LITMIR.BIZ

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supported it by good ones. This is in some degree true even in the case of Dickens. The public continued to call him “Boz” long after the public had forgotten the Sketches by Boz. Numberless writers of the time speak of “Boz” as having written Martin Chuzzlewit and “Boz” as having written David Copperfield. Yet if they had gone back to the original book signed “Boz” they might even have felt that it was vulgar and flippant. This is indeed the chief tragedy of publishers: that they may easily refuse at the same moment the wrong manuscript and the right man. It is easy to see of Dickens now that he was the right man; but a man might have been very well excused if he had not realised that the Sketches was the right book. Dickens, I say, is a case for this primary query: whether there was in the first work any clear sign of his higher creative spirit. But Dickens is much less a case for this query than almost all the other great men of his period. The very earliest works of Thackeray are much more unimpressive than those of Dickens. Nay, they are much more vulgar than those of Dickens. And worst of all, they are much more numerous than those of Dickens. Thackeray came much nearer to being the ordinary literary failure than Dickens ever came. Read some of the earliest criticisms of Mr. Yellowplush or Michael Angelo Titmarsh and you will realise that at the very beginning there was more potential clumsiness and silliness in Thackeray than there ever was in Dickens. Nevertheless there was some potential clumsiness and silliness in Dickens; and what there is of it appears here and there in the admirable Sketches by Boz.

      Perhaps we may put the matter this way: this is the only one of Dickens’s works of which it is ordinarily necessary to know the date. To a close and delicate comprehension it is indeed very important that Nicholas Nickleby was written at the beginning of Dickens’s life, and Our Mutual Friend towards the end of it. Nevertheless anybody could understand or enjoy these books, whenever they were written. If Our Mutual Friend was written in the Latin of the Dark Ages we should still want it translated. If we thought that Nicholas Nickleby would not be written until thirty years hence we should all wait for it eagerly. The general impression produced by Dickens’s work is the same as that produced by miraculous visions; it is the destruction of time. Thomas Aquinas said that there was no time in the sight of God; however this may be, there was no time in the sight of Dickens. As a general rule Dickens can be read in any order; not only in any order of books, but even in any order of chapters. In an average Dickens book every part is so amusing and alive that you can read the parts backwards; you can read the quarrel first and then the cause of the quarrel; you can fall in love with a woman in the tenth chapter and then turn back to the first chapter to find out who she is. This is not chaos; it is eternity. It means merely that Dickens instinctively felt all his figures to be immortal souls who existed whether he wrote of them or not, and whether the reader read of them or not. There is a peculiar quality as of celestial pre-existence about the Dickens characters. Not only did they exist before we heard of them, they existed also before Dickens heard of them. As a rule this unchangeable air in Dickens deprives any discussion about date of its point. But as I have said, this is the one Dickens work of which the date is essential. It is really an important part of the criticism of this book to say that it is his first book. Certain elements of clumsiness, of obviousness, of evident blunder, actually require the chronological explanation. It is biographically important that this is his first book, almost exactly in the same way that it is biographically important that The Mystery of Edwin Drood was his last book. Change or no change, Edwin Drood has this plain point of a last story about it: that it is not finished. But if the last book is unfinished, the first book is more unfinished still.

      The Sketches divide themselves, of course, into two broad classes. One half consists of sketches that are truly and in the strict sense sketches. That is, they are things that have no story and in their outline none of the character of creation; they are merely facts from the street or the tavern or the town hall, noted down as they occurred by an intelligence of quite exceptional vivacity. The second class consists of purely creative things: farces, romances, stories in any case with a non-natural perfection, or a poetical justice, to round them off. One class is admirably represented, for instance, by the sketch describing the Charity Dinner, the other by such a story as that of Horatio Sparkins. These things were almost certainly written by Dickens at very various periods of his youth; and early as the harvest is, no doubt it is a harvest and had ripened during a reasonably long time. Nevertheless it is with these two types of narrative that the young Charles Dickens first enters English literature; he enters it with a number of journalistic notes of such things as he has seen happen in streets or offices, and with a number of short stories which err on the side of the extravagant and even the superficial. Journalism had not then, indeed, sunk to the low level which it has since reached. His sketches of dirty London would not have been dirty enough for the modern Imperialist press. Still these first efforts of his are journalism, and sometimes vulgar journalism. It was as a journalist that he attacked the world, as a journalist that he conquered it.

      The biographical circumstances will not, of course, be forgotten. The life of Dickens had been a curious one. Brought up in a family just poor enough to be painfully conscious of its prosperity and its respectability, he had been suddenly flung by a financial calamity into a social condition far below his own. For men on that exact edge of the educated class such a transition is really tragic. A duke may become a navvy for a joke, but a clerk cannot become a navvy for a joke. Dickens’s parents went to a debtors’ prison; Dickens himself went to a far more unpleasant place. The debtors’ prison had about it at least that element of amiable compromise and kindly decay which belonged (and belongs still) to all the official institutions of England. But Dickens was doomed to see the very blackest aspect of nineteenth-century England, something far blacker than any mere bad government. He went not to a prison but to a factory. In the musty traditionalism of the Marshalsea old John Dickens could easily remain optimistic. In the ferocious efficiency of the modern factory young Charles Dickens narrowly escaped being a pessimist. He did escape this danger; finally he even escaped the factory itself. His next step in life was, if possible, even more eccentric. He was sent to school; he was sent off like an innocent little boy in Eton collars to learn the rudiments of Latin grammar, without any reference to the fact that he had already taken his part in the horrible competition and actuality of the age of manufactures. It was like giving a sacked bank manager a satchel and sending him to a dame’s school. Nor was the third stage of this career unconnected with the oddity of the others. On leaving the school he was made a clerk in a lawyer’s office, as if henceforward this child of ridiculous changes was to settle down into a silent assistant for a quiet solicitor. It was exactly at this moment that his fundamental rebellion began to seethe; it seethed more against the quiet finality of his legal occupation than it had seethed against the squalor and slavery of his days of poverty. There must have been in his mind, I think, a dim feeling: “Did all my dark crises mean only this; was I crucified only that I might become a solicitor’s clerk?” Whatever be the truth about this conjecture there can be no question about the facts themselves. It was about this time that he began to burst and bubble over, to insist upon his own intellect, to claim a career. It was about this time that he put together a loose pile of papers, satires on institutions, pictures of private persons, fairy tales of the vulgarity of his world, odds and ends such as come out of the facility and the fierce vanity of youth. It was about this time at any rate that he decided to publish them, and gave them the name of Sketches by Boz.

      They must, I think, be read in the light of this youthful explosion. In some psychological sense he had really been wronged. But he had only become conscious of his wrongs as his wrongs had been gradually righted. Similarly, it has often been found that a man who can patiently endure penal servitude through a judicial blunder will nevertheless, when once his cause is well asserted, quarrel about the amount of compensation or complain of small slights in his professional existence. These are the marks of the first literary action of Dickens. It has in it all the peculiar hardness of youth; a hardness which in those who have in any way been unfairly treated reaches even to impudence. It is a terrible thing for any man to find out that his elders are wrong. And this almost unkindly courage of youth must partly be held responsible for the smartness of Dickens, that almost offensive smartness which in these earlier books of his sometimes irritates us like the showy gibes in the tall talk of a school-boy. These first pages bear witness both to the energy of his genius and also to its unenlightenment; he seems more ignorant and more cocksure than so great a

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