In Dickens's novels anything in the nature of work happens off-stage. The only one of his heroes who has a plausible profession is David Copperfield, who is first a shorthand writer and then a novelist, like Dickens himself. With most of the others, the way they earn their living is very much in the background. Pip, for instance, "goes into business" in Egypt; we are not told what business, and Pip's working life occupies about half a page of the book. Clennam has been in some unspecified business in China, and later goes into another barely-specified business with Doyce. Martin Chuzzlewit is an architect, but does not seem to get much time for practising. In no case do their adventures spring directly out of their work. Here the contrast between Dickens and, say, Trollope is startling. And one reason for this is undoubtedly that Dickens knows very little about the professions his characters are supposed to follow. What exactly went on in Gradgrind's factories? How did Podsnap make his money? How did Merdle work his swindles? One knows that Dickens could never follow up the details of Parliamentary elections and Stock Exchange rackets as Trollope could. As soon as he has to deal with trade, finance, industry or politics he takes refuge in vagueness, or in satire. This is the case even with legal processes, about which actually he must have known a good deal. Compare any lawsuit in Dickens with the lawsuit in Orley Farm,7 for instance.
And this partly accounts for the needless ramifications of Dickens's novels, the awful Victorian "plot." It is true that not all his novels are alike in this. A Tale of Two Cities is a very good and fairly simple story, and so in its different way is Hard Times; but these are just the two which are always rejected as "not like Dickens"—and incidentally they were not published in monthly numbers.* The two first-person novels are also good stories, apart from their subplots. But the typical Dickens novel, Nicholas Nickleby, Oliver Twist, Martin Chuzzlewit, Our Mutual Friend, always exists round a framework of melodrama. The last thing anyone ever remembers about these books is their central story. On the other hand, I suppose no one has ever read them without carrying the memory of individual pages to the day of his death. Dickens sees human beings with the most intense vividness, but he sees them always in private life, as "characters," not as functional members of society; that is to say, he sees them statically. Consequently his greatest success is The Pickwick Papers, which is not a story at all, merely a series of sketches; there is little attempt at development—the characters simply go on and on, behaving like idiots, in a kind of eternity. As soon as he tries to bring his characters into action, the melodrama begins. He cannot make the action revolve round their ordinary occupations; hence the crossword puzzle of coincidences, intrigues, murders, disguises, buried wills, long-lost brothers, etc. etc. In the end even people like Squeers and Micawber get sucked into the machinery.
Of course it would be absurd to say that Dickens is a vague or merely melodramatic writer. Much that he wrote is extremely factual, and in the power of evoking visual images he has probably never been equalled. When Dickens has once described something you see it for the rest of your life. But in a way the concreteness of his vision is a sign of what he is missing. For, after all, that is what the merely casual onlooker always sees—the outward appearance, the non-functional, the surfaces of things. No one who is really involved in the landscape ever sees the landscape. Wonderfully as he can describe an appearance, Dickens does not often describe a process. The vivid pictures that he succeeds in leaving in one's memory are nearly always the pictures of things seen in leisure moments, in the coffee-rooms of country inns or through the windows of a stage-coach; the kind of things he notices are inn-signs, brass door-knockers, painted jugs, the interiors of shops and private houses, clothes, faces and, above all, food. Everything is seen from the consumer-angle. When he writes about Coketown he manages to evoke, in just a few paragraphs, the atmosphere of a Lancashire town as a slightly disgusted southern visitor would see it. "It had a black canal in it, and a river that ran purple with evil-smelling dye, and vast piles of buildings full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness." That is as near as Dickens ever gets to the machinery of the mills. An engineer or a cotton-broker would see it differently, but then neither of them would be capable of that impressionistic touch about the heads of the elephants.
