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It is not a part of the plan of this book to present any extended bibliography, but there are certain reference books to which the student's attention should be called.
Dickens' popularity,
in his own day and since, is due chiefly: (1) to his intense human sympathy;
(2) to his unsurpassed emotional and dramatic power; and (3) to his
aggressive humanitarian zeal for the reform of all evils and abuses,
whether they weigh upon the oppressed classes or upon helpless individuals.
Himself sprung from the lower middle class, and thoroughly acquainted
with the life of the poor and apparently of sufferers in all ranks,
he is one of the most moving spokesmen whom they have ever had. The
pathos and tragedy of their experiences--aged and honest toilers subjected
to pitiless task-masters or to the yoke of social injustice; lonely
women uncomplainingly sacrificing their lives for unworthy men; sad-faced
children, the victims of circumstances, of cold-blooded parents, or
of the worst criminals--these things play a large part in almost all
of Dickens' books. In almost all, moreover, there is present, more or
less in the foreground, a definite humanitarian aim, an attack on some
time-consecrated evil--the poor-house system, the cruelties practised
in private schools, or the miscarriage of justice in the Court of Chancery.
In dramatic vividness his great scenes are masterly, for example the
storm in 'David Copperfield,' the pursuit and discovery of Lady Dedlock
in 'Bleak House,' and the interview between Mrs. Dombey and James Carker
in 'Dombey and Son.'
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.
Similarly his pathos is often exaggerated until it passes into mawkish
sentimentality, so that his humbly-bred heroines, for example, are made
to act and talk with all the poise and certainty which can really spring
only from wide experience and broad education. Dickens' zeal for reform,
also, sometimes outruns his judgment or knowledge and leads him to assault
evils that had actually been abolished long before he wrote.
No other English
author has approached Dickens in the number of characters whom he has
created; his twenty novels present literally thousands of persons, almost
all thoroughly human, except for the limitations that we have already
noted. Their range is of course very great, though it never extends
successfully into the 'upper' social classes. For Dickens was violently
prejudiced against the nobility and against all persons of high social
standing, and when he attempted to introduce them created only pitifully
wooden automatons. For the actual English gentleman we must pass by
his Sir Leicester Dedlocks and his Mr. Veneerings to novelists of a
very different viewpoint, such as Thackeray and Meredith.
Dickens' inexhaustible
fertility in characters and scenes is a main cause of the rather extravagant
lack of unity which is another conspicuous feature of his books. He
usually made a good preliminary general plan and proceeded on the whole
with firm movement and strong suspense. But he always introduces many
characters and sub-actions not necessary to the main story, and develops
them quite beyond their real artistic importance. Not without influence
here was the necessity of filling a specified number of serial instalments,
each of a definite number of pages, and each requiring a striking situation
at the end. Moreover, Dickens often follows the eighteenth-century picaresque
habit of tracing the histories of his heroes from birth to marriage.
In most respects, however, Dickens' art improved as he proceeded. The
love element, it should be noted, as what we have already said implies,
plays a smaller part than usual among the various aspects of life which
his books present.
Not least striking
among Dickens' traits is his power of description. His observation is
very quick and keen, though not fine; his sense for the characteristic
features, whether of scenes in Nature or of human personality and appearance,
is unerring; and he has never had a superior in picturing and conveying
the atmosphere both of interiors and of all kinds of scenes of human
life. London, where most of his novels are wholly or chiefly located,
has in him its chief and most comprehensive portrayer.
Worthy of special
praise, lastly, is the moral soundness of all Dickens' work, praise
which is not seriously affected by present-day sneers at his 'middle-class'
and 'mid-Victorian' point of view. Dickens' books, however, like his
character, are destitute of the deeper spiritual quality, of poetic
and philosophic idealism. His stories are all admirable demonstrations
of the power and beauty of the nobler practical virtues, of kindness,
courage, humility, and all the other forms of unselfishness; but for
the underlying mysteries of life and the higher meanings of art his
positive and self-formed mind had very little feeling. From first to
last he speaks authentically for the common heart of humanity, but he
is not one of the rarer spirits, like Spenser or George Eliot or Meredith,
who transport us into the realm of the less tangible realities. All
his limitations, indeed, have become more conspicuous as time has passed;
and critical judgment has already definitely excluded him from the select
ranks of the truly greatest authors.
