Oliver Twist, 1837-39.On August 22, 1836, Charles Dickens entered into an agreement with Richard Bentley to edit a new monthly magazine called Bentley's Miscellany, and to furnish that periodical with a serial tale. George Cruikshank's services as illustrator were also retained, and his design for the wrapper inspired Maginn to indite, for "The Bentley Ballads," the "Song of the Cover," whence this characteristic verse is quoted:—
"Bentley, Boz, and Cruikshank stand
Like expectant reelers;
'Music!' 'Play up!' pipe in hand
Beside the fluted pillars
Boz and Cruikshank want to dance,—
None for frolic riper;
But Bentley makes the first advance,
Because he pays the piper."
The first number of the Miscellany was issued in January 1837, and in February appeared the initial chapter of the editor's story, entitled "Oliver Twist, or, the Parish Boy's Progress," which was continued in succeeding numbers until its completion in March 1839, with etchings by Cruikshank.
The dramatic character of this stirring romance of low London life afforded the artist unusual scope for the display of his talent; indeed, his powerful pencil was far more suited to the theme than that of any of his contemporaries. The principal scenes in the novel proved most attractive to him, and he fairly revelled in delineating the tragic episodes associated with the career of Fagin and Sikes. These twenty-four etchings are on the same scale as those in the first collected edition of the "Sketches," but they are broader and more effective in treatment. In October 1838,—that is, about five months before completion in the Miscellany,—the entire story was issued by Chapman & Hall in three volumes post octavo, and there can be no doubt that its remarkable success was brought about in no small measure by Cruikshank's inimitable pictures. Nearly eight years later (in January 1846) a cheaper edition, containing all the illustrations, was commenced in ten monthly parts, demy octavo, and subsequently published in one volume by Bradbury & Evans. On the cover for the monthly numbers Cruikshank has portrayed eleven of the leading incidents in the story, some of the subjects being entirely new, while others are practically a repetition of the etched designs. The plates in this edition, having suffered from previous wear-and-tear, were subjected to a general touching-up, as a comparison with the earlier issue clearly indicates, such reparation (carried out by an engraver named Findlay, much to Cruikshank's annoyance) being especially noticeable in cases where "tones" have been added to wall-backgrounds and other parts of the designs. Apart from actual proof impressions, the "Oliver Twist" etchings are naturally to be found in their best state in Bentley's Miscellany, where they are seen in their pristine beauty. In some of the plates it will be observed that Cruikshank has introduced "roulette" (or dotted) work with excellent effect, although, of course, this disqualifies them as examples of pure etching. The first cheap edition of "Oliver Twist," issued in 1850 by Chapman & Hall, contains a frontispiece only by George Cruikshank, representing Mr. Bumble and Oliver in Mrs. Mann's parlour, as described in the second chapter.
Plate VI
"THE PARISH ENGINE"
Facsimile of the Original Drawing for the First Octavo Edition of "Sketches by Boz" by
GEORGE CRUIKSHANK
It has been said that Cruikshank could not draw a pretty woman. At any rate, he neglected his opportunity in "Oliver Twist," for he fails in so depicting Rose Maylie, while his portrayal of Nancy is particularly ugly and repelling, whereas she certainly possessed physical charms not unfrequently found in women of her class. Although the artist has imparted too venerable an appearance to the Artful Dodger, he has seized in a wonderful manner the characteristics of criminal types in his rendering of Fagin and Bill Sikes. In many of Cruikshank's etchings the accessories are very àpropos, and sometimes not without a touch of quiet humour. For example, in the plate representing Oliver recovering from the fever, there is seen over the chimney-piece a picture of the Good Samaritan, in allusion to Mr. Brownlow's benevolent intentions with respect to the invalid orphan; while in that depicting Mr. Bumble and Mrs. Corney taking tea, may be noticed the significant figure of Paul Pry on the mantelshelf. Some of the designs are marked by slight incongruities, which, however, do not detract from their interest. In the etching "Oliver Plucks up a Spirit," it will be observed that the small round table which the persecuted lad overthrows during his desperate attack upon Noah Claypole could not possibly assume, by such accidental means, the inverted position as here shown. In the plate entitled "The Evidence Destroyed," the lantern (according to the text) should have been lowered into the dark well, but doubtless the error was intentional on the part of the artist, in order to secure effect; in "Mr. Fagin and his Pupil Recovering Nancy," the girl is represented as being exceedingly robust, whereas she was really "so reduced with watching and privation as hardly to be recognised as the same Nancy." Again, in the illustration depicting Sikes attempting to destroy his dog, we see in the distance the dome of St. Paul's, while, as a matter of fact, the desperate ruffian had not reached a point so near the metropolis when he thought of drowning the faithful animal.[2] In "The Last Chance," where the robber contemplates dropping from the roof of Fagin's house to escape his pursuers, the rope (described in the letterpress as being thirty-four feet long) is barely half that length, and could never have extended to the ground; while the dog, who lay concealed until his master had tumbled off the parapet, must have been distinctly visible to all observers if he stood so prominently on the ridge-tiles as here indicated. The latter etching is one of the most fascinating of the series, for here Cruikshank has realised every feature of the dramatic scene,—the harassed expression on the evil face of the hunted criminal, the squalid tenements half shrouded by approaching darkness, the excitement of the people crowding the windows of the opposite houses; indeed, the tragic and repulsive element in the picture constitutes a remarkable effort on the part of the artist.
Plate VII
STUDIES FOR SCENES AND CHARACTERS IN "SKETCHES BY BOZ"
Facsimile of the Original Sketches by GEORGE CRUIKSHANK