Charles Dickens. Гилберт Кит Честертон

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СКАЧАТЬ began to burn in his head like a pent and painful furnace. In his own unvaryingly vivid way he has described how he crawled up into an unconsidered garret, and there found, in a dusty heap, the undying literature of England. The books he mentions chiefly are "Humphrey Clinker" and "Tom Jones." When he opened those two books in the garret he caught hold of the only past with which he is at all connected, the great comic writers of England of whom he was destined to be the last.

      It must be remembered (as I have suggested before) that there was something about the county in which he lived, and the great roads along which he travelled that sympathised with and stimulated his pleasure in this old picaresque literature. The groups that came along the road, that passed through his town and out of it, were of the motley laughable type that tumbled into ditches or beat down the doors of taverns under the escort of Smollett and Fielding. In our time the main roads of Kent have upon them very often a perpetual procession of tramps and tinkers unknown on the quiet hills of Sussex; and it may have been so also in Dickens's boyhood. In his neighbourhood were definite memorials of yet older and yet greater English comedy. From the height of Gads-hill at which he stared unceasingly there looked down upon him the monstrous ghost of Falstaff, Falstaff who might well have been the spiritual father of all Dickens's adorable knaves, Falstaff the great mountain of English laughter and English sentimentalism, the great, healthy, humane English humbug, not to be matched among the nations.

      At this eminence of Gads-hill Dickens used to stare even as a boy with the steady purpose of some day making it his own. It is characteristic of the consistency which underlies the superficially erratic career of Dickens that he actually did live to make it his own. The truth is that he was a precocious child, precocious not only on the more poetical but on the more prosaic side of life. He was ambitious as well as enthusiastic. No one can ever know what visions they were that crowded into the head of the clever little brat as he ran about the streets of Chatham or stood glowering at Gads-hill. But I think that quite mundane visions had a very considerable share in the matter. He longed to go to school (a strange wish), to go to college, to make a name, nor did he merely aspire to these things; the great number of them he also expected. He regarded himself as a child of good position just about to enter on a life of good luck. He thought his home and family a very good spring-board or jumping-off place from which to fling himself to the positions which he desired to reach. And almost as he was about to spring the whole structure broke under him, and he and all that belonged to him disappeared into a darkness far below.

      Everything had been struck down as with the finality of a thunder-bolt. His lordly father was a bankrupt, and in the Marshalsea prison. His mother was in a mean home in the north of London, wildly proclaiming herself the principal of a girl's school, a girl's school to which nobody would go. And he himself, the conqueror of the world and the prospective purchaser of Gads-hill, passed some distracted and bewildering days in pawning the household necessities to Fagins in foul shops, and then found himself somehow or other one of a row of ragged boys in a great dreary factory, pasting the same kinds of labels on to the same kinds of blacking-bottles from morning till night.

      Although it seemed sudden enough to him, the disintegration had, as a matter of fact, of course, been going on for a long time. He had only heard from his father dark and melodramatic allusions to a "deed" which, from the way it was mentioned, might have been a claim to the crown or a compact with the devil, but which was in truth an unsuccessful documentary attempt on the part of John Dickens to come to a composition with his creditors. And now, in the lurid light of his sunset, the character of John Dickens began to take on those purple colours which have made him under another name absurd and immortal. It required a tragedy to bring out this man's comedy. So long as John Dickens was in easy circumstances, he seemed only an easy man, a little long and luxuriant in his phrases, a little careless in his business routine. He seemed only a wordy man, who lived on bread and beef like his neighbours; but as bread and beef were successively taken away from him, it was discovered that he lived on words. For him to be involved in a calamity only meant to be cast for the first part in a tragedy. For him blank ruin was only a subject for blank verse. Henceforth we feel scarcely inclined to call him John Dickens at all; we feel inclined to call him by the name through which his son celebrated this preposterous and sublime victory of the human spirit over circumstances. Dickens, in "David Copperfield," called him Wilkins Micawber. In his personal correspondence he called him the Prodigal Father.

      Young Charles had been hurriedly flung into the factory by the more or less careless good-nature of James Lamert, a relation of his mother's; it was a blacking factory, supposed to be run as a rival to Warren's by another and "original" Warren, both practically conducted by another of the Lamerts. It was situated near Hungerford Market. Dickens worked there drearily, like one stunned with disappointment. To a child excessively intellectualised, and at this time, I fear, excessively egotistical, the coarseness of the whole thing -- the work, the rooms, the boys, the language -- was a sort of bestial nightmare. Not only did he scarcely speak of it then, but he scarcely spoke of it afterwards. Years later, in the fulness of his fame, he heard from Forster that a man had spoken of knowing him. On hearing the name, he somewhat curtly acknowledged it, and spoke of having seen the man once. Forster, in his innocence, answered that the man said he had seen Dickens many times in a factory by Hungerford Market. Dickens was suddenly struck with a long and extraordinary silence. Then he invited Forster, as his best friend, to a particular interview, and, with every appearance of difficulty and distress, told him the whole story for the first and the last time. A long while after that he told the world some part of the matter in the account of Murdstone and Grinby's in "David Copperfield." He never spoke of the whole experience except once or twice, and he never spoke of it otherwise than as a man might speak of hell.

      It need not be suggested, I think, that this agony m the child was exaggerated by the man. It is true that he was not incapable of the vice of exaggeration, if it be a vice. There was about him much vanity and a certain virulence in his version of many things. Upon the whole, indeed, it would hardly be too much to say that he would have exaggerated any sorrow he talked about. But this was a sorrow with a very strange position in Dickens's life; it was a sorrow he did not talk about. Upon this particular dark spot he kept a sort of deadly silence for twenty years. An accident revealed part of the truth to the dearest of all his friends. He then told the whole truth to the dearest of all his friends. He never told anybody else. I do not think that this arose from any social sense of disgrace; if he had it slightly at the time, he was far too self-satisfied a man to have taken it seriously in after life. I really think that his pain at this time was so real and ugly that the thought of it filled him with that sort of impersonal but unbearable shame with which we are filled, for instance, by the notion of physical torture, of something that humiliates humanity. He felt that such agony was something obscene. Moreover there are two other good reasons for thinking that his sense of hopelessness was very genuine. First of all, this starless outlook is common in the calamities of boyhood. The bitterness of boyish distresses does not lie in the fact that they are large; it lies in the fact that we do not know that they are small. About any early disaster there is a dreadful finality; a lost child can suffer like a lost soul.

      It is currently said that hope goes with youth, and lends to youth its wings of a butterfly; but I fancy that hope is the last gift given to man, and the only gift not given to youth. Youth is preeminently the period in which a man can be lyric, fanatical, poetic; but youth is the period in which a man can be hopeless. The end of every episode is the end of the world. But the power of hoping through everything, the knowledge that the soul survives its adventures, that great inspiration comes to the middle-aged; God has kept that good wine until now. It is from the backs of the elderly gentlemen that the wings of the butterfly should burst. There is nothing that so much mystifies the young as the consistent frivolity of the old. They have discovered their indestructibility. They are in their second and clearer childhood, and there is a meaning in the merriment of their eyes. They have seen the end of the End of the World.

      First, then, the desolate finality of Dickens's childish mood makes me think it was a real one. And there is another thing to be remembered. Dickens was not a saintly child, after the style of Little Dorrit or Little Nell. He had not, at this time at any rate, set his heart wholly upon higher things, СКАЧАТЬ