The Project Gutenberg eBook, Thackeray, by Anthony Trollope This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Thackeray Author: Anthony Trollope Release Date: June 21, 2006 [eBook #18645] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK THACKERAY*** E-text prepared by Barbara Tozier, Bill Tozier, Lisa Reigel, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/) Transcriber's Note: The letter "o" with a macron is rendered [=o] in this text. It only appears in the word "Public[=o]la". A few typographical errors have been corrected. They have been marked in the text with popups. A complete list of corrections follows the text. English Men of Letters EDITED BY JOHN MORLEY THACKERAY THACKERAY BY ANTHONY TROLLOPE London: MACMILLAN AND CO. 1879. The Right of Translation and Reproduction is Reserved. CHARLES DICKENS AND EVANS, CRYSTAL PALACE PRESS. CONTENTS. THACKERAY CHAPTER I. BIOGRAPHICAL. In the foregoing volumes of this series of English Men of Letters, and in other works of a similar nature which have appeared lately as to the Ancient Classics and Foreign Classics, biography has naturally been, if not the leading, at any rate a considerable element. The desire is common to all readers to know not only what a great writer has written, but also of what nature has been the man who has produced such great work. As to all the authors taken in hand before, there has been extant some written record of the man's life. Biographical details have been more or less known to the world, so that, whether of a Cicero, or of a Goethe, or of our own Johnson, there has been a story to tell. Of Thackeray no life has been written; and though they who knew him,—and possibly many who did not,—are conversant with anecdotes of the man, who was one so well known in society as to have created many anecdotes, yet there has been no memoir of his life sufficient to supply the wants of even so small a work as this purports to be. For this the reason may simply be told. Thackeray, not long before his death, had had his taste offended by some fulsome biography. Paragraphs, of which the eulogy seemed to have been the produce rather of personal love than of inquiry or judgment, disgusted him, and he begged of his girls that when he should have gone there should nothing of the sort be done with his name. We can imagine how his mind had worked, how he had declared to himself that, as by those loving hands into which his letters, his notes, his little details,—his literary remains, as such documents used to be called,—might naturally fall, truth of his foibles and of his shortcomings could not be told, so should not his praises be written, or that flattering portrait be limned which biographers are wont to produce. Acting upon these instructions, his daughters,—while there were two living, and since that the one surviving,—have carried out the order which has appeared to them to be sacred. Such [Pg v] CHAPTER I. Biographical CHAPTER II. Fraser's Magazine and Punch CHAPTER III. Vanity Fair CHAPTER IV. Pendennis and the Newcomes CHAPTER V. Esmond and the Virginians CHAPTER VI. Thackeray's Burlesques CHAPTER VII. Thackeray's Lectures CHAPTER VIII. Thackeray's Ballads CHAPTER IX. Thackeray's Style and Manner of Work PAGE 1 62 90 108 122 139 154 168 184 [Pg 1] [Pg 2] being the case, it certainly is not my purpose now to write what may be called a life of Thackeray. In this preliminary chapter I will give such incidents and anecdotes of his life as will tell the reader perhaps all about him that a reader is entitled to ask. I will tell how he became an author, and will say how first he worked and struggled, and then how he worked and prospered, and became a household word in English literature;—how, in this way, he passed through that course of mingled failure and success which, though the literary aspirant may suffer, is probably better both for the writer and for the writings than unclouded early glory. The suffering no doubt is acute, and a touch of melancholy, perhaps of indignation, may be given to words which have been written while the heart has been too full of its own wrongs; but this is better than the continued note of triumph which is still heard in the final voices of the spoilt child of literature, even when they are losing their music. Then I will tell how Thackeray died, early indeed, but still having done a good life's work. Something of his manner, something of his appearance I can say, something perhaps of his condition of mind; because for some few years he was known to me. But of the continual intercourse of himself with the world, and of himself with his own works, I can tell little, because no record of his life has been made public. William Makepeace Thackeray was born at Calcutta, on July 18, 1811. His father was Richmond Thackeray, son of W. M. Thackeray of Hadley, near Barnet, in Middlesex. A relation of his, of the same name, a Rev. Mr. Thackeray, I knew well as rector of Hadley, many years afterwards. Him I believe to have been a second cousin of our Thackeray, but I think they had never met each other. Another cousin was Provost of Kings at Cambridge, fifty years ago, as Cambridge men will remember. Clergymen of the family have been numerous in England during the century, and there was one, a Rev. Elias Thackeray, whom I also knew in my youth, a dignitary, if I remember right, in the diocese of Meath. The Thackerays seem to have affected the Church; but such was not at any period of his life the bias of our novelist's mind. His father and grandfather were Indian civil servants. His mother was Anne Becher, whose father was also in the Company's service. She married early in India, and was only nineteen when her son was born. She was left a widow in 1816, with only one child, and was married a few years afterwards to Major Henry Carmichael Smyth, with whom Thackeray lived on terms of affectionate intercourse till the major died. All who knew William Makepeace remember his mother well, a handsome, spare, gray-haired lady, whom Thackeray treated with a courtly deference as well as constant affection. There was, however, something of discrepancy between them as to matters of