II
Before he was of age Dickens had thought seriously of becoming an actor; and he even went so far as to apply to a manager for an engagement. Not long after he wrote a farce or two; and he was responsible for the book of a little ballad-opera. Late in his career he collaborated with Wilkie Collins in writing ‘No Thoroughfare,’ an effective melodrama, compounded specifically for Charles Fechter, who acted it successfully, first in London in English and then in Paris in French (under the title of ‘L’Abîme’). In Dickens’ letters we are told of the trouble he took in getting all the details of stage-management arranged to his satisfaction. It is evident that he found these labors congenial and that he did not doubt his possession of the intuitive qualities of the play-producer, so distinct from those of the artist in pure narrative.
Thackeray also made one or two juvenile attempts at the dramatic form. Perhaps it is safer to say that these early efforts were dramatic only in form, in their being wholly in dialog; and there is little reason to suppose that he endeavored to have them acted. In 1840, the year in which the ‘Paris Sketch-Book’ was published, there was produced in Paris a melodrama, called the ‘Abbaye de Penmarque’ and founded upon Southey’s ‘Mary, the Maid of the Inn.’ Its authors were announced as MM. Tournemine and Thackeray; and an American translator fearlessly ascribed it to the author of the ‘Paris Sketch Book,’ finding possible justification in the catalog of the British Museum and in the early edition of Shepard’s bibliography. The ascription was erroneous; and the “nautical melodrama” (as the translator termed it) seems to have been written by a distant kinsman of the novelist otherwise unknown to fame. The explanation recalls that given by an Irish critic, who solved his doubts as to another case of disputed authorship by the opinion that “Shakspere’s plays were not written by Shakspere himself, but by another man of the same name.”
Once and once only did Thackeray make a serious effort to appear before the public as a playwright. In 1854 after he had established his fame by ‘Vanity Fair’ and consolidated it by ‘Pendennis’ and the ‘Newcomes,’ he composed a comedy in two acts, the ‘Wolves and the Lamb.’ He proffered the play to two managers in turn, first to Buckstone of the Haymarket Theater, and then to Alfred Wigan of the Olympic. They declined it, one after the other; and apparently Thackeray made no further effort to have it produced. In 1860 he utilized the plot of his play in a story, ‘Lovel the Widower,’ which was never one of his attractive novels, perhaps because it was more or less deprived of spontaneity by its enforced reliance upon a plot put together for another purpose.
When he moved into his own home in Kensington in 1862, only a few months before his untimely death, he arranged an amateur performance of the ‘Wolves and the Lamb’ as a special attraction for his house-warming. He did not undertake any part in his own play; but he appeared in the character of Bonnington just before the final fall of the curtain, and spoke a rhymed epilog, by way of salutation to his guests:
Our drama ends;
Our Landlord gives a greeting to his friends;
Some rich, some poor, some doubtful, some sincere,
Some tried and loved for many a faithful year.
He looks around and bids all welcome here.
And as we players unanimously say
A little speech should end a little play;
Through me he tells the friendliest of pits
He built this story with his little wits;
These built the house from garret down to hall;
These paid the bills,—at least, paid nearly all.
And though it seems quite large enough already,
I here declare the Landlord’s purpose steady
Before the novel-writing days are o’er
To raise in this very house one or two stories more.
As we recall the pitiful penury of the English drama in the midyears of the nineteenth century, when the stage relied largely upon misleading adaptations of French plays, we may wonder why Buckstone and Wigan were inhospitable to the ‘Wolves and the Lamb.’ It is true that Thackeray’s little piece was slight in story, devoid of novel situation, obvious in its humor, simple in its character-delineation, and traditional in its methods. But at that time both Buckstone and Wigan were willing enough to risk their money on other plays by authors of less authority, plays which were quite as superficial and quite as artificial as this. Perhaps the two managers were moved to decline it partly because they were disappointed in that it had none of the captivating characteristics of Thackeray’s major fictions. So few of these qualities did the play possess that if it had been published anonymously it might have been attributed to some unknown imitator of Thackeray rather than to Thackeray himself. It revealed more of his mannerisms than of his merits.
Obviously he did not take his little comedy very seriously; he did not put his back into his work; he was content to write no better than his contemporary competitors in comedy and without their experience and their knack. It is difficult to deny that in the ‘Wolves and the Lamb’ most of the characters are only puppets; and that therefore Thackeray was for once well advised to put them away. The real hero of the play, it may be amusing to remark, is John, the butler, who has a soul above his station, and who is a sketchy anticipation of Barrie’s Admirable Crichton.
Setting aside his single venture into playmaking and attempting to estimate Thackeray’s potentiality as a playwright, we cannot help feeling that he lacked the swift concision, the immitigable compression, imposed on the dramatist by the limitation of the traffic of the stage to two hours. Also he rarely reveals his possession of the architectonic quality, the logical and inevitable structure, which is requisite in the compacting of a plot and in the co-ordination of effective incidents. Not often in his novels does he rise to the handling of the great passionate crises of existence, which, so Stevenson has told us, are the stuff out of which the serious drama is made. He is so little theatrical that he is only infrequently dramatic, in the ordinary sense of the word. He prefers the sympathetic portrayal of our common humanity in its moments of leisurely self-revelation.
Finally, if Thackeray had made himself a dramatist, by dint of determination, he would have lost as an artist more than he gained since he would have had perforce to forego the interpretive comment in which his narrative is perpetually bathed. In his unfolding of plot and his presentation of character, Thackeray could act as his own chorus, his own expositor, his own raisonneur (to borrow the French term for the character introduced into a play not for its own sake but to serve as the mouthpiece of its author). “Thackeray,” so W. C. Brownell has asserted in his sympathetic study,
enwraps and embroiders his story with his personal philosophy, charges it with his personal feeling, draws out with inexhaustible personal zest its typical suggestiveness, and deals with his material directly instead of dispassionately and disinterestedly.
This is a privilege implacably denied to the playwright, even if he has abundant compensation in other ways. As Brownell also reminded us, the novel is
a picture of life, but a picture that not only portrays but shows the significance of its subject; its form is particularly, uniquely elastic, and it possesses epic advantages which it would fruitlessly forego in conforming itself to purely dramatic canons.