From ck chesterton, The Victorian Age in Literature

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Ruskin may be very roughly regarded as the young lieutenant of Carlyle in his war on Utilitarian Radicalism: but as an individual he presents many and curious divergences. In the matter of style, he enriched English without disordering it. And in the matter of religion (which was the key of this age as of every other) he did not, like Carlyle, set up the romance of the great Puritans as a rival to the romance of the Catholic Church. Rather he set up and worshipped all the arts and trophies of the Catholic Church as a rival to the Church itself. None need dispute that he held a perfectly tenable position if he chose to associate early Florentine art with a Christianity still comparatively pure, and such sensualities as the Renaissance bred with the corruption of a Papacy. But this does not alter, as a merely artistic fact, the strange air of ill-ease and irritation with which Ruskin seems to tear down the gargoyles of Amiens or the marbles of Venice, as things of which Europe is not worthy; and take them away with him to a really careful museum, situated dangerously near Clapham. Many of the great men of that generation, indeed, had a sort of divided mind; an ethical headache which was literally a "splitting headache"; for there was a schism in the sympathies. When these men looked at some historic object, like the Catholic Church or the French Revolution, they did not know whether they loved or hated it most. Carlyle's two eyes were out of focus, as one may say, when he looked at democracy: he had one eye on Valmy and the other on Sedan. In the same way, Ruskin had a strong right hand that wrote of the great mediæval minsters in tall harmonies and traceries as splendid as their own; and also, so to speak, a weak and feverish left hand that was always fidgeting and trying to take the pen away--and write an evangelical tract about the immorality of foreigners. Many of their contemporaries were the same. The sea of Tennyson's mind was troubled under its serene surface. The incessant excitement of Kingsley, though romantic and attractive in many ways, was a great deal more like Nervous Christianity than Muscular Christianity. It would be quite unfair to say of Ruskin that there was any major inconsistency between his mediæval tastes and his very unmediæval temper: and minor inconsistencies do not matter in anybody. But it is not quite unfair to say of him that he seemed to want all parts of the Cathedral except the altar.

As an artist in prose he is one of the most miraculous products of the extremely poetical genius of England. The length of a Ruskin sentence is like that length in the long arrow that was boasted of by the drawers of the long bow. He draws, not a cloth-yard shaft but a long lance to his ear: he shoots a spear. But the whole goes light as a bird and straight as a bullet. There is no Victorian writer before him to whom he even suggests a comparison, technically considered, except perhaps De Quincey; who also employed the long rich rolling sentence that, like a rocket, bursts into stars at the end. But De Quincey's sentences, as I have said, have always a dreamy and insecure sense about them, like the turret on toppling turret of some mad sultan's pagoda. Ruskin's sentence branches into brackets and relative clauses as a straight strong tree branches into boughs and bifurcations, rather shaking off its burden than merely adding to it. It is interesting to remember that Ruskin wrote some of the best of these sentences in the attempt to show that he did understand the growth of trees, and that nobody else did--except Turner, of course. It is also (to those acquainted with his perverse and wild rhetorical prejudices) even more amusing to remember that if a Ruskin sentence (occupying one or two pages of small print) does not remind us of the growth of a tree, the only other thing it does remind of is the triumphant passage of a railway train.

Ruskin left behind him in his turn two quite separate streams of inspiration. The first and more practical was concerned, like Carlyle's _Chartism_, with a challenge to the social conclusions of the orthodox economists. He was not so great a man as Carlyle, but he was a much more clear-headed man; and the point and stab of his challenge still really stands and sticks, like a dagger in a dead man. He answered the theory that we must always get the cheapest labour we can, by pointing out that we never do get the cheapest labour we can, in any matter about which we really care twopence. We do not get the cheapest doctor. We either get a doctor who charges nothing or a doctor who charges a recognised and respectable fee. We do not trust the cheapest bishop. We do not allow admirals to compete. We do not tell generals to undercut each other on the eve of a war. We either employ none of them or we employ all of them at an official rate of pay. All this was set out in the strongest and least sentimental of his books, _Unto this Last_; but many suggestions of it are scattered through _Sesame and Lilies_, _The Political Economy of Art_, and even _Modern Painters_. On this side of his soul Ruskin became the second founder of Socialism. The argument was not by any means a complete or unconquerable weapon, but I think it knocked out what little remained of the brains of the early Victorian rationalists. It is entirely nonsensical to speak of Ruskin as a lounging æsthete, who strolled into economics, and talked sentimentalism. In plain fact, Ruskin was seldom so sensible and logical (right or wrong) as when he was talking about economics. He constantly talked the most glorious nonsense about landscape and natural history, which it was his business to understand. Within his own limits, he talked the most cold common sense about political economy, which was no business of his at all.

