BY: Gilbert Keith Chesterton
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 would n'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 mere 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 gentle man 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 always remembered people by their opinions. Elijah Pogram was to him the man who said that "his boastful answer to the tyrant and the despot was that his bright home was the land of the settin' sun." Mr. Scadder and Mr. Jefferson Brick were to him the men who said (in cooperation) that "the libation of freedom must sometimes be quaffed in blood." And in these chapters more than anywhere else he falls into the extreme habit of satire, that of treating people as if there were nothing about them except their opinions. It is therefore difficult to accept these pages as pages in a novel, splendid as they are considered as pages in a parody. I do not dispute that men have said and do say that "the libation of freedom must sometimes be quaffed in blood," that "their bright homes are the land of the settin' sun," that "they taunt that lion," that "alone they dare him," or "that softly sleeps the calm ideal in the whispering chambers of imagination." I have read too much American journalism to deny that any of these sentences and any of these opinions may at some time or other have been uttered. I do not deny that there are such opinions. But I do deny that there are such people. Elijah Pogram had some other business in life besides defending defaulting postmasters; he must have been a son or a father or a husband or at least (admirable thought) a lover. Mr. Chollop had some moments in his existence when he was not threatening his fellow-creatures with his swordstick and his revolver. Of all this human side of such American types Dickens does not really give any hint at all. He does not suggest that the bully Chollop had even such coarse good-humour as bullies almost always have. He does not suggest that the humbug Elijah Pogram had even as much greasy amiability as humbugs almost invariably have. He is not studying them as human beings, even as bad human beings; he is studying them as conceptions, as points of view, as symbols of a state of mind with which he is in violent disagreement. To put it roughly, he is not describing characters, he is satirising fads. To put it more exactly, he is not describing characters; he is persecuting heresies. There is one thing really to be said against his American satire; it is a serious thing to be said: it is an argument, and it is true. This can be said of Martin's wanderings in America, that from the time he lands in America to the time he sets sail from it he never meets a living man. He has travelled in the land of Laputa. All the people he has met have been absurd opinions walking about. The whole art of Dickens in such passages as these consisted in one thing. It consisted in finding an opinion that had not a leg to stand on, and then giving it two legs to stand on.
So much may be allowed; it may be admitted that Dickens is in this sense the great satirist, in that he can imagine absurd opinions walking by themselves about the street. It may be admitted that Thackeray would not have allowed an absurd opinion to walk about the street without at least tying a man on to it for the sake of safety. But while this first truth may be evident, the second truth which is the complement of it may easily be forgotten. On the one hand there was no man who could so much enjoy mere intellectual satire apart from humanity as Dickens. On the other hand there was no man who, with another and more turbulent part of his nature, demanded humanity, and demanded its supremacy over intellect, more than Dickens. To put it shortly: there never was a man so much fitted for saying that everything was wrong; and there never was a man who was so desirous of saying that everything was right. Thus, when he met men with whom he violently disagreed, he described them as devils or lunatics; he could not bear to describe them as men. If they could not think with him on essentials he could not stand the idea that they were human souls; he cast them out; he forgot them; and if he could not forget them he caricatured them. He was too emotional to regard them as anything but enemies, if they were not friends. He was too humane not to hate them. Charles Lamb said with his inimitable sleek pungency that he could read all the books there were; he excluded books that obviously were not books, as cookery books, chessboards bound so as to look like books, and all the works of modern historians and philosophers One might say in much the same style that Dickens loved all the men in the world; that is he loved all the men whom he was able to recognise as men; the rest he turned into griffins and chimeras without any serious semblance to humanity. Even in his books he never hates a human being. If he wishes to hate him he adopts the simple expedient of making him an inhuman being. Now of these two strands almost the whole of Dickens is made up; they are not only different strands, they are even antagonistic strands. I mean that the whole of Dickens is made up of the strand of satire and the strand of sentimentalism; and the strand of satire is quite unnecessarily merciless and hostile, and the strand of sentimentalism is quite unnecessarily humanitarian and even maudlin. On the proper interweaving of these two things depends the great part of Dickens's success in a novel. And by the consideration of them we can probably best arrive at the solution of the particular emotional enigma of the novel called Martin Chuzzlewit.