WILLIAM M. THACKERAY.
Dickens' chief
rival for fame during his later lifetime and afterward was Thackeray,
who presents a strong contrast with him, both as man and as writer.
Thackeray,
the son of an East India Company official, was born at Calcutta in 1811.
His father died while he was a child and he was taken to England for
his education; he was a student in the Charterhouse School and then
for a year at Cambridge. Next, on the Continent, he studied drawing,
and though his unmethodical and somewhat idle habits prevented him from
ever really mastering the technique of the art, his real knack for it
enabled him later on to illustrate his own books in a semi-grotesque
but effective fashion. Desultory study of the law was interrupted when
he came of age by the inheritance of a comfortable fortune, which he
managed to lose within a year or two by gambling, speculations, and
an unsuccessful effort at carrying on a newspaper. Real application
to newspaper and magazine writing secured him after four years a place
on 'Eraser's Magazine,' and he was married. Not long after, his wife
became insane, but his warm affection for his daughters gave him throughout
his life genuine domestic happiness.
For ten years
Thackeray's production was mainly in the line of satirical humorous
and picaresque fiction, none of it of the first rank. During this period
he chiefly attacked current vices, snobbishness, and sentimentality,
which latter quality, Thackeray's special aversion, he found rampant
in contemporary life and literature, including the novels of Dickens.
The appearance of his masterpiece, 'Vanity Fair' (the allegorical title
taken from a famous incident in 'Pilgrim's Progress'), in 'Fraser's
Magazine' in 1847-8 (the year before Dickens' 'David Copperfield') brought
him sudden fame and made him a social lion. Within the next ten years
he produced his other important novels, of which the best are 'Pendennis,'
'Henry Esmond,' and 'The Newcomes,' and also his charming essays (first
delivered as lectures) on the eighteenth century in England, namely
'English Humorists,' and 'The Four Georges.' All his novels except 'Henry
Esmond' were published serially, and he generally delayed composing
each instalment until the latest possible moment, working reluctantly
except under the stress of immediate compulsion. He was for three years,
at its commencement, editor of 'The Cornhill Magazine.' He died in 1863
at the age of fifty-two, of heart failure.
The great contrast
between Dickens and Thackeray results chiefly from the predominance
in Thackeray of the critical intellectual quality and of the somewhat
fastidious instinct of the man of society and of the world which Dickens
so conspicuously lacked. As a man Thackeray was at home and at ease
only among people of formal good breeding; he shrank from direct contact
with the common people; in spite of his assaults on the frivolity and
vice of fashionable society, he was fond of it; his spirit was very
keenly analytical; and he would have been chagrined by nothing more
than by seeming to allow his emotion to get the better of his judgment.
His novels seem to many readers cynical, because he scrutinizes almost
every character and every group with impartial vigor, dragging forth
every fault and every weakness into the light. On the title page of
'Vanity Fair' he proclaims that it is a novel without a hero; and here,
as in some of his lesser works, most of the characters are either altogether
bad or worthless and the others very largely weak or absurd, so that
the impression of human life which the reader apparently ought to carry
away is that of a hopeless chaos of selfishness, hypocrisy, and futility.
One word, which has often been applied to Thackeray, best expresses
his attitude--disillusionment. The last sentences of 'Vanity Fair' are
characteristic: 'Oh! Vanitas Vanitatum! which, of us is happy in this
world? Which of us has his desire? or, having it, is satisfied?--Come,
children, let us shut the box and the puppets, for our play is played
out.'
