The English Novel, George Saintsbury [romance book recommendations .txt] 📗

down upon as a novelist, but had, as a rule, resorted to novel-writing under some stress of circumstance. Even when he was by birth a "gentleman of coat armour" as Fielding and Smollett were, he was usually a gentleman very much out at elbows: the stories, true or false, of Rasselas and Johnson's mother's funeral expenses, of the Vicar of Wakefield and Goldsmith's dunning landlady, have something more than mere anecdote in them. Mackenzie, though the paternity of his famille déplorable of novels was no secret, preserved a strict nominal incognito. Women, as having no regular professions and plenty of time at their disposal, were allowed more latitude: and this really perhaps had something to do with their early prominence in the novel; but it is certain that Scott's rigid, and for a long time successful, maintenance of the mask was by no means mere prudery, and still less merely prudent commercial speculation. Yet he, who altered so much in the novel, altered this also. Of the novelists noticed in the early part of this chapter, one became Prime Minister of England, another rose to cabinet rank, a baronetcy, and a peerage; a third was H.M. consul in important posts abroad; a fourth held a great position, if not in the service directly of the crown, in what was of hardly less importance, that of the East India Company; a fifth was a post-captain in the navy and Companion of the Bath.

And all this had been rendered possible partly by the genius of novel-writers, partly by the appetite of the novel-reader. This latter was to continue unabated: whether the former was to increase, to maintain itself, or slacken must be, to some extent of course, matter of opinion. But we have still two quarter-centuries to survey, in the first of which there may perhaps be some reason for thinking that the novel rose to its actual zenith. Nearly all the writers mentioned in this chapter continued to write--the greater part, in genius, of Thackeray's accomplished work, and the greater part, in bulk, of Dickens's, had still to appear. But these elders were reinforced by fresh recruits, some of them of a prowess only inferior to the very greatest: and a distinct development of the novel itself, in the direction of self-reliance and craftsmanlike working on its own lines, was to be seen. In particular, the deferred influence of Miss Austen was at last to be brought to bear with astonishing results: while, partly owing to the example of Thackeray, the historical variety (which had for the most part been a pale and rather vulgarised imitation of Scott), was to be revived and varied in a manner equally astonishing. More than ever we shall have to let styles and kinds "speak by their foremen"--in fact to some extent to let them speak for themselves with very little detailed notice even of these foremen. But we shall still endeavour to keep the general threads in hand and to exhibit their direction, their crossing, and their other phenomena, as clearly as possible to the reader. For only so can we complete the picture of the course of fiction throughout English literature--with the sole exclusion of living writers, whose work can never be satisfactorily treated in such a book as this--first, because they are living and, secondly, because it is not done.


CHAPTER VII

THE MID-VICTORIAN NOVEL


At about the very middle of the nineteenth century--say from 1845 to 1855 in each direction, but almost increasingly towards the actual dividing line of 1850--there came upon the English novel a very remarkable wind of refreshment and new endeavour. Thackeray and Dickens themselves are examples of it, with Lever and others, before this dividing line: many others yet come to join them. A list of books written out just as they occur to the memory, and without any attempt to marshal them in strict chronological order, would show this beyond all reasonable possibility of gainsaying. Thackeray's own best accomplished work from Vanity Fair (1846) itself through Pendennis (1849) and
Esmond (1852) to The Newcomes (1854); the brilliant centre of Dickens's work in David Copperfield (1850)--stand at the head and have been already noticed by anticipation or implication, while Lever had almost completed the first division of his work, which began with Harry Lorrequer as early as the year of Pickwick . But such books as Yeast (1848), Westward Ho! (1855); as The Warden (1855); as Jane Eyre (1847) and its too few successors; as Scenes of Clerical Life (1857); as Mary Barton (1848) and the novels which followed it, with others which it is perhaps almost unfair to leave out even in this allusive summary by sample, betokened a stirring of the waters, a rattling among the bones, such as is not common in literature. Death removed Thackeray early and Dickens somewhat less prematurely, but after a period rather barren in direct novel work. The others continued and were constantly reinforced: nor was it till well on in the seventies that any distinct drop from first- to second-growth quality could be observed in the general vintage of English fiction.

