And this brings us to the real and relevant mistake of Dickens. It was not in thinking his Americans funny, but in thinking them foolish because they were funny. In this sense it will be noticed that Dickens's American sketches are almost avowedly superficial; they are descriptions of public life and not private life. Mr. Jefferson Brick had no private life. But Mr. Jonas Chuzzlewit undoubtedly had a private life; and even kept some parts of it exceeding private. Mr. Pecksniff was also a domestic character; so was Mr. Quilp. Mr. Pecksniff and Mr. Quilp had slightly different ways of surprising their families; Mr. Pecksniff by playfully observing 'Boh!' when he came home; Mr. Quilp by coming home at all. But we can form no picture of how Mr. Hannibal Chollop playfully surprised his family; possibly by shooting at them; possibly by not shooting at them. We can only say that he would rather surprise us by having a family at all. We do not know how the Mother of the Modern Gracchi managed the Modern Gracchi; for her maternity was rather a public than a private office. We have no romantic moonlit scenes of the love-making of Elijah Pogram, to balance against the love story of Seth Pecksniff. These figures are all in a special sense theatrical; all facing one way and lit up by a public limelight. Their ridiculous characters are detachable from their real characters, if they have any real characters. And the author might perfectly well be right about what is ridiculous, and wrong about what is real. He might be as right in smiling at the Pograms and the Bricks as in smiling at the Pickwicks and the Boffins. And he might still be as wrong in seeing Mr. Pogram as a hypocrite as the great Buzfuz was wrong in seeing Mr. Pickwick as a monster of revolting heartlessness and systematic villainy. He might still be as wrong in thinking Jefferson Brick a charlatan and a cheat as was that great disciple of Lavater, Mrs. Wilfer, in tracing every wrinkle of evil cunning in the face of Mrs. Boffin. For Mr. Pickwick's spectacles and gaiters and Mrs. Boffin's bonnets and boudoir are after all superficial jokes; and might be equally well seen whatever we saw beneath them. A man may smile and smile and be a villain; but a man may also make us smile and not be a villain. He may make us smile and not even be a fool. He may make us roar with laughter and be an exceedingly wise man.
Now that is the paradox of America which Dickens never discovered. Elijah Pogram was far more fantastic than his satirist thought; and the most grotesque feature of Brick and Chollop was hidden from him. The really strange thing was that Pogram probably did say, 'Rough he may be. So air our bars. Wild he may be. So air our buffalers,' and yet was a perfectly intelligent and public-spirited citizen while he said it. The extraordinary thing is that Jefferson Brick may really have said, 'The libation of freedom must sometimes be quaffed in blood,' and yet Jefferson Brick may have served freedom, resisting unto blood. There really has been a florid school of rhetoric in the United States which has made it quite possible for serious and sensible men to say such things. It is amusing simply as a difference of idiom or costume is always amusing; just as English idiom and English costume are amusing to Americans. But about this kind of difference there can be no kind of doubt. So sturdy not to say stuffy a materialist as Ingersoll could say of so shoddy not to say shady a financial politician as Blaine, 'Like an arméd warrior, like a pluméd knight, James G. Blaine strode down the hall of Congress, and flung his spear full and true at the shield of every enemy of his country and every traducer of his fair name.' Compared with that, the passage about bears and buffaloes, which Mr. Pogram delivered in defence of the defaulting post-master, is really a very reasonable and appropriate statement. For bears and buffaloes are wild and rough and in that sense free; while pluméd knights do not throw their lances about like the assegais of Zulus. And the defaulting post-master was at least as good a person to praise in such a fashion as James G. Blaine of the Little Rock Railway. But anybody who had treated Ingersoll or Blaine merely as a fool and a figure of fun would have very rapidly found out his mistake. But Dickens did not know Brick or Chollop long enough to find out his mistake. It need not be denied that, even after a full understanding, he might still have found things to smile at or to criticise. I do not insist on his admitting that Hannibal Chollop was as great a hero as Hannibal, or that Elijah Pogram was as true a prophet as Elijah. But I do say very seriously that they had something about their atmosphere and situation that made possible a sort of heroism and even a sort of prophecy that were really less natural at that period in that Merry England whose comedy and common sense we sum up under the name of Dickens. When we joke about the name of Hannibal Chollop, we might remember of what nation was the general who dismissed his defeated soldiers at Appomatox with words which the historian has justly declared to be worthy of Hannibal: 'We have fought through this war together. I have done my best for you.' It is not fair to forget Jefferson, or even Jefferson Davis, entirely in favour of Jefferson Brick.
