STUDY FOR "GOOD-BYE, ROSEBUD, DARLING"
Facsimile of the Original Sketch for "The Mystery of Edwin Drood" by
LUKE FILDES, R.A.
Lent by the Artist.
An examination of the illustrations discloses the fact that ten out of the full complement of twelve bear the signature of C. Roberts. In some instances, however, the result is disappointing, for the delicate tone-values which mark the original drawings are not apparent in the reproductions. This defect is chiefly due to the technical difficulties caused by the thick photographic film covering the surface of the wood-blocks, which curled up under the point of the graver; unengraved portions of the picture were thus lost, and the engraver, although carefully copying the missing portions, seldom succeeded in reproducing the characteristic touch of the artist. Mr. Fildes, perhaps, is hypercritical, for those who had not compared the engraved replicas with the original designs were delighted with these decidedly effective illustrations, while Mr. W. P. Frith, R.A., quick to recognise the unusual ability displayed in them, wrote to the novelist complimenting him on securing so facile and graceful an interpreter of his text,—a comment with which Dickens was much gratified. As events proved, Mr. Fildes was as receptive as Dickens was impressive, and "vividly as Dickens saw the creatures of his brain, he saw them no otherwise than as they lived by this quick and sympathetic pencil."
For reasons already explained, Dickens never wholly confided to his illustrator his intentions respecting the plot of the story. A part of the "mystery," however, was (in a sense) surprised out of him by the keenness and care with which the artist took up a suggestion. Mr. Fildes informs me that it happened in this way: "I noticed in the proof of the forthcoming number a description of Jasper's costume so markedly different from what I had been accustomed to conceive him as likely to wear, that I went at once to Dickens to ask him if he had any special reason for so describing him. It was a matter of a neck-scarf. Whereupon Dickens, after some little cogitating, said he had a reason, and that he wished the scarf to be retained, and, after some hesitation, told me why. He seemed to be rather troubled at my noticing the incident, and observed that he feared he was 'paying out' the 'mystery' too soon, unconsciously doing so; for, he said, he trusted to the 'mystery' being maintained until the end of the book. He seemed to me to think it was essential to do so, and especially enforced me to secrecy respecting anything I knew or might divine. This description of my interview with the novelist on the occasion in question gives, of course, only the sense of what transpired, and I do not pretend to quote exactly any of his words, or any phrase he may have used." The scarf was, in fact, the instrument of murder, employed by Jasper as the means of strangling the young breath of Edwin Drood on the night of the great gale.
Mr. Luke Fildes having made so shrewd a guess respecting the important part to be played by Jasper in the story, Dickens thought fit to confide in him some details concerning the final scene. Principally, perhaps, with this object in view, he invited the artist to spend a few days with him at Gad's Hill, in order that he might become familiar with the neighbourhood in which many of the scenes in "Edwin Drood" are laid. The novelist promised him that, if he were a good pedestrian, he would introduce him to some of the most charming scenes in Kent, and they would visit together the picturesque Hall at Cobham with its famous gallery of paintings, Cobham Park and village, and other interesting places in that locality. In the course of conversation during this interview, Dickens (who evidently anticipated much enjoyment from the little holiday) recalled that, when a boy, he had seen in Rochester a gaol or "lock-up," and significantly added that Mr. Fildes should make a note of one of the prison cells, which would do admirably to put Jasper in for the last illustration—thus pretty clearly foreshadowing the conclusion of the story. "I want you to make as good a drawing," said Dickens, "as Cruikshank's 'Fagin in the Condemned Cell,'"—a suggestion which Mr. Fildes did not approve, as any attempt on his part to treat the subject in the Cruikshankian manner might be resented as an obvious plagiarism, although a comparison of the two designs would have proved interesting.
Plate LXVI
STUDY FOR MR. GREWGIOUS
Facsimile of the Original Sketch by
LUKE FILDES, R.A.
This figure appears in the Illustration entitled "Mr. Grewgious has his Suspicions." Vide "The Mystery of Edwin Drood."
Lent by the Artist.