Hearts of Controversy | Page 7

sentence that condemned him to drown with her, bound, his impassioned breast against hers, abhorring. He might have convinced us of that welcome by one phrase of the profound exactitude of genius. But he makes his man cry out for the greatest bliss and the greatest imaginable glory to be bestowed upon the judge who pronounces the sentence. And this is merely exaggeration. One takes pleasure in rebuking the false ecstasy by a word thus prim and prosaic. The poet intended to impose upon us, and he fails; we "withdraw our attention," as Dr. Johnson did when the conversation became foolish. In truth we do more, for we resent exaggeration if we care for our English language. For exaggeration writes relaxed, and not elastic, words and verses; and it is possible that the language suffers something, at least temporarily--during the life of a couple of generations, let us say--from the loss of elasticity and rebound brought about by such strain. Moreover, exaggeration has always to outdo itself progressively. There should have been a Durdles to tell this Swinburne that the habit of exaggerating, like that of boasting, "grows upon you."
It may be added that later poetry shows us an instance of exaggeration in the work of that major poet, Mr. Lascelles Abercrombie. His violence and vehemence, his extremity, are generally signs not of weakness but of power; and yet once he reaches a breaking-point that power should never know. This is where his Judith holds herself to be so smirched and degraded by the proffer of a reverent love (she being devoted to one only, a dead man who had her heart) that thenceforth no bar is left to her entire self-sacrifice to the loathed enemy Holofernes. To this, too, the prim rebuke is the just one, a word for the mouth of governesses: "My dear, you exaggerate."
It may be briefly said that exaggeration takes for granted some degree of imbecility in the reader, whereas caricature takes for granted a high degree of intelligence. Dickens appeals to our intelligence in all his caricature, whether heavenly, as in Joe Gargery, or impish, as in Mrs. Micawber. The word "caricature" that is used a thousand times to reproach him is the word that does him singular honour.
If I may define my own devotion to Dickens, it may be stated as chiefly, though not wholly, admiration of his humour, his dramatic tragedy, and his watchfulness over inanimate things and landscape. Passages of his books that are ranged otherwise than under those characters often leave me out of the range of their appeal or else definitely offend me. And this is not for the customary reason--that Dickens could not draw a gentleman, that Dickens could not draw a lady. It matters little whether he could or not. But as a fact he did draw a gentleman, and drew him excellently well, in Cousin Feenix, as Mr. Chesterton has decided. The question of the lady we may waive; if it is difficult to prove a negative, it is difficult also to present one; and to the making, or producing, or liberating, or detaching, or exalting, of the character of a lady there enter many negatives; and Dickens was an obvious and a positive man. Esther Summerson is a lady, but she is so much besides that her ladyhood does not detach itself from her sainthood and her angelhood, so as to be conspicuous--if, indeed, conspicuousness may be properly predicated of the quality of a lady. It is a conventional saying that sainthood and angelhood include the quality of a lady, but that saying is not true; a lady has a great number of negatives all her own, and also some things positive that are not at all included in goodness. However this may be--and it is not important--Dickens, the genial Dickens, makes savage sport of women. Such a company of envious dames and damsels cannot be found among the persons of the satirist Thackeray. Kate Nickleby's beauty brings upon her at first sight the enmity of her workshop companions; in the innocent pages of "Pickwick" the aunt is jealous of the niece, and the niece retorts by wounding the vanity of the aunt as keenly as she may; and so forth through early books and late. 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."
The advice which M. Rodin received in his youth from Constant--"Learn to see the