Chapter VII: The Future of Dickens's Fame (2)

In everything, whether animate or inanimate, he found out at once the characteristic feature, and reproduced it in words of faultless precision. This is the real secret of his descriptive power, the exercise of which it would be easy to pursue through many other classes of subjects. Scenery, for its own sake, he rarely cared to describe; but no one better understood how to reproduce the combined effect of scenery and weather on the predisposed mind. Thus London and its river in especial are, as I have said, haunted by the memory of Dickens's books. To me it was for years impossible to pass near London Bridge at night, or to idle in the Temple on summer days, or to frequent a hundred other localities on or near the Thames, without instinctively recalling pictures scattered through the works of Dickens--in this respect, also, a real _liber veritatis_.

Thus, and in many ways which it would be labour lost to attempt to describe, and by many a stroke or touch of genius which it would be idle to seek to reproduce in paraphrase, the most observing and the most imaginative of our English humourists revealed to us that infinite multitude of associations which binds men together, and makes us members one of another. But though observation and imagination might discern and discover these associations, sympathy--the sympathy of a generous human heart with humanity--alone could breathe into them the warmth of life. Happily, to most men, there is one place consecrated above others to the feelings of love and good-will; "that great altar where the worst among us sometimes perform the worship of the heart, and where the best have offered up such sacrifices and done such deeds of heroism as, chronicled, would put the proudest temples of old time, with all their vaunting annals, to the blush." It was thus that Dickens spoke of the sanctity of _home_; and, English in many things, he was most English in that love of home to which he was never weary of testifying. But, though the "pathway of the sublime" may have been closed to him, he knew well enough that the interests of a people and the interests of humanity are mightier than the domestic loves and cares of any man; and he conscientiously addressed himself, as to the task of his life, to the endeavour to knit humanity together. The method which he, by instinct and by choice, more especially pursued was that of seeking to show the "good in everything." This it is that made him, unreasonably sometimes, ignobly never, the champion of the poor, the helpless, the outcast. He was often tempted into a rhetoric too loud and too shrill, into a satire neither fine nor fair; for he was impatient, but not impatient of what he thought true and good. His purpose, however, was worthy of his powers; nor is there recorded among the lives of English men of letters any more single-minded in its aim, and more successful in the pursuit of it, than his. He was much criticised in his lifetime; and he will, I am well aware, be often criticised in the future by keener and more capable judges than myself. They may miss much in his writings that I find in them; but, unless they find one thing there, it were better that they never opened one of his books. He has indicated it himself when criticising a literary performance by a clever writer:

"In this little MS. everything is too much patronised and condescended
to, whereas the slightest touch of feeling for the rustic who is of
the earth earthy, or of sisterhood with the homely servant who has
made her face shine in her desire to please, would make a difference
that the writer can generally imagine without trying it. You don't
want any sentiment laboriously made out in such a thing. You don't
want any maudlin show of it. But you do want a pervading suggestion
that it is there."

The sentiment which Dickens means is the salt which will give a fresh savour of their own to his works so long as our language endures.

THE END.

FOOTNOTES:

[1] See _Idyll_. xv. 77. This discovery is not my own, but that of the late Dr. Donaldson, who used to translate the passage accordingly with great gusto.

[2] For operas, as a form of _dramatic_ entertainment, Dickens seems afterwards to have entertained a strong contempt, such as, indeed, it is difficult for any man with a sense of humour wholly to avoid.

[3] W. & D. Grant Brothers had their warehouse at the lower end of Cannon Street, and their private house in Mosely Street.

[4] As there is hardly a character in the whole world of fiction and the drama without some sort of a literary predecessor, so Dickens may have derived the first notion of Grip from the raven Ralpho--likewise the property of an idiot--who frightened Roderick Random and Strap out of their wits, and into the belief that he was the personage Grip so persistently declared himself to be.

[5] After dining at a party including the son of an eminent man of letters, he notes in his _Remembrancer_ that he found the great man's son "decidedly lumpish," and appends the reflexion, "Copyrights need be hereditary, for genius isn't."

[6] From a list of MSS. at South Kensington, kindly furnished me by Mr. R. F. Sketchley, I find that Mr. R. H. Shepherd's _Bibliography of Dickens_ is incomplete on this head.

[7] By an odd coincidence, not less than four out of the six theatres advertising their performances in this first number of the _Daily News_ announce each a different adaptation of _The Cricket on the Hearth_. Amongst the curiosities of the casts are observable: At the Adelphi, Wright as Tilly Slowboy, and at the Haymarket Buckstone in the same character, with William Farren as Caleb Plummer. The latter part is taken at the Princess's by Compton, Mrs. Stirling playing Dot. At the Lyceum, Mr., Mrs., and Miss Mary Keeley, and Mr. Emery, appear in the piece.

[8] It is, perhaps, worth pointing out, though it is not surprising, that Dickens had a strong sense of what I may call the poetry of the railway-train. Of the effect of the weird _Signalman's Story_ in one of his Christmas numbers it is not very easy to rid one's self. There are excellent descriptions of the _rapidity_ of a railway journey in the first chapter of _The Lazy Tour_, and in another _Household Words_ paper, called _A Flight_.

[9] Among these is Mr. Alexander Ireland, the author of the _Bibliography of Leigh Hunt and Hazlitt_, who has kindly communicated to me part of his collections concerning the former. The tittle-tattle against Leigh Hunt repeated by Lord Macaulay is, on the face of it, unworthy of notice.

[10] _By Rail to Parnassus_, June 16, 1855.

[11] One of the last things ever written by Dickens was a criticism of M. Fechter's acting, intended to introduce him to the American public. A false report, by-the-way, declared Dickens to have been the author of the dramatic version of Scott's novel, which at Christmas, 1865-'66, was produced at the Lyceum, under the title of _The Master of Ravenswood_; but he allowed that he had done "a great deal towards and about the piece, having an earnest desire to put Scott, for once, on the stage in his own gallant manner."

[12] Dickens undoubtedly had a genius for titles. Amongst some which he suggested for the use of a friend and contributor to his journal are, "_What will he do with it?_" and "_Can he forgive her?_"

[13] This title has helped to extinguish the phrase of which it consists. Few would now be found to agree with the last clause of Flora's parenthesis in _Little Dorrit_: "Our mutual friend--too cold a word for me; at least I don't mean that very proper expression, mutual friend."

[14] In the last volume of his _magnum opus_ of historical fiction Gustav Freytag describes "Boz" as, about the year 1846, filling with boundless enthusiasm the hearts of young men and maidens in a small Silesian country town.

[15] The passage in _Oliver Twist_ (chapter xxxvii.) which illustrates the maxim that "dignity, and even holiness too, sometimes are more questions of coat and waistcoat than some people imagine," may, or may not, be a reminiscence of _Sartor Resartus_, then (1838) first published in a volume.

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Transcriber's Notes:

Passages in italics are indicated by _italics_.

The following misprints have been corrected:
"absurb" corrected to "absurd" (page 21)
"hear-trending" corrected to "heart-rending" (page 26)
"the the" corrected to "the" (page 135)

Other than the corrections listed above, inconsistencies in spelling and hyphenation have been retained from the original.

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