Martin Chuzzlewit is, I think, vaguely unsatisfactory to the reader, vaguely sad and heavy even to the reader who loves Dickens, because in Martin Chuzzlewit more than anywhere else in Dickens's works, more even than in Oliver Twist, there is a predominance of the harsh and hostile sort of humour over the hilarious and the humane. It is absurd to lay down any such little rules for the testing of literature. But this may be broadly said and yet with confidence: that Dickens is always at his best when he is laughing at the people whom he really admires. He is at his most humorous in writing of Mr. Pickwick, who represents passive virtue. He is at his most humorous in writing of Mr. Sam Weller, who represents active virtue. He is never so funny as when he is speaking of people in whom fun itself is a virtue, like the poor people in the Fleet or the Marshalsea. And in the stories that had immediately preceded Martin Chuzzlewit he had consistently concerned himself in the majority of cases with the study of such genial and honourable eccentrics; if they are lunatics they are amiable lunatics. In the last important novel before Martin Chuzzlewit, Barnaby Rudge, the hero himself is an amiable lunatic. In the novel before that, The Old Curiosity Shop, the two comic figures, Dick Swiveller and the Marchioness, are not only the most really entertaining, but also the most really sympathetic characters in the book. Before that came Oliver Twist (which is, I have said, an exception), and before that Pickwick, where the hero is, as Mr. Weller says, "an angel in gaiters." Hitherto, then, on the whole, the central Dickens character had been the man who gave to the poor many things, gold and wine and feasting and good advice; but among other things gave them a good laugh at himself. The jolly old English merchant of the Pickwick type was popular on both counts. People liked to see him throw his money in the gutter. They also liked to see him throw himself there occasionally. In both acts they recognised a common quality of virtue.
Now I think it is certainly the disadvantage of Martin Chuzzlewit that none of its absurd characters are thus sympathetic. There are in the book two celebrated characters who are both especially exuberant and amusing even for Dickens, and who are both especially heartless and abominable even for Dickens -- I mean of course Mr. Pecksniff on the one hand and Mrs. Gamp on the other. The humour of both of them is gigantesque. Nobody will ever forget the first time he read the words "Now I should be very glad to see Mrs. Todgers's idea of a wooden leg." It is like remembering first love: there is still some sort of ancient sweetness and sting. I am afraid that, in spite of many criticisms to the contrary, I am still unable to take Mr. Pecksniff's hypocrisy seriously. He does not seem to me so much a hypocrite as a rhetorician; he reminds me of Serjeant Buzfuz. A very capable critic, Mr. Noyes, said that I was wrong when I suggested in another place that Dickens must have loved Pecksniff. Mr. Noyes thinks it clear that Dickens hated Pecksniff. I cannot believe it. Hatred does indeed linger round its object as much as love; but not in that way. Dickens is always making Pecksniff say things which have a wild poetical truth about them. Hatred allows no such outbursts of original innocence. But however that may be the broad fact remains -- Dickens may or may not have loved Pecksniff comically, but he did not love him seriously; he did not respect him as he certainly respected Sam Weller. The same of course is true of Mrs. Gamp. To any one who appreciates her unctuous and sumptuous conversation it is difficult indeed not to feel that it would be almost better to be killed by Mrs. Gamp than to be saved by a better nurse. But the fact remains. In this book Dickens has not allowed us to love the most absurd people seriously, and absurd people ought to be loved seriously. Pecksniff has to be amusing all the time; the instant he ceases to be laughable he becomes detestable. Pickwick can take his ease at his inn; he can be leisurely, he can be spacious; he can fall into moods of gravity and even of dulness; he is not bound to be always funny or to forfeit the reader's concern, for he is a good man, and therefore even his dulness is beautiful, just as is the dulness of the animal. We can leave Pickwick a little while by the fire to think; for the thoughts of Pickwick, even if they were to go slowly, would be full of all the things that all men care for -- old friends and old inns and memory and the goodness of God. But we dare not leave Pecksniff alone for a moment. We dare not leave him thinking by the fire, for the thoughts of Pecksniff would be too frightful.
read it at http://www.read-charles-dickens-books.com/Martin%20Chuzzlewit.html
In chapter 21 of MC, this sentence occurs: "The compound figure of Death and the Lady at the top of the old ballad was not divided with a greater nicety, and hadn't halves more monstrously unlike each other, than the two profiles of Zephaniah Scadder." Death and the Lady is, indeed, an old ballad that appeared on many broadsides over many centuries before and continuing into the 19th. Finding the words--in fact, many versions--of the song has not been a problem. Finding the image--half Death/half Lady--that Dickens, and others, claim commonly appeared at the top of broadsides of this song has been, however. I cannot find it anywhere on the Internet. My eternal gratitude to anyone who can put in a link to or paste in this image to this thread. It's got to be out there somewhere. Undying gratitude for a source with this image.
OK so I'm confused I admit that I've got a cold but what on earth happens here. Why is Martin in such a strop with Tom? Has he found out that Tom secretly loves Mary? If so how? Help
I've just finished the last paragraph. I have to say I loved the book, it had me hooked all the way through. The last few lines let it down though in my opinion. After such a great success, I wish Dickens had given it a bit more thought. I was left feeling confused and a bit empty somehow. I would like to have seen Tom get a woman of his own and not have to share the happy endings of the others. Does anyone else agree?
I finished MC in Dec 2005. My left ear went totally kaputt in July 05, and I spent a week in a Zurich hospital for treatment. With lots of time I restarted a twenty-year old resolution to get through all of Dickens' novels. First started with OCS in the hospital, then later did NN, and now MC. MC starts off sloooooow. Langsam. Devagar. The first 500 pages are about a 6. But then it gets going, and the next 282 pages get an 8. (Penguin Classics edition 1989). It was almost as good as NN. The real value I see in MC are the wonderful descriptions of the brother-sister relationship of Tom and Ruth. How people should really treat each other within families. Kind, generous, selfless, loving. Then there's the generous cheerful person of John Westlock. If I could absorb some of their qualities into my character, it would be a big step forward. And Mark Tapley -- "there's no credit in being happy if all the circumstances are favorable". A great philosophy! Last, I have to admit I saw a little of myself in Pecksniff as far as hypocrisy goes -- made me more sensitive to avoiding it, get as far away from it as possible. My hearing came back 100%. Cause unknown. It lasted 2 weeks. Now going through Bleak House. (Another slow start, but it picked up sooner than MC did). I'm now 9 for 15. Maybe I'll finish the goal this year. Then re-read some of the favorites for the things I can appreciate more now being 20 years older. One fault I often find in evaluating Dickens is that it seems people have to expect the plot to be great. Sure, that helps. A lot even. But there is also enjoyment in appreciating the skill of the writing. If Dickens has himself an excuse to write, that's good enough for me. Mr Swiss, Jan 22, 2006
ANYONE KNOW THE PUBLICATION DATE OF MARTIN CHUZZLEWIT?
I recently read Martin Chuzzlewit for the first time. Over the years I have read most of Dickens' novels, but seemed to overlook this one for some reason. I read G. K. Chesterton's critique right after finishing MC, and I agree with him that the America episode is priceless. I also agree with him that it is some of the most biting and grotesque satirical writing I have ever seen. Some of the satiricism is obviously dated, but much of it is right on target. I am a Canadian and have long been apalled at the brashness, arrogance and egocentrism of many citizens of the United States (not all mind you, but unfortunately more than a few that travel to other countries). I think it is a valuable, if not great piece of literature that can be bullseye some hundred and fifty years later in its social and political caricatures. If just for this portion of the book, I highly recommend MC.
there is always ambiguity
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