On the other side of his literary soul, his mere unwrapping of the wealth and wonder of European art, he set going another influence, earlier and vaguer than his influence on Socialism. He represented what was at first the Pre-Raphaelite School in painting, but afterwards a much larger and looser Pre-Raphaelite School in poetry and prose. The word "looser" will not be found unfair if we remember how Swinburne and all the wildest friends of the Rossettis carried this movement forward. They used the mediæval imagery to blaspheme the mediæval religion. Ruskin's dark and doubtful decision to accept Catholic art but not Catholic ethics had borne rapid or even flagrant fruit by the time that Swinburne, writing about a harlot, composed a learned and sympathetic and indecent parody on the Litany of the Blessed Virgin.

With the poets I deal in another part of this book; but the influence of Ruskin's great prose touching art criticism can best be expressed in the name of the next great prose writer on such subjects. That name is Walter Pater: and the name is the full measure of the extent to which Ruskin's vague but vast influence had escaped from his hands. Pater eventually joined the Church of Rome (which would not have pleased Ruskin at all), but it is surely fair to say of the mass of his work that its moral tone is neither Puritan nor Catholic, but strictly and splendidly Pagan. In Pater we have Ruskin without the prejudices, that is, without the funny parts. I may be wrong, but I cannot recall at this moment a single passage in which Pater's style takes a holiday or in which his wisdom plays the fool. Newman and Ruskin were as careful and graceful stylists as he. Newman and Ruskin were as serious, elaborate, and even academic thinkers as he. But Ruskin let himself go about railways. Newman let himself go about Kingsley. Pater cannot let himself go for the excellent reason that he wants to stay: to stay at the point where all the keenest emotions meet, as he explains in the splendid peroration of _The Renaissance_. The only objection to being where all the keenest emotions meet is that you feel none of them.

In this sense Pater may well stand for a substantial summary of the æsthetes, apart from the purely poetical merits of men like Rossetti and Swinburne. Like Swinburne and others he first attempted to use mediæval tradition without trusting it. These people wanted to see Paganism _through_ Christianity: because it involved the incidental amusement of seeing through Christianity itself. They not only tried to be in all ages at once (which is a very reasonable ambition, though not often realised), but they wanted to be on all sides at once: which is nonsense. Swinburne tries to question the philosophy of Christianity in the metres of a Christmas carol: and Dante Rossetti tries to write as if he were Christina Rossetti. Certainly the almost successful summit of all this attempt is Pater's superb passage on the Mona Lisa; in which he seeks to make her at once a mystery of good and a mystery of evil. The philosophy is false; even evidently false, for it bears no fruit to-day. There never was a woman, not Eve herself in the instant of temptation, who could smile the same smile as the mother of Helen and the mother of Mary. But it is the high-water mark of that vast attempt at an impartiality reached through art: and no other mere artist ever rose so high again.

Apart from this Ruskinian offshoot through Pre-Raphaelitism into what was called Æstheticism, the remains of the inspiration of Carlyle fill a very large part in the Victorian life, but not strictly so large a part in the Victorian literature. Charles Kingsley was a great publicist; a popular preacher; a popular novelist; and (in two cases at least) a very good novelist. His _Water Babies_ is really a breezy and roaring freak; like a holiday at the seaside--a holiday where one talks natural history without taking it seriously. Some of the songs in this and other of his works are very real songs: notably, "When all the World is Young, Lad," which comes very near to being the only true defence of marriage in the controversies of the nineteenth century. But when all this is allowed, no one will seriously rank Kingsley, in the really literary sense, on the level of Carlyle or Ruskin, Tennyson or Browning, Dickens or Thackeray: and if such a place cannot be given to him, it can be given even less to his lusty and pleasant friend, Tom Hughes, whose personality floats towards the frankness of the _Boy's Own Paper_; or to his deep, suggestive metaphysical friend Maurice, who floats rather towards _The Hibbert Journal_. The moral and social influence of these things is not to be forgotten: but they leave the domain of letters. The voice of Carlyle is not heard again in letters till the coming of Kipling and Henley.

