DOMBEY AND SON
In Dickens's literary life Dombey and Son represents a break so important as to necessitate our casting back to a summary and a generalisation. In order fully to understand what this break is, we must say something of the previous character of Dickens's novels, and even something of the general character of novels in themselves. How essential this is we shall see shortly.
It must first be remembered that the novel is the most typical of modern forms. It is typical of modern forms especially in this, that it is essentially formless. All the ancient modes or structures of literature were definite and severe. Any one composing them had to abide by their rules; they were what their name implied. Thus a tragedy might be a bad tragedy, but it was always a tragedy. Thus an epic might be a bad epic, but it was always an epic. Now in the sense in which there is such a thing as an epic, in that sense there is no such thing as a novel. We call any long fictitious narrative in prose a novel, just as we call any short piece of prose without any narrative an essay. Both these forms are really quite formless, and both of them are really quite new. The difference between a good epic by Mr. John Milton and a bad epic by Mr. John Smith was simply the difference between the same thing done well and the same thing done badly. But it was not (for instance) like the difference between Clarissa Harlowe and The Time Machine. If we class Richardson's book with Mr. Wells's book it is really only for convenience; if we say that they are both novels we shall certainly be puzzled in that case to say what on earth a novel is. But the note of our age, both for good and evil, is a highly poetical and largely illogical faith in liberty. Liberty is not a negation or a piece of nonsense, as the cheap reactionaries say; it is a belief in variety and growth. But it is a purely poetic and even a merely romantic belief. The nineteenth century was an age of romance as certainly as the Middle Ages was an age of reason. MediŠvals liked to have everything defined and defensible; the modern world prefers to run some risks for the sake of spontaneity and diversity. Consequently the modern world is full of a phenomenon peculiar to itself -- I mean the spectacle of small or originally small things swollen to enormous size and power. The modern world is like a world in which toadstools should be as big as trees, and insects should walk about in the sun as large as elephants. Thus, for instance, the shopkeeper, almost an unimportant figure in carefully ordered states, has in our time become the millionaire, and has more power than ten kings. Thus again a practical knowledge of nature, of the habits of animals or the properties of fire and water, was in the old ordered state either an almost servile labour or a sort of joke; it was left to old women and gamekeepers and boys who went birds'-nesting. In our time this commonplace daily knowledge has swollen into the enormous miracle of physical size, weighing the stars and talking under the sea. In short, our age is a sort of splendid jungle in which some of the most towering weeds and blossoms have come from the smallest seed.
And this is, generally speaking, the explanation of the novel. The novel is not so much the filling up of an artistic plan, however new or fantastic. It is a thing that has grown from some germ of suggestion, and has often turned out much larger than the author intended. And this, lastly, is the final result of these facts, that the critic can generally trace in a novel what was the original artistic type or shape of thought from which the whole matter started, and he will generally find that this is different in every case. In one novel he will find that the first impulse is a character. In another novel he will find that the first impulse is a landscape, the atmosphere of some special countryside. In another novel he will find that the first impulse is the last chapter. Or it may be a thrust with sword or dagger, it may be a theology, it may be a song. Somewhere embedded in every ordinary book are the five or six words for which really all the rest will be written. Some of our enterprising editors who set their readers to hunt for banknotes and missing ladies might start a competition for finding those words in every novel. But whether or no this is possible, there is no doubt that the principle in question is of great importance in the case of Dickens, and especially in the case of Dombey and Son.
In all the Dickens novels can be seen, so to speak, the original thing that they were before they were novels. The same may be observed, for the matter of that, in the great novels of most of the great modern novelists. For example, Sir Walter Scott wrote poetical romances before he wrote prose romances. Hence it follows that, with all their much greater merit, his novels may still be described as poetical romances in prose. While adding a new and powerful element of popular humours and observation, Scott still retains a certain purely poetical right -- a right to make his heroes and outlaws and great kings speak at the great moments with a rhetoric so rhythmical that it partakes of the nature of song, the same quite metrical rhetoric which is used in the metrical speeches of Marmion or Roderick Dhu. In the same way, although Don Quixote is a modern novel in its irony and subtlety, we can see that it comes from the old long romances of chivalry. In the same way, although Clarissa is a modern novel in its intimacy and actuality, we can see that it comes from the old polite letter-writing and polite essays of the period of the Spectator. Any one can see that Scott formed in The Lay of the Last Minstrel the style that he applied again and again afterwards, like the reappearances of a star taking leave of the stage. All his other romances were positively last appearances of the positively last Minstrel. Any one can see that Thackeray formed in fragmentary satires like The Book of Snobs or The Yellowplush Papers the style, the rather fragmentary style, in which he was to write Vanity Fair. In most modern cases, in short (until very lately, at any rate), the novel is an enormous outgrowth from something that was not a novel. And in Dickens this is very important. All his novels are outgrowths of the original notion of taking notes, splendid and inspired notes, of what happens in the street. Those in the modern world who cannot reconcile themselves to his method -- those who feel that there is about his books something intolerably clumsy or superficial -- have either no natural taste for strong literature at all, or else have fallen into their error by too persistently regarding Dickens as a modern novelist and expecting all his books to be modern novels. Dickens did not know at what exact point he really turned into a novelist. Nor do we. Dickens did not know, in his deepest soul, whether he ever really did turn into a novelist. Nor do we. The novel being a modern product is one of the few things to which we really can apply that disgusting method of thought -- the method of evolution. But even in evolution there are great gaps, there are great breaks, there are great crises. I have said that the first of these breaks in Dickens may be placed at the point when he wrote Nicholas Nickleby. This was his first serious decision to be a novelist in any sense at all, to be anything except a maker of momentary farces. The second break, and that a far more important break, is in Dombey and Son. This marks his final resolution to be a novelist and nothing else, to be a serious constructor of fiction in the serious sense. Before Dombey and Son even his pathos had been really frivolous. After Dombey and Son even his absurdity was intentional and grave.
