Chapter IV: Book IV: on "Aristocracies," "Captains of Industry," "The Landed," "The (2)

But, if Disraeli's ambition led him to political and social triumphs, for which he sacrificed artistic success and literary honours, we ought not to be blind to the rare qualities which are squandered in his books. He did not produce immortal romances--he knew nothing of an ingenious plot, or a striking situation, or a creative character--but he did give us inimitable political satires and some delicious social pantomimes; and he presented these with an original wit in which the French excel, which is very rare indeed in England. Ask not of Disraeli more than he professes to give you, judge him by his own standard, and he will still furnish you with delightful reading, with suggestive and original thoughts. He is usually inclined to make game of his reader, his subject, and even of himself; but he lets you see that he never forgets this, and never attempts to conceal it. He is seldom dull, never sardonic or cruel, and always clean, healthy, and decent. His heroines are ideal fairy queens, his heroes are all visionary and chivalrous nincompoops; and even, though we know that much of it is whimsical banter and nonsensical fancy, there is an air of refined extravaganza in these books which may continue to give them a lasting charm.

The short juvenile drolleries of his restless youth are the least defective as works of art; and, being brief and simple _jeux d'esprit_ of a rare order, they are entirely successful and infinitely amusing. _Ixion in Heaven_, _The Infernal Marriage_, and _Popanilla_, are astonishing products of a lad of twenty-three, who knew nothing of English society, and who had had neither regular education nor social opportunities. They have been compared with the social satirettes of Lucian, Swift, and Voltaire. It is true they have not the fine touch and exquisite polish of the witty Greek of Samosata, nor the subtle irony of Voltaire and Montesquieu, nor the profound grasp of the Dean. But they are full of wit, observation, sparkle, and fun. The style is careless and even incorrect, but it is full of point and life. The effects are rather stagey, and the smartness somewhat strained--that is, if these boyish trifles are compared with _Candide_ and the _Lettres Persanes_. As pictures of English society, court, and manners in 1827 painted in fantastic apologues, they are most ingenious, and may be read again and again. The _Infernal Marriage_, in the vein of the _Dialogues of the Dead_, is the most successful. _Ixion_ is rather broader, simpler, and much more slight, but is full of boisterous fun. _Popanilla_, a more elaborate satire in direct imitation of _Gulliver's Travels_, is neither so vivacious nor so easy as the smaller pieces, but it is full of wit and insight. Nothing could give a raw Hebrew lad the sustained imagination and passion of Jonathan Swift; but there are few other masters of social satire with whom the young genius of twenty-three can be compared. These three satires, which together do not fill 200 pages, are read and re-read by busy and learned men after nearly seventy years have passed. And that is in itself a striking proof of their originality and force.

It is not fair to one who wrote under the conditions of Benjamin Disraeli to take any account of his inferior work: we must judge him at his best. He avowedly wrote many pot-boilers merely for money; he began to write simply to make the world talk about him, and he hardly cared what the world might say; and he not seldom wrote rank bombast in open contempt for his reader, apparently as if he had made a bet to ascertain how much stuff the British public would swallow. _Vivian Grey_ is a lump of impudence; _The Young Duke_ is a lump of affectation; _Alroy_ is ambitious balderdash. They all have passages and epigrams of curious brilliancy and trenchant observation; they have wit, fancy, and life scattered up and down their pages. But they are no longer read, nor do they deserve to be read. _Contarini Fleming_, _Henrietta Temple_, _Venetia_, are full of sentiment, and occasionally touch a poetic vein. They had ardent admirers once, even amongst competent judges. They may still be read, and they have scenes, descriptions, and detached thoughts of real charm, and almost of true beauty. They are not, in any sense, works of art; they are ill constructed, full of the mawkish gush of the Byronic fever, and never were really sincere and genuine products of heart and brain. They were show exercises in the Byronic mode. And, though we may still take them up for an hour for the occasional flashes of genius and wit they retain, no one believes that they can add much permanent glory to the name of Benjamin Disraeli.

Apart from the three early burlesques of which we have spoken--trifles indeed and crude enough, but trifles that sparkle with penetration and wit--the books on which Disraeli's reputation alone can be founded are _Coningsby_, _Sybil_, and _Lothair_. These all contain many striking epigrams, ingenious theories, original suggestions, vivacious caricatures, and even creative reflections, mixed, it must be admitted, with not a little transparent nonsense. But they are all so charged with bright invention, keen criticism, quaint paradox, they are so entirely unlike anything else in our recent literature, and they pierce, in a Voltairean way, so deeply to the roots of our social and political fabric, that they may long continue to be read. In the various prefaces, and especially in the general preface to _Lothair_ (of October 1870), Disraeli has fully explained the origin and aim of these and his other works. It is written, as usual, with his tongue in his cheek, in that vein of semi-bombastic paradox which was designed to mystify the simple and to amuse the acuter reader. But there is an inner seriousness in it all; and, as it has a certain correspondence with his public career and achievements, it must be taken as substantially true. _Coningsby_ (1844) and _Sybil_ (1845) were written in the vigour of manhood and the early days of his political ambition, with an avowed purpose of founding a new party in Parliament. It must be admitted that they did to some extent effect their purpose--not immediately or directly, and only as part of their author's schemes. But the Primrose League and the New Tory Democracy of our day bear witness to the vitality of the movement which, fifty years ago, Disraeli propounded to a puzzled world. _Lothair_ (1870) came twenty-five years later--when he had outlived his illusions; and in more artistic and more mellow tones he painted the weaknesses of a society that he had failed to inspire, but which it gratified his pride to command.

