PAGE 7
Charles Dickens
by
A policeman passed us running and called back, “I say, Hawkins, is that you? There’s murder broke loose in Whitechapel again! The reserves have been ordered out!”
Hawkins stopped and seemed to pull himself together–his height increased three inches. A moment before I thought he was a candidate for fatty degeneration of the cerebrum, but now his sturdy frame was all atremble with life.
“Another murder! I knew it. Bill Sykes has killed Nancy at last. There ‘s fifty pun for the man who puts the irons on ‘im–I must make for the nearest stishun.”
He gave my hand a twist, shot down a narrow courtway–and I was left to fight the fog, and mayhap this Bill Sykes and all the other wild phantoms of Dickens’ brain, alone.
* * * * *
A certain great general once said that the only good Indian is a dead Indian. Just why the maxim should be limited to aborigines I know not, for when one reads obituaries he is discouraged at the thoughts of competing in virtue with those who have gone hence.
Let us extend the remark–plagiarize a bit–and say that the only perfect men are those whom we find in books. The receipt for making them is simple, yet well worth pasting in your scrapbook. Take the virtues of all the best men you ever knew or heard of, leave out the faults, then mix.
In the hands of “the lady novelist” this composition, well molded, makes a scarecrow, in the hair of which the birds of the air come and build their nests. But manipulated by an expert a figure may appear that starts and moves and seems to feel the thrill of life. It may even take its place on a pedestal and be exhibited with other waxworks and thus become confounded with the historic And though these things make the unskilful laugh, yet the judicious say, “Dickens made it, therefore let it pass for a man.”
Dear old M. Taine, ever glad to score a point against the British, and willing to take Dickens at his word, says, “We have no such men in France as Scrooge and Squeers!”
But, God bless you, M. Taine, England has no such men either.
The novelist takes the men and women he has known, and from life, plus imagination, he creates. If he sticks too close to nature he describes, not depicts: this is “veritism.” If imagination’s wing is too strong, it lifts the luckless writer off from earth and carries him to an unknown land. You may then fall down and worship his characters, and there is no violation of the First Commandment.
Nothing can be imagined that has not been seen; but imagination can assort, omit, sift, select, construct. Given a horse, an eagle, an elephant, and the “creative artist” can make an animal that is neither a horse, an eagle, nor an elephant, yet resembles each. This animal may have eight legs (or forty) with hoofs, claws and toes alternating; a beak, a trunk, a mane; and the whole can be feathered and given the power of rapid flight and also the ability to run like the East Wind. It can neigh, roar or scream by turn, or can do all in concert, with a vibratory force multiplied by one thousand.
The novelist must have lived, and the novelist must have imagination. But this is not enough. He must have power to analyze and separate, and then he should have the good taste to select and group, forming his parts into a harmonious whole.
Yet he must build large. Life-size will not do: the statue must be heroic, and the artist’s genius must breathe into its nostrils the breath of life.
The men who live in history are those whose lives have been skilfully written. “Plutarch is the most charming writer of fiction the world has ever known,” said Emerson.