Fielding has a strong sense of the vigilant comic, which is the genius of thoughtful laughter, but never serving as a public advocate. Contempt can not be entertained by comic intelligence. Blifil is essentially the grossly and basely animal creature, who is also a villain, and who has his part in the plot; indeed one scandalous scene in which he is discovered is laughable in the purely comic sense.
Jonathan Wild presents a case of peculiar distinction, when that man of eminent greatness remarks on the unfairness of a trial in which the condemnation has been brought about by twelve men of the opposite party; yet it is immensely comic to hear a guilty villain protesting that his own "party" should have a voice in the Law. It opens an avenue into a villain's ratiocination, as in Lady Booby's exclamation when Joseph defends himself: "Your virtue! I shall never survive it!" Fielding can be equally satiric and comic: can raise laughter but never move pity. And it is as he evokes great spirits that Meredith cries: "O for a breath of Aristophanes, Rabelais, Voltaire, Cervantes, Fielding, Molière! These are spirits that, if you know them well, will come when you do call."
After Fielding comes Thackeray, and his Vanity Fair is the second masterpiece in modern fiction. It is the work of a man of the world, keenly observant of all the follies and virtues and vices and crimes and splendors, of crimes and of failures, of his neither moral nor immoral Fair. He takes his title from John Bunyan; but in originality he is almost equal with Fielding. "As the Manager of the Performance sits before the curtain on the boards, and looks into the Fair, a feeling of profound melancholy comes over him in his survey of the bustling place." Such is the moral, if you like; at any rate the whole Show "is accompanied by appropriate scenery and brilliantly illuminated with the author's own candles." At the end the Finis: "Ah! Vanitas Vanitatum! Which of us is happy in this world? Which of us has his desire? or, having it, is satisfied?—Come children, let us shut up the box and the puppets, for our play is played out."
There is no question that Becky Sharp is not derived from Balzac's Lisbeth in La Cousine Bette, but at what a distance, when once you think of the greatest of all novelists, who has the fortune to be French, and of Thackeray, who has the fortune (at times the misfortune) of being English. When we thing of Becky she startles us by her cynical entrance: she inherits from her parents bad qualities. Her first epigram sums her up. "Revenge may be wicked, but it's natural. I'm no angel." She fascinates Lord Pitt, Rawdon Crawley and Lord Steyne in a way Lisbeth never does. Lisbeth's fascination is that of the evil-doer; she is envious, spiteful, malicious, a lying hypocrite; always deliberately bent on having her own way, always for evil purposes: so that she, in her sinister effrontery, causes the ruin of many of the lives she thrives on, feigns to help, deludes; only, she never deludes as Valérie Marnette does. We have only to say: "Valérie!" and the woman is before us. As for Valérie: "Elle était belle comme sont belles les femmes assez belles, pour être belles en dormant;" a sentence certainly lyrical. Lisbeth's character has "Une dose du mordant parisien." Unmarried, she is monstrous, her snares are inevitable, her dissimulation impenetrable. But she is never given a scene so consummately achieved in its sordid and voluptuous tragedy as the scene in Vanity Fair when Rawdon enters his house at midnight, and finds Becky dressed in a brilliant toilet, her arms and her fingers sparkling with bracelets and rings, and the brilliants in her breast which Steyne had given her. "He had her hand in his, and was bowing to kiss it, when Becky started up with a faint scream as she caught sight of Rawdon's white face." And, as the writer adds, with an entire sense of the tragic and comic drama that is over: "All her lies and her schemes, all her selfishness and her wiles, all her wit and all her genius had come to this bankruptcy."
I have never had any actual admiration for the novels of George Eliot; she had her passing fame, her popularity, her success; people compared her prose—wrongly—with the poetry of Mrs. Browning; and, as for her attempts at verse, the less said of them the better. In favor of my opinion I quote this scathing sentence of Swinburne: "Having no taste for the dissection of dolls, I shall leave Daniel Deronda in his natural place above the ragshop door; and having no ear for the melodies of a Jew's harp, I shall leave the Spanish Gypsy to perform on that instrument to such audience as she may collect." Certainly Charlotte Brontë excelled George Eliot in almost every quality; the latter having, perhaps, more knowledge and culture, but not for a moment comparable with Charlotte's purity of passion, depth and fervor of feeling, inspiration, imagination and a most masterly style.