religion. Mrs. Carmichael Smyth was disposed to the somewhat austere observance of the evangelical section of the Church. Such, certainly, never became the case with her son. There was disagreement on the subject, and probably unhappiness at intervals, but never, I think, quarrelling. Thackeray's house was his mother's home whenever she pleased it, and the home also of his stepfather. He was brought a child from India, and was sent early to the Charter House. Of his life and doings there his friend and schoolfellow George Venables writes to me as follows; "My recollection of him, though fresh enough, does not furnish much material for biography. He came to school young,—a pretty, gentle, and rather timid boy. I think his experience there was not generally pleasant. Though he had afterwards a scholarlike knowledge of Latin, he did not attain distinction in the school; and I should think that the character of the head-master, Dr. Russell, which was vigorous, unsympathetic, and stern, though not severe, was uncongenial to his own. With the boys who knew him, Thackeray was popular; but he had no skill in games, and, I think, no taste for them.... He was already known by his faculty of making verses, chiefly parodies. I only remember one line of one parody on a poem of L. E. L.'s, about 'Violets, dark blue violets;' Thackeray's version was 'Cabbages, bright green cabbages,' and we thought it very witty. He took part in a scheme, which came to nothing, for a school magazine, and he wrote verses for it, of which I only remember that they were good of their kind. When I knew him better, in later years, I thought I could recognise the sensitive nature which he had as a boy.... His change of retrospective feeling about his school days was very characteristic. In his earlier books he always spoke of the Charter House as Slaughter House and Smithfield. As he became famous and prosperous his memory softened, and Slaughter House was changed into Grey Friars where Colonel Newcome ended his life." In February, 1829, when he was not as yet eighteen, Thackeray went up to Trinity College, Cambridge, and was, I think, removed in 1830. It may be presumed, therefore, that his studies there were not very serviceable to him. There are few, if any, records left of his doings at the university,—unless it be the fact that he did there commence the literary work of his life. The line about the cabbages, and the scheme of the school magazine, can hardly be said to have amounted even to a commencement. In 1829 a little periodical was brought out at Cambridge, called The Snob, with an assurance on the title that it was not conducted by members of the university. It is presumed that Thackeray took a hand in editing this. He certainly wrote, and published in the little paper, some burlesque lines on the subject which was given for the Chancellor's prize poem of the year. This was Timbuctoo, and Tennyson was the victor on the occasion. There is some good fun in the four first and four last lines of Thackeray's production. In Africa,—a quarter of the world,— Men's skins are black; their hair is crisped and curled; And somewhere there, unknown to public view A mighty city lies, called Timbuctoo. [Pg 3] [Pg 4] [Pg 5] [Pg 6] * * * * * I see her tribes the hill of glory mount, And sell their sugars on their own account; While round her throne the prostrate nations come, Sue for her rice, and barter for her rum. I cannot find in The Snob internal evidence of much literary merit beyond this. But then how many great writers have there been from whose early lucubrations no future literary excellence could be prognosticated? There is something at any rate in the name of the publication which tells of work that did come. Thackeray's mind was at all times peculiarly exercised with a sense of snobbishness. His appreciation of the vice grew abnormally, so that at last he had a morbid horror of a snob—a morbid fear lest this or the other man should turn snob on his hands. It is probable that the idea was taken from the early Snob at Cambridge, either from his own participation in the work or from his remembrance of it. The Snob lived, I think, but nine weeks, and was followed at an interval, in 1830, by The Gownsman, which lived to the seventeenth number, and at the opening of which Thackeray no doubt had a hand. It professed to be a continuation of The Snob. It contains a dedication to all proctors, which I should not be sorry to attribute to him. "To all Proctors, past, present, and future— Whose taste it is our privilege to follow, Whose virtue it is our duty to imitate, Whose presence it is our interest to avoid." There is, however, nothing beyond fancy to induce me to believe that Thackeray was the author of the dedication, and I do not know that there is any evidence to show that he was connected with The Snob beyond the writing of Timbuctoo. In 1830 he left Cambridge, and went to Weimar either in that year or in 1831. Between Weimar and Paris he spent some portion of his earlier years, while his family,—his mother, that is, and his stepfather,—were living in Devonshire. It was then the purport of his life to become an artist, and he studied drawing at Paris, affecting especially Bonnington, the young English artist who had himself painted at Paris and who had died in 1828. He never learned to draw,—perhaps never could have learned. That he was idle, and did not do his best, we may take for granted. He was always idle, and only on some occasions, when the spirit moved him thoroughly, did he do his best even in after life. But with drawing,— or rather without it,—he did wonderfully well even when he did his worst. He did illustrate his own books, and everyone knows how incorrect were his delineations. But as illustrations they were excellent. How often have I wished that characters of my own creating might be sketched as faultily, if with the same appreciation of the intended purpose. Let anyone look at the "plates," as they are called in Vanity Fair, and compare each with the scenes and the characters intended to be displayed, and there see whether the artist,—if we may call him so,—has not managed to convey in the picture