An Autobiography of Anthony Trollope Part 9

The boy, for instance, who learns with accuracy the prosody of a Sapphic stanza, and has received through his intelligence a knowledge of its parts, will soon tell by his ear whether a Sapphic stanza be or be not correct. Take a girl, endowed with gifts of music, well instructed in her art, with perfect ear, and read to her such a stanza with two words transposed, as, for instance--

Mercuri, nam te docilis magistro Movit Amphion _canendo lapides_, Tuque testudo resonare septem Callida nervis--

and she will find no halt in the rhythm. But a schoolboy with none of her musical acquirements or capacities, who has, however, become familiar with the metres of the poet, will at once discover the fault. And so will the writer become familiar with what is harmonious in prose. But in order that familiarity may serve him in his business, he must so train his ear that he shall be able to weigh the rhythm of every word as it falls from his pen. This, when it has been done for a time, even for a short time, will become so habitual to him that he will have appreciated the metrical duration of every syllable before it shall have dared to show itself upon paper. The art of the orator is the same. He knows beforehand how each sound which he is about to utter will affect the force of his climax. If a writer will do so he will charm his readers, though his readers will probably not know how they have been charmed.

In writing a novel the author soon becomes aware that a burden of many pages is before him. Circ.u.mstances require that he should cover a certain and generally not a very confined s.p.a.ce. Short novels are not popular with readers generally. Critics often complain of the ordinary length of novels,--of the three volumes to which they are subjected; but few novels which have attained great success in England have been told in fewer pages. The novel-writer who sticks to novel-writing as his profession will certainly find that this burden of length is inc.u.mbent on him. How shall he carry his burden to the end? How shall he cover his s.p.a.ce? Many great artists have by their practice opposed the doctrine which I now propose to preach;--but they have succeeded I think in spite of their fault and by dint of their greatness. There should be no episodes in a novel. Every sentence, every word, through all those pages, should tend to the telling of the story. Such episodes distract the attention of the reader, and always do so disagreeably. Who has not felt this to be the case even with _The Curious Impertinent_ and with the _History of the Man of the Hill_. And if it be so with Cervantes and Fielding, who can hope to succeed? Though the novel which you have to write must be long, let it be all one. And this exclusion of episodes should be carried down into the smallest details. Every sentence and every word used should tend to the telling of the story. "But," the young novelist will say, "with so many pages before me to be filled, how shall I succeed if I thus confine myself;--how am I to know beforehand what s.p.a.ce this story of mine will require? There must be the three volumes, or the certain number of magazine pages which I have contracted to supply. If I may not be discursive should occasion require, how shall I complete my task? The painter suits the size of his canvas to his subject, and must I in my art stretch my subject to my canvas?" This undoubtedly must be done by the novelist; and if he will learn his business, may be done without injury to his effect. He may not paint different pictures on the same canvas, which he will do if he allow himself to wander away to matters outside his own story; but by studying proportion in his work, he may teach himself so to tell his story that it shall naturally fall into the required length.

Though his story should be all one, yet it may have many parts.

Though the plot itself may require but few characters, it may be so enlarged as to find its full development in many. There may be subsidiary plots, which shall all tend to the elucidation of the main story, and which will take their places as part of one and the same work,--as there may be many figures on a canvas which shall not to the spectator seem to form themselves into separate pictures.

There is no portion of a novelist's work in which this fault of episodes is so common as in the dialogue. It is so easy to make any two persons talk on any casual subject with which the writer presumes himself to be conversant! Literature, philosophy, politics, or sport, may thus be handled in a loosely discursive style; and the writer, while indulging himself and filling his pages, is apt to think that he is pleasing his reader. I think he can make no greater mistake.

