CHAPTER V.
CHANGES.
[1852-1858.]
I have spoken of both the intellectual and the physical vigour of Charles Dickens as at their height in the years of which the most enduring fruit was the most delightful of all his fictions. But there was no break in his activity after the achievement of this or any other of his literary successes, and he was never harder at work than during the seven years of which I am about to speak, although in this period also occasionally he was to be found hard at play. Its beginning saw him settled in his new and cheerfully-furnished abode at Tavistock House, of which he had taken possession in October, 1851. At its close he was master of the country residence which had been the dream of his childhood, but he had become a stranger to that tranquillity of mind without which no man’s house is truly his home. Gradually, but surely, things had then, or a little before, come to such a pass that he wrote to his faithful friend: “I am become incapable of rest. I am quite confident I should rust, break, and die, if I spared myself. Much better to die, doing. What I am in that way Nature made me first, and my way of life has of late, alas! confirmed.” Early in 1852 the youngest of his children had been born to him—the boy whose babyhood once more revived in him a tenderness the depth of which no eccentric humours and fantastic sobriquets could conceal. In May, 1858, he had separated from the mother of his children; and though self-sacrificing affection was at hand to watch over them and him, yet that domestic life of which he had become the prophet and poet to hundreds of thousands was in its fairest and fullest form at an end for himself.
In the earlier of these years Dickens’s movements were still very much of the same kind, and varied much after the same fashion, as in the period described in my last chapter. In 1852 the series of amateur performances in the country was completed; but time was found for a summer residence in Camden Crescent, Dover. During his stay there, and during most of his working hours in this and the following year—the spring of which was partly spent at Brighton—he was engaged upon his new story, Bleak House, published in numbers dating from March, 1852, to September, 1853. “To let you into a secret,” he had written to his lively friend, Miss Mary Boyle, from Dover, “I am not quite sure that I ever did like, or ever shall like, anything quite so well as Copperfield. But I foresee, I think, some very good things in Bleak House.” There is no reason to believe that, by the general public, this novel was at the time of its publication a whit less favourably judged or less eagerly read than its predecessor. According to the author’s own testimony it “took extraordinarily, especially during the last five or six months” of its issue, and “retained its immense circulation from the first, beating dear old Copperfield by a round ten thousand or more.” To this day the book has its staunch friends, some of whom would perhaps be slow to confess by which of the elements in the story they are most forcibly attracted. On the other hand, Bleak House was probably the first of Dickens’s works which furnished a suitable text to a class of censors whose precious balms have since descended upon his head with constant reiteration. The power of amusing being graciously conceded to the “man of genius,” his book was charged with “absolute want of construction,” and with being a heterogeneous compound made up of a meagre and melodramatic story, and a number of “odd folks that have to do with a long Chancery suit.” Of the characters themselves it was asserted that, though in the main excessively funny, they were more like caricatures of the stage than studies from nature. Some approval was bestowed upon particular figures, but rather as types of the influence of externals than as real individualities; and while the character of the poor crossing-sweeper was generously praised, it was regretted that Dickens should never have succeeded in drawing “a man or woman whose lot is cast among the high-born or wealthy.” He belonged, unfortunately, “in literature to the same class as his illustrator, Hablot Browne, in design, though he far surpasses the illustrator in range and power.” In other words, he was essentially a caricaturist.
As applied to Bleak House, with which I am at present alone concerned, this kind of censure was in more ways than one unjust. So far as constructive skill was concerned, the praise given by Forster to Bleak House may be considered excessive; but there can be no doubt that, as compared, not with Pickwick and Nickleby, but with its immediate predecessor, David Copperfield, this novel exhibits a decided advance in that respect. In truth, Dickens in Bleak House for the first time emancipated himself from that form of novel which, in accordance with his great eighteenth-century favourites, he had hitherto more or less consciously adopted—the novel of adventure, of which the person of the hero, rather than the machinery of the plot, forms the connecting element. It may be that the influence of Mr. Wilkie Collins was already strong upon him, and that the younger writer, whom Dickens was about this time praising for his unlikeness to the “conceited idiots who suppose that volumes are to be tossed off like pancakes,” was already teaching something to, as well as learning something from, the elder. It may also be that the criticism which as editor of Household Words Dickens was now in the habit of judiciously applying to the fictions of others, unconsciously affected his own methods and processes. Certain it is that from this point of view Bleak House may be said to begin a new series among his works of fiction. The great Chancery suit and the fortunes of those concerned in it are not a disconnected background from which the mystery of Lady Dedlock’s secret stands forth in relief; but the two main parts of the story are skilfully interwoven as in a Spanish double-plot. Nor is the success of the general action materially affected by the circumstance that the tone of Esther Summerson’s diary is not altogether true. At the same time there is indisputably some unevenness in the construction of Bleak House. It drags, and drags very perceptibly, in some of its earlier parts. On the other hand, the interest of the reader is strongly revived when that popular favourite, Mr. Inspector Bucket, appears on the scene, and when, more especially in the admirably vivid narrative of Esther’s journey with the detective, the nearness of the catastrophe exercises its exciting influence. Some of the machinery, moreover—such as the Smallweed family’s part in the plot—is tiresome; and particular incidents are intolerably horrible or absurd—such as on the one hand the spontaneous combustion (which is proved possible by the analogy of historical facts!), and on the other the intrusion of the oil-grinding Mr. Chadband into the solemn presence of Sir Leicester Dedlock’s grief. But in general the parts of the narrative are well knit together; and there is a subtle skill in the way in which the two main parts of the story converge towards their common close.
