Charles Dickens, The Novelist on Stage

“ Some of the earliest glimpses we have of Charles Dickens show him to us perched on some chair or table singing comic songs in an atmosphere of perpetual applause. So, almost as soon as he can toddle, he steps into the glare of the footlights. He never stepped out of it until he died. He was a good man, as men go in this bewildering world of ours, brave, transparent, tender-hearted, scrupulously independent and honourable; he was not a man whose weaknesses should be spoken of without some delicacy and doubt. ”

“ He was anxious to make a provision for his large family, and, probably conscious that his strength would not long be equal to such performances, he resolved, as Forster says, to make the most money possible in the shortest time without regard to labour. Dickens was keenly affected by the sympathy of his audience, and the visible testimony to his extraordinary popularity and to his singular dramatic power was no doubt a powerful attraction to a man who was certainly not without vanity, and who had been a popular idol almost from boyhood. ”

“ The man has genius in him which is unmistakable."
Life behind the scenes was always a fascinating study to Dickens. "One of the oddest sights a green-room can present," he said one day, "is when they are collecting children for a pantomime. For this purpose the prompter calls together all the women in the ballet, and begins giving out their names in order, while they press about him eager for the chance of increasing their poor pay by the extra pittance their children will receive. ”

“ Some of these personal characteristics of Dickens were [Pg 92] to be brought out with remarkable vividness during the period of his life which forms the special subject of the present chapter. Never was he more thoroughly himself than as a theatrical manager and actor, surrounded by congenial associates. He starred it to his heart’s content at the country seat of his kind Lausanne friends, Mr. and Mrs. Watson. But the first occasion on which he became publicly known in both the above-mentioned capacities was the reproduction of the amateur performance of Every Man in his Humour. ”

“ I—I—I—am the artist. I was the real artist of Piccadilly, I was the real artist of the Waterloo Road, I am the only artist of all those pavement-subjects which daily and nightly arouse your admiration. I do ’em, and I let ’em out. The man you behold with the papers of chalks and the rubbers, touching up the down-strokes of the writing and shading off the salmon, the man you give the credit to, the man you give the money to, hires—yes! and I live to tell it!—hires those works of art of me, and brings nothing to ’em but the candles. ”

“ I have never seen an actress who more rapidly and easily made her presence known on the stage as a gracious, winsome, affectionate creature, filled with human kindness, and always ready to believe the best of people and of things.
Dickens and the girl
"And so the judgment of Charles Dickens is {221} established as surely as that of Macready. 'I really wish,' said Dickens in a letter to John Forster, 'I really wish you would go to see The Maid and the Magpie burlesque at the Strand Theatre. There is the strangest thing in it that I have ever seen on the stage. ”

“ To the eye that knows how to see, there is no stage where so many scenes from the drama of life are being always enacted as the streets of London. Dickens frequented that theatre very assiduously, and of his power of sight there can be no question. ”

“ Dickens and his PublicRemembering these two things, his training and disposition, we can easily foresee the kind of novel he must produce. He will be sentimental, especially over children and outcasts; he will excuse the individual in view of the faults of society; he will be dramatic or melodramatic; and his sensibility will keep him always close to the public, studying its tastes and playing with its smiles and tears. If pleasing the public be in itself an art, then Dickens is one of our greatest artists. ”

“ Naturally, Dickens puts more emphasis upon the contrast between his characters than upon the contrast within them. The internal inconsistencies and struggles, the slow processes of growth and change which are the delight of the psychological novelist do not especially interest him. He sees things black or white, not gray. The objects that attract him most, and on which he lavishes his art, do not belong to the average, but to the extraordinary. Dickens is not a commonplace merchant. ”

“ Cursed be the hour—should say a sincere admirer of Mr Dickens' genius—that he ever set foot within a theatre, or became intimate with theatrical people. You fancy that every scene, incident, and character, is conceived with a view to its telling—from the stage. This suggestion seems to me to afford a key to most of the prominent faults and deficiencies of Mr Dickens as an imaginative writer; the lamentable absence of that simplicity and sobriety which invest the writings, for instance, of Goldsmith with immortal freshness and beauty. ”

“ But when we returned home he questioned and pondered much upon Dickens himself. Finally he said: "I am afraid he has too much talent for his genius; it is a fearful locomotive to which he is bound, and he can never be freed from it nor set at rest. You see him quite wrong evidently, and would persuade me that he is a genial creature, full of sweetness and amenities, and superior to his talents; but I fear he is harnessed to them. He is too consummate an artist to have a thread of nature left. ”

“ Dickens' magnificent emotional power is not balanced, however, by a corresponding intellectual quality; in his work, as in his temperament and bearing, emotion is always in danger of running to excess. One of his great elements of strength is his sense of humor, which has created an almost unlimited number of delightful scenes and characters; but it very generally becomes riotous and so ends in sheer farce and caricature, as the names of many of the characters suggest at the outset. Indeed Dickens has been rightly designated a grotesque novelist—the greatest of all grotesque novelists. ”

“ It is not surprising, either, to learn that upon the stage his preference was for melodrama and farce. His own serious writing was always dangerously close to the melodramatic, and his humor to the farcical. There is much false art, bad taste, and even vulgarity in Dickens. He was never quite a gentleman, and never succeeded well in drawing gentlemen or ladies. In the region of low comedy he is easily the most original, the most inexhaustible, the most wonderful of modern humorists. ”