For all these three things, good, bad, and indifferent, go together to form something that Dickens missed, merely because the England of his time most disastrously missed it. In this case, as in every case, the only way to measure justly the excess of a foreign country is to measure the defect of our own country. For in this matter the human mind is the victim of a curious little unconscious trick, the cause of nearly all international dislikes. A man treats his own faults as original sin and supposes them scattered everywhere with the seed of Adam. He supposes that men have then added their own foreign vices to the solid and simple foundation of his own private vices. It would astound him to realise that they have actually, by their strange erratic path, avoided his vices as well as his virtues. His own faults are things with which he is so much at home that he at once forgets and assumes them abroad. He is so faintly conscious of them in himself that he is not even conscious of the absence of them in other people. He assumes that they are there so that he does not see that they are not there. The Englishman takes it for granted that a Frenchman will have all the English faults. Then he goes on to be seriously angry with the Frenchman for having dared to complicate them by the French faults. The notion that the Frenchman has the French faults and not the English faults is a paradox too wild to cross his mind.
He is like an old Chinaman who should laugh at Europeans for wearing ludicrous top-hats and curling up their pig-tails inside them; because obviously all men have pig-tails, as all monkeys have tails. Or he is like an old Chinese lady who should justly deride the high-heeled shoes of the West, considering them a needless addition to the sufficiently tight and secure bandaging of the foot; for, of course, all women bind up their feet, as all women bind up their hair. What these Celestial thinkers would not think of, or allow for, is the wild possibility that we do not have pig-tails although we do have top-hats, or that our ladies are not silly enough to have Chinese feet, though they are silly enough to have high-heeled shoes. Nor should we necessarily have come an inch nearer to the Chinese extravagances even if the chimney-pot hat rose higher than a factory chimney or the high heels had evolved into a sort of stilts. By the same fallacy the Englishman will not only curse the French peasant as a miser, but will also try to tip him as a beggar. That is, he will first complain of the man having the surliness of an independent man, and then accuse him of having the servility of a dependent one. Just as the hypothetical Chinaman cannot believe that we have top-hats but not pig-tails, so the Englishman cannot believe that peasants are not snobs even when they are savages. Or he sees that a Paris paper is violent and sensational; and then supposes that some millionaire owns twenty such papers and runs them as a newspaper trust. Surely the Yellow Press is present everywhere to paint the map yellow, as the British Empire to paint it red. It never occurs to such a critic that the French paper is violent because it is personal, and personal because it belongs to a real and responsible person, and not to a ring of nameless millionaires. It is a pamphlet, and not an anonymous pamphlet. In a hundred other cases the same truth could be illustrated; the situation in which the black man first assumes that all mankind is black, and then accuses the rest of the artificial vice of painting their faces red and yellow, or the hypocrisy of white-washing themselves after the fashion of whited sepulchres. The particular case of it now before us is that of the English misunderstanding of America; and it is based, as in all these cases, on the English misunderstanding of England.
For the truth is that England has suffered of late from not having enough of the free shooting of Hannibal Chollop; from not understanding enough that the libation of freedom must sometimes be quaffed in blood. The prosperous Englishman will not admit this; but then the prosperous Englishman will not admit that he has suffered from anything. That is what he is suffering from. Until lately at least he refused to realise that many of his modern habits had been bad habits, the worst of them being contentment. For all the real virtue in contentment evaporates, when the contentment is only satisfaction and the satisfaction is only self-satisfaction. Now it is perfectly true that America and not England has seen the most obvious and outrageous official denials of liberty. But it is equally true that it has seen the most obvious flouting of such official nonsense, far more obvious than any similar evasions in England. And nobody who knows the subconscious violence of the American character would ever be surprised if the weapons of Chollop began to be used in that most lawful lawlessness. It is perfectly true that the libation of freedom must sometimes be drunk in blood, and never more (one would think) than when mad millionaires forbid it to be drunk in beer. But America, as compared with England, is the country where one can still fancy men obtaining the libation of beer by the libation of blood. Vulgar plutocracy is almost omnipotent in both countries; but I think there is now more kick of reaction against it in America than in England. The Americans may go mad when they make laws; but they recover their reason when they disobey them. I wish I could believe that there was as much of that destructive repentance in England; as indeed there certainly was when Cobbett wrote. It faded gradually like a dying fire through the Victorian era; and it was one of the very few realities that Dickens did not understand. But any one who does understand it will know that the days of Cobbett saw the last lost fight for English democracy; and that if he had stood at that turning of the historic road, he would have wished a better fate to the frame-breakers and the fury against the first machinery, and luck to the Luddite fires.
