, which Esmond knows, but does not choose to set down in his memoir. In his account of the Blenheim victory there is a skilful touch of the professional soldier, who records briefly the position of the armies and the tactical movements; and it lights up with suppressed enthusiasm when he records the intrepidity of the English regiments in that fierce and famous struggle. We read of Major-General Wilkes,

'on foot, at the head of the attacking column, marching with his hat off intrepidly in the face of the enemy, who was pouring in a tremendous fire from his guns and musketry, to which our people were instructed not to reply except with pike and bayonet when they reached the French palisades. To these Wilkes walked intrepidly, and struck the woodwork with his sword before our people charged it. He was shot down on the instant, with his colonel, major, and several officers,'

and the a.s.sault was repelled with great slaughter.

In this and other similar pa.s.sages, you have the historic novelist at his best; the true facts are selected and arranged so as to form pictures of soul-stirring action; while their connection with his story is maintained by giving Esmond himself a very modest and natural share in the glorious victory:

'And now the conquerors were met by a furious charge of the English horse under Esmond's general, Lumley, behind whose squadrons the flying foot took refuge and formed again, while Lumley drove back the French horse, charging up to the village of Blenheim and the palisades where Wilkes, and many hundred more gallant Englishmen, lay in slaughtered heaps. Beyond this moment, and of this famous victory, Mr. Esmond knows nothing, for a shot brought down his horse and our young gentleman on it, who fell crushed and stunned under the animal.'

A lesser artist would have made his hero perform some brilliant exploit; but Thackeray prefers to sketch the scene as Wouvermans might have done it. We have not here the incomparable fire and spirit which Scott throws into the skirmishes at Bothwell Brig and Drumclog; we see the difference of mind and method; but we can have nothing except admiration for the rare imaginative faculty which enabled a quiet man of letters to deal so finely and faithfully, with such reserve and discrimination, with a subject that might easily have been spoiled by the noisy clatter and coa.r.s.e colouring of the inferior artist. His full length portrait of Marlborough has been too often quoted to be reproduced here--'impa.s.sible before victory, before danger, before defeat; the splendid calm of his face as he rode along the lines to battle, or galloped up in the nick of time to a battalion reeling before the enemy's charge or shot.' Of Swift, Esmond says--'I have always thought of him and of Marlborough as the two greatest men of that age ... a lonely fallen Prometheus, groaning as the vultures tear him'; and with a few such strokes he gives etchings of other celebrities in letters and politics. One may observe with astonishment that the youthful Thackeray, who delighted in suburban chronicles, in mean lives and paltry incidents, has risen by middle age to the rank of an ill.u.s.trious painter on the broad canvas of history. The annals of literature contain few, if any, other examples of so remarkable a transformation.

It is evident that Thackeray, like Scott, was an industrious collector of material for his novels from all sources; we may refer, for an instance, to a scene which will have left a pa.s.sing impression upon many readers, where, as the French and English armies are facing each other on two sides of a little stream in the Low Countries, Prince Charles Edward rides down to the French bank and exchanges a salute with Esmond. It falls quite naturally and easily into the narrative, and reads like a very happy original conception; yet the incident, which is quite authentic, may be found in the papers obtained in the last century from the Scottish convent at Paris by Macpherson.

In _The Virginians_, which might have had for its second t.i.tle _Forty Years Later_, the chronicle of the Esmond family is continued; with North America during the French war for the battlefields, Braddock, Wolfe, and Was.h.i.+ngton for the military figures, and Esmond's grandsons as the personages round whom the story's interest centres. It is a novel of very great merit, skilfully constructed, full of vivacious writing and delineation of character; and the novelist avails himself with his usual adroitness of the celebrated incidents of this period and the salient features of English society in the middle of the last century. Yet we must reluctantly admit that Thackeray has pa.s.sed his climacteric, and that as a work of the historical school this book cannot claim parity with Esmond. George Warrington was on Braddock's staff at the fatal rout and ma.s.sacre on the Ohio; his brother Harry was with Wolfe on the Plains of Abraham; they witnessed a battle lost and a battle won, and each saw his commander fall. But George's recital of his hairbreadth escape lacks the stern simplicity with which his grandfather told the story of Marlborough's wars; and the device of his being saved from the Indians by a French officer, who was his intimate friend, is so ingenious as to be a trifle commonplace. The author does not sketch in any details or personal adventures from the great fight under the walls of Quebec; he has fallen back, at this part of the story, into personal narrative, and _The Warrington Memoirs_ only describe how the news of Wolfe's victory and death were acclaimed in London. In the War of Independence, George Warrington, who takes the British side, records the feelings and situation of an American Loyalist--a cla.s.s to whom only Mr. Lecky, among historians, has done fair justice. There is much acute and well-informed reflection upon the state of the colonies at this time, the strong currents of party politics, and the exasperation which brought about the rebellion; but, on the whole, this part of the narrative has too much resemblance to real history. It has not enough of the imaginative and picturesque element to lift it above the comparatively prosaic level of an interesting memoir, though some good scenes and situations are obtained by making the two Warrington brothers take opposite sides. When we learn that, in 1759, the English Lord Castlewood repaired his shattered fortunes by marrying an American heiress, we are inclined to suspect that our author has taken a hint from the fas.h.i.+on of a century later.