The dialogue is generally the most agreeable part of a novel; but it is only so as long as it tends in some way to the telling of the main story. It need not seem to be confined to that, but it should always have a tendency in that direction. The unconscious critical ac.u.men of a reader is both just and severe. When a long dialogue on extraneous matter reaches his mind, he at once feels that he is being cheated into taking something which he did not bargain to accept when he took up that novel. He does not at that moment require politics or philosophy, but he wants his story. He will not perhaps be able to say in so many words that at some certain point the dialogue has deviated from the story; but when it does so he will feel it, and the feeling will be unpleasant. Let the intending novel-writer, if he doubt this, read one of Bulwer's novels,--in which there is very much to charm,--and then ask himself whether he has not been offended by devious conversations.

And the dialogue, on which the modern novelist in consulting the taste of his probable readers must depend most, has to be constrained also by other rules. The writer may tell much of his story in conversations, but he may only do so by putting such words into the mouths of his personages as persons so situated would probably use.

He is not allowed for the sake of his tale to make his characters give utterance to long speeches, such as are not customarily heard from men and women. The ordinary talk of ordinary people is carried on in short sharp expressive sentences, which very frequently are never completed,--the language of which even among educated people is often incorrect. The novel-writer in constructing his dialogue must so steer between absolute accuracy of language--which would give to his conversation an air of pedantry, and the slovenly inaccuracy of ordinary talkers, which if closely followed would offend by an appearance of grimace--as to produce upon the ear of his readers a sense of reality. If he be quite real he will seem to attempt to be funny. If he be quite correct he will seem to be unreal. And above all, let the speeches be short. No character should utter much above a dozen words at a breath,--unless the writer can justify to himself a longer flood of speech by the speciality of the occasion.

In all this human nature must be the novel-writer's guide. No doubt effective novels have been written in which human nature has been set at defiance. I might name _Caleb Williams_ as one and _Adam Blair_ as another. But the exceptions are not more than enough to prove the rule. But in following human nature he must remember that he does so with a pen in his hand, and that the reader who will appreciate human nature will also demand artistic ability and literary apt.i.tude.

The young novelist will probably ask, or more probably bethink himself how he is to acquire that knowledge of human nature which will tell him with accuracy what men and women would say in this or that position. He must acquire it as the compositor, who is to print his words, has learned the art of distributing his type--by constant and intelligent practice. Unless it be given to him to listen and to observe,--so to carry away, as it were, the manners of people in his memory, as to be able to say to himself with a.s.surance that these words might have been said in a given position, and that those other words could not have been said,--I do not think that in these days he can succeed as a novelist.

And then let him beware of creating tedium! Who has not felt the charm of a spoken story up to a certain point, and then suddenly become aware that it has become too long and is the reverse of charming. It is not only that the entire book may have this fault, but that this fault may occur in chapters, in pa.s.sages, in pages, in paragraphs. I know no guard against this so likely to be effective as the feeling of the writer himself. When once the sense that the thing is becoming long has grown upon him, he may be sure that it will grow upon his readers. I see the smile of some who will declare to themselves that the words of a writer will never be tedious to himself. Of the writer of whom this may be truly said, it may be said with equal truth that he will always be tedious to his readers.

CHAPTER XIII.

ON ENGLISH NOVELISTS OF THE PRESENT DAY.

In this chapter I will venture to name a few successful novelists of my own time, with whose works I am acquainted; and will endeavour to point whence their success has come, and why they have failed when there has been failure.

I do not hesitate to name Thackeray the first. His knowledge of human nature was supreme, and his characters stand out as human beings, with a force and a truth which has not, I think, been within the reach of any other English novelist in any period. I know no character in fiction, unless it be Don Quixote, with whom the reader becomes so intimately acquainted as with Colonel Newcombe. How great a thing it is to be a gentleman at all parts! How we admire the man of whom so much may be said with truth! Is there any one of whom we feel more sure in this respect than of Colonel Newcombe? It is not because Colonel Newcombe is a perfect gentleman that we think Thackeray's work to have been so excellent, but because he has had the power to describe him as such, and to force us to love him, a weak and silly old man, on account of this grace of character.