One other name of great importance should appear here, because it cannot appear very appropriately anywhere else: the man hardly belonged to the same school as Ruskin and Carlyle, but fought many of their battles, and was even more concentrated on their main task--the task of convicting liberal _bourgeois_ England of priggishness and provinciality. I mean, of course, Matthew Arnold. Against Mill's "liberty" and Carlyle's "strength" and Ruskin's "nature," he set up a new presence and entity which he called "culture," the disinterested play of the mind through the sifting of the best books and authorities. Though a little dandified in phrase, he was undoubtedly serious and public-spirited in intention. He sometimes talked of culture almost as if it were a man, or at least a church (for a church has a sort of personality): some may suspect that culture was a man, whose name was Matthew Arnold. But Arnold was not only right but highly valuable. If we have said that Carlyle was a man that saw things, we may add that Arnold was chiefly valuable as a man who knew things. Well as he was endowed intellectually, his power came more from information than intellect. He simply happened to know certain things, that Carlyle didn't know, that Kingsley didn't know, that Huxley and Herbert Spencer didn't know: that England didn't know. He knew that England was a part of Europe: and not so important a part as it had been the morning after Waterloo. He knew that England was then (as it is now) an oligarchical State, and that many great nations are not. He knew that a real democracy need not live and does not live in that perpetual panic about using the powers of the State, which possessed men like Spencer and Cobden. He knew a rational minimum of culture and common courtesy could exist and did exist throughout large democracies. He knew the Catholic Church had been in history "the Church of the multitude": he knew it was not a sect. He knew that great landlords are no more a part of the economic law than nigger-drivers: he knew that small owners could and did prosper. He was not so much the philosopher as the man of the world: he reminded us that Europe was a society while Ruskin was treating it as a picture gallery. He was a sort of Heaven-sent courier. His frontal attack on the vulgar and sullen optimism of Victorian utility may be summoned up in the admirable sentence, in which he asked the English what was the use of a train taking them quickly from Islington to Camberwell, if it only took them "from a dismal and illiberal life in Islington to a dismal and illiberal life in Camberwell?"

His attitude to that great religious enigma round which all these great men were grouped as in a ring, was individual and decidedly curious. He seems to have believed that a "Historic Church," that is, some established organisation with ceremonies and sacred books, etc., could be perpetually preserved as a sort of vessel to contain the spiritual ideas of the age, whatever those ideas might happen to be. He clearly seems to have contemplated a melting away of the doctrines of the Church and even of the meaning of the words: but he thought a certain need in man would always be best satisfied by public worship and especially by the great religious literatures of the past. He would embalm the body that it might often be revisited by the soul--or souls. Something of the sort has been suggested by Dr. Coit and others of the ethical societies in our own time. But while Arnold would loosen the theological bonds of the Church, he would not loosen the official bonds of the State. You must not disestablish the Church: you must not even leave the Church: you must stop inside it and think what you choose. Enemies might say that he was simply trying to establish and endow Agnosticism. It is fairer and truer to say that unconsciously he was trying to restore Paganism: for this State Ritualism without theology, and without much belief, actually was the practice of the ancient world. Arnold may have thought that he was building an altar to the Unknown God; but he was really building it to Divus Cæsar.

As a critic he was chiefly concerned to preserve criticism itself; to set a measure to praise and blame and support the classics against the fashions. It is here that it is specially true of him, if of no writer else, that the style was the man. The most vital thing he invented was a new style: founded on the patient unravelling of the tangled Victorian ideas, as if they were matted hair under a comb. He did not mind how elaborately long he made a sentence, so long as he made it clear. He would constantly repeat whole phrases word for word in the same sentence, rather than risk ambiguity by abbreviation. His genius showed itself in turning this method of a laborious lucidity into a peculiarly exasperating form of satire and controversy. Newman's strength was in a sort of stifled passion, a dangerous patience of polite logic and then: "Cowards! if I advanced a step you would run away: it is not you I fear. _Di me terrent, et Jupiter hostis._" If Newman seemed suddenly to fly into a temper, Carlyle seemed never to fly out of one. But Arnold kept a smile of heart-broken forbearance, as of the teacher in an idiot school, that was enormously insulting. One trick he often tried with success. If his opponent had said something foolish, like "the destiny of England is in the great heart of England," Arnold would repeat the phrase again and again until it looked more foolish than it really was. Thus he recurs again and again to "the British College of Health in the New Road" till the reader wants to rush out and burn the place down. Arnold's great error was that he sometimes thus wearied us of his own phrases, as well as of his enemies'.