The idea of making an impersonal object like a great Chancery suit the centre round which a large and manifold group of characters revolves, seems to savour of a drama rather than of a story. No doubt the theme suggested itself to Dickens with a very real purpose, and on the basis of facts which he might well think warranted him in his treatment of it; for, true artist though he was, the thought of exposing some national defect, of helping to bring about some real reform, was always paramount in his mind over any mere literary conception. Primâ facie, at least, and with all due deference to Chancery judges and eminent silk gowns like Mr. Blowers, the length of Chancery suits was a real public grievance, as well as a frequent private calamity. But even as a mere artistic notion the idea of Jarndyce v. Jarndyce as diversely affecting those who lived by it, those who rebelled against it, those who died of it, was, in its way, of unique force; and while Dickens never brought to any other of his subjects so useful a knowledge of its external details—in times gone by he had served a “Kenge and Carboys” of his own—hardly any one of those subjects suggested so wide a variety of aspects for characteristic treatment.
For never before had his versatility in drawing character filled his canvas with so multitudinous and so various a host of personages. The legal profession, with its servitors and hangers-on of every degree, occupies the centre of the picture. In this group no figure is more deserving of admiration than that of Mr. Tulkinghorn, the eminently respectable family solicitor, at whose very funeral, by a four-wheeled affliction, the good-will of the aristocracy manifests itself. We learn very little about him, and probably care less; but he interests us precisely as we should be interested by the real old family lawyer, about whom we might know and care equally little, were we to find him alone in the twilight, drinking his ancient port in his frescoed chamber in those fields where the shepherds play on Chancery pipes that have no stop. (Mr. Forster, by-the-way, omitted to point out to his readers, what the piety of American research has since put on record, that Mr. Tulkinghorn’s house was a picture of the biographer’s own residence.) The portrait of Mr. Vholes, who supports an unassailable but unenviable professional reputation for the sake of “the three dear girls at home,” and a father whom he has to support “in the Vale of Taunton,” is less attractive; but nothing could be more in its place in the story than the clammy tenacity of this legal ghoul and his “dead glove.” Lower down in the great system of the law we come upon Mr. Guppy and his fellows, the very quintessence of cockney vulgarity, seasoned with a flavour of legal sharpness without which the rankness of the mixture would be incomplete. To the legal group Miss Flite, whose original, if I remember right, used to haunt the Temple as well as the precincts of the Chancery courts, may likewise be said to belong. She is quite legitimately introduced into the story—which cannot be said of all Dickens’s madmen—because her madness associates itself with its main theme.
Much admiration has been bestowed upon the figures of an eccentric by or under plot in this story, in which the family of the Jellybys and the august Mr. Turveydrop are, actively, or by passive endurance, engaged. The philanthropic section of le monde où l’on s’ennuie has never been satirised more tellingly, and, it must be added, more bitterly. Perhaps at the time of the publication of Bleak House the activity of our Mrs. Jellybys took a wider and more cosmopolitan sweep than in later days; for we read at the end of Esther’s diary how Mrs. Jellyby “has been disappointed in Borrioboola Gha, which turned out a failure in consequence of the King of Borrioboola wanting to sell everybody—who survived the climate—for rum; but she has taken up with the rights of women to sit in Parliament, and Caddy tells me it is a mission involving more correspondence than the old one.” But Mrs. Jellyby’s interference in the affairs of other people is after all hurtful only because in busying herself with theirs she forgets her own. The truly offensive benefactress of her fellow-creatures is Mrs. Pardiggle, who, maxim in mouth and tract in hand, turns everything she approaches to stone. Among her victims are her own children, including Alfred, aged five, who has been induced to take an oath “never to use tobacco in any form.”