The Major
The foundation in 1841 of a weekly periodical, serving as a vehicle for the circulation of the lighter papers of humourists, had unquestionably an important influence in the development of his talents and fame. From an early date he was connected with 'Punch,' at first as the 'Fat Contributor,' and soon after as the author of 'Jeames's Diary' and the 'Snob Papers.' If satire could do aught to check the pride of the vulgar upstart, or shame social hypocrisy into truth and simplicity, these writings would accomplish the task. In fact, Thackeray's name was now becoming known, and people began to distinguish and enquire for his contributions; his illustrations in 'Punch' being as funny as his articles were. The series called 'Jeames's Diary' caused great amusement and no little flutter in high polite circles, for the deposition from the throne of railwaydom of the famous original of 'Jeames de la Pluche' had hardly then begun, though it was probably accelerated by the universal titters of recognition which welcomed the weekly accounts of the changing fortunes of 'Jeames.'
CHAPTER VIII.
Increasing reputation—Later writings in 'Fraser'—'Mrs. Perkins's Ball,' with Thackeray's illustrations—Early Vicissitudes of 'Pencil Sketches of English Society'—Thackeray's connection with the Temple—Appearance of 'Vanity Fair' with the Author's original illustrations—Appreciative notice in the 'Edinburgh Review'—The impression produced—'Our Street,' with Titmarsh's Pencillings of some of its Inhabitants—The 'History of Pendennis,' illustrated by the Author—'Dr. Birch and his Young Friends,' with illustrations by M. A. Titmarsh—'Rebecca and Rowena'—The Dignity of Literature and the 'Examiner' and 'Morning Chronicle' newspapers—Sensitiveness to Hostile Criticism—The 'Kickleburys on the Rhine,' with illustrations by M. A. Titmarsh—Adverse bias of the 'Times' newspaper—Thackeray's reply—An 'Essay on Thunder and Small Beer.'
The great work, however, which was to stamp the name of Thackeray for ever in the minds of English readers was yet to come. Hitherto all his writings had been brief and desultory, but in contributing to magazines his style had gradually matured itself. That ease of expression, and that repose which seems so full of power, were never more exemplified than in some of his latest essays in 'Fraser,' before book writing had absorbed all his time. His articles on Sir E. B. Lytton's 'Memoir of Laman Blanchard,' his paper on 'Illustrated Children's Books,' his satirical proposal to Mons. Alexandre Dumas for a continuation of 'Ivanhoe,' all contributed to 'Fraser' in 1846, and his article—we believe the last which he wrote for that periodical—entitled 'A Grumble about Christmas Books,' published in January 1847, are equal to anything in his later works. The first-mentioned of these papers, indeed—the remonstrance with Laman Blanchard's biographer—is unsurpassed for the eloquence of its defence of the calling of men of letters, and for the tenderness and manly simplicity with which it touches on the history of the unfortunate subject of the memoir.
'Mrs. Perkins's Ball,' a Christmas book, was published in December 1846. But its author had long been preparing for a more serious undertaking. Some time before, he had sketched some chapters entitled 'Pencil Sketches of English Society,' which he had offered to Colburn for insertion in the 'New Monthly Magazine.' It formed a portion of a continuous story, of a length not yet determined, and was rejected by Colburn after consideration. The papers which Thackeray had previously contributed to the 'New Monthly' were chiefly slight comic stories—perhaps the least favourable specimens of his powers. They were, indeed, not superior to the common run of magazine papers, and were certainly not equal to his contributions to 'Fraser.' In fact, as a contributor to the 'New Monthly' he had achieved no remarkable success, and his papers appear to have been little in demand there. Whether the manuscript had been offered to 'Fraser'—the magazine in which 'Titmarsh' had secured popularity, and where he was certainly more at home—we cannot say. Happily, the author of 'Pencil Sketches of English Society,' though suspending his projected work, did not abandon it. He saw in its opening chapters—certainly not the best portions of the story when completed—the foundations of a work which was to secure him at last a fame among contemporary writers in his own proper name. The success of Dickens's shilling monthly parts suggested to him to make it the commencement of a substantive work of fiction, to be published month by month, with illustrations by the author. The work grew up by degrees, and finally took shape under the better title of 'Vanity Fair.' It was during this time, the latter part of 1846, that he removed to his house at No. 13 Young Street, Kensington, a favourite locality with him, in which house he resided for some years. He also at this time occupied chambers at No. 10 Crown-office Row, Temple, the comfortable retirement which, 'up four pair of stairs,' with its grand view, when the sun was shining, of the chimney-pots over the way, he has himself described. His friend Tom Taylor, the well-known dramatist and biographer, had chambers in the same house; and we believe, on the demolition of No. 10 Crown-office Row, wrote a poem, published in the pages of 'Punch,' in which, if we remember rightly, mention is made of the fact of Thackeray's having resided there. Thackeray was called to the bar by the Honourable Society of the Middle Temple in 1848, though he never practised, and probably never intended to do so. The Benchers, however, were not insensible to the addition to the numerous literary associations with their venerable and quiet retreat which they thus gained. After his death there was some proposition to bury him in the Temple, of which he was a member, amid (as Spenser says)—
Those bricky towers
The which on Thames' broad back do ride,
Where now the student lawyers have their bowers,
Where whilom wont the Templar Knights to bide,