“ He no more attempts to imitate the surface of life than a musician attempts to imitate the sounds of life. Like Dickens, he is a great Gothic writer, who demands the right to people the work of his hands with devil or imp or angel—with figures of pity or horror, of laughter or tears. He does not possess Dickens’s comic imagination; the fantastic and the ironic take the place of humour in his books. But his work, like that of Dickens, is a gigantically grotesque pile built on the19 ancient Christian affirmation of love. Literature in our time may observe or ask questions: it seldom affirms. ”

“ If in the combination of parts the workmanship of Dickens was not invariably of the best, on the other hand in the invention of those parts themselves he excelled, his imaginative power and dramatic instinct combining to produce an endless succession of effective scenes and situations, ranging through almost every variety of the pathetic and the humorous. In no direction was nature a more powerful aid to art with him than in this. ”

“ None the less, and to the end, Dickens the artist is hag-ridden by this business of “plot,” which for him meant “stage-plot.” It hampers him in book after book, as its silly exigencies perpetually get in the way of the reader’s pleasure, even of the reader’s understanding. His genius did not lie that way, any more than did Shakespeare’s. I put in this comparison, for it can never be untimely for a Professor of English Literature to get in a word to damn the school-books which present Shakespeare to you as chasing along his shelves for some Italian novel to provide him with a new plot. ”

“ It may seem flippant to dwell on such flippancies in connection with a book which contains many romantic descriptions and many moral generalisations which Dickens probably valued highly. But it is not for such things that he is valued. In all his writings, from his most reasoned and sustained novel to his maddest private note, it is always this obstreperous instinct for farce which stands out as his in the highest sense. His wisdom is at the best talent, his foolishness is genius. Just that exuberant levity which we associate with a moment we associate in his case with immortality. ”

“ No one who loves Dickens and knows anything of the art he practised but deplores that evil incessant demand that never permitted him to revise his plans, to alter, rearrange and concentrate, that never released him from the obligation to touch dull hearts and penetrate thick skins with obtrusive pathos and violent caricature. ”

“ Strip the bishop of his apron, or the beadle of his hat and lace; what are they? Men. Mere men. Dignity, and even holiness too, sometimes, are more questions of coat and waistcoat than some people imagine.”
In his next novel, Dickens has a word for those “who pamper their compassion and need high stimulants to rouse it,” and indicates the cause of hysterical zeal on the one hand or dull indifference on the other, equally misplaced: [132]
“In short, charity must have its romance, as the novelist or playwright must have his. ”

“ The easiest and most "natural" manners of a perfect English lady are the result of art, and of a more advanced art than that indicated by more ceremonious manners. Mr. Beerbohm says that women in the time of Dickens appear to have been utterly natural in their conduct, "flighty, gushing, blushing, fainting, giggling, and shaking their curls." ”

“ Women are unconscious queens of tragedy. Each one, in thought, plays to a sympathetic but invisible audience. She lifts her daily living to a plane of art, finding in fiction, music, pictures, and the stage continual reminders of her own experience.
Does her husband, distraught with business cares, leave her hurriedly and without the customary morning kiss? Woman, on her way to market, rapidly reviews similar instances in fiction, in which this first forgetting proved to be "the little rift within the lute." ”

“ It was left to an abnormal critic like George Gissing to point out the glaring fact that in the remarkable set of life studies of XIXth century women to be found in the novels of Dickens, the most convincingly real ones are either vilely unamiable or comically contemptible; whilst his attempts to manufacture admirable heroines by idealizations of home-bred womanhood are not only absurd but not even pleasantly absurd: one has no patience with them. ”

“ He takes for granted that the women, old and young, who are not his heroines, wage this war within the sex, being disappointed by defect of nature and fortune. Dickens is master of wit, humour, and derision; and it must be confessed that his derision is abundant, and is cast upon an artificially exposed and helpless people; that is, he, a man, derides the women who miss what a man declared to be their “whole existence.” ”

“ He did not desire strange delights, blue wine or black women with Baudelaire, or cruel sights east of Suez with Mr. Kipling. He wanted what a healthy man wants, only he was ill with wanting it. To understand him, in a word, we must keep well in mind the medical distinction between delicacy and disease. Perhaps we shall comprehend it and him more clearly if we think of a woman rather than a man. There was much that was feminine about Dickens, and nothing more so than this abnormal normality. A woman is often, in comparison with a man, at once more sensitive and more sane. ”

“ Dickens’ good women are all too good for human nature’s daily food. Esther Summerson, Florence Dombey, Little Nell—you have no faults to love you by.
Scott’s women were likewise mere illuminated texts. Scott only drew one live heroine—Catherine Seton. His other women were merely the prizes the hero had to win in the end, like the sucking pig or the leg of mutton for which the yokel climbs the greasy pole. That Dickens could draw a woman to some likeness he proved by Bella Wilfer, and Estella in “Great Expectations.” But real women have never been popular in fiction. ”

“ The fact is, the novel of every-day life is getting worn out. We must dig deeper, get to untouched social strata. Dickens felt this, but he had not the courage to face his subjects; his monthly numbers had to lie on the family tea-table. Not virginibus puerisque will be my book, I assure you, but for men and women who like to look beneath the surface, and who understand that only as artistic material has human life any significance. ”

“ The rest are wisely kept from the public, else, forsooth, the fledgling writers of penny-shockers would seize upon them for raw stock.
Dickens has a watch that starts and stops in a way of its own—never mind the sun. He lets you see the wheels go round, but he never tells you why the wheels go round. He knows little of psychology—that curious, unseen thing that stands behind every act. He knows not the highest love, therefore he never depicts the highest joy. Nowhere does he show the gradual awakening in man of Godlike passion—nowhere does he show the evolution of a soul ”