In a rather different sense his attitude to life is extremely unphysical. He is a man who lives through his eyes and ears rather than through his hands and muscles. Actually his habits were not so sedentary as this seems to imply. In spite of rather poor health and physique, he was active to the point of restlessness; throughout his life he was a remarkable walker, and he could at any rate carpenter well enough to put up stage scenery. But he was not one of those people who feel a need to use their hands. It is difficult to imagine him digging at a cabbage-patch, for instance. He gives no evidence of knowing anything about agriculture, and obviously knows nothing about any kind of game or sport. He has no interest in pugilism, for instance. Considering the age in which he was writing, it is astonishing how little physical brutality there is in Dickens's novels. Martin Chuzzlewit and Mark Tapley, for instance, behave with the most remarkable mildness towards the Americans who are constantly menacing them with revolvers and bowie-knives. The average English or American novelist would have had them handing out socks on the jaw and exchanging pistol-shots in all directions. Dickens is too decent for that; he sees the stupidity of violence, and also he belongs to a cautious urban class which does not deal in socks on the jaw, even in theory. And his attitude towards sport is mixed up with social feelings. In England, for mainly geographical reasons, sport, especially fieldsports, and snobbery are inextricably mingled. English Socialists are often flatly incredulous when told that Lenin, for instance, was devoted to shooting. In their eyes shooting, hunting, etc., are simply snobbish observances of the landed gentry; they forget that these things might appear differently in a huge virgin country like Russia. From Dickens's point of view almost any kind of sport is at best a subject for satire. Consequently one side of nineteenth-century life—the boxing, racing, cockfighting, badger-digging, poaching, rat-catching side of life, so wonderfully embalmed in Leech's illustrations to Surtees—is outside his scope.
What is more striking, in a seemingly "progressive" radical, is that he is not mechanically minded. He shows no interest either in the details of machinery or in the things machinery can do. As Gissing remarks, Dickens nowhere describes a railway journey with anything like the enthusiasm he shows in describing journeys by stage-coach. In nearly all of his books one has a curious feeling that one is living in the first quarter of the nineteenth century, and in fact, he does tend to return to this period. Little Dorrit, written in the middle 'fifties, deals with the late 'twenties; Great Expectations (1861) is not dated, but evidently deals with the 'twenties and 'thirties. Several of the inventions and discoveries which have made the modern world possible (the electric telegraph, the breech-loading gun, india-rubber, coal gas, wood-pulp paper) first appeared in Dickens's lifetime, but he scarcely notes them in his books. Nothing is queerer than the vagueness with which he speaks of Doyce's "invention" in Little Dorrit. It is represented as something extremely ingenious and revolutionary, "of great importance to his country and his fellow-creatures," and it is also an important minor link in the book; yet we are never told what the "invention" is! On the other hand, Doyce's physical appearance is hit off with the typical Dickens touch; he has a peculiar way of moving his thumb, a way characteristic of engineers. After that, Doyce is firmly anchored in one's memory; but, as usual, Dickens has done it by fastening on something external.
There are people (Tennyson is an example) who lack the mechanical faculty but can see the social possibilities of machinery. Dickens has not this stamp of mind. He shows very little consciousness of the future. When he speaks of human progress it is usually in terms of moral progress—men growing better; probab
ly he would never admit that men are only as good as their technical development allows them to be. At this point the gap between Dickens and his modern analogue H. G. Wells, is at its widest. Wells wears the future round his neck like a millstone, but Dickens's unscientific cast of mind is just as damaging in a different way. What it does is to make any positive attitude more difficult for him. He is hostile to the feudal, agricultural past and not in real touch with the industrial present. Well, then, all that remains is the future (meaning Science, "progress" and so forth), which hardly enters into his thoughts. Therefore, while attacking everything in sight, he has no definable standard of comparison. As I have pointed out already, he attacks the current educational system with perfect justice, and yet, after all, he has no remedy to offer except kindlier schoolmasters. Why did he not indicate what a school might have been? Why did he not have his own sons educated according to some plan of his own, instead of sending them to public schools to be stuffed with Greek? Because he lacked that kind of imagination. He has an infallible moral sense, but very little intellectual curiosity. And here one comes upon something which really is an enormous deficiency in Dickens, something that really does make the nineteenth century seem remote from us—that he has no ideal of work.