It is evident from all Thackeray's best work that he lived with the characters he was creating. He had always a story to tell until quite late in life; and he shows us that this was so, not by the interest which he had in his own plots,--for I doubt whether his plots did occupy much of his mind,--but by convincing us that his characters were alive to himself. With Becky Sharpe, with Lady Castlewood and her daughter, and with Esmond, with Warrington, Pendennis, and the Major, with Colonel Newcombe, and with Barry Lyndon, he must have lived in perpetual intercourse. Therefore he has made these personages real to us.

Among all our novelists his style is the purest, as to my ear it is also the most harmonious. Sometimes it is disfigured by a slight touch of affectation, by little conceits which smell of the oil;--but the language is always lucid. The reader, without labour, knows what he means, and knows all that he means. As well as I can remember, he deals with no episodes. I think that any critic, examining his work minutely, would find that every scene, and every part of every scene, adds something to the clearness with which the story is told. Among all his stories there is not one which does not leave on the mind a feeling of distress that women should ever be immodest or men dishonest,--and of joy that women should be so devoted and men so honest. How we hate the idle selfishness of Pendennis, the worldliness of Beatrix, the craft of Becky Sharpe!--how we love the honesty of Colonel Newcombe, the n.o.bility of Esmond, and the devoted affection of Mrs. Pendennis! The hatred of evil and love of good can hardly have come upon so many readers without doing much good.

Late in Thackeray's life,--he never was an old man, but towards the end of his career,--he failed in his power of charming, because he allowed his mind to become idle. In the plots which he conceived, and in the language which he used, I do not know that there is any perceptible change; but in _The Virginians_ and in _Philip_ the reader is introduced to no character with which he makes a close and undying acquaintance. And this, I have no doubt, is so because Thackeray himself had no such intimacy. His mind had come to be weary of that fict.i.tious life which is always demanding the labour of new creation, and he troubled himself with his two Virginians and his Philip only when he was seated at his desk.

At the present moment George Eliot is the first of English novelists, and I am disposed to place her second of those of my time. She is best known to the literary world as a writer of prose fiction, and not improbably whatever of permanent fame she may acquire will come from her novels. But the nature of her intellect is very far removed indeed from that which is common to the tellers of stories. Her imagination is no doubt strong, but it acts in a.n.a.lysing rather than in creating. Everything that comes before her is pulled to pieces so that the inside of it shall be seen, and be seen if possible by her readers as clearly as by herself. This searching a.n.a.lysis is carried so far that, in studying her latter writings, one feels oneself to be in company with some philosopher rather than with a novelist. I doubt whether any young person can read with pleasure either _Felix Holt_, _Middlemarch_, or _Daniel Deronda_. I know that they are very difficult to many that are not young.

Her personifications of character have been singularly terse and graphic, and from them has come her great hold on the public,--though by no means the greatest effect which she has produced. The lessons which she teaches remain, though it is not for the sake of the lessons that her pages are read. Seth Bede, Adam Bede, Maggie and Tom Tulliver, old Silas Marner, and, much above all, t.i.to, in _Romola_, are characters which, when once known, can never be forgotten. I cannot say quite so much for any of those in her later works, because in them the philosopher so greatly overtops the portrait-painter, that, in the dissection of the mind, the outward signs seem to have been forgotten. In her, as yet, there is no symptom whatever of that weariness of mind which, when felt by the reader, induces him to declare that the author has written himself out. It is not from decadence that we do not have another Mrs. Poyser, but because the author soars to things which seem to her to be higher than Mrs.

Poyser.

It is, I think, the defect of George Eliot that she struggles too hard to do work that shall be excellent. She lacks ease. Latterly the signs of this have been conspicuous in her style, which has always been and is singularly correct, but which has become occasionally obscure from her too great desire to be pungent. It is impossible not to feel the struggle, and that feeling begets a flavour of affectation. In _Daniel Deronda_, of which at this moment only a portion has been published, there are sentences which I have found myself compelled to read three times before I have been able to take home to myself all that the writer has intended. Perhaps I may be permitted here to say, that this gifted woman was among my dearest and most intimate friends. As I am speaking here of novelists, I will not attempt to speak of George Eliot's merit as a poet.