In case this transition is not understood, one or two tests may be taken at random. The episodes in Dombey and Son, the episodes in David Copperfield, which came after it, are no longer episodes merely stuck into the middle of the story without any connection with it, like most of the episodes in Nicholas Nickleby, or most of the episodes even in Martin Chuzzlewit. Take, for instance, by way of a mere coincidence, the fact that three schools for boys are described successively in Nicholas Nickleby, in Dombey and Son, and in David Copperfield. But the difference is enormous. Dotheboys Hall does not exist to tell us anything about Nicholas Nickleby. Rather Nicholas Nickleby exists entirely in order to tell us about Dotheboys Hall. It does not in any way affect his history or psychology; he enters Mr. Squeers's school and leaves Mr. Squeers's school with the same character, or rather absence of character. It is a mere episode, existing for itself. But when little Paul Dombey goes to an old-fashioned but kindly school, it is in a very different sense and for a very different reason from that for which Nicholas Nickleby goes to an old-fashioned and cruel school. The sending of little Paul to Dr. Blimber's is a real part of the history of little Paul, such as it is. Dickens deliberately invents all that elderly pedantry in order to show up Paul's childishness. Dickens deliberately invents all that rather heavy kindness in order to show up Paul's predestination and tragedy. Dotheboys Hall is not meant to show up anything except Dotheboys Hall. But although Dickens doubtless enjoyed Dr. Blimber quite as much as Mr. Squeers, it remains true that Dr. Blimber is really a very good foil to Paul; whereas Squeers is not a foil to Nicholas; Nicholas is merely a lame excuse for Squeers. The change can be seen continued in the school, or rather the two schools, to which David Copperfield goes. The whole idea of David Copperfield's life is that he had the dregs of life before the wine of it. He knew the worst of the world before he knew the best of it. His childhood at Dr. Strong's is a second childhood. Now for this purpose the two schools are perfectly well adapted. Mr. Creakle's school is not only, like Mr. Squeers's school, a bad school, it is a bad influence upon David Copperfield. Dr. Strong's school is not only a good school, it is a good influence upon David Copperfield. I have taken this case of the schools as a case casual but concrete. The same, however, can be seen in any of the groups or incidents of the novels on both sides of the boundary. Mr. Crummles's theatrical company is only a society that Nicholas happens to fall into. America is only a place to which Martin Chuzzlewit happens to go. These things are isolated sketches, and nothing else. Even Todgers's boarding-house is only a place where Mr. Pecksniff can be delightfully hypocritical. It is not a place which throws any new light on Mr. Pecksniff's hypocrisy. But the case is different with that more subtle hypocrite in Dombey and Son -- I mean Major Bagstock. Dickens does mean it as a deliberate light on Mr. Dombey's character that he basks with a fatuous calm in the blazing sun of Major Bagstock's tropical and offensive flattery. Here, then, is the essence of the change. He not only wishes to write a novel; this he did as early as Nicholas Nickleby. He wishes to have as little as possible in the novel that does not really assist it as a novel. Previously he had asked with the assistance of what incidents could his hero wander farther and farther from the pathway. Now he has really begun to ask with the assistance of what incidents his hero can get nearer and nearer to the goal.