With the doubtful exception of David Copperfield (merely Dickens himself), one cannot point to a single one of his central characters who is primarily interested in his job. His heroes work in order to make a living and to marry the heroine, not because they feel a passionate interest in one particular subject. Martin Chuzzlewit, for instance, is not burning with zeal to be an architect; he might just as well be a doctor or a barrister. In any case, in the typical Dickens novel, the deus ex machina enters with a bag of gold in the last chapter and the hero is absolved from further struggle. The feeling, "This is what I came into the world to do. Everything else is uninteresting. I will do this even if it means starvation," which turns men of differing temperaments into scientists, inventors, artists, priests, explorers and revolutionaries—this motif is almost entirely absent from Dickens's books. He himself, as is well known, worked like a slave and believed in his work as few novelists have ever done. But there seems to be no calling except novel-writing (and perhaps acting) towards which he can imagine this kind of devotion. And, after all, it is natural enough, considering his rather negative attitude towards society. In the last resort there is nothing he admires except common decency. Science is uninteresting and machinery is cruel and ugly (the heads of the elephants). Business is only for ruffians like Bounderby. As for politics—leave that to the Tite Barnacles. Really there is no objective except to marry the heroine, settle down, live solvently and be kind. And you can do that much better in private life.
Here, perhaps, one gets a glimpse of Dickens's secret imaginative background. What did he think of as the most desirable way to live? When Martin Chuzzlewit had made it up with his uncle, when Nicholas Nickleby had married money, when John Harmon had been enriched by Boffin—what did they do?
The answer evidently is that they did nothing. Nicholas Nickleby invested his wife's money with the Cheerybles and "became a rich and prosperous merchant," but as he immediately retired into Devonshire, we can assume that he did not work very hard. Mr. and Mrs. Snodgrass "purchased and cultivated a small farm, more for occupation than profit." That is the spirit in which most of Dickens's books end—a sort of radiant idleness. Where he appears to disapprove of young men who do not work (Harthouse, Harry Gowan, Richard Carstone, Wrayburn before his reformation), it is because they are cynical and immoral or because they are a burden on somebody else; if you are "good," and also self-supporting, there is no reason why you should not spend fifty years in simply drawing your dividends. Home life is always enough. And, after all, it was the general assumption of his age. The "genteel sufficiency," the "competence," the "gentleman of independent means" (or "in easy circumstances")—the very phrases tell one all about the strange, empty dream of the eighteenth-and nineteenth-century middle bourgeoisie. It was a dream of complete idleness. Charles Reade conveys its spirit perfectly in the ending of Hard Cash. Alfred Hardie, hero of Hard Cash, is the typical nineteenth-century novel-hero (public-school style), with gifts which Reade describes as amounting to "genius." He is an old Etonian and a scholar of Oxford, he knows most of the Greek and Latin classics by heart, he can box with prize-fighters and win the Diamond Sculls at Henley. He goes through incredible adventures in which, of course, he behaves with faultless heroism, and then, at the age of twenty-five, he inherits a fortune, marries his Julia Dodd and settles down in the suburbs of Liverpool, in the same house as his parents-in-law:
They all lived together at Albion Villa, thanks to Alfred ... Oh, you happy little villa! You were as like Paradise as any mortal dwelling can be. A day came, however, when your walls could no longer hold all the happy inmates. Julia presented Alfred with a lovely boy; enter two nurses, and the villa showed symptoms of bursting. Two months more, and Alfred and his wife overflowed into the next villa. It was but twenty yards off; and there was a double reason for the migration. As often happens after a long separation, Heaven bestowed on Captain and Mrs. Dodd another infant to play about their knees, etc. etc. etc.