There can be no doubt that the most popular novelist of my time--probably the most popular English novelist of any time--has been Charles d.i.c.kens. He has now been dead nearly six years, and the sale of his books goes on as it did during his life. The certainty with which his novels are found in every house--the familiarity of his name in all English-speaking countries--the popularity of such characters as Mrs. Gamp, Micawber, and Pecksniff, and many others whose names have entered into the English language and become well-known words--the grief of the country at his death, and the honours paid to him at his funeral,--all testify to his popularity.

Since the last book he wrote himself, I doubt whether any book has been so popular as his biography by John Forster. There is no withstanding such testimony as this. Such evidence of popular appreciation should go for very much, almost for everything, in criticism on the work of a novelist. The primary object of a novelist is to please; and this man's novels have been found more pleasant than those of any other writer. It might of course be objected to this, that though the books have pleased they have been injurious, that their tendency has been immoral and their teaching vicious; but it is almost needless to say that no such charge has ever been made against d.i.c.kens. His teaching has ever been good. From all which, there arises to the critic a question whether, with such evidence against him as to the excellence of this writer, he should not subordinate his own opinion to the collected opinion of the world of readers. To me it almost seems that I must be wrong to place d.i.c.kens after Thackeray and George Eliot, knowing as I do that so great a majority put him above those authors.

My own peculiar idiosyncrasy in the matter forbids me to do so. I do acknowledge that Mrs. Gamp, Micawber, Pecksniff, and others have become household words in every house, as though they were human beings; but to my judgment they are not human beings, nor are any of the characters human which d.i.c.kens has portrayed. It has been the peculiarity and the marvel of this man's power, that he has invested his puppets with a charm that has enabled him to dispense with human nature. There is a drollery about them, in my estimation, very much below the humour of Thackeray, but which has reached the intellect of all; while Thackeray's humour has escaped the intellect of many. Nor is the pathos of d.i.c.kens human. It is stagey and melodramatic. But it is so expressed that it touches every heart a little. There is no real life in Smike. His misery, his idiotcy, his devotion for Nicholas, his love for Kate, are all overdone and incompatible with each other. But still the reader sheds a tear. Every reader can find a tear for Smike. d.i.c.kens's novels are like Boucicault's plays. He has known how to draw his lines broadly, so that all should see the colour.

He, too, in his best days, always lived with his characters;--and he, too, as he gradually ceased to have the power of doing so, ceased to charm. Though they are not human beings, we all remember Mrs. Gamp and Pickwick. The Boffins and Veneerings do not, I think, dwell in the minds of so many.

Of d.i.c.kens's style it is impossible to speak in praise. It is jerky, ungrammatical, and created by himself in defiance of rules--almost as completely as that created by Carlyle. To readers who have taught themselves to regard language, it must therefore be unpleasant. But the critic is driven to feel the weakness of his criticism, when he acknowledges to himself--as he is compelled in all honesty to do--that with the language, such as it is, the writer has satisfied the great ma.s.s of the readers of his country. Both these great writers have satisfied the readers of their own pages; but both have done infinite harm by creating a school of imitators. No young novelist should ever dare to imitate the style of d.i.c.kens. If such a one wants a model for his language, let him take Thackeray.

Bulwer, or Lord Lytton,--but I think that he is still better known by his earlier name,--was a man of very great parts. Better educated than either of those I have named before him, he was always able to use his erudition, and he thus produced novels from which very much not only may be but must be learned by his readers. He thoroughly understood the political status of his own country, a subject on which, I think, d.i.c.kens was marvellously ignorant, and which Thackeray had never studied. He had read extensively, and was always apt to give his readers the benefit of what he knew. The result has been that very much more than amus.e.m.e.nt may be obtained from Bulwer's novels. There is also a brightness about them--the result rather of thought than of imagination, of study and of care, than of mere intellect--which has made many of them excellent in their way. It is perhaps improper to cla.s.s all his novels together, as he wrote in varied manners, making in his earlier works, such as _Pelham_ and _Ernest Maltravers_, pictures of a fict.i.tious life, and afterwards pictures of life as he believed it to be, as in _My Novel_ and _The Caxtons_. But from all of them there comes the same flavour of an effort to produce effect. The effects are produced, but it would have been better if the flavour had not been there.