the exact feeling which he has described in the text. I have a little sketch of his, in which a cannon-ball is supposed to have just carried off the head of an aide-de-camp,—messenger I had perhaps better say, lest I might affront military feelings,—who is kneeling on the field of battle and delivering a despatch to Marlborough on horseback. The graceful ease with which the duke receives the message though the messenger's head be gone, and the soldier-like precision with which the headless hero finishes his last effort of military obedience, may not have been portrayed with well-drawn figures, but no finished illustration ever told its story better. Dickens has informed us that he first met Thackeray in 1835, on which occasion the young artist aspirant, looking no doubt after profitable employment, "proposed to become the illustrator of my earliest book." It is singular that such should have been the first interview between the two great novelists. We may presume that the offer was rejected. In 1832, Thackeray came of age, and inherited his fortune,—as to which various stories have been told. It seems to have amounted to about five hundred a year, and to have passed through his hands in a year or two, interest and principal. It has been told of him that it was all taken away from him at cards, but such was not the truth. Some went in an Indian bank in which he invested it. A portion was lost at cards. But with some of it,—the larger part as I think,—he endeavoured, in concert with his stepfather, to float a newspaper, which failed. There seem to have been two newspapers in which he was so concerned, The National Standard and The Constitutional. On the latter he was engaged with his stepfather, and in carrying that on he lost the last of his money. The National Standard had been running for some weeks when Thackeray joined it, and lost his money in it. It ran only for little more than twelve months, and then, the money having gone, the periodical came to an end. I know no road to fortune more tempting to a young man, or one that with more certainty leads to ruin. Thackeray, who in a way more or less correct, often refers in his writings, if not to the incidents, at any rate to the remembrances of his own life, tells us much of the story of this newspaper in Lovel the Widower. "They are welcome," says the bachelor, "to make merry at my charges in respect of a certain bargain which I made on coming to London, and in which, had I been Moses Primrose purchasing green spectacles, I could scarcely have been more taken in. My Jenkinson was an old college acquaintance, whom I was idiot enough to imagine a respectable man. The fellow had a very smooth tongue and sleek sanctified exterior. He was rather a popular preacher, and used to cry a good deal in the pulpit. He and a queer wine merchant and bill discounter, Sherrick by name, had somehow got possession of that neat little literary paper, The Museum, which perhaps you remember, and this eligible literary property my friend Honeyman, with his wheedling tongue, induced me to purchase." Here is the history of Thackeray's money, told by himself plainly enough, but with no intention on his part of narrating an [Pg 7] [Pg 8] [Pg 9] incident in his own life to the public. But the drollery of the circumstances, his own mingled folly and young ambition, struck him as being worth narration, and the more forcibly as he remembered all the ins and outs of his own reflections at the time,—how he had meant to enchant the world, and make his fortune. There was literary capital in it of which he could make use after so many years. Then he tells us of this ambition, and of the folly of it; and at the same time puts forward the excuses to be made for it. "I daresay I gave myself airs as editor of that confounded Museum, and proposed to educate the public taste, to diffuse morality and sound literature throughout the nation, and to pocket a liberal salary in return for my services. I daresay I printed my own sonnets, my own tragedy, my own verses.... I daresay I wrote satirical articles.... I daresay I made a gaby of myself to the world. Pray, my good friend, hast thou never done likewise? If thou hast never been a fool, be sure thou wilt never be a wise man." Thackeray was quite aware of his early weaknesses, and in the maturity of life knew well that he had not been precociously wise. He delighted so to tell his friends, and he delighted also to tell the public, not meaning that any but an inner circle should know that he was speaking of himself. But the story now is plain to all who can read.[1] It was thus that he lost his money; and then, not having prospered very well with his drawing lessons in Paris or elsewhere, he was fain to take up literature as a profession. It is a business which has its allurements. It requires no capital, no special education, no training, and may be taken up at any time without a moment's delay. If a man can command a table, a chair, pen, paper, and ink, he can commence his trade as literary man. It is thus that aspirants generally do commence it. A man may or may not have another employment to back him, or means of his own; or,—as was the case with Thackeray, when, after his first misadventure, he had to look about him for the means of living,—he may have nothing but his intellect and his friends. But the idea comes to the man that as he has the pen and ink, and time on his hand, why should he not write and make money? It is an idea that comes to very many men and women, old as well as young,—to many thousands who at last are crushed by it, of whom the world knows nothing. A man can make the attempt though he has not a coat fit to go out into the street with; or a woman, though she be almost in rags. There is no apprenticeship wanted. Indeed there is no room for such apprenticeship. It is an art which no one teaches; there is no professor who, in a dozen lessons, even pretends to show the aspirant how to write a book or an article. If you would be a watchmaker, you must learn; or a lawyer, a cook, or even a housemaid. Before you can clean a horse you must go into the stable, and begin at the beginning. Even the