There is in general little in the characters of this fiction to compensate for the sense of oppression from which, as he follows the slow course of its far from striking plot, the reader finds it difficult to free himself. A vein of genuine humour shows itself in Mr. Plornish, obviously a favourite of the author’s, and one of those genuine working-men, as rare in fiction as on the stage, where Mr. Toole has reproduced the species; but the relation between Mr. and Mrs. Plornish is only a fainter revival of that between Mr. and Mrs. Bagney. Nor is there anything fresh or novel in the characters belonging to another social sphere. Henry Gowan, apparently intended as an elaborate study in psychology, is only a very tedious one; and his mother at Hampton Court, whatever phase of a dilapidated aristocracy she may be intended to caricature, is merely ill-bred. As for Mrs. General, she is so sorry a burlesque that she could not be reproduced without extreme caution even on the stage—to the reckless conventionalities of which, indeed, the whole picture of the Dorrit family as nouveaux riches bears a striking resemblance. There is, on the contrary, some good caricature, which, in one instance at least, was thought transparent by the knowing, in the silhouettes of the great Mr. Merdle’s professional guests; but these are, like the Circumlocution Office puppets, satiric sketches, not the living figures of creative humour.
I have spoken of this story with a censure which may be regarded as exaggerated in its turn. But I well remember, at the time of its publication in numbers, the general consciousness that Little Dorrit was proving unequal to the high-strung expectations which a new work by Dickens then excited in his admirers, both young and old. There were new and striking features in it, with abundant comic and serious effect, but there was no power in the whole story to seize and hold, and the feeling could not be escaped that the author was not at his best. And Dickens was not at his best when he wrote Little Dorrit. Yet while nothing is more remarkable in the literary career of Dickens than this apparently speedy decline of his power, nothing is more wonderful in it than the degree to which he righted himself again, not, indeed, with his public, for the public never deserted its favourite, but with his genius.
A considerable part of Little Dorrit must have been written in Paris, where, in October, after a quiet autumn at Folkestone, Dickens had taken a family apartment in the Avenue des Champs Élysées, “about half a quarter of a mile above Franconi’s.” Here, after his fashion, he lived much to himself, his family, and his guests, only occasionally finding his way into a literary or artistic salon; but he sat for his portrait to both Ary and Henri Scheffer, and was easily persuaded to read his Cricket on the Hearth to an audience in the atelier. Macready and Mr. Wilkie Collins were in turn the companions of many “theatrical and lounging” evenings. Intent as Dickens now had become upon the technicalities of his own form of composition, this interest must have been greatly stimulated by the frequent comparison of modern French plays, in most of which nicety of construction and effectiveness of situation have so paramount a significance. At Boulogne, too, Mr. Wilkie Collins was a welcome summer visitor. And in the autumn the two friends started on the Lazy Tour of Two Idle Apprentices. It came to an untimely end as a pedestrian excursion, but the record of it is one of the pleasantest memorials of a friendship which brightened much of Dickens’s life and intensified his activity in work as well as in pleasure.
“Mr. Thomas Idle” had indeed a busy time of it in this year 1857. The publication of Little Dorrit was not finished till June, and in August we find him, between a reading and a performance of The Frozen Deep at Manchester—then in the exciting days of the great Art Exhibition—thus describing to Macready his way of filling up his time: “I hope you have seen my tussle with the Edinburgh. I saw the chance last Friday week, as I was going down to read the Carol in St. Martin’s Hall. Instantly turned to, then and there, and wrote half the article, flew out of bed early next morning, and finished it by noon. Went down to Gallery of Illustration (we acted that night), did the day’s business, corrected the proofs in Polar costume in dressing-room, broke up two numbers of Household Words to get it out directly, played in Frozen Deep and Uncle John, presided at supper of company, made no end of speeches, went home and gave in completely for four hours, then got sound asleep, and next day was as fresh as you used to be in the far-off days of your lusty youth.” It was on the occasion of the readings at St. Martin’s Hall, for the benefit of Douglas Jerrold’s family, that the thought of giving readings for his own benefit first suggested itself to Dickens; and, as will be seen, by April, 1858, the idea had been carried into execution, and a new phase of life had begun for him. And yet at this very time, when his home was about to cease being in the fullest sense a home to Dickens, by a strange irony of fortune, he had been enabled to carry out a long-cherished fancy and to take possession, in the first instance as a summer residence, of the house on Gad’s Hill, of which a lucky chance had made him the owner rather more than a twelvemonth before.
“My little place,” he wrote in 1858, to his Swiss friend Cerjat, “is a grave red-brick house (time of George the First, I suppose), which I have added to and stuck bits upon in all manner of ways, so that it is as pleasantly irregular, and as violently opposed to all architectural ideas, as the most hopeful man could possibly desire. It is on the summit of Gad’s Hill. The robbery was committed before the door, on the man with the treasure, and Falstaff ran away from the identical spot of ground now covered by the room in which I write. A little rustic ale-house, called ‘The Sir John Falstaff,’ is over the way—has been over the way ever since, in honour of the event.... The whole stupendous property is on the old Dover road....”