I cannot say of Bulwer as I have of the other novelists whom I have named that he lived with his characters. He lived with his work, with the doctrines which at the time he wished to preach, thinking always of the effects which he wished to produce; but I do not think he ever knew his own personages,--and therefore neither do we know them. Even Pelham and Eugene Aram are not human beings to us, as are Pickwick, and Colonel Newcombe, and Mrs. Poyser.

In his plots Bulwer has generally been simple, facile, and successful. The reader never feels with him, as he does with Wilkie Collins, that it is all plot, or, as with George Eliot, that there is no plot. The story comes naturally without calling for too much attention, and is thus proof of the completeness of the man's intellect. His language is clear, good, intelligible English, but it is defaced by mannerism. In all that he did, affectation was his fault.

How shall I speak of my dear old friend Charles Lever, and his rattling, jolly, joyous, swearing Irishmen. Surely never did a sense of vitality come so constantly from a man's pen, nor from man's voice, as from his! I knew him well for many years, and whether in sickness or in health, I have never come across him without finding him to be running over with wit and fun. Of all the men I have encountered, he was the surest fund of drollery. I have known many witty men, many who could say good things, many who would sometimes be ready to say them when wanted, though they would sometimes fail;--but he never failed. Rouse him in the middle of the night, and wit would come from him before he was half awake. And yet he never monopolised the talk, was never a bore. He would take no more than his own share of the words spoken, and would yet seem to brighten all that was said during the night. His earlier novels--the later I have not read--are just like his conversation. The fun never flags, and to me, when I read them, they were never tedious. As to character he can hardly be said to have produced it. Corney Delaney, the old man-servant, may perhaps be named as an exception.

Lever's novels will not live long,--even if they may be said to be alive now,--because it is so. What was his manner of working I do not know, but I should think it must have been very quick, and that he never troubled himself on the subject, except when he was seated with a pen in his hand.

Charlotte Bronte was surely a marvellous woman. If it could be right to judge the work of a novelist from one small portion of one novel, and to say of an author that he is to be accounted as strong as he shows himself to be in his strongest morsel of work, I should be inclined to put Miss Bronte very high indeed. I know no interest more thrilling than that which she has been able to throw into the characters of Rochester and the governess, in the second volume of _Jane Eyre_. She lived with those characters, and felt every fibre of the heart, the longings of the one and the sufferings of the other.

And therefore, though the end of the book is weak, and the beginning not very good, I venture to predict that _Jane Eyre_ will be read among English novels when many whose names are now better known shall have been forgotten. _Jane Eyre_, and _Esmond_, and _Adam Bede_ will be in the hands of our grandchildren, when _Pickwick_, and _Pelham_, and _Harry Lorrequer_ are forgotten; because the men and women depicted are human in their aspirations, human in their sympathies, and human in their actions.

In _Villette_, too, and in _s.h.i.+rley_, there is to be found human life as natural and as real, though in circ.u.mstances not so full of interest as those told in _Jane Eyre_. The character of Paul in the former of the two is a wonderful study. She must herself have been in love with some Paul when she wrote the book, and have been determined to prove to herself that she was capable of loving one whose exterior circ.u.mstances were mean and in every way unprepossessing.

There is no writer of the present day who has so much puzzled me by his eccentricities, impracticabilities, and capabilities as Charles Reade. I look upon him as endowed almost with genius, but as one who has not been gifted by nature with ordinary powers of reasoning. He can see what is grandly n.o.ble and admire it with all his heart. He can see, too, what is foully vicious and hate it with equal ardour.