These names are roughly representative of the long series of protests against the cold commercial rationalism which held Parliament and the schools through the earlier Victorian time, in so far as those protests were made in the name of neglected intellect, insulted art, forgotten heroism and desecrated religion. But already the Utilitarian citadel had been more heavily bombarded on the other side by one lonely and unlettered man of genius.

The rise of Dickens is like the rising of a vast mob. This is not only because his tales are indeed as crowded and populous as towns: for truly it was not so much that Dickens appeared as that a hundred Dickens characters appeared. It is also because he was the sort of man who has the impersonal impetus of a mob: what Poe meant when he truly said that popular rumour, if really spontaneous, was like the intuition of the individual man of genius. Those who speak scornfully of the ignorance of the mob do not err as to the fact itself; their error is in not seeing that just as a crowd is comparatively ignorant, so a crowd is comparatively innocent. It will have the old and human faults; but it is not likely to specialise in the special faults of that particular society: because the effort of the strong and successful in all ages is to keep the poor out of society. If the higher castes have developed some special moral beauty or grace, as they occasionally do (for instance, mediæval chivalry), it is likely enough, of course, that the mass of men will miss it. But if they have developed some perversion or over-emphasis, as they much more often do (for instance, the Renaissance poisoning), then it will be the tendency of the mass of men to miss that too. The point might be put in many ways; you may say if you will that the poor are always at the tail of the procession, and that whether they are morally worse or better depends on whether humanity as a whole is proceeding towards heaven or hell. When humanity is going to hell, the poor are always nearest to heaven.

Dickens was a mob--and a mob in revolt; he fought by the light of nature; he had not a theory, but a thirst. If any one chooses to offer the cheap sarcasm that his thirst was largely a thirst for milk-punch, I am content to reply with complete gravity and entire contempt that in a sense this is perfectly true. His thirst was for things as humble, as human, as laughable as that daily bread for which we cry to God. He had no particular plan of reform; or, when he had, it was startlingly petty and parochial compared with the deep, confused clamour of comradeship and insurrection that fills all his narrative. It would not be gravely unjust to him to compare him to his own heroine, Arabella Allen, who "didn't know what she did like," but who (when confronted with Mr. Bob Sawyer) "did know what she didn't like." Dickens did know what he didn't like. He didn't like the Unrivalled Happiness which Mr. Roebuck praised; the economic laws that were working so faultlessly in Fever Alley; the wealth that was accumulating so rapidly in Bleeding Heart Yard. But, above all, he didn't like the _mean_ side of the Manchester philosophy: the preaching of an impossible thrift and an intolerable temperance. He hated the implication that because a man was a miser in Latin he must also be a miser in English. And this meanness of the Utilitarians had gone very far--infecting many finer minds who had fought the Utilitarians. In the _Edinburgh Review_, a thing like Malthus could be championed by a man like Macaulay.

