How, having been tenderly nursed during the total eclipse of an appallingly lengthened period of unconsciousness, he wakes up at last in Brussels to find that during a little more than momentary and at first an utterly forgotten interval of his stupor, he has been married to the gentle-handed nurse who has been all the while in attendance upon him, and who is no other, of coarse, than his faithful first love, Mary Marshall! How, returning homewards, an invalided hero, Captain Doubledick becomes, in a manner, soon afterwards, the adopted son of Major Taunton's mother! How the latter, having gone, some time later, on a visit to a French family near Aix, is followed by her other son, her other self, he has almost come to be, “now a hardy, handsome man in the full vigour of life,” on his receiving from the head of the house a gracious and courtly invitation for “the honour of the company of cet homme si justement célèbre, Monsieur le Capitaine Richard Double-dick!” These were among the incidents in due sequence immediately afterwards recounted!
Arriving at the old chateau upon a fête-day, when the household are scattered abroad in the gardens and shrubberies at their rejoicings, Captain Double-dick passes through the open porch into the lofty stone hall. There, being a total stranger, he is almost scared by the intrusive clanking of his boots. Suddenly he starts back, feeling his face turn white! For, in the gallery looking down at him, is the French officer whose picture he has carried in his mind so long and so far. The latter, disappearing in another instant for the staircase, enters directly afterwards with a bright sudden look upon his countenance, “Such a look as it had worn in that fatal moment,” so well and so terribly remembered! All this was portrayed with startling vividness by the Author of the little sketch in his capacity as the sympathetic realizer of the dreams of his own imagination.
Exquisite was the last glimpse of the delineation, when the Captain—after many internal revulsions of feeling, while he gazes through the window of the bed-chamber allotted to him in the old château, “whence he could see the smiling prospect and the peaceful vineyards “—thinks musingly to himself, “Spirit of my departed friend, is it through thee these better thoughts are rising in my mind! Is it thou who hast shown me, all the way I have been drawn to meet this man, the blessings of the altered time! Is it thou who hast sent thy stricken mother to me, to stay my angry hand! Is it from thee the whisper comes, that this man only did his duty as thou didst—and as I did through thy guidance, which saved me, here on earth—and that he did no more!” Then it was, we were told, there came to him the second and crowning resolution of his life: “That neither to the French officer, nor to the mother of his departed friend, nor to any soul while either of the two was living, would he breathe what only he knew.” Then it was that the author perfected his Reading by the simple utterance of its closing words—“And when he touched that French officer's glass with his own that day at dinner, he secretly forgave him—forgave him in the name of the Divine Forgiver.” With a moral no less noble and affecting, no less grand and elevating than this, the lovely idyll closed. The final glimpse of the scene at the old Aix château was like the view of a sequestered orchard through the ivied porchway of a village church. The concluding words of the prelection were like the sound of the organ voluntary at twilight, when the worshippers are dispersing.
MRS. GAMP.
A whimsical and delightful recollection comes back to the writer of these pages at the moment of inscribing as the title of this Reading the name of the preposterous old lady who is the real heroine of “Martin Chuzzlewit.” It is the remembrance of Charles Dickens's hilarious enjoyment of a casual jest thrown out, upon his having incidentally mentioned—as conspicuous among the shortcomings of the first acting version of that story upon the boards of the Lyceum—the certainly surprising fact that Mrs. Gamp's part, as originally set down for Keeley, had not a single “which” in it. “Why, it ought actually to have begun with one!” was the natural exclamation of the person he was addressing, who added instantly, with affected indignation, “Not one? Why, next they'll be playing Macbeth without the Witches!” The joyous laugh with which this ludicrous conceit was greeted by the Humorist, still rings freshly and musically in our remembrance. And the recollection of it is doubtless all the more vivid because of the mirthful retrospect having relation to one of the most recent of Dickens's blithe home dinners in his last town residence immediately before his hurried return to Gad's Hill in the summer of 1870. Although we were happily with him afterwards, immediately before the time came when we could commune with him no more, the occasion referred to is one in which we recall him to mind as he was when we saw him last at his very gayest, radiant with that sense of enjoyment which it was his especial delight to diffuse around him throughout his life so abundantly.