cab-driving tiro must sit for awhile on the box, and learn something of the streets, before he can ply for a fare. But the literary beginner rushes at once at the top rung of his ladder;—as though a youth, having made up his mind to be a clergyman, should demand, without preliminary steps, to be appointed Bishop of London. That he should be able to read and write is presumed, and that only. So much may be presumed of everyone, and nothing more is wanted. In truth nothing more is wanted,—except those inner lights as to which, so many men live and die without having learned whether they possess them or not. Practice, industry, study of literature, cultivation of taste, and the rest, will of course lend their aid, will probably be necessary before high excellence is attained. But the instances are not to seek,—are at the fingers of us all,—in which the first uninstructed effort has succeeded. A boy, almost, or perhaps an old woman, has sat down and the book has come, and the world has read it, and the booksellers have been civil and have written their cheques. When all trades, all professions, all seats at offices, all employments at which a crust can be earned, are so crowded that a young man knows not where to look for the means of livelihood, is there not an attraction in this which to the self-confident must be almost invincible? The booksellers are courteous and write their cheques, but that is not half the whole? Monstrari digito! That is obtained. The happy aspirant is written of in newspapers, or, perhaps, better still, he writes of others. When the barrister of forty-five has hardly got a name beyond Chancery Lane, this glorious young scribe, with the first down on his lips, has printed his novel and been talked about. The temptation is irresistible, and thousands fall into it. How is a man to know that he is not the lucky one or the gifted one? There is the table and there the pen and ink. Among the unfortunate he who fails altogether and from the first start is not the most unfortunate. A short period of life is wasted, and a sharp pang is endured. Then the disappointed one is relegated to the condition of life which he would otherwise have filled a little earlier. He has been wounded, but not killed, or even maimed. But he who has a little success, who succeeds in earning a few halcyon, but, ah! so dangerous guineas, is drawn into a trade from which he will hardly escape till he be driven from it, if he come out alive, by sheer hunger. He hangs on till the guineas become crowns and shillings,—till some sad record of his life, made when he applies for charity, declares that he has worked hard for the last year or two and has earned less than a policeman in the streets or a porter at a railway. It is to that that he is brought by applying himself to a business which requires only a table and chair, with pen, ink, and paper! It is to that which he is brought by venturing to believe that he has been gifted with powers of imagination, creation, and expression. The young man who makes the attempt knows that he must run the chance. He is well aware that nine must fail where one will make his running good. So much as that does reach his ears, and recommends itself to his common sense. But why should it not be he as well as another? There is always some lucky one winning the prize. And this prize when it has been won is so well worth the winning! He can endure starvation,—so he tells himself,—as well as another. He will try. But yet he knows that he has but one chance out of ten in his favour, and it is only in his happier moments that he flatters himself that that remains to him. Then there falls upon him,—in the midst of that labour which for its success especially requires that a man's heart shall be light, and that he be always at his best,—doubt and despair. If there be no chance, of what use is his labour? [Pg 10] [Pg 11] [Pg 12] [Pg 13] Were it not better done as others use, To sport with Amaryllis in the shade, and amuse himself after that fashion? Thus the very industry which alone could give him a chance is discarded. It is so that the young man feels who, with some slight belief in himself and with many doubts, sits down to commence the literary labour by which he hopes to live. So it was, no doubt, with Thackeray. Such were his hopes and his fears;—with a resolution of which we can well understand that it should have waned at times, of earning his bread, if he did not make his fortune, in the world of literature. One has not to look far for evidence of the condition I have described,—that it was so, Amaryllis and all. How or when he made his very first attempt in London, I have not learned; but he had not probably spent his money without forming "press" acquaintances, and had thus found an aperture for the thin end of the wedge. He wrote for The Constitutional, of which he was part proprietor, beginning his work for that paper as a correspondent from Paris. For a while he was connected with The Times newspaper, though his work there did not I think amount to much. His first regular employment was on Fraser's Magazine, when Mr. Fraser's shop was in Regent Street, when Oliver Yorke was the presumed editor, and among contributors, Carlyle was one of the most notable. I imagine that the battle of life was difficult enough with him even after he had become one of the leading props of that magazine. All that he wrote was not taken, and all that was taken was not approved. In 1837-38, the History of Samuel Titmarsh and the Great Hoggarty Diamond appeared in the magazine. The Great Hoggarty Diamond is now known to all readers of Thackeray's works. It is not my purpose to speak specially of it here, except to assert that it has been thought to be a great success. When it was being brought out, the author told a friend of his,—and of mine,—that it was not much thought of at Fraser's, and that he had been called upon to shorten it. That is an incident disagreeable in its nature to any literary gentleman, and likely to be specially so when he knows that his provision of bread, certainly of improved bread and butter, is at stake. The man who thus darkens his literary brow with the