The change made Dickens a greater novelist. I am not sure that it made him a greater man. One good character by Dickens requires all eternity to stretch its legs in; and the characters in his later books are always being tripped up by some tiresome nonsense about the story. For instance, in Dombey and Son, Mrs. Skewton is really very funny. But nobody with a love of the real smell of Dickens would compare her for a moment, for instance, with Mrs. Nickleby. And the reason of Mrs. Skewton's inferiority is simply this, that she has something to do in the plot; she has to entrap or assist to entrap Mr. Dombey into marrying Edith. Mrs. Nickleby, on the other hand, has nothing at all to do in the story, except to get in everybody's way. The consequence is that we complain not of her for getting in everyone's way, but of everyone for getting in hers. What are suns and stars, what are times and seasons, what is the mere universe, that it should presume to interrupt Mrs. Nickleby? Mrs. Skewton (though supposed, of course, to be a much viler sort of woman) has something of the same quality of splendid and startling irrelevancy. In her also there is the same feeling of wild threads hung from world to world like the webs of gigantic spiders; of things connected that seem to have no connection save by this one adventurous filament of frail and daring folly. Nothing could be better than Mrs. Skewton when she finds herself, after convolutions of speech, somehow on the subject of Henry VIII., and pauses to mention with approval "his dear little peepy eyes and his benevolent chin." Nothing could be better than her attempt at Mahomedan resignation when she feels almost inclined to say "that there is no What's-his-name but Thingummy, and What-you-may-call-it is his prophet!" But she has not so much time as Mrs. Nickleby to say these good things; also she has not sufficient human virtue to say them constantly. She is always intent upon her worldly plans, among other things upon the worldly plan of assisting Charles Dickens to get a story finished. She is always "advancing her shrivelled ear" to listen to what Dombey is saying to Edith. Worldliness is the most solemn thing in the world; it is far more solemn than other-worldliness. Mrs. Nickleby can afford to ramble as a child does in a field, or as a child does to laugh at nothing, for she is like a child, innocent. It is only the good who can afford to be frivolous.
Broadly speaking, what is said here of Mrs. Skewton applies to the great part of Dombey and Son, even to the comic part of it. It shows an advance in art and unity; it does not show an advance in genius and creation. In some cases, in fact, I cannot help feeling that it shows a falling off. It may be a personal idiosyncrasy, but there is only one comic character really prominent in Dickens, upon whom Dickens has really lavished the wealth of his invention, and who does not. amuse me at all, and that character is Captain Cuttle. But three great exceptions must be made to any such disparagement of Dombey and Son. They are all three of that royal order in Dickens's creation which can no more be described or criticised than strong wine. The first is Major Bagstock, the second is Cousin Feenix, the third is Toots. In Bagstock Dickens has blasted for ever that type which pretends to be sincere by the simple operation of being explosively obvious. He tells about a quarter of the truth, and then poses as truthful because a quarter of the truth is much simpler than the whole of it. He is the kind of man who goes about with posers for Bishops or for Socialists, with plain questions to which he wants a plain answer. His questions are plain only in the same sense that he himself is plain -- in the sense of being uncommonly ugly. He is the man who always bursts with satisfaction because he can call a spade a spade, as if there were any kind of logical or philosophical use in merely saying the same word twice over. He is the man who wants things down in black and white, as if black and white were the only two colours; as if blue and green and red and gold were not facts of the universe. He is too selfish to tell the truth and too impatient even to hear it. He cannot endure the truth, because it is subtle. This man is almost always like Bagstock -- a sycophant and a toad-eater. A man is not any the less a toad-eater because he eats his toads with a huge appetite and gobbles them up, as Bagstock did his breakfast, with the eyes starting out of his purple face. He flatters brutally. He cringes with a swagger. And men of the world like Dombey are always taken in by him, because men of the world are probably the simplest of all the children of Adam.
Cousin Feenix again is an exquisite suggestion, with his rickety chivalry and rambling compliments. It was about the period of Dombey and Son that Dickens began to be taken up by good society. (One can use only vulgar terms for an essentially vulgar process.) And his sketches of the man of good family in the books of this period show that he had had glimpses of what that singular world is like. The aristocrats in his earliest books are simply dragons and griffins for his heroes to fight with -- monsters like Sir Mulberry Hawk or Lord Verisopht. They are merely created upon the old principle, that your scoundrel must be polite and powerful -- a very sound principle. The villain must be not only a villain, but a tyrant. The giant must be larger than Jack. But in the books of the Dombey period we have many shrewd glimpses of the queer realities of English aristocracy. Of these Cousin Feenix is one of the best. Cousin Feenix is a much better sketch of the essentially decent and chivalrous aristocrat than Sir Leicester Dedlock. Both of the men are, if you will, fools, as both are honourable gentlemen. But if one may attempt a classification among fools, Sir Leicester Dedlock is a stupid fool, while Cousin Feenix is a silly fool -- which is much better. The difference is that the silly fool has a folly which is, always on the borderland of wit, and even of wisdom; his wandering wits come often upon undiscovered truths. The stupid fool is as consistent and as homogeneous as wood; he is as invincible as the ancestral darkness. Cousin Feenix is a good sketch of the sort of well-bred old ass
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