In the story of _Esmond_ Thackeray dropped the satirical tone, and indulged very rarely indeed in the habit of pausing to moralise, as writer to reader, upon social hypocrisy, servile obsequiousness, and whited sepulchres generally. In _The Virginians_ he is less attentive to dramatic propriety; he begins again to turn aside and lecture us, in the midst of his tale, upon the text of _De te fabula narratur_.

Sir Miles and Lady Warrington are scandalised by their nephew's extravagance, and refuse all help to the spendthrift.

'How much of this behaviour goes on daily in respectable society, think you? You can fancy Lord and Lady Macbeth concocting a murder, and coming together with some little awkwardness, perhaps, when the transaction was done and over; but my Lord and Lady Skinflint, when they consult in their bedroom about giving their luckless nephew a helping hand, and determine to refuse, and go down to family prayers and meet their children and domestics, and discourse virtuously before them...?'

And so on, for a page or two, in a tone that some may think almost as sophistical as the reasoning by which the Skinflints might excuse to themselves their pharisaical behaviour. Such interpolations are artistically incorrect, and out of harmony with the proper conception of a well-wrought work of fiction, in which the moral should be conveyed through the action and the dialogue, and the meditations should be left to be done by the reader himself.

We must, therefore, place _The Virginians_ below _Esmond_ in the order of merit. Nevertheless, these two novels, with _Barry Lyndon_, are most important and valuable contributions to the English historical series. Nothing like them had been written before, and nothing equal has been written after them, with the single exception of _John Inglesant_. They possess one essential quality that ought to distinguish all fiction founded on the history of bygone times--they are, so far as posterity can judge at all, faithful and effective representations of manners. Now, the inferior pract.i.tioner in this particular school, being prevented by indolence or incapacity from mastering his period and acquiring insight into its ways of thought and living, is too often content to cover up his deficiencies by indenting freely on the theatrical wardrobe and armoury. He deals largely in the costumes of the day; he supplies himself plentifully with old-fas.h.i.+oned phrases; he is fond of old furniture; he is strongest, in fact, upon the external and decorative aspect of the society to which he introduces us. Most of the romances written in imitation of Scott had this tendency; and this same feebleness underlies the superfluous minuteness of detail that may be observed in the decadent realists of the present day. Nothing of this sort can be alleged against Thackeray, who works from inward outwardly in his creations of character, and whose personages are truly historical in the sense that they move and speak naturally according to the ideas and circ.u.mstances of their age, the dialect and dress being merely added as appropriate colouring. It is, indeed, a peculiarity of Thackeray's novels, which distinguishes him alike from the romancer and the modern naturalist that they contain hardly any description, that he is never professedly picturesque, that he relies entirely on pa.s.sing strokes and effective details given by the way. In Scott we have superb descriptive pieces of scenery, of storms, of the interiors of a castle or a Gothic cathedral; and some of the best living novelists are much given to elaborate landscape painting. But we doubt whether half a page of deliberately picturesque description can be found in any of Thackeray's first-cla.s.s works. He will sometimes sketch off the inside of a house or the look of a town, but with natural scenery he does not concern himself; he is, for the most part, entirely occupied with the a.n.a.lysis of character, or with the emotional side of life; and he seems constantly to bear in mind the Aristotelian maxim that life consists in action. His princ.i.p.al instrument for the exhibition of motive, for the evolution of his story, for bringing out qualities, is dialogue, which he manages with great dexterity and effect, giving it point and raciness, and avoiding the snare--into which recent social novelists have been falling--of insignificance and prolixity. The method of easy, sparkling, natural dialogue for developing the plot and distinguis.h.i.+ng the personages is said to have been first transferred from the theatre to the novel by Walter Scott. At any rate, the use of it on a large scale, which has since been carried to the verge of abuse, began with the Waverley novels; where we find abundance of that humorous vernacular talk in which Shakespeare excelled, though for the romance Cervantes may be registered as its inventor. In Thackeray's hands dramatic conversation, as of actors on the stage, becomes of very prominent importance, not only for the ill.u.s.tration of manners in society, but also for dressing up the subordinate figures of his company. He is now no longer the caricaturist of earlier days; he employs the popular dialect and comic touches with effective moderation. And he avails himself very freely, in _The Virginians_, of the privilege which belongs to the historical novelist, who is allowed to make the reader acquainted with the notabilities of the period not only for the movement of his drama, but also for a pa.s.sing glance or casual introduction, as might happen in any place of public resort or in a crowded _salon_. Franklin, Johnson, and Richardson, George Selwyn and Lord Chesterfield, cross the stage and disappear, after a few remarks of their own or the author's. For military officers, who figure in all his novels, he has ever a kindly word; and also for sailors, although it is only in his last (unfinished) novel that he takes up the navy. For English clergymen, especially for bishops, he has no indulgence at all; and he seems to be possessed by the commonplace error of believing that the prevailing types of the Anglican Church in the eighteenth century were the courtier-bishop and the humble obsequious chaplain. The typical Irishman of fiction, with his mixture of recklessness and cunning, warm-hearted and unveracious, is to be found, we think, in every one of Thackeray's larger novels, except in _The Virginians_; the Scotsman is rare, having been considerably used up by Walter Scott and his a.s.siduous imitators. We may notice (parenthetically) that our own day is witnessing a marvellous revival of Highlanders and Lowlanders in fiction, from Jacobite adventures to the pawky wit and humble incidents of the kailyard.