"_Coningsby_, _Sybil_, and _Tancred_," says he, in his grandiose way, "form a real Trilogy." "The derivation and character of political parties,"--he goes on to explain--"was the subject of _Coningsby_." "The condition of the people which had been the consequence of them"--was the subject of _Sybil_. "The duties of the Church as a main remedial agency" and "the race who had been the founders of Christianity" [although, surely, friend Benjamin, if we are to believe the Gospels, the murderers and persecutors of Christ and His Apostles]--were the subjects of _Tancred_ (1847). _Tancred_, though it has some highly amusing scenes, may be dismissed at once. Disraeli fought for the Chosen Race, their endowments and achievements, with wonderful courage and ingenuity. It was perhaps the cause which he had most deeply at heart, from its intimate relation to his own superb ambition and pride. But it has made no real way, nor has it made any converts, unless we count _Daniel Deronda_ as amongst them. Thackeray's "Codlingsby" has almost extinguished "Sidonia." And the strange phantasmagoria of the Anglican Church, revivified by the traditions of Judaism, and ascending to the throne of St. Peter, is perhaps the most stupendous joke which even Disraeli had ever dared to perpetrate. In the preface to _Lothair_ we read:--

The tradition of the Anglican Church was powerful. Resting on the Church of Jerusalem, modified by the divine school of Galilee, it would have found that rock of truth which Providence, by the instrumentality of the Semitic race, had promised to St. Peter.

Whatever this jargon may mean, the public has allowed it to fall flat. It seems to suggest that the Archbishop of Canterbury, by resuming the tradition of Caiaphas, as "modified" by the Sermon on the Mount, might oust the Pope of Rome as was foretold by the Divine young Jewish reformer when he called the fishermen of Galilee. It is difficult to believe that Disraeli himself was serious in all this. In the last scene, as Tancred is proposing to the lovely Jewess, their privacy is disturbed by a crowd of retainers around the papa and mamma of the young heir. The last lines of _Tancred_ are these:--"The Duke and Duchess of Bellamont had arrived at Jerusalem." This is hardly the way in which to preach a New Gospel to a sceptical and pampered generation.

But, if the regeneration of the Church of England by a re-Judaising process and by return to the Targum of the Pharisees has proved abortive, it must be admitted that, from the political point of view, the conception announced in the "trilogy," and rhapsodically illustrated in _Tancred_--the conception of the Anglican Church reviving its political ascendancy and developing "the most efficient means of the renovation of the national spirit"--has not proved quite abortive. It shows astonishing prescience to have seen fifty years ago that the Church of England might yet become a considerable political power, and could be converted, by a revival of Mediaeval traditions, into a potent instrument of the New Tory Democracy. Whatever we may think about the strengthening of the Established Church from the point of view of intellectual solidity or influence with the nation, it can hardly be doubted that in the fifty years that have passed since the date of the "trilogy," the Church as a body has rallied to one party in the State, and has proved a potent ally of militant Imperialism and Tory Democracy. Lord Beaconsfield lived to witness that great transformation in the Church of the High and Dry Pluralists and the Simeonite parsons, which he had himself so powerfully organised in Parliament, in society, and on the platform. His successor to-day can count on no ally so sure and loyal as the Church. But it was a wonderful inspiration for a young man fifty years ago to perceive that this could be done--and to see the way in which it might be done.

_Coningsby_ and _Sybil_ at any rate were active forces in the formation of a definite political programme. And this was a programme which in Parliament and in the country their author himself had created, organised, and led to victory. It cannot be denied that they largely contributed to this result. And thus these books have this very remarkable and almost unique character. It would be very difficult to mention anything like a romance in any age or country which had ever effected a direct political result or created a new party. _Don Quixote_ is said to have annihilated chivalry; _Tartuffe_ dealt a blow at the pretensions of the Church; and the _Marriage of Figaro_ at those of the old _noblesse_. It is possible that _Bleak House_ gave some impulse to law reform, and _Vanity Fair_ has relieved us of a good deal of snobbery. But no novel before or since ever created a political party and provided them with a new programme. _Coningsby_ and _Sybil_ really did this; and it may be doubted if it could have been done in any other way. "Imagination, in the government of nations" (we are told in the preface to _Lothair_) "is a quality not less important than reason." Its author trusts much "to a popular sentiment which rested on a heroic tradition and which was sustained by the high spirit of a free aristocracy."

Now this is a kind of party programme which it was almost impossible to propound on the platform or in Parliament. These imaginative and somewhat Utopian schemes of "changing back the oligarchy into a generous aristocracy round a real throne," of "infusing life and vigour into the Church as the trainer of the nation," of recalling the popular sympathies "to the principles of loyalty and religious reverence"--these were exactly the kind of new ideas which it would be difficult to expound in the House of Commons or in a towns-meeting. In the preface to _Coningsby_ the author tells us that, after reflection, the form of fiction seemed to be the best method of influencing opinion. These books then present us with the unique example of an ambitious statesman resorting to romance as his means of reorganising a political party.

There is another side to this feature which is also unique and curiously full of interest. These romances are the only instances in which any statesman of the first rank, who for years was the ruling spirit of a great empire, has thrown his political conceptions and schemes into an imaginative form. And these books, from _Vivian Grey_ (1825) to _Endymion_ (1880), extend over fifty-five years; some being published before his political career seemed able to begin, some in the midst of it, and the later books after it was ended. In the grandiloquent style of the autobiographical prefaces, we may say that they recall to us the _Meditations_ of Marcus Aurelius, the _Political Testament_ of Richelieu, and the _Conversations_ of Napoleon at St. Helena.