Yet in reality
Thackeray is not a cynic and the permanent impression left by his books
is not pessimistic. Beneath his somewhat ostentatious manner of the
man of the world were hidden a heart and a human sympathy as warm as
ever belonged to any man. However he may ridicule his heroes and his
heroines (and there really are a hero and heroine in 'Vanity Fair'),
he really feels deeply for them, and he is repeatedly unable to refrain
from the expression of his feeling. Nothing is more truly characteristic
of him than the famous incident of his rushing in tears from the room
in which he had been writing of the death of Colonel Newcome with the
exclamation, 'I have killed the Colonel!' In his books as clearly as
in those of the most explicit moralizer the reader finds the lessons
that simple courage, honesty, kindliness, and unselfishness are far
better than external show, and that in spite of all its brilliant interest
a career of unprincipled self-seeking like that of Becky Sharp is morally
squalid. Thackeray steadily refuses to falsify life as he sees it in
the interest of any deliberate theory, but he is too genuine an artist
not to be true to the moral principles which form so large a part of
the substratum of all life.
Thackeray avowedly
took Fielding as his model, and though his spirit and manner are decidedly
finer than Fielding's, the general resemblance between them is often
close. Fielding's influence shows partly in the humorous tone which,
in one degree or another, Thackeray preserves wherever it is possible,
and in the general refusal to take his art, on the surface, with entire
seriousness. He insists, for instance, on his right to manage his story,
and conduct the reader, as he pleases, without deferring to his readers'
tastes or prejudices. Fielding's influence shows also in the free-and-easy
picaresque structure of his plots; though this results also in part
from his desultory method of composition. Thackeray's great fault is
prolixity; he sometimes wanders on through rather uninspired page after
page where the reader longs for severe compression. But when the story
reaches dramatic moments there is ample compensation; no novelist has
more magnificent power in dramatic scenes, such, for instance, as in
the climactic series in 'Vanity Fair.' This power is based largely on
an absolute knowledge of character: in spite of a delight in somewhat
fanciful exaggeration of the ludicrous, Thackeray when he chooses portrays
human nature with absolute finality.
'Henry Esmond'
should be spoken of by itself as a special and unique achievement. It
is a historical novel dealing with the early eighteenth century, and
in preparing for it Thackeray read and assimilated most of the literature
of the period, with the result that he succeeded in reproducing the
'Augustan' spirit and even its literary style with an approach to perfection
that has never been rivaled. On other grounds as well the book ranks
almost if not quite beside 'Vanity Pair.' Henry Esmond himself is Thackeray's
most thoroughly wise and good character, and Beatrix is as real and
complex a woman as even Becky Sharp.
GEORGE ELIOT.
The perspective
of time has made it clear that among the Victorian novelists, as among
the poets, three definitely surpass the others. With Dickens and Thackeray
is to be ranked only 'George Eliot' (Mary Anne Evans).
George Eliot
was born in 1819 in the central county of Warwick from which Shakspere
had sprung two centuries and a half before. Her father, a manager of
estates for various members of the landed gentry, was to a large extent
the original both of her Adam Bede and of Caleb Garth in 'Middlemarch,'
while her own childish life is partly reproduced in the experiences
of Maggie in 'The Mill on the Floss.' Endowed with one of the strongest
minds that any woman has ever possessed, from her very infancy she studied
and read widely. Her nature, however, was not one-sided; all her life
she was passionately fond of music; and from the death of her mother
in her eighteenth year she demonstrated her practical capacity in the
management of her father's household. Circumstances. combined with her
unusual ability to make her entire life one of too high pressure, and
her first struggle was religious. She was brought up a Methodist, and
during her girlhood was fervently evangelical, in the manner of Dinah
Morris in 'Adam Bede'; but moving to Coventry she fell under the influence
of some rationalistic acquaintances who led her to adopt the scientific
Positivism of the French philosopher Comte. Her first literary work,
growing out of the same interest, was the formidable one of translating
the 'Life of Jesus' of the German professor Strauss. Some years of conscientious
nursing of her father, terminated by his death, were followed by one
in Geneva, nominally a year of vacation, but she spent it largely in
the study of experimental physics. On her return to England she became
a contributor and soon assistant editor of the liberal periodical 'The
Westminster Review.' This connection was most important in its personal
results; it brought her into contact with a versatile man of letters,
George Henry Lewes, [Footnote: Pronounced in two syllables.] and in
1854 they were united as man and wife. Mr. Lewes had been unhappily
married years before to a woman who was still alive, and English law
did not permit the divorce which he would have secured in America. Consequently
the new union was not a legal marriage, and English public opinion was
severe in its condemnation. In the actual result the sympathetic companionship
of Mr. Lewes was of the greatest value to George Eliot and brought her
much happiness; yet she evidently felt keenly the equivocal social position,
and it was probably in large part the cause of the increasing sadness
of her later years.