In _The Newcomes_ we return regretfully to the novel of contemporary society; wherewith disappears all the light haze of enchantment that hangs over the revival of distant times, even though they lie no further behind us than the eighteenth century. Such a change of scene necessitates and completes the transition from the romantic to the realistic; for how can a picture of our own environment, which any one can verify, avoid being more or less photographic? In one sense it is a continuation of the historic novel, which has only to put off its archaic or literary costume to appear as a presentation of social history brought up to date; the method of minute description, the portrayal of manners, are the same, with the drawback that the celebrities of the day must be kept off the stage. Any eighteenth-century personage might figure, with effect, in _The Virginians_, while Macaulay and Palmerston could hardly have been sketched off, however briefly and good-naturedly, in _The Newcomes_.

In all essential respects the tone and treatment are unaltered in the two stories; although the ironical spirit, restrained in the historical novels by a sense of dramatic consistency, is again among us having great wrath, as Thackeray surveys the aspect of the London world around him. The character of Colonel Newcome, his distinguished gallantry, his spotless honour, his simplicity and credulity, is drawn with truth and tenderness; and some of the lesser folk are admirable for their kindliness and unselfishness. But what a society is this in which the Colonel is landed upon his return from India! He calls, with his son, at his brother's house in Bryanston Square:

'"It's my father," said Clive to the "menial" who opened the door; "my aunt will see Colonel Newcome."

'"Missis not at home," said the man. "Missis is gone in the carriage. Not at this door. Take them things down the area steps, young man," bawls out the domestic to a pastry-cook's boy ... and John struggles back, closing the door on the astonished Colonel.'

An astonishment that most Londoners of his time would have a.s.suredly shared; unless, indeed, the West-end doorstep has gained wonderfully by the scrubbing of sixty years. On the relations between masters and servants Thackeray was never more severe than in this book; he is irritated by the marching in of the household brigade to family prayers, and he declares that we 'know no more of that race which inhabits the bas.e.m.e.nt floor, than of the men and brethren of Timbuctoo, to whom some among us send missionaries'--a monstrous imputation. He constantly resumes the moralising att.i.tude; and his pungent persiflage is poured out, as if from an apocalyptic vial, upon worldliness and fas.h.i.+onable insolence. Sir Barnes Newcome's divorce from the unhappy Lady Clara furnishes a text for sad and solemn anathema upon the mercenary marriages in Hanover Square, where 'St.