But in the common affairs of life he cannot see what is right or wrong; and as he is altogether unwilling to be guided by the opinion of others, he is constantly making mistakes in his literary career, and subjecting himself to reproach which he hardly deserves. He means to be honest. He means to be especially honest,--more honest than other people. He has written a book called _The Eighth Commandment_ on behalf of honesty in literary transactions,--a wonderful work, which has I believe been read by a very few. I never saw a copy except that in my own library, or heard of any one who knew the book. Nevertheless it is a volume that must have taken very great labour, and have been written,--as indeed he declares that it was written,--without the hope of pecuniary reward. He makes an appeal to the British Parliament and British people on behalf of literary honesty, declaring that should he fail--"I shall have to go on blus.h.i.+ng for the people I was born among." And yet of all the writers of my day he has seemed to me to understand literary honesty the least. On one occasion, as he tells us in this book, he bought for a certain sum from a French author the right of using a plot taken from a play,--which he probably might have used without such purchase, and also without infringing any international copyright act. The French author not unnaturally praises him for the transaction, telling him that he is "un vrai gentleman." The plot was used by Reade in a novel; and a critic discovering the adaptation, made known his discovery to the public. Whereupon the novelist became angry, called his critic a pseudonymuncle, and defended himself by stating the fact of his own purchase. In all this he seems to me to ignore what we all mean when we talk of literary plagiarism and literary honesty.

The sin of which the author is accused is not that of taking another man's property, but of pa.s.sing off as his own creation that which he does not himself create. When an author puts his name to a book he claims to have written all that there is therein, unless he makes direct signification to the contrary. Some years subsequently there arose another similar question, in which Mr. Reade's opinion was declared even more plainly, and certainly very much more publicly.

In a tale which he wrote he inserted a dialogue which he took from Swift, and took without any acknowledgment. As might have been expected, one of the critics of the day fell foul of him for this barefaced plagiarism. The author, however, defended himself, with much abuse of the critic, by a.s.serting, that whereas Swift had found the jewel he had supplied the setting;--an argument in which there was some little wit, and would have been much excellent truth, had he given the words as belonging to Swift and not to himself.

The novels of a man possessed of so singular a mind must themselves be very strange,--and they are strange. It has generally been his object to write down some abuse with which he has been particularly struck,--the harshness, for instance, with which paupers or lunatics are treated, or the wickedness of certain cla.s.ses,--and he always, I think, leaves upon his readers an idea of great earnestness of purpose. But he has always left at the same time on my mind so strong a conviction that he has not really understood his subject, that I have ever found myself taking the part of those whom he has accused.

So good a heart, and so wrong a head, surely no novelist ever before had combined! In story-telling he has occasionally been almost great.

Among his novels I would especially recommend _The Cloister and the Hearth_. I do not know that in this work, or in any, that he has left a character that will remain; but he has written some of his scenes so brightly that to read them would always be a pleasure.

Of Wilkie Collins it is impossible for a true critic not to speak with admiration, because he has excelled all his contemporaries in a certain most difficult branch of his art; but as it is a branch which I have not myself at all cultivated, it is not unnatural that his work should be very much lost upon me individually. When I sit down to write a novel I do not at all know, and I do not very much care, how it is to end. Wilkie Collins seems so to construct his that he not only, before writing, plans everything on, down to the minutest detail, from the beginning to the end; but then plots it all back again, to see that there is no piece of necessary dove-tailing which does not dove-tail with absolute accuracy. The construction is most minute and most wonderful. But I can never lose the taste of the construction. The author seems always to be warning me to remember that something happened at exactly half-past two o'clock on Tuesday morning; or that a woman disappeared from the road just fifteen yards beyond the fourth mile-stone. One is constrained by mysteries and hemmed in by difficulties, knowing, however, that the mysteries will be made clear, and the difficulties overcome at the end of the third volume. Such work gives me no pleasure. I am, however, quite prepared to acknowledge that the want of pleasure comes from fault of my intellect.