She was already
thirty-six when in 1856 she entered on creative authorship with the
three 'Scenes from Clerical Life.' The pseudonym which she adopted for
these and her later stories originated in no more substantial reason
than her fondness for 'Eliot' and the fact that Mr. Lewes' first name
was 'George.' 'Adam Bede' in 1859 completely established her reputation,
and her six or seven other books followed as rapidly as increasingly
laborious workmanship permitted. 'Romola.' [Footnote: Accented on the
first syllable.] in 1863, a powerful but perhaps over-substantial historical
novel, was the outcome partly of residence in Florence. Not content
with prose, she attempted poetry also, but she altogether lacked the
poet's delicacy of both imagination and expression. The death of Mr.
Lewes in 1878 was a severe blow to her, since she was always greatly
dependent on personal sympathy; and after a year and a half, to the
surprise of every one, she married Mr. John W. Cross, a banker much
younger than herself. But her own death followed within a few months
in 1880.
George Eliot's literary work combines in an interesting way the same distinct and even strangely contrasting elements as her life, and in her writings their relative proportions alter rather markedly during the course of her career. One of the most attractive qualities, especially in her earlier books, is her warm and unaffected human sympathy, which is temperamental, but greatly enlarged by her own early experience. The aspiration, pathos and tragedy of life, especially among the lower and middle classes in the country and the small towns, can scarcely be interpreted with more feeling, tenderness, or power than in her pages. But her sympathy does not blind her to the world of comedy; figures like Mrs. Poyser in 'Adam Bede' are delightful. Even from the beginning, however, the really controlling forces in George Eliot's work were intellectual and moral. She started out with the determination to render the facts of life with minute and conscientious accuracy, an accuracy more complete than that of Mrs. Gaskell, who was in large degree her model; and as a result her books, from the beginning, are masterpieces of the best sort of realism. The characters, life, and backgrounds of many of them are taken from her own Warwickshire acquaintances and country, and for the others she made the most painstaking study. More fundamental than her sympathy, indeed, perhaps even from the outset, is her instinct for scientific analysis. Like a biologist or a botanist, and with much more deliberate effort than most of her fellow-craftsmen, she traces and scrutinizes all the acts and motives of her characters until she reaches and reveals their absolute inmost truth. This objective scientific method has a tendency to become sternly judicial, and in extreme cases she even seems to be using her weak or imperfect characters as deterrent examples. Inevitably, with her disposition, the scientific tendency grew upon her. Beginning with
'Middlemarch' (1872), which is perhaps her masterpiece, it seems to some critics decidedly too preponderant, giving to her novels too much the atmosphere of psychological text-books; and along with it goes much introduction of the actual facts of nineteenth century science. Her really primary instinct, however, is the moral one. The supremacy of moral law may fairly be called the general theme of all her works; to demonstrating it her scientific method is really in the main auxiliary; and in spite of her accuracy it makes of her more an idealist than a realist. With unswerving logic she traces the sequence of act and consequence, showing how apparently trifling words and deeds reveal the springs of character and how careless choices and seemingly insignificant self-indulgences may altogether determine the issues of life. The couplet from Aeschylus which she prefixed to one of the chapters of 'Felix Holt' might stand at the outset of all her work:
'Tis law as steadfast as the throne of Zeus--
Our days are
heritors of days gone by.