Among “the blessed woods and fields” which, as he says, had done him “a world of good,” in a season of unceasing bodily and mental unrest, the great English writer had indeed found a habitation fitted to become inseparable from his name and fame. It was not till rather later, in 1860, that, after the sale of Tavistock House, Gad’s Hill Place became his regular abode, a London house being only now and then taken for the season, while furnished rooms were kept at the office in Wellington Street for occasional use. And it was only gradually that he enlarged and improved his Kentish place so as to make it the pretty and comfortable country-house which at the present day it appears to be; constructing, in course of time, the passage under the high-road to the shrubbery, where the Swiss châlet given to him by Mr. Fechter was set up, and building the pretty little conservatory, which, when completed, he was not to live many days to enjoy. But an old-fashioned, homely look, free from the slightest affectation of quietness, belonged to Gad’s Hill Place, even after all these alterations, and belongs to it even at this day, when Dickens’s solid old-fashioned furniture has been changed. In the pretty little front hall still hangs the illuminated tablet recalling the legend of Gad’s Hill; and on the inside panels of the library door remain the facetious sham book-titles: “Hudson’s Complete Failure,” and “Ten Minutes in China,” and “Cats’ Lives” and, on a long series of leather backs, “Hansard’s Guide to Refreshing Sleep.” The rooms are all of a modest size, and the bedrooms—amongst them Dickens’s own—very low; but the whole house looks thoroughly habitable, while the views across the cornfields at the back are such as in their undulation of soft outline are nowhere more pleasant than in Kent. Rochester and the Medway are near, even for those who do not—like Dickens and his dogs—count a stretch past three or four “mile-stones on the Dover road” as the mere beginning of an afternoon’s walk. At a distance little greater there are in one direction the green glades of Cobham Park, with Chalk and Gravesend beyond; and in another the flat country towards the Thames, with its abundance of market-gardens. There, too, are the marshes on the border of which lie the massive ruin of Cooling Castle, the refuge of the Lollard martyr who was not concerned in the affair on Gad’s Hill, and Cooling Church and church-yard, with the quaint little gravestones in the grass. London and the office were within easy reach, and Paris itself was, for practical purposes, not much farther away, so that, in later days at all events, Dickens found himself “crossing the Channel perpetually.”
The name of Dickens still has a good sound in and about Gad’s Hill. He was on very friendly terms with some families whose houses stand near to his own; and though nothing was farther from his nature, as he says, than to “wear topboots” and play the squire, yet he had in him not a little of what endears so many a resident country gentleman to his neighbourhood. He was head organiser rather than chief patron of village sports, of cricket matches and foot races; and his house was a dispensary for the poor of the parish. He established confidential relations between his house and the Falstaff Inn over the way, regulating his servants’ consumption of beer on a strict but liberal plan of his own devising; but it is not for this reason only that the successor of Mr. Edwin Trood—for such was the veritable name of mine host of the “Falstaff” in Dickens’s time—declares that it was a bad day for the neighbourhood when Dickens was taken away from it. In return, nothing could exceed the enthusiasm which surrounded him in his own country, and Forster has described his astonishment at the manifestation of it on the occasion of the wedding of the youngest daughter of the house in 1860. And, indeed, he was born to be popular, and specially among those by whom he was beloved as a friend or honoured as a benefactor.
But it was not for long intervals of either work or rest that Dickens was to settle down in his pleasant country house, nor was he ever, except quite at the last, to sit down under his own roof in peace and quiet, a wanderer no more. Less than a year after he had taken up his residence for the summer on Gad’s Hill, his home, and that of his younger children, was his wife’s home no longer. The separation, which appears to have been preparing itself for some, but no very long, time, took place in May, 1858, when, after an amicable arrangement, Mrs. Dickens left her husband, who henceforth allowed her an ample separate maintenance, and occasionally corresponded with her, but never saw her again. The younger children remained in their father’s house under the self-sacrificing and devoted care of Mrs. Dickens’s surviving sister, Miss Hogarth. Shortly afterwards, Dickens thought it well, in printed words which may be left forgotten, to rebut some slanderous gossip which, as the way of the world is, had misrepresented the circumstances of this separation. The causes of the event were an open secret to his friends and acquaintances. If he had ever loved his wife with that affection before which so-called incompatibilities of habits, temper, or disposition fade into nothingness, there is no indication of it in any of his numerous letters addressed to her. Neither has it ever been pretended that he strove in the direction of that resignation which love and duty together made possible to David Copperfield, or even that he remained in every way master of himself, as many men have known how to remain, the story of whose wedded life and its disappointments has never been written in history or figured in fiction. It was not incumbent upon his faithful friend and biographer, and much less can it be upon one whom nothing but a sincere admiration of Dickens’s genius entitles to speak of him at all, to declare the standard by which the most painful transaction in his life is to be judged. I say the most painful, for it is with a feeling akin to satisfaction that one reads, in a letter three years afterwards to a lady in reference to her daughter’s wedding: “I want to thank you also for thinking of me on the occasion, but I feel that I am better away from it. I should really have a misgiving that I was a sort of a shadow on a young marriage, and you will understand me when I say so, and no more.” A shadow, too—who would deny it?—falls on every one of the pictures in which the tenderest of modern humourists has painted the simple joys and the sacred sorrows of that home life of which to his generation he had become almost the poet and the prophet, when we remember how he was himself neither blessed with its full happiness nor capable of accepting with resignation the imperfection inherent in it, as in all things human.