In judging these remarkable works, we ought to remember that they are not primarily romances at all, that they do not compete with genuine romances, and they ought to be read for the qualities they have, not for those in which they fail. They are in part autobiographical sketches, meditations on society, historical disquisitions, and political manifestoes. They are the productions of a statesman aiming at a practical effect, not of a man of letters creating a work of imaginative art. The creative form is quite subsidiary and subordinate. It would be unreasonable to expect in them elaborate drawing of character, complex plot, or subtle types of contemporary life. Their aim is to paint the actual political world, to trace its origin, and to idealise its possible development. And this is done, not by an outside man of letters, but by the very man who had conquered a front place in this political world, and who had more or less realised his ideal development. They are almost the only pictures of the inner parliamentary life we have; and they are painted by an artist who was first and foremost a great parliamentary power, of consummate experience and insight. If the artistic skill were altogether absent, we should not read them at all, as nobody reads Lord Russell's dramas or the poems of Frederick the Great. But the art, though unequal and faulty, is full of vigour, originality, and suggestion. Taken as a whole, they are quite unique.

_Coningsby; or, the New Generation_, was the earliest and in some ways the best of the trilogy. It is still highly diverting as a novel, and, as we see to-day, was charged with potent ideas and searching criticism. It was far more real and effective as a romance than anything Disraeli had previously written. There are scenes and characters in the story which will live in English literature. Thackeray could hardly have created more living portraits than "Rigby," "Tadpole," and "Taper," or "Lord Monmouth." These are characters which are household words with us like "Lord Steyne" and "Rawdon Crawley." The social pictures are as realistic as those of Trollope, and now and then as bright as those of Thackeray. The love-making is tender, pretty, and not nearly so mawkish as that of "Henrietta Temple" and "Venetia." There is plenty of wit, epigram, squib, and _bon mot_. There is almost none of that rhodomontade which pervades the other romances, except as to "Sidonia" and the supremacy of the Hebrew race--a topic on which Benjamin himself was hardly sane. _Coningsby_, as a novel, is sacrificed to its being a party manifesto and a political programme first and foremost. But as a novel it is good. It is the only book of Disraeli's in which we hardly ever suspect that he is merely trying to fool us. It is not so gay and fantastic as _Lothair_. But, being far more real and serious, it is perhaps the best of Disraeli's novels.

As a political manifesto, Coningsby has been an astonishing success. The grand idea of Disraeli's life was to struggle against what he called the "Venetian Constitution," imposed and maintained by the "Whig Oligarchy." As Radical, as Tory, as novelist, as statesman, his ruling idea was "to dish the Whigs," in Lord Derby's historic phrase. And he did "dish the Whigs." The old Whigs have disappeared from English politics. They have either amalgamated with the Tories, become Unionist Conservatives, henchmen of Lord Salisbury, or else have become Gladstonians and Radicals. The so-called Whigs of 1895, if any politicians so call themselves, are far more Tory than the Whigs of 1844, and the Tories of 1895 are far more democratic than the Whigs of 1844. This complete transformation is very largely due to Disraeli himself.

Strictly speaking, Disraeli has eliminated from our political arena both "Whig" and "Tory," as understood in the old language of our party history. And the first sketch of the new policy was flung upon an astonished public in _Coningsby_, just fifty years ago. No doubt, the arduous task of educating the Conservative Party into the new faith of Tory Democracy was not effected by _Coningsby_ alone. But it may be doubted if Mr. Disraeli would have accomplished it by his speeches without his writings. As a sketch of the inner life of the parliamentary system of fifty years ago, _Coningsby_ is perfect and has never been approached. Both Thackeray and Trollope have painted Parliament and public life so far as it could be seen from a London club. But Disraeli has painted it as it was known to a man who threw his whole life into it, and who was himself a consummate parliamentary leader.

_Sybil; or, the Two Nations_, the second of the trilogy (1845), was devoted, he tells us, "to the condition of the people," that dismal result of the "Venetian Constitution" and of the "Whig Oligarchy" which he had denounced in _Coningsby_. _Sybil_ was perhaps the most genuinely serious of all Disraeli's romances; and in many ways it was the most powerful. Disraeli himself was a man of sympathetic and imaginative nature who really felt for the suffering and oppressed. He was tender-hearted as a man, however sardonic as a politician. He had seen and felt the condition of the people in 1844. It was a time of cruel suffering which also stirred the spirits of Carlyle, Mill, Cobden, and Bright. It led to the new Radicalism of which Mr. Gladstone and Mr. John Morley are eminent types. But the genius of Disraeli saw that it might also become the foundation of a new Toryism; and _Sybil_ was the first public manifesto of the new departure. The political history of the last fifty years is evidence of his insight that, to recover their political ascendancy, a Conservative Party must take in hand "the condition of the people," under the leadership of "a generous aristocracy," and in alliance with a renovated Church. These are the ideas of _Sybil_, though in the novel they are adumbrated in a dim and fantastic way. As a romance, _Sybil_ is certainly inferior to _Coningsby_. As a political manifesto, it has had an almost greater success, and the movement that it launched is far from exhausted even yet. One of Disraeli's comrades in the new programme of 1844-5 was a member of the last Conservative cabinet. And when we consider all the phases of Tory Democracy, Socialistic Toryism, and the current type of Christian Socialism, we may come to regard the ideas propounded in _Sybil_ as not quite so visionary as they appeared to the Whigs, Radicals, Free Traders, and Benthamites of fifty years ago.

