Appreciations and Criticisms of the Works of Charles Dickens by G. K. Chesterton (book series for 12 year olds .txt) 📕

There is a certain quality or element which broods over the whole of Martin Chuzzlewit to which it is difficult for either friends or foes to put a name. I think the reader who enjoys Dickens’s other books has an impression that it is a kind of melancholy. There are grotesque figures of the most gorgeous kind; there are scenes that are farcical even by the standard of the farcical license of Dickens; there is humour both of the heaviest and of the lightest kind; there are two great comic personalities who run like a rich vein through the whole story, Pecksniff and Mrs. Gamp; there is one blinding patch of brilliancy, the satire on American cant; there is Todgers’s boarding-house; there is Bailey; there is Mr. Mould, the incomparable undertaker. But yet in spite of everything, in spite even of the undertaker, the book is sad. No one I think ever went to it in that mixed mood of a tired tenderness and a readiness to believe and laugh in which most of Dickens’s novels are most enjoyed. We go for a particular novel to Dickens as we go for a particular inn. We go to the sign of the Pickwick Papers. We go to the sign of the Rudge and Raven. We go to the sign of the Old Curiosities. We go to the sign of the Two Cities. We go to each or all of them according to what kind of hospitality and what kind of happiness we require. But it is always some kind of hospitality and some kind of happiness that we require. And as in the case of inns we also remember that while there was shelter in all and food in all and some kind of fire and some kind of wine in all, yet one has left upon us an indescribable and unaccountable memory of mortality and decay, of dreariness in the rooms and even of tastelessness in the banquet. So any one who has enjoyed the stories of Dickens as they should be enjoyed has a nameless feeling that this one story is sad and almost sodden. Dickens himself had this feeling, though his breezy vanity forbade him to express it in so many words. In spite of Pecksniff, in spite of Mrs. Gamp, in spite of the yet greater Bailey, the story went lumberingly and even lifelessly; he found the sales falling off; he fancied his popularity waning, and by a sudden impulse most inartistic and yet most artistic, he dragged in the episode of Martin’s visit to America, which is the blazing jewel and the sudden redemption of the book. He wrote it at an uneasy and unhappy period of his life; when he had ceased wandering in America, but could not cease wandering altogether; when he had lost his original routine of work which was violent but regular, and had not yet settled down to the full enjoyment of his success and his later years. He poured into this book genius that might make the mountains laugh, invention that juggled with the stars. But the book was sad; and he knew it.

The just reason for this is really interesting. Yet it is one that is not easy to state without guarding one’s self on the one side or the other against great misunderstandings; and these stipulations or preliminary allowances must in such a case as this of necessity be made first. Dickens was among other things a satirist, a pure satirist. I have never been able to understand why this title is always specially and sacredly reserved for Thackeray. Thackeray was a novelist; in the strict and narrow sense at any rate, Thackeray was a far greater novelist than Dickens. But Dickens certainly was the satirist. The essence of satire is that it perceives some absurdity inherent in the logic of some position, and that it draws that absurdity out and isolates it, so that all can see it. Thus for instance when Dickens says, “Lord Coodle would go out; Sir Thomas Doodle wouldn’t come in; and there being no people to speak of in England except Coodle and Doodle the country has been without a Government”; when Dickens says this he suddenly pounces on and plucks out the one inherent absurdity in the English party system which is hidden behind all its paraphernalia of Parliaments and Statutes, elections and ballot papers. When all the dignity and all the patriotism and all the public interest of the English constitutional party conflict have been fully allowed for, there does remain the bold, bleak question which Dickens in substance asks, “Suppose I want somebody else who is neither Coodle nor Doodle.” This is the great quality called satire; it is a kind of taunting reasonableness; and it is inseparable from a certain insane logic which is often called exaggeration. Dickens was more of a satirist than Thackeray for this simple reason: that Thackeray carried a man’s principles as far as that man carried them; Dickens carried a man’s principles as far as a man’s principles would go. Dickens in short (as people put it) exaggerated the man and his principles; that is to say he emphasised them. Dickens drew a man’s absurdity out of him; Thackeray left a man’s absurdity in him. Of this last fact we can take any example we like; take for instance the comparison between the city man as treated by Thackeray in the most satiric of his novels, with the city man as treated by Dickens in one of the mildest and maturest of his. Compare the character of old Mr. Osborne in Vanity Fair with the character of Mr. Podsnap in Our Mutual Friend. In the case of Mr. Osborne there is nothing except the solid blocking in of a brutal dull convincing character. Vanity Fair is not a satire on the City except in so far as it happens to be true. Vanity Fair is not a satire on the City, in short, except in so far as the City is a satire on the City. But Mr. Podsnap is a pure satire; he is an extracting out of the City man of those purely intellectual qualities which happen to make that kind of City man a particularly exasperating fool. One might almost say that Mr. Podsnap is all Mr. Osborne’s opinions separated from Mr. Osborne and turned into a character. In short the satirist is more purely philosophical than the novelist. The novelist may be only an observer; the satirist must be a thinker. He must be a thinker, he must be a philosophical thinker for this simple reason; that he exercises his philosophical thought in deciding what part of his subject he is to satirise. You may have the dullest possible intelligence and be a portrait painter; but a man must have a serious intellect in order to be a caricaturist. He has to select what thing he will caricature. True satire is always of this intellectual kind; true satire is always, so to speak, a variation or fantasia upon the air of pure logic. The satirist is the man who carries men’s enthusiasm further than they carry it themselves. He outstrips the most extravagant fanatic. He is years ahead of the most audacious prophet. He sees where men’s detached intellect will eventually lead them, and he tells them the name of the place—which is generally hell.