frown of disapproval, has at his disposal all the loaves and all the fishes that are going. If the writer be successful, there will come a time when he will be above such frowns; but, when that opinion went forth, Thackeray had not yet made his footing good, and the notice to him respecting it must have been very bitter. It was in writing this Hoggarty Diamond that Thackeray first invented the name of Michael Angelo Titmarsh. Samuel Titmarsh was the writer, whereas Michael Angelo was an intending illustrator. Thackeray's nose had been broken in a school fight, while he was quite a little boy, by another little boy, at the Charter House; and there was probably some association intended to be jocose with the name of the great artist, whose nose was broken by his fellow-student Torrigiano, and who, as it happened, died exactly three centuries before Thackeray. I can understand all the disquietude of his heart when that warning, as to the too great length of his story, was given to him. He was not a man capable of feeling at any time quite assured in his position, and when that occurred he was very far from assurance. I think that at no time did he doubt the sufficiency of his own mental qualification for the work he had taken in hand; but he doubted all else. He doubted the appreciation of the world; he doubted his fitness for turning his intellect to valuable account; he doubted his physical capacity,—dreading his own lack of industry; he doubted his luck; he doubted the continual absence of some of those misfortunes on which the works of literary men are shipwrecked. Though he was aware of his own power, he always, to the last, was afraid that his own deficiencies should be too strong against him. It was his nature to be idle,—to put off his work,—and then to be angry with himself for putting it off. Ginger was hot in the mouth with him, and all the allurements of the world were strong upon him. To find on Monday morning an excuse why he should not on Monday do Monday's work was, at the time, an inexpressible relief to him, but had become deep regret,—almost a remorse,—before the Monday was over. To such a one it was not given to believe in himself with that sturdy rock-bound foundation which we see to have belonged to some men from the earliest struggles of their career. To him, then, must have come an inexpressible pang when he was told that his story must be curtailed. Who else would have told such a story of himself to the first acquaintance he chanced to meet? Of Thackeray it might be predicted that he certainly would do so. No little wound of the kind ever came to him but what he disclosed it at once. "They have only bought so many of my new book." "Have you seen the abuse of my last number?" "What am I to turn my hand to? They are getting tired of my novels." "They don't read it," he said to me of Esmond. "So you don't mean to publish my work?" he said once to a publisher in an open company. Other men keep their little troubles to themselves. I have heard even of authors who have declared how all the publishers were running after their books; I have heard some discourse freely of their fourth and fifth editions; I have known an author to boast of his thousands sold in this country, and his tens of thousands in America; but I never heard anyone else declare that no one would read his chef-d'œuvre, and that the world was becoming tired of him. It was he who said, when he was fifty, that a man past fifty should never write a novel. And yet, as I have said, he was from an early age fully conscious of his own ability. That he was so is to be seen in the handling of many of his early works,—in Barry Lyndon, for instance, and the Memoirs of Mr. C. James Yellowplush. The sound is too certain for doubt of that kind. But he had not then, nor did he ever achieve that assurance of public favour which makes a man confident that his work will be successful. During the years of which we are now speaking Thackeray was a literary Bohemian in this sense,—that he never regarded his own status as certain. While performing much of the best of his life's work he was not sure of his market, not certain of his readers, his publishers, or his price; nor was he certain of himself. [Pg 14] [Pg 15] [Pg 16] [Pg 17] It is impossible not to form some contrast between him and Dickens as to this period of his life,—a comparison not as to their literary merits, but literary position. Dickens was one year his junior in age, and at this time, viz. 1837-38, had reached almost the zenith of his reputation. Pickwick had been published, and Oliver Twist and Nicholas Nickleby were being published. All the world was talking about the young author who was assuming his position with a confidence in his own powers which was fully justified both by his present and future success. It was manifest that he could make, not only his own fortune, but that of his publishers, and that he was a literary hero bound to be worshipped by all literary grades of men, down to the "devils" of the printing-office. At that time, Thackeray, the older man, was still doubting, still hesitating, still struggling. Everyone then had accepted the name of Charles Dickens. That of William Thackeray was hardly known beyond the circle of those who are careful to make themselves acquainted with such matters. It was then the custom, more generally than it is at present, to maintain anonymous writing in magazines. Now, if anything of special merit be brought out, the name of the author, if not published, is known. It was much less so at the period in question; and as the world of readers began to be acquainted with Jeames Yellowplush, Catherine Hayes, and other heroes and heroines, the names of the author had to be inquired for. I remember myself, when I was already well acquainted with the immortal Jeames, asking who was the writer. The works of Charles Dickens were at that time as well known to be his, and as widely read in England, as those almost of Shakespeare. It will be said of course that this came from the earlier popularity of Dickens. That is of course; but why should it have been so? They had begun to make their effort much at the