In _Lothair_, which did not appear until twenty-five years after _Sybil_, we find an altered and more mellow tone, as of a man who was playing with his own puppets, and had no longer any startling theories to propound or political objects to win. For this reason it is in some ways the most complete and artistic of Disraeli's romances. The plot is not suspended by historical disquisitions on the origin of the Whig oligarchy, by pictures of the House of Commons that must weary those who know nothing about it, and by enthusiastic appeals to the younger aristocracy to rouse itself and take in hand the condition of the people. In 1870, Mr. Disraeli had little hope of realising his earlier visions, and he did not write _Lothair_ to preach a political creed. The tale is that he avowed three motives, the first to occupy his mind on his fall from power, the second to make a large sum which he much needed, and the third to paint the manners of the highest order of rank and wealth, of which he alone amongst novelists had intimate knowledge. That is exactly what we see in _Lothair_. It is airy, fantastic, pure, graceful, and extravagant. The whole thing goes to bright music, like a comic opera of Gilbert and Sullivan. There is life and movement; but it is a scenic and burlesque life. There is wit, criticism, and caricature;, but it does not cut deep, and it is neither hot nor fierce. There is some pleasant tom-foolery; but at a comic opera we enjoy this graceful nonsense. We see in every page the trace of a powerful mind; but it is a mind laughing at its own creatures, at itself, at us. _Lothair_ would be a work of art, if it were explicitly presented as a burlesque, such as was _The Infernal Marriage_, or if we did not know that it was written to pass the time by one who had ruled this great empire for years, and who within a few years more was destined to rule it again. It was a fanciful and almost sympathetic satire on the selfish fatuity of the noble, wealthy, and governing orders of British society. But then the author of this burlesque was himself about to ask these orders to admit him to their select ranks, and to enthrone him as their acknowledged chief.

As the rancour of party feeling that has gathered round the personality of Beaconsfield subsides, and as time brings new proofs of the sagacity of the judgments with which Benjamin Disraeli analysed the political traditions of British society, we may look for a fresh growth of the popularity of the trilogy and _Lothair_. England will one day be as just, as America has always been, to one of our wittiest writers. He will one day be formally admitted into the ranks of the Men of Letters. He has hitherto been kept outside, in a sense, partly by his being a prominent statesman and party chief, partly by his incurable tone of mind with its Semitic and non-English ways, partly by his strange incapacity to acquire the _nuances_ of pure literary English. No English writer of such literary genius slips so often into vulgarisms, solecisms, archaisms, and mere slip-shod gossip. But these are after all quite minor defects. His books, even his worst books, abound in epigrams, pictures, characters, and scenes of rare wit. His painting of parliamentary life in England has neither equal nor rival. And his reflections on English society and politics reveal the insight of vast experience and profound genius.

V

W. M. THACKERAY

The literary career of William Makepeace Thackeray has not a few special features of its own that it is interesting to note at once. Of all the more eminent writers of the Victorian Age, his life was the shortest: he died in 1863 at the age of fifty-two, the age of Shakespeare. His literary career of twenty-six years was shorter than that of Carlyle, of Macaulay, Disraeli, Dickens, Trollope, George Eliot, Froude, or Ruskin. It opened with the reign of the Queen, almost in the very year of _Pickwick_, whose author stood beside his grave and lived and wrote for some years more. But these twenty-six years of Thackeray's era of production were full of wonderful activity, and have left us as many volumes of rich and varied genius. And the most striking feature of all is this--that in these twenty-six full volumes in so many modes, prose, verse, romance, parody, burlesque, essay, biography, criticism, there are hardly more than one or two which can be put aside as worthless and as utter failures; very few fail in his consummate mastery of style; few can be said to be irksome to read, to re-read, and to linger over in the reading.

This mastery over style--a style at once simple, pure, nervous, flexible, pathetic, and graceful--places Thackeray amongst the very greatest masters of English prose, and undoubtedly as the most certain and faultless of all the prose writers of the Victorian Age. Without saying that he has ever reached quite to the level of some lyrical and apocalyptic descants that we may find in Carlyle and in Ruskin, Thackeray has never fallen into the faults of violence and turgidity which their warmest admirers are bound to confess in many a passage from these our two prose-poets. Carlyle is often grotesque; Macaulay can be pompous; Disraeli, Bulwer, Dickens, are often slovenly and sometimes bombastic; George Eliot is sometimes pedantic, and Ruskin has been stirred into hysterics. But Thackeray's English, from the first page of his first volume to the last page of his twenty-sixth volume, is natural, scholarly, pure, incisive, and yet gracefully and easily modulated--the language of an English gentleman of culture, wit, knowledge of the world, and consummate ease and self-possession. It is the direct and trenchant language of Swift: but more graceful, more flexible, more courteous.

And what is a truly striking fact about Thackeray's mastery of style is this--that it was perfectly formed from the beginning; that it hardly ever varied, or developed, or waned in the whole course of his literary career; that his first venture as a very young man is as finished and as ripe as his very latest piece, when he died almost in the act of writing the words--"_and his heart throbbed, with an exquisite bliss_." This prodigious precocity in style, such uniform perfection of exact composition, are perhaps without parallel in English literature. At the age of twenty-six Thackeray wrote _The History of Samuel Titmarsh_ and the _Great Hoggarty Diamond_. It was produced under very melancholy conditions, in the most unfavourable form of publication, and it was mangled by editorial necessities. And yet it can still be read and re-read as one of Thackeray's masterpieces, trifling and curtailed as it is (for it may be printed in one hundred pages); it is as full of wit, humour, scathing insight, and fine pathos in the midst of burlesque, as is _Vanity Fair_ itself. It is already Thackeray in all his strength, with his "Snobs," his "Nobs," his fierce satire, and his exquisite style.