This is the type of the Victorian happy ending—a vision of a huge, loving family of three or four generations, all crammed together in the same house and constantly multiplying, like a bed of oysters. What is striking about it is the utterly soft, sheltered, effortless life that it implies. It is not even a violent idleness, like Squire Western's. That is the significance of Dickens's urban background and his non-interest in the blackguardly-sporting-military side of life. His heroes, once they had come into money and "settled down," would not only do no work; they would not even ride, hunt, shoot, fight duels, elope with actresses or lose money at the races. They would simply live at home in feather-bed respectability, and preferably next door to a blood-relation living exactly the same life:
The first act of Nicholas, when he became a rich and prosperous merchant, was to buy his father's old house. As time crept on, and there came gradually about him a group of lovely children, it was altered and enlarged; but none of the old rooms were ever pulled down, no old tree was ever rooted up, nothing with which there was any association of bygone times was ever removed or changed.
Within a stone's-throw was another retreat, enlivened by children's pleasant voices too; and here was Kate ... the same true, gentle creature, the same fond sister, the same in the love of all about her, as in her girlish days.
It is the same incestuous atmosphere as in the passage quoted from Reade. And evidently this is Dickens's ideal ending. It is perfectly attained in Nicholas Nickleby, Martin Chuzzlewit and Pickwick, and it is approximated to in varying degrees in almost all the others. The exceptions are Hard Times and Great Expectations—the latter actually has a "happy ending," but it contradicts the general tendency of the book, and it was put in at the request of Bulwer Lytton.
The ideal to be striven after, then, appears to be something like this: a hundred thousand pounds, a quaint old house with plenty of ivy on it, a sweetly womanly wife, a horde of children, and no work. Everything is safe, soft, peaceful and, above all, domestic. In the moss-grown churchyard down the road are the graves of the loved ones who passed away before the happy ending happened. The servants are comic and feudal, the children prattle round your feet, the old friends sit at your fireside, talking of past days, there is the endless succession of enormous meals, the cold punch and sherry negus, the feather beds and warming-pans, the Christmas parties with charades and blind man's buff; but nothing ever happens, except the yearly childbirth. The curious thing is that it is a genuinely happy picture, or so Dickens is able to make it appear. The thought of that kind of existence is satisfying to him. This alone would be enough to tell one that more than a hundred years have passed since Dickens's first book was written. No modern man could combine such purposelessness with so much vitality.
5
By th
is time anyone who is a lover of Dickens, and who has read as far as this, will probably be angry with me.
I have been discussing Dickens simply in terms of his "message," and almost ignoring his literary qualities. But every writer, especially every novelist, has a "message," whether he admits it or not, and the minutest details of his work are influenced by it. All art is propaganda. Neither Dickens himself nor the majority of Victorian novelists would have thought of denying this. On the other hand, not all propaganda is art. As I said earlier, Dickens is one of those writers who are felt to be worth stealing. He has been stolen by Marxists, by Catholics and, above all, by Conservatives. The question is, What is there to steal? Why does anyone care about Dickens? Why do I care about Dickens?
That kind of question is never easy to answer. As a rule, an æsthetic preference is either something inexplicable or it is so corrupted by non-æsthetic motives as to make one wonder whether the whole of literary criticism is not a huge network of humbug. In Dickens's case the complicating factor is his familiarity. He happens to be one of those "great authors" who are ladled down everyone's throat in childhood. At the time this causes rebellion and vomiting, but it may have different after-effects in later life. For instance, nearly everyone feels a sneaking affection for the patriotic poems that he learned by heart as a child. "Ye Mariners of England," the "Charge of the Light Brigade"8 and so forth. What one enjoys is not so much the poems themselves as the memories they call up. And with Dickens the same forces of association are at work. Probably there are copies of one or two of his books lying about in an actual majority of English homes. Many children begin to know his characters by sight before they can even read, for on the whole Dickens was lucky in his illustrators. A thing that is absorbed as early as that does not come up against any critical judgment. And when one thinks of this, one thinks of all that is bad and silly in Dickens—the cast-iron "plots," the characters who don't come off, the longueurs, the paragraphs in blank verse, the awful pages of "pathos." And then the thought arises, when I say I like Dickens, do I simply mean that I like thinking about my childhood? Is Dickens merely an institution?
All Art Is Propaganda Page 7