same time; and if there was any advantage in point of position as they commenced, it was with Thackeray. It might be said that the genius of the one was brighter than that of the other, or, at any rate, that it was more precocious. But after-judgment has, I think, not declared either of the suggestions to be true. I will make no comparison between two such rivals, who were so distinctly different from each, and each of whom, within so very short a period, has come to stand on a pedestal so high,—the two exalted to so equal a vocation. And if Dickens showed the best of his power early in life, so did Thackeray the best of his intellect. In no display of mental force did he rise above Barry Lyndon. I hardly know how the teller of a narrative shall hope to mount in simply intellectual faculty above the effort there made. In what then was the difference? Why was Dickens already a great man when Thackeray was still a literary Bohemian? The answer is to be found not in the extent or in the nature of the genius of either man, but in the condition of mind,— which indeed may be read plainly in their works by those who have eyes to see. The one was steadfast, industrious, full of purpose, never doubting of himself, always putting his best foot foremost and standing firmly on it when he got it there; with no inward trepidation, with no moments in which he was half inclined to think that this race was not for his winning, this goal not to be reached by his struggles. The sympathy of friends was good to him, but he could have done without it. The good opinion which he had of himself was never shaken by adverse criticism; and the criticism on the other side, by which it was exalted, came from the enumeration of the number of copies sold. He was a firm reliant man, very little prone to change, who, when he had discovered the nature of his own talent, knew how to do the very best with it. It may almost be said that Thackeray was the very opposite of this. Unsteadfast, idle, changeable of purpose, aware of his own intellect but not trusting it, no man ever failed more generally than he to put his best foot foremost. Full as his works are of pathos, full of humour, full of love and charity, tending, as they always do, to truth and honour and manly worth and womanly modesty, excelling, as they seem to me to do, most other written precepts that I know, they always seem to lack something that might have been there. There is a touch of vagueness which indicates that his pen was not firm while he was using it. He seems to me to have been dreaming ever of some high flight, and then to have told himself, with a half-broken heart, that it was beyond his power to soar up into those bright regions. I can fancy as the sheets went from him every day he told himself, in regard to every sheet, that it was a failure. Dickens was quite sure of his sheets. "I have got to make it shorter!" Then he would put his hands in his pockets, and stretch himself, and straighten the lines of his face, over which a smile would come, as though this intimation from his editor were the best joke in the world; and he would walk away, with his heart bleeding, and every nerve in an agony. There are none of us who want to have much of his work shortened now. In 1837 Thackeray married Isabella, daughter of Colonel Matthew Shawe, and from this union there came three daughters, Anne, Jane, and Harriet. The name of the eldest, now Mrs. Richmond Ritchie, who has followed so closely in her father's steps, is a household word to the world of novel readers; the second died as a child; the younger lived to marry Leslie Stephen, who is too well known for me to say more than that he wrote, the other day, the little volume on Dr. Johnson in this series; but she, too, has now followed her father. Of Thackeray's married life what need be said shall be contained in a very few words. It was grievously unhappy; but the misery of it came from God, and was in no wise due to human fault. She became ill, and her mind failed her. There was a period during which he would not believe that her illness was more than illness, and then he clung to her and waited on her with an assiduity of affection which only made his task the more painful to him. At last it became evident that she should live in the companionship of some one with whom her life might be altogether quiet, and she has since been domiciled with a lady with whom she has been happy. Thus she was, after but a few years of married life, taken away from him, and he became as it were a widower till the end of his days. At this period, and indeed for some years after his marriage, his chief literary dependence was on Fraser's Magazine. He wrote also at this time in the New Monthly Magazine. In 1840 he brought out his Paris Sketch Book, as to which [Pg 18] [Pg 19] [Pg 20] [Pg 21] he tells us by a notice printed with the first edition, that half of the sketches had already been published in various periodicals. Here he used the name Michael Angelo Titmarsh, as he did also with the Journey from Cornhill to Cairo. Dickens had called himself Boz, and clung to the name with persistency as long as the public would permit it. Thackeray's affection for assumed names was more intermittent, though I doubt whether he used his own name altogether till it appeared on the title-page of Vanity Fair. About this time began his connection with Punch, in which much of his best work appeared. Looking back at our old friend as he used to come out from week to week at this time, we can hardly boast that we used to recognise how good the literary pabulum was that was then given for our consumption. We have to admit that the ordinary reader, as the ordinary picture-seer, requires to be guided by a name. We are moved to absolute admiration by a Raphael or a Hobbema, but hardly till we have learned the name of the painter, or, at any rate, the manner of his painting. I am not sure that all lovers of poetry would recognise a Lycidas coming from some hitherto unknown Milton. Gradually the good picture or the fine poem makes its way into the minds of a slowly discerning public. Punch, no doubt, became very popular, owing, perhaps, more