George of England may behold virgin after virgin offered up to the devouring monster, Mammon, may see virgin after virgin given away, just as in the Soldan of Babylon's time, but with never a champion to come to the rescue.' We would by no means withhold from the modern satirist of manners the privilege of using forcibly figurative language or of putting a lash to his whip. Yet if his novels are, as we have suggested, to be regarded as historical, in the sense of recording impressions drawn from life for the benefit of posterity, such pa.s.sages as those just quoted from Thackeray raise the general question whether doc.u.mentary evidence of this kind as to the state of society at a given period is as valuable and trustworthy as it has usually been reckoned to be. He has himself declared that 'upon the morals and national manners, works of satire afford a world of light that one would in vain look for in regular books of history'--that _Pickwick_, _Roderick Random_, and _Tom Jones_, 'give us a better idea of the state and ways of the people than one could gather from any pompous or authentic histories.' Whether Fielding and Smollett's contemporaries would have endorsed this opinion is the real question; for on such a point the judgment of Thackeray, who lived a century after them, cannot be conclusive. It is probable that to an Englishman of that day the novels of these two authors appeared to be extraordinary caricatures of actual society, in town or country.

On the other hand, the story is excellently conducted, and each actor performs with consummate skill his part or hers; for in none of his works has Thackeray given higher proof of that dramatic power which brings out situations, leads on to the _denouement_, and points the moral of the story, by a skilful manipulation of various incidents and a remarkably numerous variety of characters. There, is one chapter (ix. of vol. II.), headed 'Two or Three Acts of a Little Comedy,'

where he carries on the plot entirely by a light and sparkling dialogue which may be compared to some of A. de Musset's wittiest _Proverbes_. It is a book that could only have been composed by a first-cla.s.s artist in the maturity of his powers; and for that very reason we must regret that it is steeped in bitterness; while Thackeray's rooted hostility to mothers-in-law misguides him into the aesthetic error of admitting a virago to scold frantically almost over the colonel's death-bed. The unvarying meanness and selfishness of Mrs. Mackenzie, and of Sir Barnes Newcome, fatigue the reader; for whereas in the delineation of his amiable and high-principled characters Thackeray is careful to shade off their bright qualities by a mixture of natural weakness, these ill-favoured portraits stand out in the full glare of unredeemed insolence and low cunning.

In his last novel, broken off half-way by his death, Thackeray went back once more to that eighteenth century, which, as he says in one of his letters, 'occupied him to the exclusion almost of the nineteenth,'

and to the method of weaving fiction out of historical materials. We have already remarked upon his practice of opening with a kind of family history, which explains the antecedent connections, relations.h.i.+p, and pedigree of the persons who are coming upon the stage, and marks out the background of his story. In _Denis Duval_ he carries this preamble through two chapters, and arranges all the pieces on his board so carefully that an inattentive reader might lose his way among the preliminary details. One sees with what pleasure he has studied his favourite period in France and England, and how he enjoyed constructing, like Defoe, a fict.i.tious autobiography that reads like a picturesque and genuine memoir of the times. Having thus laid out his plan, and prepared his _mise en scene_, he begins his third chapter with an animated entry of his actors, who thenceforward play their parts in a succession of incidents and adventures, that are all adjusted and fitted in to the framework of time and place that he has taken so much pains to design for them. In this manner he touches upon the great events of contemporary history, like the French War, or ill.u.s.trates the state of England by bringing in highwaymen and the press-gang; while a minute description of localities lends an air of simplicity to the tale of an old man who has (as he says) an extraordinarily clear remembrance of his boyhood.

The Notes which appeared in the _Cornhill Magazine_, June 1864, as an epilogue to the last lines written by Thackeray, when the story stopped abruptly, throw curious light on the methods of gathering his material and preparing his work. Just as he visited the Blenheim battlefield, when he was engaged upon _Esmond_, so he went down to Romney Marsh, where Denis Duval was born and bred, surveyed Rye and Winchelsea as if he were drawing plans of those towns, and collected local traditions of the coast and the country, of the smugglers, the Huguenot settlements, and the old war time of 1778-82. The _Annual Register_ and the _Gentleman's Magazine_ furnished him with suggestive incidents and circ.u.mstantial reports which he expanded with admirable fertility of imagination; so that by combining what he saw with what he read he could lift the curtain and light up again an obscure corner of the Kentish coast, and the doings of the queer folk who lived on it a century before he went there. That he never finished this novel is much to be lamented, for Denis had just become a mids.h.i.+pman on board the _Serapis_, and we learn from these 'Notes' that he was to take part in the great fight which ended in the capture of that s.h.i.+p by Paul Jones, after the most b.l.o.o.d.y and desperate duel in the long and glorious record of the British Navy. Captain Pearson, who commanded the _Serapis_, reported his defeat to the Admiralty in a letter of which 'Mr. Thackeray seems to have thought much,' and, indeed, it is precisely the sort of doc.u.ment--quiet, formal, with a masculine contempt for adjectives (there is not one in the whole letter)--which denotes a character after Thackeray's own heart.