One is not quite driven, on this occasion, to the pusillanimous explanation that this remarkable variety and number of good novels was simply due to the simultaneous existence of an equally remarkable number of good novelists. The fact is that, by this time, the great example of Scott and Miss Austen--the great wave of progress which exemplified itself first and most eminently in these two writers--had had time to work upon and permeate another generation of practitioners. The novelists who have just been cited were as a rule born in the second decade of the century, just before, about, or after the time at which Scott and Miss Austen began to publish. They had therefore--as their elders, even though they may have had time to read the pair, had not--time to assimilate thoroughly and early the results which that pair had produced or which they had first expressed. And they had even greater advantages than this. They had had time to assimilate, likewise, the results of all the rest of that great literary generation of which Scott and Miss Austen were themselves but members. They profited by thirty years more of constant historical exploration and realising of former days. One need not say, for it is question-begging, that they also profited by, but they could at least avail themselves of, the immense change of manners and society which made 1850 differ more from 1800 than 1800 had differed, not merely from 1750 but from 1700. They had, even though all of them may not have been sufficiently grateful for it, the stimulus of that premier position in Europe which the country had gained in the Napoleonic wars, and which she had not yet wholly lost or even begun to lose. They had wider travel, more extended occupations and interests, many other new things to draw upon. And, lastly, they had some important special incidents and movements--the new arrangement of political parties, the Oxford awakening, and others--to give suggestion and impetus to novels of the specialist kind. Nay, they had not only the great writers, in other kinds, of the immediate past, but those of the present, Carlyle, Tennyson, latterly Ruskin, and others still to complete their education and the machinery of its development.

The most remarkable feature of this renouveau , as has been both directly and indirectly observed before, is the resumption, the immense extension, and the extraordinary improvement of the domestic novel. Not that this had not been practised during the thirty years since Miss Austen's death. But the external advantages just enumerated had failed it: and it had enlisted none of the chief talents which were at the service of fiction generally. A little more gift and a good deal more taste might have enabled Mrs. Trollope to do really great things in it: but she left them for her son to accomplish. Attempts and "tries" at it had been made constantly, and the goal had been very nearly reached, especially, perhaps, in that now much forgotten but remarkable Emilia Wyndham (1846) by Anne Caldwell (Mrs. Marsh), which was wickedly described by a sister novelist as the "book where the woman breaks her desk open with her head," but which has real power and exercised real influence for no short time.

This new domestic novel followed Miss Austen in that it did not necessarily avail itself of anything but perfectly ordinary life, and relied chiefly on artistic presentment--on treatment rather than on subject. It departed from her in that it admitted a much wider range and variety of subject itself; and by no means excluded the passions and emotions which, though she had not been so prudish as to ignore their results, she had never chosen to represent in much actual exercise, or to make the mainsprings of her books.

The first supreme work of the kind was perhaps in Vanity Fair and
Pendennis , the former admitting exceptional and irregular developments as an integral part of its plot and general appeal, the latter doing for the most part without them. But Pendennis exhibited in itself, and taught to other novelists, if not an absolutely new, a hitherto little worked, and clumsily worked, source of novel interest. We have seen how, as early as Head or Kirkman, the possibility of making such a source out of the ways of special trades, professions, employments, and vocations had been partly seen and utilised. Defoe did it more; Smollett more still; and since the great war there had been naval and military novels in abundance, as well as novels political, clerical, sporting, and what not. But these special interests had been as a rule drawn upon too onesidedly. The eighteenth century found its mistaken fondness for episodes, inset stories, and the like, particularly convenient here: the naval, military, sporting, and other novels of the nineteenth were apt to rely too exclusively on these differences. Such things as the Oxbridge scenes and the journalism scenes of Pendennis --both among the most effective and popular, perhaps the most effective and popular, parts of the book--were almost, if not entirely, new. There had been before, and have since been, plenty of university novels, and their record has been a record of almost uninterrupted failure; there have since, if not before, Pendennis been several "press" novels, and their record has certainly not been a record of unbroken success. But the employment here, by genius, of such subjects for substantial parts of a novel was a success pure and unmixed. So, in the earlier book, the same author had shown how the most humdrum incident and the minutest painting of ordinary character could be combined with historic tragedy like that furnished by Waterloo, with domestic drame of the most exciting kind like the discovery of Lord Steyne's relations with Becky, or the at least suggested later crime of that ingenious and rather hardly treated little person.

Most of the writers mentioned and glanced at above took--not of course always, often, or perhaps ever in conscious following of Thackeray, but in consequence of the same "skiey influences" which worked on him--to this mixed domestic-dramatic line. And what is still more interesting, men who had already made their mark for years, in styles quite different, turned to it and adopted it. We have seen this of Bulwer, and the evidences of the change in him which are given by the "Caxton" novels. We have not yet directly dealt with another instance of almost as great interest and distinction, Charles Lever, though we