to Leech, its artist, than to any other single person. Gradually the world of readers began to know that there was a speciality of humour to be found in its pages,—fun and sense, satire and good humour, compressed together in small literary morsels as the nature of its columns required. Gradually the name of Thackeray as one of the band of brethren was buzzed about, and gradually became known as that of the chief of the literary brothers. But during the years in which he did much for Punch, say from 1843 to 1853, he was still struggling to make good his footing in literature. They knew him well in the Punch office, and no doubt the amount and regularity of the cheques from Messrs. Bradbury and Evans, the then and still owners of that happy periodical, made him aware that he had found for himself a satisfactory career. In "a good day for himself, the journal, and the world, Thackeray found Punch." This was said by his old friend Shirley Brooks, who himself lived to be editor of the paper and died in harness, and was said most truly. Punch was more congenial to him, and no doubt more generous, than Fraser. There was still something of the literary Bohemian about him, but not as it had been before. He was still unfixed, looking out for some higher career, not altogether satisfied to be no more than one of an anonymous band of brothers, even though the brothers were the brothers of Punch. We can only imagine what were his thoughts as to himself and that other man, who was then known as the great novelist of the day,—of a rivalry with whom he was certainly conscious. Punch was very much to him, but was not quite enough. That must have been very clear to himself as he meditated the beginning of Vanity Fair. Of the contributions to the periodical, the best known now are The Snob Papers and The Ballads of Policeman X. But they were very numerous. Of Thackeray as a poet, or maker of verses, I will say a few words in a chapter which will be devoted to his own so-called ballads. Here it seems only necessary to remark that there was not apparently any time in his career at which he began to think seriously of appearing before the public as a poet. Such was the intention early in their career with many of our best known prose writers, with Milton, and Goldsmith, and Samuel Johnson, with Scott, Macaulay, and more lately with Matthew Arnold; writers of verse and prose who ultimately prevailed some in one direction, and others in the other. Milton and Goldsmith have been known best as poets, Johnson and Macaulay as writers of prose. But with all of them there has been a distinct effort in each art. Thackeray seems to have tumbled into versification by accident; writing it as amateurs do, a little now and again for his own delectation, and to catch the taste of partial friends. The reader feels that Thackeray would not have begun to print his verses unless the opportunity of doing so had been brought in his way by his doings in prose. And yet he had begun to write verses when he was very young;—at Cambridge, as we have seen, when he contributed more to the fame of Timbuctoo than I think even Tennyson has done,—and in his early years at Paris. Here again, though he must have felt the strength of his own mingled humour and pathos, he always struck with an uncertain note till he had gathered strength and confidence by popularity. Good as they generally were, his verses were accidents, written not as a writer writes who claims to be a poet, but as though they might have been the relaxation of a doctor or a barrister. And so they were. When Thackeray first settled himself in London, to make his living among the magazines and newspapers, I do not imagine that he counted much on his poetic powers. He describes it all in his own dialogue between the pen and the album. "Since he," says the pen, speaking of its master, Thackeray: Since he my faithful service did engage, To follow him through his queer pilgrimage I've drawn and written many a line and page. Caricatures I scribbled have, and rhymes, And dinner-cards, and picture pantomimes, And many little children's books at times. I've writ the foolish fancy of his brain; The aimless jest that, striking, hath caused pain; The idle word that he'd wish back again. I've helped him to pen many a line for bread. It was thus he thought of his work. There had been caricatures, and rhymes, and many little children's books; and then the lines written for his bread, which, except that they were written for Punch, were hardly undertaken with a more [Pg 22] [Pg 23] [Pg 24] serious purpose. In all of it there was ample seriousness, had he known it himself. What a tale of the restlessness, of the ambition, of the glory, of the misfortunes of a great country is given in the ballads of Peter the French drummer! Of that brain so full of fancy the pen had lightly written all the fancies. He did not know it when he was doing so, but with that word, fancy, he has described exactly the gift with which his brain was specially endowed. If a writer be accurate, or sonorous, or witty, or simply pathetic, he may, I think, gauge his own powers. He may do so after experience with something of certainty. But fancy is a gift which the owner of it cannot measure, and the power of which, when he is using it, he cannot himself understand. There is the same lambent flame flickering over everything he did, even the dinner-cards and the picture pantomimes. He did not in the least know what he put into those things. So it was with his verses. It was only by degrees, when he was told of it by others, that he found that they too were of infinite value to him in his profession. The Irish Sketch Book came out in 1843, in which he used, but only half used, the name of Michael Angelo Titmarsh. He dedicates it to Charles Lever, and in signing the dedication gave his own name. "Laying aside," he says, "for a moment the travelling title of Mr. Titmarsh, let me acknowledge these favours in my own name, and subscribe myself, &c. &c., W. M. Thackeray." So he gradually fell into the declaration of his own identity. In 1844 he made his journey to Turkey and Egypt,—From Cornhill to Grand Cairo, as