Modern romance has no purer, more pathetic, or simpler page than the tale of the death of poor Samuel Titmarsh's first child. Though it is, as it deserves to be, a household word, the passage must be quoted here as a specimen of faultless and beautiful style.

It was not, however, destined that she and her child should inhabit that little garret. We were to leave our lodgings on Monday morning; but on Saturday evening the child was seized with convulsions, and all Sunday the mother watched and prayed for it: but it pleased God to take the innocent infant from us, and on Sunday, at midnight, it lay a corpse in its mother's bosom. Amen. We have other children, happy and well, now round about us, and from the father's heart the memory of this little thing has almost faded; but I do believe that every day of her life the mother thinks of her first-born that was with her for so short a while: many and many a time she has taken her daughters to the grave, in Saint Bride's, where he lies buried; and she wears still at her neck a little, little lock of gold hair, which she took from the head of the infant as he lay smiling in his coffin. It has happened to me to forget the child's birthday, but to her never; and often in the midst of common talk, comes something that shows she is thinking of the child still,--some simple allusion that is to me inexpressibly affecting.

Could words simpler, purer, more touching be found to paint a terrible, albeit very common sorrow! Not a needless epithet, not a false note, not a touch over-wrought! And this is the writing of an unknown, untried youth!

This exquisitely simple, easy, idiomatic, and nervous style marks all Thackeray's work for his twenty-six years of activity, and is equally perfect for whatever purpose it is used, and in whatever key he may choose to compose. It naturally culminates in _Vanity Fair_, written just in the middle of his literary career. Here not a word is wasted: the profoundest impressions are made by a quiet sentence or a dozen plain words that neither Swift nor Defoe could have surpassed. I know nothing in English literature more powerful than those last lines of the thirty-second chapter of _Vanity Fair_. For thirty-two chapters we have been following the loves, sorrows, and anxieties of Amelia Sedley and George Osborne. For four chapters the story has pictured the scene in Brussels on the eve of Waterloo. The women and non-combatants are trembling with excitement, anxiety, fear; the men are in the field, whilst the cannon roar all day in the distance--Amelia half distracted with love, jealousy, and foreboding. And the wild alternations of hope, terror, grief, and agony are suddenly closed in the last paragraph of Chapter XXXII.

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.

Take all the great critical scenes in the book, and note how simple, and yet how full of pathos and of power, is the language in which they are described. There is the last parting of George and Amelia as the bugle rings to arms.

George came in and looked at her again, entering still more softly. By the pale night-lamp he could see her sweet, pale face--the purple eyelids were fringed and closed, and one round arm, smooth and white, lay outside of the coverlet. Good God! how pure she was; how gentle, how tender, and how friendless! and he, how selfish, brutal, and black with crime! Heart-stained and shame-stricken, he stood at the bed's foot, and looked at the sleeping girl. How dared he--who was he, to pray for one so spotless! God bless her! God bless her! He came to the bed-side, and looked at the hand, the little soft hand, lying asleep; and he bent over the pillow noiselessly towards the gentle pale face.

The whole tragedy of their lives is given in miniature in this touching scene; and yet how natural and commonplace are all the effects of which it is composed, how few and simple the words which describe such love and such remorse. It is hard to judge in _Vanity Fair_ which are the more perfect in style, the pathetic and tragic scenes or those which are charged with humour and epigram.

And the scene after George's marriage, when old Osborne burns his will and erases his son's name from the family Bible--and the scene when Osborne receives his son's last letter--"Osborne trembled long before the letter from his dead son"--"His father could not see the kiss George had placed on the superscription of his letter. Mr. Osborne dropped it with the bitterest, deadliest pang of balked affection and revenge. His son was still beloved and unforgiven." And the scene of "the widow and mother," when young Georgy is born, and the wonderful scene when Sir Pitt proposes marriage to the little green-eyed governess and she is scared into confessing her great secret, and the most famous scene of all, when Rawdon Crawley is released from the sponging-house and finds Lord Steyne with Rebecca alone. It is but a single page. The words spoken are short, brief, plain--not five sentences pass--"I am innocent," said she--"Make way, let me pass," cried My Lord--"You lie, you coward and villain!" said Rawdon. There is in all fiction no single scene more vivid, more true, more burnt into the memory, more tragic. And with what noble simplicity, with what incisive reticence, with what subtle anatomy of the human heart, is it recorded.

_Vanity Fair_ was written, it is true, under the strain of serial publication, haste, and anxiety, but it is perhaps, even in style, the most truly complete. The wonderful variety, elasticity, and freshness of the dialogue, the wit of the common scenes, the terrible power of the tragic scenes, the perfection of the _mise-en-scène_--the rattle, the fun, the glitter of the Fair, are sustained from end to end, from the first words of the ineffable Miss Pinkerton to the _Vanitas Vanitatum_ when the showman shuts up his puppets in their box. There is not in all _Vanity Fair_ a single dull page that we skip, not a bit of padding, no rigmarole of explanation whilst the action stands still. Of what other fiction can this be said? Richardson and even Fielding have their _longueurs_. Miss Austen is too prone to linger over the tea-table beyond all human patience. And even Scott's descriptions of his loved hills grow sometimes unreadable, especially when they are told in a flaccid and slovenly style. But _Vanity Fair_ is kept up with inexhaustible life and invention, with a style which, for purity and polish, was beyond the reach of Fielding, Richardson, or Scott.