Anyhow, what is wanted is a new Martin Chuzzlewit, told by a wiser Mark Tapley. It is typical of something sombre and occasionally stale in the mood of Dickens when he wrote that book, that the comic servant is not really very comic. Mark Tapley is a very thin shadow of Sam Weller. But if Dickens had written it in a happier mood, there might have been a truer meaning in Mark Tapley's happiness. For it is true that this illogical good humour amid unreason and disorder is one of the real virtues of the English people. It is the real advantage they have in that adventure all over the world, which they were recently and reluctantly induced to call an Empire. That receptive ridicule remains with them as a secret pleasure when they are colonists—or convicts. Dickens might have written another version of the great romance, and one in which America was really seen gaily by Mark instead of gloomily by Martin. Mark Tapley might really have made the best of America. Then America would have lived and danced before us like Pickwick's England, a fairyland of happy lunatics and lovable monsters, and we might still have sympathised as much with the rhetoric of Lafayette Kettle as with the rhetoric of Wilkins Micawber, or with the violence of Chollop as with the violence of Boythorn. That new Martin Chuzzlewit will never be written; and the loss of it is more tragic than the loss of Edwin Drood. But every man who has travelled in America has seen glimpses and episodes in that untold tale; and far away on the Red-Indian frontiers or in the hamlets in the hills of Pennsylvania, there are people whom I met for a few hours or for a few moments, whom I none the less sincerely like and respect because I cannot but smile as I think of them. But the converse is also true; they have probably forgotten me; but if they remember they laugh.
The Spirit of America
I suggest that diplomatists of the internationalist school should spend some of their money on staging farces and comedies of cross-purposes, founded on the curious and prevalent idea that England and America have the same language. I know, of course, that we both inherit the glorious tongue of Shakespeare, not to mention the tune of the musical glasses; but there have been moments when I thought that if we spoke Greek and they spoke Latin we might understand each other better. For Greek and Latin are at least fixed, while American at least is still very fluid. I do not know the American language, and therefore I do not claim to distinguish between the American language and the American slang. But I know that highly theatrical developments might follow on taking the words as part of the English slang or the English language. I have already given the example of calling a person 'a regular guy,' which in the States is a graceful expression of respect and esteem, but which on the stage, properly handled, might surely lead the way towards a divorce or duel or something lively. Sometimes coincidence merely clinches a mistake, as it so often clinches a misprint. Every proof-reader knows that the worst misprint is not that which makes nonsense but that which makes sense; not that which is obviously wrong but that which is hideously right. He who has essayed to write 'he got the book,' and has found it rendered mysteriously as 'he got the boob' is pensively resigned. It is when it is rendered quite lucidly as 'he got the boot' that he is moved to a more passionate mood of regret. I have had conversations in which this sort of accident would have wholly misled me, if another accident had not come to the rescue. An American friend of mine was telling me of his adventures as a cinema-producer down in the south-west where real Red Indians were procurable. He said that certain Indians were 'very bad actors.' It passed for me as a very ordinary remark on a very ordinary or natural deficiency. It would hardly seem a crushing criticism to say that some wild Arab chieftain was not very good at imitating a farmyard; or that the Grand Llama of Thibet was rather clumsy at making paper boats. But the remark might be natural in a man travelling in paper boats, or touring with an invisible farmyard for his menagerie. As my friend was a cinema-producer, I supposed he meant that the Indians were bad cinema actors. But the phrase has really a high and austere moral meaning, which my levity had wholly missed. A bad actor means a man whose actions are bad or morally reprehensible. So that I might have embraced a Red Indian who was dripping with gore, or covered with atrocious crimes, imagining there was nothing the matter with him beyond a mistaken choice of the theatrical profession. Surely there are here the elements of a play, not to mention a cinema play. Surely a New England village maiden might find herself among the wigwams in the power of the formidable and fiendish 'Little Blue Bison,' merely through her mistaken sympathy with his financial failure as a Film Star. The notion gives me glimpses of all sorts of dissolving views of primeval forests and flamboyant theatres; but this impulse of irrelevant theatrical production must be curbed. There is one example, however, of this complication of language actually used in contrary senses, about which the same figure can be used to illustrate a more serious fact.