he called it, still using the old nom de plume, but again signing the dedication with his own name. It was now made to the captain of the vessel in which he encountered that famous white squall, in describing which he has shown the wonderful power he had over words. In 1846 was commenced, in numbers, the novel which first made his name well known to the world. This was Vanity Fair, a work to which it is evident that he devoted all his mind. Up to this time his writings had consisted of short contributions, chiefly of sketches, each intended to stand by itself in the periodical to which it was sent. Barry Lyndon had hitherto been the longest; but that and Catherine Hayes, and the Hoggarty Diamond, though stories continued through various numbers, had not as yet reached the dignity,—or at any rate the length,—of a three-volume novel. But of late novels had grown to be much longer than those of the old well-known measure. Dickens had stretched his to nearly double the length, and had published them in twenty numbers. The attempt had caught the public taste and had been pre-eminently successful. The nature of the tale as originated by him was altogether unlike that to which the readers of modern novels had been used. No plot, with an arranged catastrophe or dénoûment, was necessary. Some untying of the various knots of the narrative no doubt were expedient, but these were of the simplest kind, done with the view of giving an end to that which might otherwise be endless. The adventures of a Pickwick or a Nickleby required very little of a plot, and this mode of telling a story, which might be continued on through any number of pages, as long as the characters were interesting, met with approval. Thackeray, who had never depended much on his plot in the shorter tales which he had hitherto told, determined to adopt the same form in his first great work, but with these changes;—That as the central character with Dickens had always been made beautiful with unnatural virtue,—for who was ever so unselfish as Pickwick, so manly and modest as Nicholas, or so good a boy as Oliver?—so should his centre of interest be in every respect abnormally bad. As to Thackeray's reason for this,—or rather as to that condition of mind which brought about this result,—I will say something in a final chapter, in which I will endeavour to describe the nature and effect of his work generally. Here it will be necessary only to declare that, such was the choice he now made of a subject in his first attempt to rise out of a world of small literary contributions, into the more assured position of the author of a work of importance. We are aware that the monthly nurses of periodical literature did not at first smile on the effort. The proprietors of magazines did not see their way to undertake Vanity Fair, and the publishers are said to have generally looked shy upon it. At last it was brought out in numbers,—twenty-four numbers instead of twenty, as with those by Dickens,—under the guardian hands of Messrs. Bradbury and Evans. This was completed in 1848, and then it was that, at the age of thirty-seven, Thackeray first achieved for himself a name and reputation through the country. Before this he had been known at Fraser's and at the Punch office. He was known at the Garrick Club, and had become individually popular among literary men in London. He had made many fast friends, and had been, as it were, found out by persons of distinction. But Jones, and Smith, and Robinson, in Liverpool, Manchester, and Birmingham, did not know him as they knew Dickens, Carlyle, Tennyson, and Macaulay,—not as they knew Landseer, or Stansfeld, or Turner; not as they knew Macready, Charles Kean, or Miss Faucit. In that year, 1848, his name became common in the memoirs of the time. On the 5th of June I find him dining with Macready, to meet Sir J. Wilson, Panizzi, Landseer, and others. A few days afterwards Macready dined with him. "Dined with Thackeray, met the Gordons, Kenyons, Procters, Reeve, Villiers, Evans, Stansfeld, and saw Mrs. Sartoris and S. C. Dance, White, H. Goldsmid, in the evening." Again; "Dined with Forster, having called and taken up Brookfield, met Rintoul, Kenyon, Procter, Kinglake, Alfred Tennyson, Thackeray." Macready was very accurate in jotting down the names of those he entertained, who entertained him, or were entertained with him. Vanity Fair was coming out, and Thackeray had become one of the personages in literary society. In the January number of 1848 the Edinburgh Review had an article on Thackeray's works generally as they were then known. It purports to combine the Irish Sketch Book, the Journey from Cornhill to Grand Cairo, and Vanity Fair as far as it had then gone; but it does in truth deal chiefly with the literary merits of the latter. I will quote a passage from the article, as proving in regard to Thackeray's work an opinion which was well founded, and as telling the story of his life as far as it was then known; "Full many a valuable truth," says the reviewer, "has been sent undulating through the air by men who have lived and died unknown. At this moment the rising generation are supplied with the best of their mental aliment by writers whose names are a dead letter to the mass; and among the most remarkable of these is Michael Angelo Titmarsh, alias William Makepeace Thackeray, author of the Irish Sketch Book, of A Journey from Cornhill to Grand Cairo, of Jeames's [Pg 25] [Pg 26] [Pg 27] [Pg 28] Diary, of The Snob Papers in Punch, of Vanity Fair, etc. etc. "Mr. Thackeray is now about thirty-seven years of age, of a good family, and originally intended for the bar. He kept seven or eight terms at Cambridge, but left the university without taking a degree, with the view of becoming an artist; and we well remember, ten or twelve years ago, finding him day after day engaged in copying pictures in the Louvre, in order to qualify himself for his intended profession. It may be doubted, however, whether any degree of assiduity would have enabled him to excel in the money-making branches, for his talent was altogether of the Hogarth kind, and was principally remarkable in the pen-and-ink sket...