Appreciations and Criticisms of the Works of Charles Dickens. Гилберт Кит Честертон

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СКАЧАТЬ and flattened by this rapid and romantic way of righting wrongs. If a modern philanthropist came to Dotheboys Hall I fear he would not employ the simple, sacred, and truly Christian solution of beating Mr. Squeers with a stick. I fancy he would petition the Government to appoint a Royal Commission to inquire into Mr. Squeers. I think he would every now and then write letters to newspapers reminding people that, in spite of all appearances to the contrary, there was a Royal Commission to inquire into Mr. Squeers. I agree that he might even go the length of calling a crowded meeting in St. James's Hall on the subject of the best policy with regard to Mr. Squeers. At this meeting some very heated and daring speakers might even go the length of alluding sternly to Mr. Squeers. Occasionally even hoarse voices from the back of the hall might ask (in vain) what was going to be done with Mr. Squeers. The Royal Commission would report about three years afterwards and would say that many things had happened which were certainly most regrettable; that Mr. Squeers was the victim of a bad system; that Mrs. Squeers was also the victim of a bad system; but that the man who sold Squeers his cane had really acted with great indiscretion and ought to be spoken to kindly. Something like this would be what, after four years, the Royal Commission would have said; but it would not matter in the least what the Royal Commission had said, for by that time the philanthropists would be off on a new tack and the world would have forgotten all about Dotheboys Hall and everything connected with it. By that time the philanthropists would be petitioning Parliament for another Royal Commission; perhaps a Royal Commission to inquire into whether Mr. Mantalini was extravagant with his wife's money; perhaps a commission to inquire into whether Mr. Vincent Crummles kept the Infant Phenomenon short by means of gin.

      If we wish to understand the spirit and the period of Nicholas Nickleby we must endeavour to comprehend and to appreciate the old more decisive remedies, or, if we prefer to put it so, the old more desperate remedies. Our fathers had a plain sort of pity; if you will, a gross and coarse pity. They had their own sort of sentimentalism. They were quite willing to weep over Smike. But it certainly never occurred to them to weep over Squeers. Even those who opposed the French war opposed it exactly in the same way as their enemies opposed the French soldiers. They fought with fighting. Charles Fox was full of horror at the bitterness and the useless bloodshed; but if any one had insulted him over the matter, he would have gone out and shot him in a duel as coolly as any of his contemporaries. All their interference was heroic interference. All their legislation was heroic legislation. All their remedies were heroic remedies. No doubt they were often narrow and often visionary. No doubt they often looked at a political formula when they should have looked at an elemental fact. No doubt they were pedantic in some of their principles and clumsy in some of their solutions. No doubt, in short, they were all very wrong; and no doubt we are the people, and wisdom shall die with us. But when they saw something which in their eyes, such as they were, really violated their morality, such as it was, then they did not cry "Investigate!" They did not cry "Educate!" They did not cry "Improve!" They did not cry "Evolve!" Like Nicholas Nickleby they cried "Stop!" And it did stop.

      This is the first mark of the purely romantic method: the swiftness and simplicity with which St. George kills the dragon. The second mark of it is exhibited here as one of the weaknesses of Nicholas Nickleby. I mean the tendency in the purely romantic story to regard the heroine merely as something to be won; to regard the princess solely as something to be saved from the dragon. The father of Madeline Bray is really a very respectable dragon. His selfishness is suggested with much more psychological tact and truth than that of any other of the villains that Dickens described about this time. But his daughter is merely the young woman with whom Nicholas is in love. We do not care a rap about Madeline Bray. Personally I should have preferred Cecilia Bobster. Here is one real point where the Victorian romance falls below the Elizabethan romantic drama. Shakespeare always made his heroines heroic as well as his heroes.

      In Dickens's actual literary career it is this romantic quality in Nicholas Nickleby that is most important. It is his first definite attempt to write a young and chivalrous novel. In this sense the comic characters and the comic scenes are secondary; and indeed the comic characters and the comic scenes, admirable as they are, could never be considered as in themselves superior to such characters and such scenes in many of the other books. But in themselves how unforgettable they are. Mr. Crummles and the whole of his theatrical business is an admirable case of that first and most splendid quality in Dickens -- I mean the art of making something which in life we call pompous and dull, becoming in literature pompous and delightful. I have remarked before that nearly every one of the amusing characters of Dickens is in reality a great fool. But I might go further. Almost every one of his amusing characters is in reality a great bore. The very people that we fly to in Dickens are the very people that we fly from in life. And there is more in Crummles than the mere entertainment of his solemnity and his tedium. The enormous seriousness with which he takes his art is always an exact touch in regard to the unsuccessful artist. If an artist is successful, everything then depends upon a dilemma of his moral character. If he is a mean artist success will make him a society man. If he is a magnanimous artist, success will make him an ordinary man. But only as long as he is unsuccessful will he be an unfathomable and serious artist, like Mr. Crummles. Dickens was always particularly good at expressing thus the treasures that belong to those who do not succeed in this world. There are vast prospects and splendid songs in the point of view of the typically unsuccessful man; if all the used-up actors and spoilt journalists and broken clerks could give a chorus, it would be a wonderful chorus in praise of the world. But these unsuccessful men commonly cannot even speak. Dickens is the voice of them, and a very ringing voice; because he was perhaps the only one of these unsuccessful men that was ever successful.

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