As for the shortcomings of Dickens, they are so apparent that he who runs may read. We may say of him, as of Shakespeare, that his taste is questionable, that he is too fond of a mere show, that his style is often melodramatic, that there is hardly a fault in the whole critical category of which he is not habitually guilty. But we may say of him also that he is never petty or mean or morbid or unclean; and he could not be dull if he tried. His faults, if you analyze them, spring from precisely the same source as his virtues; that is, from his abundant vitality, from his excess of life and animal spirits. So we pardon, nay, we rejoice over him as over a boy who must throw a handspring or raise a whillilew when he breaks loose from school. For Dickens, when he started his triumphal progress with Pickwick, had a glorious sense of taking his cue from life and of breaking loose from literary traditions. In comparison with Ruskin or Thackeray he is not a good writer, but something more—a splendidly great writer. If you would limit or define his greatness, try first to marshal his array of characters, characters so vital and human that we can hardly think of them as fictitious or imaginary creatures; then remember the millions of men and women to whom he has given pure and lasting pleasure.
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WILLIAM MAKEPEACE THACKERAY (1811-1863)
[Illustration: WILLIAM MAKEPEACE THACKERAY
From a drawing by Samuel Laurence]
In fiction Thackeray stands to Dickens as Hamilton to Jefferson in the field of politics. The radical difference between the novelists is exemplified in their attitude toward the public. Thackeray, who lived among the privileged classes, spoke of "this great stupid public," and thought that the only way to get a hearing from the common people was to "take them by the ears." He was a true Hamiltonian. Dickens had an immense sympathy for the common people, a profound respect for their elemental virtues; and in writing for them he was, as it were, the Jefferson, the triumphant democrat of English letters. Thackeray was intellectual; he looked at men with critical eyes, and was a realist and a pessimist. Dickens was emotional; he looked at men with kindled imagination, judged them by the dreams they cherished in their hearts, and was a romanticist and an optimist. Both men were humorists; but where Thackeray was delicately satirical, causing us a momentary smile, Dickens was broadly comic or farcical, winning us by hearty laughter.
LIFE. To one who has been trained, like Dickens, in the school of hardship it seems the most natural thing in the world to pass over into a state of affluence. It is another matter to fare sumptuously every day till luxurious habits are formed, and then be cast suddenly on one's own resources, face to face with the unexpected monster of bread and butter. This was Thackeray's experience, and it colored all his work.
A second important matter is that Thackeray had a great tenderness for children, a longing for home and homely comforts; but as a child he was sent far from his home in India, and was thrown among young barbarians in various schools, one of which, the "Charterhouse," was called the "Slaughterhouse" in the boy's letters to his mother. "There are three hundred and seventy boys in this school," wrote; "I wish there were only three hundred and sixty-nine!" He married for love, and with great joy began housekeeping; then a terrible accident happened, his wife was taken to an insane asylum, and for the rest of his life Thackeray was a wanderer amid the empty splendors of clubs and hotels.
These two experiences did not break Thackeray, but they bowed him. They help to explain the languor, the melancholy, the gentle pessimism, as if life had no more sunrises, of which we are vaguely conscious in reading The Virginians or The Newcomes.
[Sidenote: EARLY YEARS]
Thackeray was born (1811) in Calcutta, of a family of English "nabobs" who had accumulated wealth and influence as factors or civil officers. At the death of his father, who was a judge in Bengal, the child was sent to England to be educated. Here is a significant incident of the journey: