G.K. Chesterton - Appreciations and Criticisms of the Works of Charles Dickens

1911
London: J. M. DENT & SONS, Ltd.
New York: E. P. DUTTON & CO.

All rights reserved

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• Charles Dickens, Circa 1840 Frontispiece
  • From an oil painting by R. J. Lane.
• Charles Dickens, 1842
  • From a bust by H. Dexter, executed during Dickenss first visit to America.
• Charles Dickens, 1844
  • From a miniature by Margaret Gillies.
• Charles Dickens, 1849
  • From a daguerreotype by Mayall.
• Charles Dickens, 1858
  • From a black and white drawing by Baughiet.
• Charles Dickens, 1859
  • From an oil painting by W. P. Frith, R.A.
• Charles Dickens, Circa 1860
  • Photograph by J. & C. Watkins.
• Charles Dickens, 1868
  • From a photograph by Gurney.

These papers were originally published as prefaces to the separate books of Dickens in one of the most extensive of those cheap libraries of the classics which are one of the real improvements of recent times. Thus they were harmless, being diluted by, or rather drowned in Dickens. My scrap of theory was a mere dry biscuit to be taken with the grand tawny port of great English comedy; and by most people it was not taken at alllike the biscuit. Nevertheless the essays were not in intention so aimless as they appear in fact. I had a general notion of what needed saying about Dickens to the new generation, though probably I did not say it. I will make another attempt to do so in this prologue, and, possibly fail again.

There was a painful moment (somewhere about the eighties) when we watched anxiously to see whether Dickens was fading from the modern world. We have watched a little longer, and with great relief we begin to realise that it is the modern world that is fading. All that universe of ranks and respectabilities in comparison with which Dickens was called a caricaturist, all that Victorian universe in which he seemed vulgarall that is itself breaking up like a cloudland. And only the caricatures of Dickens remain like things carved in stone. This, of course, is an old story in the case of a man reproached with any excess of the poetic. Again and again when the man of visions was pinned by the sly dog who knows the world,

To call Thackeray a cynic, which means a sly dog, was indeed absurd; but it is fair to say that in comparison with Dickens he felt himself a man of the world. Nevertheless, that world of which he was a man is coming to an end before our eyes; its aristocracy has grown corrupt, its middle class insecure, and things that he never thought of are walking about the drawing-rooms of both. Thackeray has described for ever the Anglo-Indian Colonel; but what on earth would he have done with an Australian Colonel? What can it matter whether Dickenss clerks talked cockney now that half the duchesses talk American? What would Thackeray have made of an age in which a man in the position of Lord Kew may actually be the born brother of Mr. Moss of Wardour Street? Nor does this apply merely to Thackeray, but to all those Victorians who prided themselves on the realism or sobriety of their descriptions; it applies to Anthony Trollope and, as much as any one, to George Eliot. For we have not only survived that present which Thackeray described: we have even survived that future to which George Eliot looked forward. It is no longer adequate to say that Dickens did not understand that old world of gentility, of parliamentary politeness and the balance of the constitution. That world is rapidly ceasing to understand itself. It is vain to repeat the complaint of the old Quarterly Reviewers, that Dickens had not enjoyed a university education. What would the old Quarterly Reviewers themselves have thought of the Rhodes Scholarships? It is useless to repeat the old tag that Dickens could not describe a gentleman. A gentleman in our time has become something quite indescribable.

Now the interesting fact is this: That Dickens, whom so many considered to be at the best a vulgar enthusiast, saw the coming change in our society much more soberly and scientifically than did his better educated and more pretentious contemporaries. I give but one example out of many. Thackeray was a good Victorian radical, who seems to have gone to his grave quite contented with the early Victorian radical theorythe theory which Macaulay preached with unparalleled luminosity and completeness; the theory that true progress goes on so steadily through human history, that while reaction is indefensible, revolution is unnecessary. Thackeray seems to have been quite content to think that the world would grow more and more liberal in the limited sense; that Free Trade would get freer; that ballot boxes would grow more and more secret; that at last (as some satirist of Liberalism puts it) every man would have two votes instead of one. There is no trace in Thackeray of the slightest consciousness that progress could ever change its direction. There is in Dickens. The whole of Hard Times is the expression of just such a realisation. It is not true to say that Dickens was a Socialist, but it is not absurd to say so. And it would be simply absurd to say it of any of the great Individualist novelists of the Victorian time. Dickens saw far enough ahead to know that the time was coming when the people would be imploring the State to save them from mere freedom, as from some frightful foreign oppressor. He felt the society changing; and Thackeray never did.

As talking about Socialism and Individualism is one of the greatest bores ever endured among men, I will take another instance to illustrate my meaning, even though the instance be a queer and even a delicate one. Even if the reader does not agree with my deduction, I ask his attention to the fact itself, which I think a curiosity of literature. In the last important work of Dickens, that excellent book Our Mutual Friend , there is an odd thing about which I cannot make up my mind; I do not know whether it is unconscious observation or fiendish irony. But it is this. In Our Mutual Friend is an old patriarch named Aaron, who is a saintly Jew made to do the dirty work of an abominable Christian usurer. In an artistic sense I think the patriarch Aaron as much of a humbug as the patriarch Casby. In a moral sense there is no doubt at all that Dickens introduced the Jew with a philanthropic idea of doing justice to Judaism, which he was told he had affronted by the great gargoyle of Fagin. If this was his motive, it was morally a most worthy one. But it is certainly unfortunate for the Hebrew cause that the bad Jew should be so very much more convincing than the good one. Old Aaron is not an exaggeration of Jewish virtues; he is simply not Jewish, because he is not human. There is nothing about him that in any way suggests the nobler sort of Jew, such a man as Spinoza or Mr. Zangwill. He is simply a public apology, and like most public apologies, he is very stiff and not very convincing.

So far so good. Now we come to the funny part. To describe the high visionary and mystic Jew like Spinoza or Zangwill is a great and delicate task in which even Dickens might have failed. But most of us know something of the make and manners of the low Jew, who is generally the successful one. Most of us know the Jew who calls himself De Valancourt. Now to any one who knows a low Jew by sight or hearing, the story called Our Mutual Friend is literally full of Jews. Like all Dickenss best characters they are vivid; we know them. And we know them to be Hebrew. Mr. Veneering, the Man from Nowhere, dark, sphinx-like, smiling, with black curling hair, and a taste in florid vulgar furnitureof what stock was he? Mr. Lammle, with too much nose in his face, too much ginger in his whiskers, too much sparkle in his studs and mannersof what blood was he? Mr. Lammles friends, coarse and thick-lipped, with fingers so covered with rings that they could hardly hold their gold pencilsdo they remind us of anybody? Mr. Fledgeby, with his little ugly eyes and social flashiness and craven bodily servilitymight not some fanatic like M. Drumont make interesting conjectures about him? The particular types that people hate in Jewry, the types that are the shame of all good Jews, absolutely run riot in this book, which is supposed to contain an apology to them. It looks at first sight as if Dickenss apology were one hideous sneer. It looks as if he put in one good Jew whom nobody could believe in, and then balanced him with ten bad Jews whom nobody could fail to recognise. It seems as if he had avenged himself for the doubt about Fagin by introducing five or six Faginstriumphant Fagins, fashionable Fagins, Fagins who had changed their names. The impeccable old Aaron stands up in the middle of this ironic carnival with a peculiar solemnity and silliness. He looks like one particularly stupid Englishman pretending to be a Jew, amidst all that crowd of clever Jews who are pretending to be Englishmen.