_Esmond_ was composed with even greater care than _Vanity Fair_, and in the matter of style is usually taken to be Thackeray's greatest masterpiece. Its language is a miracle of art. But it is avowedly a _tour de force_--an effort to reproduce an entire book in the form and speech of a century and a half preceding. As a _tour de force_ it is wonderful; but in so long a book the effort becomes at last too visible, and undoubtedly it somewhat cramps the freedom of the author's genius. Thackeray was not a born historical romancist, as were Scott and Dumas; nor was he a born historian at all. And when he undertook to produce an elaborate romance in the form and with the colouring of a past age, like George Eliot, he becomes rather too learned, too conscientious, too rigidly full of his authorities; and if as an historian he enters into rivalry with Macaulay, he somewhat loses his cunning as a novelist. Thackeray's force lay in the comedy of manners. In the comedy of manners we have nothing but _Tom Jones_ to compare with _Vanity Fair_. And though Thackeray is not equal to the "prose Homer of human nature," he wrote an English even finer and more racy.

In _Esmond_ we are constantly pausing to admire the wonderful ingenuity and exquisite grace of the style, studying the language quite apart from the story; and we feel, as we do when we read Milton's Latin poems or Swinburne's French sonnets, that it is a surprising imitation of the original. But at the same time _Esmond_ contains some of the noblest passages that Thackeray ever wrote, scenes and chapters which in form have no superior in English literature. That sixth chapter of the second book, in the cathedral, when Henry Esmond returns to his mistress on the 29th of December, on his birthday. "Here she was weeping and happy. She took his hand in both hers; he felt her tears. It was a rapture of reconciliation"--"so for a few moments Esmond's beloved mistress came to him and blessed him." To my mind, there is nothing in English fiction which has been set forth in language of such exquisite purity and pathos.

_Esmond_, too, which may be said to be one prolonged parody of the great Queen-Anne essayists, contains that most perfect of all parodies in the English language--"The paper out of the _Spectator_"--in chapter third of the third book. It is of course not a "parody" in the proper sense, for it has no element of satire or burlesque, and imitates not the foibles but the merits of the original, with an absolute illusion. The 341st number of the _Spectator_, dated Tuesday, April 1, 1712, is so absolutely like Dick Steele at his best, that Addison himself would have been deceived by it. Steele hardly ever wrote anything so bright and amusing. It is not a "parody": it is a forgery; but a forgery which required for its execution the most consummate mastery over all the subtleties and mysteries of style.

In parody of every kind, from the most admiring imitation down to the most boisterous burlesque, Thackeray stands at the head of all other imitators. The _Rejected Addresses_ of James and Horace Smith (1812) is usually regarded as the masterpiece in this art; and Scott good-humouredly said that he could have mistaken the death of Higginbottom for his own verses. But Thackeray's _Novels by Eminent Hands_ are superior even to the _Rejected Addresses_. _Codlingsby_, the parody of Disraeli's _Coningsby_, may be taken as the most effective parody in our language: intensely droll in itself, it reproduces the absurdities, the affectations, the oriental imagination of Disraeli with inimitable wit. Those ten pages of irrepressible fooling are enough to destroy Disraeli's reputation as a serious romancer. No doubt they have unfairly reacted so as to dim our sense of Disraeli's real genius as a writer. When we know _Codlingsby_ by heart, as every one with a sense of humour must do, it is impossible for us to keep our countenance when we take up the palaver about Sidonia and the Chosen Race. The _Novels by Eminent Hands_ are all good: they are much more than parodies; they are real criticism, sound, wise, genial, and instructive. Nor are they in the least unfair. If the balderdash and cheap erudition of Bulwer and Disraeli are covered with inextinguishable mirth, no one is offended by the pleasant imitations of Lever, James, and Fenimore Cooper.

All the burlesques are good, and will bear continual re-reading; but the masterpiece of all is _Rebecca and Rowena_, the continuation in burlesque of _Ivanhoe_. It is one of the mysteries of literature that we can enjoy both, that the warmest admirers of Scott's glorious genius, and even those who delight in _Ivanhoe_, can find the keenest relish in _Rebecca and Rowena_, which is simply the great romance of chivalry turned inside out. But Thackeray's immortal burlesque has something of the quality of Cervantes' _Don Quixote_--that we love the knight whilst we laugh, and feel the deep pathos of human nature and the beauty of goodness and love even in the midst of the wildest fun. And this fine quality runs through all the comic pieces, ballads, burlesques, pantomimes, and sketches. What genial fun in the _Rose and the Ring_, in _Little Billee_, in _Mrs. Perkins' Ball_, in the _Sketch Book_, in _Yellowplush_. It is only the very greatest masters who can produce extravaganzas, puerile tomfooleries, drolleries to delight children, and catchpenny songs, of such a kind that mature and cultivated students can laugh over them for the fiftieth time and read them till they are household words. This is the supreme merit of _Don Quixote_, of _Scapin_, of _Gulliver_, of _Robinson Crusoe_. And this quality of immortal truth and wit we find in _Rebecca and Rowena_, in the _Rose and the Ring_, in _Little Billee_, in _Codlingsby_, and _Yellowplush_. The burlesques have that Aristophanic touch of beauty, pathos, and wisdom mingled with the wildest pantomime.

