VIII
THACKERAY AND THE THEATER
I
In the never-ending comparisons and contrasts between Thackeray and Dickens, which show no sign of abating even now, when the younger of the two has been dead for half-a-century, one striking difference between them has often been dwelt upon—Dickens was incessantly theatrical, in his dress, in his novels, in his readings, whereas Thackeray shrank from all theatricality, in his own apparel, in his fiction and in his lecturing. Dickens delighted in reading the most dramatic passages from his novels, actually impersonating the characters, and adjusting the lighting of his reading-desk so as to enable his hearers to see his swiftly changing expression. Thackeray’s lectures were narratives enhanced in interest by anecdote and by criticism; he read them simply, seeking no surcharged effects; and he disliked his task. As he wrote to an American friend, “I shall go on my way like an old mountebank; I get more and more ashamed of my nostrums daily.”
The author of ‘Vanity Fair’ might in his preface feign that he was only a showman in a booth, and he might talk of “putting the puppets away”; but as Austin Dobson phrased it aptly in his centenary tribute:
These are no puppets, smartly dressed,
But jerked by strings too manifest;
No dummies wearing surface skin
Without organic frame within;