There are two ladies of whom I would fain say a word, though I feel that I am making my list too long, in order that I may declare how much I have admired their work. They are Annie Thackeray and Rhoda Broughton. I have known them both, and have loved the former almost as though she belonged to me. No two writers were ever more dissimilar,--except in this that they are both feminine. Miss Thackeray's characters are sweet, charming, and quite true to human nature. In her writings she is always endeavouring to prove that good produces good, and evil evil. There is not a line of which she need be ashamed,--not a sentiment of which she should not be proud. But she writes like a lazy writer who dislikes her work, and who allows her own want of energy to show itself in her pages.

Miss Broughton, on the other hand, is full of energy,--though she too, I think, can become tired over her work. She, however, does take the trouble to make her personages stand upright on the ground. And she has the gift of making them speak as men and women do speak. "You beast!" said Nancy, sitting on the wall, to the man who was to be her husband,--thinking that she was speaking to her brother. Now Nancy, whether right or wrong, was just the girl who would, as circ.u.mstances then were, have called her brother a beast. There is nothing wooden about any of Miss Broughton's novels; and in these days so many novels are wooden! But they are not sweet-savoured as are those by Miss Thackeray, and are, therefore, less true to nature. In Miss Broughton's determination not to be mawkish and missish, she has made her ladies do and say things which ladies would not do and say. They throw themselves at men's heads, and when they are not accepted only think how they may throw themselves again. Miss Broughton is still so young that I hope she may live to overcome her fault in this direction.

There is one other name, without which the list of the best known English novelists of my own time would certainly be incomplete, and that is the name of the present Prime Minister of England. Mr.

Disraeli has written so many novels, and has been so popular as a novelist that, whether for good or for ill, I feel myself compelled to speak of him. He began his career as an author early in life, publis.h.i.+ng _Vivian Grey_ when he was twenty-three years old. He was very young for such work, though hardly young enough to justify the excuse that he makes in his own preface, that it is a book written by a boy. d.i.c.kens was, I think, younger when he wrote his _Sketches by Boz_, and as young when he was writing the _Pickwick Papers_. It was hardly longer ago than the other day when Mr. Disraeli brought out _Lothair_, and between the two there were eight or ten others. To me they have all had the same flavour of paint and unreality. In whatever he has written he has affected something which has been intended to strike his readers as uncommon and therefore grand.

Because he has been bright and a man of genius, he has carried his object as regards the young. He has struck them with astonishment and aroused in their imagination ideas of a world more glorious, more rich, more witty, more enterprising, than their own. But the glory has been the glory of pasteboard, and the wealth has been a wealth of tinsel. The wit has been the wit of hairdressers, and the enterprise has been the enterprise of mountebanks. An audacious conjurer has generally been his hero,--some youth who, by wonderful cleverness, can obtain success by every intrigue that comes to his hand. Through it all there is a feeling of stage properties, a smell of hair-oil, an aspect of buhl, a remembrance of tailors, and that p.r.i.c.king of the conscience which must be the general accompaniment of paste diamonds.

I can understand that Mr. Disraeli should by his novels have instigated many a young man and many a young woman on their way in life, but I cannot understand that he should have instigated any one to good. Vivian Grey has had probably as many followers as Jack Sheppard, and has led his followers in the same direction.

_Lothair_, which is as yet Mr. Disraeli's last work, and, I think, undoubtedly his worst, has been defended on a plea somewhat similar to that by which he has defended _Vivian Grey_. As that was written when he was too young, so was the other when he was too old,--too old for work of that nature, though not too old to be Prime Minister.

If his mind were so occupied with greater things as to allow him to write such a work, yet his judgment should have sufficed to induce him to destroy it when written. Here that flavour of hair-oil, that flavour of false jewels, that remembrance of tailors, comes out stronger than in all the others. Lothair is falser even than Vivian Grey, and Lady Corisande, the daughter of the d.u.c.h.ess, more inane and unwomanlike than Venetia or Henrietta Temple. It is the very bathos of story-telling. I have often lamented, and have as often excused to myself, that lack of public judgment which enables readers to put up with bad work because it comes from good or from lofty hands. I never felt the feeling so strongly, or was so little able to excuse it, as when a portion of the reading public received _Lothair_ with satisfaction.

CHAPTER XIV.

ON CRITICISM.