Now of this detached and rational use of satire there is one great example in this book. Even Gulliver’s Travels is hardly more reasonable than Martin Chuzzlewit’s travels in the incredible land of the Americans. Before considering the humour of this description in its more exhaustive and liberal aspects, it may be first remarked that in this American part of Martin Chuzzlewit, Dickens quite specially sharpens up his own more controversial and political intelligence. There are more things here than anywhere else in Dickens that partake of the nature of pamphleteering, of positive challenge, of sudden repartee, of pugnacious and exasperating query, in a word of everything that belongs to the pure art of controversy as distinct not only from the pure art of fiction but even also from the pure art of satire. I am inclined to think (to put the matter not only shortly but clumsily) that Dickens was never in all his life so strictly clever as he is in the American part of Martin Chuzzlewit. There are places where he was more inspired, almost in the sense of being intoxicated, as, for instance, in the Micawber feasts of David Copperfield; there are places where he wrote more carefully and cunningly, as, for instance, in the mystery of The Mystery of Edwin Drood; there are places where he wrote very much more humanly, more close to the ground and to growing things, as in the whole of that admirable book Great Expectations. But I do not think that his mere abstract acuteness and rapidity of thought were ever exercised with such startling exactitude as they are in this place in Martin Chuzzlewit. It is to be noted, for instance, that his American experience had actually worked him up to a heat and habit of argument. A slave-owner in the Southern States tells Dickens that slave-owners do not ill-treat their slaves, that it is not to the interest of slave-owners to ill-treat their slaves. Dickens flashes back that it is not to the interest of a man to get drunk, but he does get drunk. This pugnacious atmosphere of parry and riposte must first of all be allowed for and understood in all the satiric excursus of Martin in America. Dickens is arguing all the time; and, to do him justice, arguing very well. These chapters are full not merely of exuberant satire on America in the sense that Dotheboys Hall or Mr. Bumble’s Workhouse are exuberant satires on England. They are full also of sharp argument with America as if the man who wrote expected retort and was prepared with rejoinder. The rest of the book, like the rest of Dickens’s books, possesses humour. This part of the book, like hardly any of Dickens’s books, possesses wit. The republican gentleman who receives Martin on landing is horrified on hearing an English servant speak of the employer as “the master.” “There are no masters in America,” says the gentleman. “All owners are they?” says Martin. This sort of verbal promptitude is out of the ordinary scope of Dickens; but we find it frequently in this particular part of Martin Chuzzlewit. Martin himself is constantly breaking out into a controversial lucidity, which is elsewhere not at all a part of his character. When they talk to him about the institutions of America he asks sarcastically whether bowie knives and swordsticks and revolvers are the institutions of America. All this (if I may summarise) is expressive of one main fact. Being a satirist means being a philosopher. Dickens was not always very philosophical; but he had this permanent quality of the philosopher about him, that he