Among all his humorous creations, Mrs. Gamp is perhaps the most intensely original and the most thoroughly individualised. She is not only a creation of character, she is in herself a creator of character. To the Novelist we are indebted for Mrs. Gamp, but to Mrs. Gamp herself we are indebted for Mrs. Harris. That most mythical of all imaginary beings is certainly quite unique; she is strictly, as one may say, sui generis in the whole world of fiction. A figment born from a figment; one fancy evolved from another; the shadow of a shadow. If only in remembrance of that one daring adumbration from Mrs. Gamp'sinner consciousness, that purely supposititious entity “which her name, I'll not deceive you, is Harris,” one would say that Mr. Mould, the undertaker, has full reason for exclaiming, in regard to Mrs. Gamp, “I'll tell you what, that's a woman whose intellect is immensely superior to her station in life. That's a woman who observes and reflects in a wonderful manner.” Mr. Mould becomes so strongly impressed at last with a sense of her exceptional merits, that in a deliciously ludicrous outburst of professional generosity he caps the climax of his eulogium by observing, “She's the sort of woman, now, that one would almost feel disposed to bury for nothing—and do it neatly, too!” Thoroughly akin, by the way, to which exceedingly questionable expression of goodwill on the part of Mr. Mould, is Mrs. Gamp's equally confiding outburst of philanthropy from her point of view, where she remarks—of course to her familiar, as Socrates when communing with his Daemon—“'Mrs. Harris,' I says to her, 'don't name the charge, for if I could afford to lay my fellow-creeturs out for nothink, I would gladly do it, sich is the love I bears 'em.'”
A benevolent unbosoming, or self-revelation, that last, on the part of Mrs. Gamp, so astoundingly outspoken of its kind, that it forces upon one, in regard to her whole character, the almost inevitable reflection that her grotesque and inexhaustible humour, like Falstaff's irrepressible and exhilarating wit, redeems what would be otherwise in itself utterly irredeemable. For, as commentators have remarked, in regard to Shakspere's Fat Knight, that Sir John is an unwieldy mass of every conceivable bad quality, being, among other things, a liar, a coward, a drunkard, a braggart, a cheat, and a debauchee, one might bring, if not an equally formidable, certainly an equally lengthened, indictment against the whole character of Mrs. Gamp, justifying the validity of each disreputable charge upon the testimony of her own evidence.
In its way, the impersonation of Mrs. Gamp by her creator was nearly as surprising as his original delineation of her in his capacity as Novelist. Happily, to bring out the finer touches of the humorous in her portraiture, there were repeated asides in the Reading, added to which other contrasting characters were here and there momentarily introduced. Mr. Pecksniff—hardly recognisable, by the way, as Mr. Pecksniff—took part, but a very subordinate part, in the conversation, as did Mr. Mould also, and as, towards the close of it, likewise did Mrs. Prig of Bartlemy's. But, monopolist though Mrs. Gamp showed herself to be in her manner of holding forth, her talk never degenerated into a monologue.
Mr. Pecksniff setting forth in a hackney cabriolet to-arrange, on behalf of Jonas Chuzzlewit, for the funeral of the latter's father, in regard to which he is enjoined to spare no expense, arrives, in due course, in Kings-gate-street, High Holborn, in quest of the female functionary—“a nurse and watcher, and performer of nameless offices about the dead, whom the undertaker had recommended.” His destination is reached when he stands face to face with the lady's lodging over the bird-fancier's, “next door but one to the celebrated mutton-pie shop, and directly opposite to the original cats'-meat warehouse.” Here Mr. Pecksniff's performance upon the knocker naturally arouses the whole neighbourhood, it, the knocker, being so ingeniously constructed as to wake the street with ease, without making the smallest impression upon the premises to which it was addressed. Everybody is at once under the impression that, as a matter of course, he is “upon an errand touching not the close of life, but the other end”—the married ladies, especially, crying out with uncommon interest, “Knock at the winder, sir, knock at the winder! Lord bless you, don't lose no more time than you can help,—knock at the winder!” Mrs. Gamp herself, when roused, is under the same embarrassing misapprehension. Immediately, however, Mr. Pecksniff has explained the object of his mission, Mrs. Gamp, who has a face for all occasions, thereupon putting on her mourning countenance, the surrounding matrons, while rating her visitor roundly, signify that they would be glad to know what he means by terrifying delicate females with “his corpses!” The unoffending gentleman eventually, after hustling Mrs. Gamp into the cabriolet, drives off “overwhelmed with popular execration.”