Dickens tells us that when he read at Harrogate, "There was a remarkably good fellow of thirty or so who found something so very ludicrous in Toots that he could not compose himself at all, but laughed until he sat wiping his eyes with his handkerchief, and whenever he felt Toots coming again he began to laugh and wipe his eyes afresh."
"Whenever he felt Toots coming again"—there you have the whole philosophy of the matter. The young fellow found Toots amusing when he first laid eyes on him. He wanted to see him again, and it must always be the same Toots.
It is useless to cavil at an author because of the means by which he produces his effects. The important thing is that he does produce an effect. That the end justifies the means may be a dangerous doctrine in ethics, but much may be said for it in literature. The situation is like that of a middle-aged gentleman beset by a small boy on a morning just right for snowballing. "Give me leave, mister?" cries the youthful sharpshooter. The good-natured citizen gives leave by pulling up his coat-collar and quickening his pace. If the small boy can hit him, he is forgiven, if he cannot hit him, he is scorned. The fact is that Dickens with a method as broad and repetitious as that of Nature herself does succeed in hitting our fancy. That is, he succeeds nine times out of ten.
It is the minor characters of Dickens that are remembered. And we remember them for the same reason that we remember certain faces which we have seen in a crowd. There is some salient feature or trick of manner which first attracts and then holds our attention. A person must have some tag by which he is identified, or, so far as we are concerned, he becomes one of the innumerable lost articles. There are persons who are like umbrellas, very useful, but always liable to be forgotten. The memory is an infirm faculty, and must be humored. It often clings to mere trifles. The man with the flamboyant necktie whom you saw on the 8.40 train may also be the author of a volume of exquisite lyrics; but you never saw the lyrics, and you did see the necktie. In the scale of being, the necktie may be the least important parcel of this good man's life, but it is the only thing about him which attracts your attention. When you see it day after day at the same hour you feel that you have a real, though perhaps not a deep, acquaintance with the man behind it. It is thus we habitually perceive the human world. We see things, and infer persons to correspond. One peculiarity attracts us. It is not the whole man, but it is all of him that is for us. In all this we are very Dickensy.
We may read an acute character study and straightway forget the person who was so admirably analyzed; but the lady in the yellow curl-papers is unforgettable. We really see very little of her, but she is real, and she would not be so real without her yellow curl-papers. A yellow-curl-paper-less lady in the Great White Horse Inn would be as unthinkable to us as a white-plume-less Henry of Navarre at Ivry.
In ecclesiastical art the saints are recognized by their emblems. Why should not the sinners have the same means of identification? Dickens has the courage to furnish us these necessary aids to recollection. Micawber, Mrs. Gummidge, Barkis, Mr. Dick, Uriah Heep, Betsy Trotwood, Dick Swiveiler, Mr. Mantalini, Harold Skimpole, Sairey Gamp, always appear with their appropriate insignia. We should remember that it is for our sakes.
According to the canons of literary art, a fact should be stated clearly once and for all. It would be quite proper to mention the fact that Silas Wegg had a wooden leg; but this fact having been made plain, why should it be referred to again? There is a sufficient reason based on sound psychology. If the statement were not repeated, we should forget that Mr. Wegg had a wooden leg, and by and by we should forget Silas Wegg himself. He would fade away among the host of literary gentlemen who are able to read "The Decline and Fall," but who are not able to keep themselves out of the pit of oblivion. But when we repeatedly see Mr. Wegg as Mr. Boffin saw him, "the literary gentleman with a wooden leg," we feel that we really have the pleasure of his acquaintance. There is not only perception of him, but what the pedagogical people call apperception. Our idea of Mr. Wegg is inseparably connected with our antecedent ideas of general woodenness.
Again, we are introduced to "a large, hard-breathing, middle-aged man, with a mouth like a fish, dull, staring eyes, and sandy hair standing upright on his head, so that he looked as if he had been choked and had at that moment come to." This is Mr. Pumblechook. He does not emerge slowly like a ship from below the horizon. We see him all at once, eyes, mouth, hair, and character to match. It is a case of falling into acquaintance at first sight. We are now ready to hear what Mr. Pumblechook says and see what he does. We have a reasonable assurance that whatever he says and does it will be just like Mr. Pumblechook.
We enter a respectable house in a shady angle adjoining Portman Square. We go out to dinner in solemn procession. We admire the preternatural solidity of the furniture and the plate. The hostess is a fine woman, "with neck and nostrils like a rocking-horse, hard features and majestic headdress." Her husband, large and pompous, with little light-colored wings "more like hairbrushes than hair" on the sides of his otherwise bald head, begins to discourse on the British Constitution. We now know as much of Mr. Podsnap as we shall know at the end of the book. But it is a real knowledge conveyed by the method that gives dinner-parties their educational value. We forgive Dickens his superfluous discourse on Podsnappery in general. For his remarks are precisely of the kind which we make when the party is over, and we sit by the fire generalizing and allegorizing the people we have met.
That Mr. Thomas Gradgrind was unduly addicted to hard facts might have been delicately insinuated in the course of two hundred pages. We might have felt a mild pleasure in the discovery which we had made, and then have gone our way forgetting what manner of man he was. What is Gradgrind to us or we to Gradgrind? Dickens introduces him to us in all his uncompromising squareness—"square coat, square legs, square shoulders, nay, his very neckcloth is trained to take him by the throat with an unaccommodating grasp." We are made at once to see "the square wall of a forehead which had his eyebrows for its base, while his eyes found commodious cellarage in the two dark caves overshadowed by the wall." Having taken all this in at a glance, there is nothing more to be done in the development of the character of Mr. Gradgrind. He takes his place among the obvious facts of existence. But in so much as we were bound to find him out sometime, shall we quarrel with Dickens because we were enabled to do so in the first chapter?