The twin root facts of the revolution called Dickens are these: first, that he attacked the cold Victorian compromise; second, that he attacked it without knowing he was doing it--certainly without knowing that other people were doing it. He was attacking something which we will call Mr. Gradgrind. He was utterly unaware (in any essential sense) that any one else had attacked Mr. Gradgrind. All the other attacks had come from positions of learning or cultured eccentricity of which he was entirely ignorant, and to which, therefore (like a spirited fellow), he felt a furious hostility. Thus, for instance, he hated that Little Bethel to which Kit's mother went: he hated it simply as Kit hated it. Newman could have told him it was hateful, because it had no root in religious history; it was not even a sapling sprung of the seed of some great human and heathen tree: it was a monstrous mushroom that grows in the moonshine and dies in the dawn. Dickens knew no more of religious history than Kit; he simply smelt the fungus, and it stank. Thus, again, he hated that insolent luxury of a class counting itself a comfortable exception to all mankind; he hated it as Kate Nickleby hated Sir Mulberry Hawke--by instinct. Carlyle could have told him that all the world was full of that anger against the impudent fatness of the few. But when Dickens wrote about Kate Nickleby, he knew about as much of the world--as Kate Nickleby. He did write _The Tale of Two Cities_ long afterwards; but that was when he _had_ been instructed by Carlyle. His first revolutionism was as private and internal as feeling sea-sick. Thus, once more, he wrote against Mr. Gradgrind long before he created him. In _The Chimes_, conceived in quite his casual and charitable season, with the _Christmas Carol_ and the _Cricket on the Hearth_, he hit hard at the economists. Ruskin, in the same fashion, would have told him that the worst thing about the economists was that they were not economists: that they missed many essential things even in economics. But Dickens did not know whether they were economists or not: he only knew that they wanted hitting. Thus, to take a last case out of many, Dickens travelled in a French railway train, and noticed that this eccentric nation provided him with wine that he could drink and sandwiches he could eat, and manners he could tolerate. And remembering the ghastly sawdust-eating waiting-rooms of the North English railways, he wrote that rich chapter in _Mugby Junction_. Matthew Arnold could have told him that this was but a part of the general thinning down of European civilisation in these islands at the edge of it; that for two or three thousand years the Latin society has learnt how to drink wine, and how not to drink too much of it. Dickens did not in the least understand the Latin society: but he did understand the wine. If (to prolong an idle but not entirely false metaphor) we have called Carlyle a man who saw and Arnold a man who knew, we might truly call Dickens a man who tasted, that is, a man who really felt. In spite of all the silly talk about his vulgarity, he really had, in the strict and serious sense, good taste. All real good taste is gusto--the power of appreciating the presence--or the absence--of a particular and positive pleasure. He had no learning; he was not misled by the label on the bottle--for that is what learning largely meant in his time. He opened his mouth and shut his eyes and saw what the Age of Reason would give him. And, having tasted it, he spat it out.

I am constrained to consider Dickens here among the fighters; though I ought (on the pure principles of Art) to be considering him in the chapter which I have allotted to the story-tellers. But we should get the whole Victorian perspective wrong, in my opinion at least, if we did not see that Dickens was primarily the most successful of all the onslaughts on the solid scientific school; because he did not attack from the standpoint of extraordinary faith, like Newman; or the standpoint of extraordinary inspiration, like Carlyle; or the standpoint of extraordinary detachment or serenity, like Arnold; but from the standpoint of quite ordinary and quite hearty dislike. To give but one instance more, Matthew Arnold, trying to carry into England constructive educational schemes which he could see spread like a clear railway map all over the Continent, was much badgered about what he really thought was _wrong_ with English middle-class education. Despairing of explaining to the English middle class the idea of high and central public instruction, as distinct from coarse and hole-and-corner private instruction, he invoked the aid of Dickens. He said the English middle-class school was the sort of school where Mr. Creakle sat, with his buttered toast and his cane. Now Dickens had probably never seen any other kind of school--certainly he had never understood the systematic State Schools in which Arnold had learnt his lesson. But he saw the cane and the buttered toast, and he _knew_ that it was all wrong. In this sense, Dickens, the great romanticist, is truly the great realist also. For he had no abstractions: he had nothing except realities out of which to make a romance.

With Dickens, then, re-arises that reality with which I began and which (curtly, but I think not falsely) I have called Cobbett. In dealing with fiction as such, I shall have occasion to say wherein Dickens is weaker and stronger than that England of the eighteenth century: here it is sufficient to say that he represents the return of Cobbett in this vital sense; that he is proud of being the ordinary man. No one can understand the thousand caricatures by Dickens who does not understand that he is comparing them all with his own common sense. Dickens, in the bulk, liked the things that Cobbett had liked; what is perhaps more to the point, he hated the things that Cobbett had hated; the Tudors, the lawyers, the leisurely oppression of the poor. Cobbett's fine fighting journalism had been what is nowadays called "personal," that is, it supposed human beings to be human. But Cobbett was also personal in the less satisfactory sense; he could only multiply monsters who were exaggerations of his enemies or exaggerations of himself. Dickens was personal in a more godlike sense; he could multiply persons. He could create all the farce and tragedy of his age over again, with creatures unborn to sin and creatures unborn to suffer. That which had not been achieved by the fierce facts of Cobbett, the burning dreams of Carlyle, the white-hot proofs of Newman, was really or very nearly achieved by a crowd of impossible people. In the centre stood that citadel of atheist industrialism: and if indeed it has ever been taken, it was taken by the rush of that unreal army. _ 

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