Her conviction,
or at least her purpose, is optimistic, to show that by honest effort
the sincere and high-minded man or woman may win happiness in the face
of all difficulties and disappointments; but her own actual judgment
of life was somber, not altogether different from that which Carlyle
repudiated in 'The Everlasting Yea'; so that the final effect of her
books, though stimulating, is subdued rather than cheerful.
In technique
her very hard work generally assured mastery. Her novels are firmly
knit and well-proportioned, and have the inevitable movement of life
itself; while her great scenes equal those of Thackeray in dramatic
power and, at their best, in reserve and suggestiveness. Perhaps her
chief technical faults are tendencies to prolixity and too much expository
analysis of characters and motives.
SECONDARY MIDDLE AND LATER VICTORIAN NOVELISTS.
Several of
the other novelists of the mid-century and later produced work which
in a period of less prolific and less highly developed art would have
secured them high distinction. Charles Kingsley (1819-1875) spent most
of his life, by his own self-renouncing choice, as curate and rector
of the little Hampshire parish of Eversley, though for some years he
also held the professorship of history at Cambridge. An aggressive Protestant,
he drifted in his later years into the controversy with Cardinal Newman
which opened the way for Newman's 'Apologia.' From the outset, Kingsley
was an enthusiastic worker with F. D. Maurice in the Christian Socialist
movement which aimed at the betterment of the conditions of life among
the working classes. 'Alton Locke' and 'Yeast,' published in 1849, were
powerful but reasonable and very influential expressions of his convictions--fervid
arguments in the form of fiction against existing social injustices.
His most famous books are 'Hypatia' (1853), a novel dealing with the
Church in its conflict with Greek philosophy in fifth-century Alexandria,
and 'Westward Ho!' (1855) which presents with sympathetic largeness
of manner the adventurous side of Elizabethan life. His brief 'Andromeda'
is one of the best English poems in the classical dactylic hexameter.
Charles Reade
(1814-1884), a man of dramatic disposition somewhat similar to that
of Dickens (though Reade had a University education and was admitted
to the bar), divided his interest and fiery energies between the drama
and the novel. But while his plays were of such doubtful quality that
he generally had to pay for having them acted, his novels were often
strong and successful. Personally he was fervently evangelical, and
like Dickens he was often inspired to write by indignation at social
wrongs. His 'Hard Cash' (1863), which attacks private insane asylums,
is powerful; but his most important work is 'The Cloister and the Hearth'
(1861), one of the most informing and vivid of all historical novels,
with the father of Erasmus for its hero. No novelist can, be more thrilling
and picturesque than Reade, but he lacks restraint and is often highly
sensational and melodramatic.
Altogether
different is the method of Anthony Trollope (1815-1882) in his fifty
novels. Trollope, long a traveling employe in the post-office service,
was a man of very assertive and somewhat commonplace nature. Partly
a disciple of Thackeray, he went beyond Thackeray's example in the refusal
to take his art altogether seriously as an art; rather, he treated it
as a form of business, sneering at the idea of special inspiration,
and holding himself rigidly to a mechanical schedule of composition--a
definite and unvarying number of pages in a specified number of hours
on each of his working days. The result is not so disastrous as might
have been expected; his novels have no small degree of truth and interest.
The most notable are the half dozen which deal with ecclesiastical life
in his imaginary county of Barsetshire, beginning with 'The Warden'
and 'Barchester Towers.' His 'Autobiography' furnishes in some of its
chapters one of the noteworthy existing discussions of the writer's
art by a member of the profession.
Richard Blackmore
(1825-1900), first a lawyer, later manager of a market-garden, was the
author of numerous novels, but will be remembered only for 'Lorna Doone'
(1869), a charming reproduction of Devonshire country life assigned
to the romantic setting of the time of James II. Its simple-minded and
gigantic hero John Ridd is certainly one of the permanent figures of
English fiction.