A striking example of Thackeray's unrivalled powers of imitation may be seen in the letters which are freely scattered about his works. No one before or since ever wrote such wonderfully happy illustrations of the epistolary style of boy or girl, old maid or illiterate man. There never were such letters as those of George Osborne in _Vanity Fair_--that letter from school describing the fight between Cuff and Figs is a masterpiece--the letters of Becky, of Rawdon, of Amelia--all are perfect reproductions of the writer, as are scores of letters scattered up and down the twenty-six volumes. Nor must we omit, as part of the style, the author's own illustrations. They are really part of the book; they assist us to understand the characters; they are a very important portion of the writer's method. None of our great writers ever had this double instrument: and Thackeray has used it with consummate effect. The sketches in _Vanity Fair_ and in _Punch_, especially the minor thumb-nail drolleries, are delightful--true caricatures--real portraits of character. It is true they are ill drawn, often impossible, crude, and almost childish in their incorrectness and artlessness. But they have in them the soul of a great caricaturist. They have the Hogarthian touch of a great comic artist.

One is tempted to enlarge at length on the merits of Thackeray's style, because it is in his mastery over all the resources of the English language that he surpasses contemporary prose writers. And it is a mastery which is equally shown in every form of composition. There is a famous bit of Byron's about Sheridan to the effect that he had written the best comedy, made the finest speech, and invented the drollest farce in the English language. And it is hardly extravagant to say of Thackeray that, of all the Englishmen of this century, he has written the best comedy of manners, the best extravaganza, the best burlesque, the best parody, and the best comic song. And to this some of his admirers would add--the best lectures, and the best critical essays. It is of course true that he has never reached or attempted to reach the gorgeous rhapsodies of De Quincey or the dithyrambic melodies of Ruskin. But these heaven-born Pegasi cannot be harnessed to the working vehicles of our streets. The marvel of Thackeray's command over language is this--that it is unfailing in prose or in verse, in pathos or in terror, in tragedy or in burlesque, in narrative, in repartee, or in drollery: and that it never waxes or flags in force and precision throughout twenty-six full volumes.

Of Thackeray's style--a style that has every quality in perfection: simplicity, clearness, ease, force, elasticity, and grace--it is difficult to speak but in terms of unstinted admiration. When we deal with the substance and effective value of his great books we see that, although Thackeray holds his own with the best writers of this century, he cannot be said to hold the same manifest crown of supremacy. One of his strongest claims is the vast quantity and variety of his best work, and the singularly small proportion of inferior work. Fielding himself wrote pitiful trash when he became, as he said, a mere "hackney writer"; Richardson's _Grandison_ overcomes most readers; Scott at last broke down; Carlyle, Disraeli, Dickens, and Ruskin have written many things which "we do not turn over by day and turn over by night," to put it as gently as one can. But Thackeray is hardly ever below himself in form, and rarely is he below himself in substance. _Pendennis_ is certainly much inferior to _Vanity Fair_, and _Philip_ is much inferior to _Pendennis_. _The Virginians_ is far behind _Esmond_. But of the more important books not one can be called in any sense a failure unless it be _Lovel the Widower_, and _The Adventures of Philip_.

Thackeray's masterpiece beyond question is _Vanity Fair_--which as a comedy of the manners of contemporary life is quite the greatest achievement in English literature since _Tom Jones_. It has not the consummate plot of _Tom Jones_; it has not the breadth, the Shakespearean jollity, the genial humanity of the great "prose Homer"; it has no such beautiful character as Sophia Western. It is not the overflowing of a warm, genial, sociable soul, such as that of Henry Fielding. But _Vanity Fair_ may be put beside _Tom Jones_ for variety of character, intense reality, ingenuity of incident, and profusion of wit, humour, and invention. It is even better written than _Tom Jones_; has more pathos and more tragedy; and is happily free from the nauseous blots into which Harry Fielding was betrayed by the taste of his age. It is hard to say what scene in _Vanity Fair_, what part, what character, rests longest in the memory. Is it the home of the Sedleys and the Osbornes, is it Queen's Crawley, or the incidents at Brussels, or at Gaunt House:--is it George Osborne, or Jos, or Miss Crawley, the Major or the Colonel,--is it Lord Steyne or Rebecca? All are excellent, all seem perfect in truth, in consistency, in contrast.

The great triumph of _Vanity Fair_--the great triumph of modern fiction--is Becky Sharp: a character which will ever stand in the very foremost rank of English literature, if not with Falstaff and Shylock, then with Squire Western, Uncle Toby, Mr. Primrose, Jonathan Oldbuck, and Sam Weller. There is no character in the whole range of literature which has been worked out with more elaborate completeness. She is drawn from girlhood to old age, under every conceivable condition, and is brought face to face with all kinds of persons and trials. In all circumstances Becky is true to herself; her ingenuity, her wit, her selfishness, her audacity, her cunning, her clear, cool, alert brain, even her common sense, her spirit of justice, when she herself is not concerned, and her good-nature, when it could cost her nothing--all this is unfailing, inimitable, never to be forgotten. Some good people cry out that she is so wicked. Of course she is wicked: so were Iago and Blifil. The only question is, if she be real? Most certainly she is, as real as anything in the whole range of fiction, as real as Tartuffe, or Gil Blas, Wilhelm Meister, or Rob Roy. No one doubts that Becky Sharps exist: unhappily they are not even very uncommon. And Thackeray has drawn one typical example of such bad women with an anatomical precision that makes us shudder.

