4. Features of his Works. (a) Their Reputation. While Dickens was in the full tide of his success Thackeray was struggling through neglect and contempt to recognition. Thackeray’s genius blossomed slowly, just as Fielding’s did; for that reason the fruit is more mellow and matured, and perhaps on that account it will last the longer. Once he had gained the favor of the public he held it, and among outstanding English novelists there is none whose claim is so little subject to challenge.
(b) His Method. “Since the writer of Tom Jones was buried,” says Thackeray in his preface to Pendennis, “no writer of fiction among us has been permitted to depict to the best of his power a MAN. We must shape him and give him a certain conventional temper.” Thackeray’s novels are a protest against this convention. He returns to the Fielding method: to view his characters steadily and fearlessly, and to set on record their failings as well as their merits and capacities. In his hands the results are not flattering to human nature, for most of his clever people are rogues and most of his virtuous folk are fools. But whether they are rogues, or fools, or merely blundering incompetents, his creations are rounded, entire, and quite alive and convincing.
(c) His Humor and Pathos. Much has been made of the sneering cynicism of Thackeray’s humor, and a good deal of the criticism is true. It was his desire to reveal the truth, and satire is one of his most potent methods of revelation. His sarcasm, a deadly species, is husbanded for deserving objects, such as Lord Steyne and (to a lesser degree) Barnes Newcome. In the case of people who are only stupid, like Rawdon Crawley, mercy tempers justice; and when Thackeray chooses to do so he can handle a character with loving tenderness, as can be seen in the case of Lady Castlewood and of Colonel Newcome. In pathos he is seldom sentimental, being usually quiet and effective. But at the thought of the vain, the arrogant, and the mean people of the world Thackeray barbs his pen, with destructive results.
(d) His style is very near to the ideal for a novelist. It is effortless, and is therefore unobtrusive, detracting in no wise from the interest in the story. It is also flexible to an extraordinary degree. We have seen how in Esmond he recaptured the Addisonian style; this is only one aspect of his mimetic faculty, which in his burlesques finds ample scope. We add a typical specimen of his style:
As they came up to the house at Walcote, the windows from within were lighted up with friendly welcome; the supper-table was spread in the oak-parlour; it seemed as if forgiveness and love were awaiting the returning prodigal. Two or three familiar faces of domestics were on the look-out at the porch—the old housekeeper was there, and young Lockwood from Castlewood in my lord’s livery of tawny and blue. His dear mistress pressed his arm as they passed into the hall. Her eyes beamed out on him with affection indescribable. “Welcome,” was all she said: as she looked up, putting back her fair curls and black hood. A sweet rosy smile blushed on her face: Harry thought he had never seen her look so charming. Her face was lighted with a joy that was brighter than beauty—she took a hand of her son who was in the hall waiting his mother—she did not quit Esmond’s arm.
Henry Esmond
GEORGE MEREDITH (1828–1909)
Of the later Victorian novelists Meredith takes rank as the most noteworthy.
1. His Life. The known details of Meredith’s earlier life are still rather scanty, and he himself gives us little enlightenment. He was born at Portsmouth, and until he was sixteen he was educated in Germany. At first he studied law, but, rebelling against his legal studies, took to literature as a profession, contributing to magazines and newspapers. Like so many of the eager spirits of his day, he was deeply interested in the struggles of Italy and Germany to be free. For some considerable time he was reader to a London publishing house; then, as his own books slowly won their way, he was enabled to give more time to their composition. In 1867 he was appointed editor of The Fortnightly Review. He died at his home at Boxhill, Surrey.
2. His Poetry. During all his career as a novelist Meredith published much verse. Chillianwallah (1849), his first published work, contains much spirited verse; other works are Modern Love (1862), Ballads and Poems (1887), and Poems (1892). Like his novels, much of Meredith’s poetry is almost willfully obscure, as it undoubtedly is in Modern Love; but in the case of such poems as The Nuptials of Attila he is clear and vigorous. He loved nature and the open air, and in poems like the beautiful Love in the Valley such affection is brightly visible. Like Swinburne, he was always eager to champion the cause of the oppressed.