As for her Romola, I find it almost an elaborate failure in the endeavor to create the atmosphere of the period of Savonarola—that amazing age when the greatest spirits of the world were alive and producing works of unsurpassable genius—and in her too anatomical demonstration of the varying vices and virtues of Tito: for she has none of that strange subtlety that a writer of novels must possess to delineate how this human soul may pass in the course of decomposition into some irremediable ruin. She is too much of the moralist to be able to present this character as a necessary and natural figure, such as far greater writers have had no difficulty in doing. She presents him—rather after the fashion of George Sand, as a fearful and warning example. Think, for a moment,—the comparison is all but impossible,—of this attempt at characterization with Browning's Guido Franceschini; for in his two monologues every nerve of the mind is touched by the patient scalpel, every joint and vein of the subtle and intricate spirit laid bare and divided. Compare this also with Cenci: the comparison has been made by Swinburne, with an equal praise of two masterpieces, The Cenci of Shelley and The Ring and the Book of Browning. Both Cenci and Franceschini are cunningly drawn and colored so as to be absolute models of the highest form of realism: as cunningly colored and drawn as the immortal creation of Madame Bovary.
Take, for instance, the character of Rochester in Jane Eyre. It is incomparable of its kind; an absolutely conceived living being, who has enough nerves and enough passion to more or less extinguish the various male characters in George Eliot's novels. That Maggie Tulliver, in The Mill on the Floss, the finest of her novels, can be moved to any sense but that of bitter disgust and sickening disdain by a thing—I will not write, a man—of Stephen Guest's character, is a lamentable and an ugly case of shameful failure; for as Swinburne says, "The last word of realism has surely been spoken, the last abyss of cynicism has surely been sounded and laid bare." And I am glad to note here that he dismisses her with this reference to three great French writers; using, of course, his invariable ironical paradoxes. "For a higher view and a more cheery aspect of the sex, we must turn back to those gentler teachers, those more flattering painters of our own—Laclos, Stendhal and Merrimée; we must take up La Double Méprise—or Le Rouge et le Noir—or Les Liaisons Dangereuses."
The genius of George Meredith is unquestionable; he was as great a creator, in fact a greater creator, than any other English novelist; yet his fascination is not, I think, quite explicable. Not since the Elizabethans have we had so flame-like a life possessing the wanton body of a style. Our literature has not a more vividly entertaining book than The Shaving of Shagpat—I have the rare first edition of 1856 in my possession—nor has the soul of a style been lost more spectacularly. And with this fantastic, learned, poetic, passionate, intelligent style, a style which might have lent itself so well to the making of Elizabethan drama, Meredith has set himself the task of writing novels of contemporary life; nor can it be wondered that every novel of his breaks every rule which could possibly be laid down for the writing of a novel. Why has his prose so irresistible a fascination for so many of us, as it certainly has? I find Meredith breaking every canon of what are to me the laws of the novel; and yet I read him in preference to any other novelist.
Meredith first conceives that the novelist's prime study is human nature and his first duty to be true to it. Moreover, being an artist, he is not content with simple observations; there must be creation, the imaginative fusion of the mass of observed fact. The philosophy of his seeking is only another name for intuition, analysis, imaginative thought. He has comprehension of a character from height to depth through that "eye of steady flame," which he attributes to Shakespeare, and which may be defined in every great artist. He sees it, he beholds a complete nature, at once and in entirety. His task is to make others see what he sees. But this can not be done at a stroke. It must be done little by little, touch upon touch, light upon shade, shade upon light. The completeness, as seen by the seer or creator—the term is the same—must be microscopically investigated, divided into its component parts, produced piece by piece, and connected visibly. It is this that is meant when we talk of analysis; and the antithesis between analysis and creation is hardly so sheer as it seems. Partly through a selection of appropriate action, partly through the revealing casual speech, the imagined character takes palpable form: finally it does, or it should, live and breathe before the reader with some likeness of the hue and breadth of actual life. But there is a step farther, and it is this step that Meredith is strenuous to take. You have the flesh, animate it with spirit, with soul. If this is an unworthy aim, condemn Shakespeare. This is Meredith's, and it is this and no other consummation that he prays for in demanding philosophy in fiction.
The main peculiarity of Meredith's style is this: he thinks, to begin with, before writing—a singular thing, one must observe, for the present day. Then, having certain definite thoughts to express, and thoughts frequently of a difficult remoteness, he is careful to employ words of a rich and fruitful significance, made richer and more fruitful by a studied and uncommon arrangement. His sentences are architectural; and it is natural in reading him to cry out at the strangeness. Strange, certainly; often obscure, often tantalizing; more often magnificent and somber and strong and passionate, his wit is perhaps too fantastical, too remote, too allusive; partly because it is subtly ironical; perhaps most of all because it is shrewdly stinging to our prejudices. Still, everywhere, the poet, struggling against the bondage of prose, flings himself on every opportunity of evading his bondage. It is thus by the very quality that is his distraction—perhaps because he always writes English as if it were a learned language—that Meredith holds us, by the intensity of his vision of a world which is not our world, by the energy of genius which has done so much to achieve the impossible.