Dickens the Inimitable


Charles Dickens, by Charles Baugniet, 1858.

From The New York Review of Books:

Is Dickens the greatest of English novelists? Few would contest that he is the most English of great English novelists, and that his most accomplished novels—Bleak House, Great Expectations, Little Dorrit, Dombey and Son, Our Mutual Friend, and David Copperfield—are works of surpassing genius, thrumming with energy, imagination, and something resembling white-hot inspiration; his gift for portraiture is arguably as great as Shakespeare’s, and his versatility as a prose stylist is dazzling, as in this famous opening of Bleak House:

London. Michaelmas Term lately over, and the Lord Chancellor sitting in Lincoln’s Inn Hall. Implacable November weather. As much mud in the streets, as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill. Smoke lowering down from chimney-pots, making a soft black drizzle, with flakes of soot in it as big as full-grown snow-flakes—gone into mourning, one might imagine, for the death of the sun….

Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping, and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights.

And equally characteristic of Dickens, a chapter opening in the lesser-regarded and uncompleted The Mystery of Edwin Drood, in which a natural observation acquires a portentous metaphoric significance:

Whosoever has observed that sedate and clerical bird, the rook, may perhaps have noticed that when he wings his way homeward towards nightfall, in a sedate and clerical company, two rooks will suddenly detach themselves from the rest, will retrace their flight for some distance, and will there poise and linger; conveying to mere men the fancy that it is of some occult importance to the body politic, that this artful couple should pretend to have renounced connection with it.

Irresistibly the reader is drawn into the voice—exquisitely lyric, yet with a profound melancholy beneath—of the child Philip Pirrip—“Pip”—of Great Expectations:

Ours was the marsh country, down by the river, within, as the river wound, twenty miles of the sea. My first most vivid and broad impression of the identity of things seems to me to have been gained on a memorable raw afternoon towards evening. At such a time I found out for certain that this bleak place overgrown with nettles was the churchyard; and that Philip Pirrip, late of this parish, and also Georgiana wife of the above, were dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and Roger, infant children of the aforesaid, were also dead and buried; and that the dark flat wilderness beyond the churchyard, intersected with dykes and mounds and gates, with scattered cattle feeding on it, was the marshes; and that the low leaden line beyond was the river; and that the distant savage lair from which the wind was rushing, was the sea; and that the small bundle of shivers growing afraid of it all and beginning to cry, was Pip.

Dickens is so brilliant a stylist, his vision of the world so idiosyncratic and yet so telling, that one might say that his subject is his unique rendering of his subject, in an echo of Mark Rothko’s statement, “The subject of the painting is the painting”—except of course, Dickens’s great subject was nothing so subjective or so exclusionary, but as much of the world as he could render. If Dickens’s prose fiction has “defects”—excesses of melodrama, sentimentality, contrived plots, and manufactured happy endings—these are the defects of his era, which for all his greatness Dickens had not the rebellious spirit to resist; he was at heart a crowd-pleaser, a theatrical entertainer, with no interest in subverting the conventions of the novel as his great successors D.H. Lawrence, James Joyce, and Virginia Woolf would have; nor did he contemplate the subtle and ironic counterminings of human relations in the way of George Eliot and Thomas Hardy, who brought to the English novel an element of nuanced psychological realism not previously explored. Yet among English writers Dickens is, as he once called himself, part-jesting and part-serious, “the inimitable.”