It may be briefly said that exaggeration takes for granted some degree of imbecility in the reader, whereas caricature takes for granted a high degree of intelligence. Dickens appeals to our intelligence in all his caricature, whether heavenly, as in Joe Gargery, or impish, as in Mrs. Micawber. The word "caricature" that is used a thousand times to reproach him is the word that does him singular honour.
If I may define my own devotion to Dickens, it may be stated as chiefly, though not wholly, admiration of his humour, his dramatic tragedy, and his watchfulness over inanimate things and landscape.
Passages of his books that are ranged otherwise than under those characters often leave me out of the range of their appeal or else definitely offend me. And this is not for the customary reason--that Dickens could not draw a gentleman, that Dickens could not draw a lady. It matters little whether he could or not. But as a fact he did draw a gentleman, and drew him excellently well, in Cousin Feenix, as Mr. Chesterton has decided. The question of the lady we may waive; if it is difficult to prove a negative, it is difficult also to present one; and to the ******, or producing, or liberating, or detaching, or exalting, of the character of a lady there enter many negatives; and Dickens was an obvious and a positive man.
Esther Summerson is a lady, but she is so much besides that her ladyhood does not detach itself from her sainthood and her angelhood, so as to be conspicuous--if, indeed, conspicuousness may be properly predicated of the quality of a lady. It is a conventional saying that sainthood and angelhood include the quality of a lady, but that saying is not true; a lady has a great number of negatives all her own, and also some things positive that are not at all included in goodness. However this may be--and it is not important--Dickens, the genial Dickens, makes savage sport of women.
Such a company of envious dames and damsels cannot be found among the persons of the satirist Thackeray. Kate Nickleby's beauty brings upon her at first sight the enmity of her workshop companions; in the innocent pages of "Pickwick" the aunt is jealous of the niece, and the niece retorts by wounding the vanity of the aunt as keenly as she may; and so forth through early books and late. He takes for granted that the women, old and young, who are not his heroines, wage this war within the ***, being disappointed by defect of nature and fortune. Dickens is master of wit, humour, and derision; and it must be confessed that his derision is abundant, and is cast upon an artificially exposed and helpless people; that is, he, a man, derides the women who miss what a man declared to be their "whole existence."The advice which M. Rodin received in his youth from Constant--"Learn to see the other side; never look at forms only in extent;learn to see them always in relief"--is the contrary of the counsel proper for a reader of Dickens. That counsel should be, "Do not insist upon seeing the immortal figures of comedy 'in the round.'
You are to be satisfied with their face value, the face of two dimensions. It is not necessary that you should seize Mr. Pecksniff from beyond, and grasp the whole man and his destinies." The hypocrite is a figure dreadful and tragic, a shape of horror; and Mr. Pecksniff is a hypocrite, and a bright image of heart-easing comedy. For comic fiction cannot exist without some such paradox.
Without it, where would our laugh be in response to the generous genius which gives us Mr. Pecksniff's parenthesis to the mention of sirens ("Pagan, I regret to say"); and the scene in which Mr.
Pecksniff, after a stormy domestic scene within, goes as it were accidentally to the door to admit the rich kinsman he wishes to propitiate? "Then Mr. Pecksniff, gently warbling a rustic stave, put on his garden hat, seized a spade, and opened the street door, as if he thought he had, from his vineyard, heard a modest rap, but was not quite certain." The visitor had thundered at the door while outcries of family strife had been rising in the house. "'It is an ancient pursuit, gardening. Primitive, my dear sir; for, if I am not mistaken, Adam was the first of the calling. My Eve, I grieve to say, is no more, sir; but' (and here he pointed to his spade, and shook his head, as if he were not cheerful without an effort) 'but Ido a little bit of Adam still.' He had by this time got them into the best parlour, where the portrait by Spiller and the bust by Spoker were." And again, Mr. Pecksniff, hospitable at the supper table: "'This,' he said, in allusion to the party, not the wine, 'is a Mingling that repays one for much disappointment and vexation.
Let us be merry.' Here he took a captain's biscuit. 'It is a poor heart that never rejoices; and our hearts are not poor. No!' With such stimulants to merriment did he beguile the time and do the honours of the table." Moreover it is a mournful thing and an inexplicable, that a man should be as mad as Mr. ****. None the less is it a happy thing for any reader to watch Mr. **** while David explains his difficulty to Traddles. Mr. **** was to be employed in copying, but King Charles the First could not be kept out of the manuscripts; "Mr. **** in the meantime looking very deferentially and seriously at Traddles, and sucking his thumb."And the amours of the gentleman in gaiters who threw the vegetable-marrows over the garden wall. Mr. F.'s aunt, again! And Augustus Moddle, our own Moddle, whom a great French critic most justly and accurately brooded over. "Augustus, the gloomy maniac," says Taine, "makes us shudder." A good medical diagnosis. Long live the logical French intellect!
Truly, Humour talks in his own language, nay, his own dialect, whereas Passion and Pity speak the universal tongue.