And if Becky Sharp be the masterpiece of Thackeray's art amongst the characters, the scene of her husband's encounter with her paramour is the masterpiece of all the scenes in _Vanity Fair_, and has no superior, hardly any equal, in modern fiction. Becky, Rawdon Crawley, and Lord Steyne--all are inimitably true, all are powerful, all are fearful in their agony and rage. The uprising of the poor rake almost into dignity and heroism, and his wife's outburst of admiration at his vengeance, are strokes of really Shakespearean insight. It was with justice that Thackeray himself felt pride in that touch. "_She stood there trembling before him. She admired her husband, strong, brave, victorious_." It is these touches of clear sight in Becky, her respect for Dobbin, her kindliness to Amelia apart from her own schemes, which make us feel an interest in Becky, loathsome as she is. She is always a woman, and not an inhuman monster, however bad a woman, cruel, heartless, and false.

There remains always the perpetual problem if _Vanity Fair_ be a cynic's view of life, the sardonic grin of a misanthrope gloating over the trickery and meanness of mankind. It is well to remember how many are the scenes of tenderness and pathos in _Vanity Fair_, how powerfully told, how deeply they haunt the memory and sink into the heart. The school life of Dobbin, the ruin of old Sedley and the despair of Amelia, the last parting of Amelia and George, Osborne revoking his will, Sedley broken down, Rawdon in the sponging-house, the birth and boyhood of Georgy Osborne, the end of old Sedley, the end of old Osborne, are as pathetic and humane as anything in our literature. Mature men, who study fiction with a critical spirit and a cool head, admit that the only passages in English romance that they can never read again without faltering, without a dim eye and a quavering voice, are these scenes of pain and sorrow in _Vanity Fair_. The death of old Sedley, nursed by his daughter, is a typical piece--perfect in simplicity, in truth, in pathos.

One night when she stole into his room, she found him awake, when the broken old man made his confession. "O, Emmy, I've been thinking we were very unkind and unjust to you," he said, and put out his cold and feeble hand to her. She knelt down and prayed by his bed-side, as he did too, having still hold of her hand. When our turn comes, friend, may we have such company in our prayers.

And this is the arch-cynic and misanthrope, grinning at all that is loveable and tender!

It is too often forgotten that _Vanity Fair_ is not intended to be simply the world: it is society, it is fashion, the market where mammon-worship, folly, and dissipation display and barter their wares. Thackeray wrote many other books, and has given us many worthy characters. Dobbin, Warrington, Colonel Newcome, Ethel Newcome, Henry Esmond are generous, brave, just, and true. Neither _Esmond_, nor _The Newcomes_, nor _The Virginians_ are in any sense the work of a misanthrope. And where Thackeray speaks in his own person, in the lectures on the _English Humourists_, he is brimful of all that is genial, frank, lenient, and good-hearted. What we know of the man, who loved his friends and was loved by them, and who in all his critical and personal sketches showed himself a kindly, courteous, and considerate gentleman, inclines us to repel this charge of cynicism. We will not brand him as a mere satirist, and a cruel mocker at human virtue and goodness.

This is, however, not the whole of the truth. The consent of mankind, and especially the consent of women, is too manifest. There is something ungenial, there is a bitter taste left when we have enjoyed these books, especially as we lay down _Vanity Fair_. It is a long comedy of roguery, meanness, selfishness, intrigue, and affectation. Rakes, ruffians, bullies, parasites, fortune-hunters, adventurers, women who sell themselves, and men who cheat and cringe, pass before us in one incessant procession, crushing the weak, and making fools of the good. Such, says our author, is the way of Vanity Fair--which we are warned to loathe and to shun. Be it so:--but it cannot be denied that the rakes, ruffians, and adventurers fill too large a canvas, are too conspicuous, too triumphant, too interesting. They are more interesting than the weak and the good whom they crush under foot: they are drawn with a more glowing brush, they are far more splendidly endowed. They have better heads, stronger wills, richer natures than the good and kind ones who are their butts. Dobbin, as the author himself tells us, "is a spooney." Amelia, as he says also, "is a little fool." Peggy O'Dowd, dear old goody, is the laughing-stock of the regiment, though she is also its grandmother. _Vanity Fair_ has here and there some virtuous and generous characters. But we are made to laugh at every one of them to their very faces. And the evil and the selfish characters bully them, mock them, thrust them aside at every page--and they do so because they are more the stuff of which men and women of any mark are made.

There are evil characters in Shakespeare, in Fielding, in Goldsmith, in Scott: we find ruffians, rakes, traitors, and parasites. But they are not paramount, not universal, not unqualified. Iago is utterly overshadowed by Othello, Blifil by Alworthy, Tom Jones by Sophia Western, Squire Thornhill by Dr. Primrose, the reprobate Staunton by the good angel Jeanie Deans. Shakespeare, Fielding, Goethe, Scott draw noble and generous natures quite as well as they paint the evil natures: indeed they paint them better; they enjoy the painting of them more; they make us enjoy them more. Take this test: if we run over the characters of Shakespeare or of Scott we have to reflect before we find the villains. If we run over the characters in Thackeray, it is an effort of memory to recall the generous and the fine natures. Thackeray has given us some loveable and affectionate men and women; but they all have qualities which lower them and tend to make them either tiresome or ridiculous. Henry Esmond is a high-minded and almost heroic gentleman, but he is glum, a regular kill-joy, and, as his author admitted, something of a prig. Colonel Newcome is a noble true-hearted soldier; but he is made too good for this world and somewhat too innocent, too transparently a child of nature. Warrington, with all his sense and honesty, is rough; Pendennis is a bit of a puppy; Clive Newcome is not much of a hero; and as for Dobbin he is almost intended to be a butt.