THACKERAY'S SECONDARY FICTIONAL WORLD: AH AESTHETIC STUDY OF NARRATOR AND READER ROLES IN THE NOVELS by DAVID LEWIS JAMES B.A., University of London, 1965 M.A., University of British. Columbia, 1967 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of ENGLISH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA November, 1970 i
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THACKERAY'S SECONDARY FICTIONAL WORLD:
AH AESTHETIC STUDY OF NARRATOR AND READER ROLES IN THE NOVELS
by
DAVID LEWIS JAMES
B.A., University of London, 1965
M.A., University of British. Columbia, 1967
A THESIS SUBMITTED IN PARTIAL FULFILMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
in the Department
of
ENGLISH
We accept this thesis as conforming to the
required standard
THE UNIVERSITY OF BRITISH COLUMBIA
November, 1970
i
In present ing th is thesis in p a r t i a l f u l f i l m e n t of the requirements for
an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree that
the L ibrary s h a l l make i t f r e e l y a v a i l a b l e for reference and Study.
I fur ther agree that permission for extensive copying of th is thes is
for s c h o l a r l y purposes may be granted by the Head of my Department or
by his representa t ives . It is understood that copying or p u b l i c a t i o n
of th is thesis for f i n a n c i a l gain sha l l not be allowed without my
wr i t ten permiss ion.
Department of
The Un ive rs i t y of B r i t i s h Columbia Vancouver 8, Canada
ABSTRACT
Thackeray's post-1847 novels make increasing use of a complex
and indecisive narrator. The clear perspectives of Thackeray's early
narrators—such as the "boastful Gahagan, the cynical Yellowplush, and
the sentimental Fitzboodle—are superseded by the man of many parts,
who i s the mature narrator of the novels from Yanity F a i r to Denis
Duval. This many-faceted figure keeps one eye on his reader as he
moves between joyous certainty and utter bewilderment regarding his
own feelings and his own f i c t i o n . He i s not afrai d to be f i c k l e , and
appears i n many guises:—as novelist and historian, visionary and
disenchanted worldling, preacher and clown. The secondary f i c t i o n a l
world i s determined by the narrator's continued changes of stance, not
only towards the characters, but also towards the reader, who, too,
must play many parts.
In i t s focus upon Thackeray's secondary f i c t i o n a l world, this
study sees Thackeray as one of a l i n e of novelists from Cervantes and
Sterne to Joyce and Nabokov. These "novelists i n motley" present t h e i r
f i c t i o n as an elaborate game drawing the reader into the dual process
of involvement i n the main story, or primary f i c t i o n a l world, and
detachment from i t . In the secondary f i c t i o n a l world, both narrator
and reader see the primary i l l u s i o n as an i l l u s i o n , yet they fe e l also
it's i n s t i n c t i v e truth, i t s power to quicken th e i r responses, and i t s
value as a mode of self-discovery. Thus, while Thackeray's primary
f i c t i o n a l world frequently suggests the neatness of conventional
i i
patterns found i n heroic myth., moral f a b l e , or the contemporary
melodrama and fashionable novels, the secondary f i c t i o n a l world
undermines these forms, even while they are being used as probes of
the narrator's consciousness. These established l i t e r a r y conventions
are the means through which the i n d e f i n i t e s e l f attempts d e f i n i t i o n .
In Thackeray's secondary f i c t i o n a l world, the reader i s made to see
himself p l a y i n g such parts as those of hero, v i l l a i n , and l o v e r , but
he i s a l s o made to understand that h i s whole s e l f consists of an
i n f i n i t e number of p o t e n t i a l p a r t s , none of which defines him
e x c l u s i v e l y .
Thackera-y's own v a c i l l a t i o n and waywardness becomes increas
i n g l y obtrusive i n h i s mature work u n t i l , i n P h i l i p and Lovel the
Widower, the p l o t and s e t t i n g are dwarfed by the vastness of the
narrator, whose monologues, i n a bewildering v a r i e t y of tone, s t y l e ,
and viewpoint, dominate the novels. The sharp s a t i r e and detached
s o c i a l observation of Yellowplush and Titmarsh give way to the
i r o n i e s of a l a t e r n a r r a t o r , who i s p a i n f u l l y involved w i t h h i s
creat i o n s . Thackeray's t y p i c a l novels thus purposely present no
conclusive form, but, rather, a medley of loose ends and unresolved
c o n f l i c t s ,
\.Unlike the cen t r a l i n t e l l i g e n c e of the t r a d i t i o n a l novel, the
Thackerayan narrator never f i n a l l y sheds h i s i l l u s i o n s , never comes
to see the t r u t h about himself, and never reaches a c l i m a c t i c moment of
ultimate v i s i o n ; yet nei-fcher does he become v i c t i m of the i l l u s i o n
that man can l i v e without i l l u s i o n s . He presents h i s reader not
i i i
with a progression of events leading to self-discovery, Taut with a
revelation of the forms through which the changing s e l f "becomes
manifest *
i v
CONTENTS
Chapter Page
INTRODUCTION: AUTHOR AND READER ROLES 1
I . THACKERAY AID "THACKERAY" AS ROLE-PLAYERS 13
I I . PRIMARY AND SECONDARY FICTIONAL WORLDS 34
I n t r o d u c t o r y D i s c u s s i o n . . . . 34
Thackeray's Shandean N a r r a t o r . . . . . . . . 3 7
The B a r r a t o r ' s U n i f y i n g Presence . . . . . . . 5 3
I I I . THACKERAY AND HIS NARRATORS 73
IY. ILLUSION AS PROBE: NARRATOR-CHARACTER-READER
RELATIONSHIPS 103
Masks 103
Human V a r i a n t s 118
Summary 143
v
Chapter Page
V. ILLUSION AT WORK AND PLAT: ESMOND AMD PHILIP 147
VI. THE EXPANSIVE NOVEL: THE FUNCTION OF "UNPATTERNED"
EXPERIENCE 186
Introductory Discussion . . . . 186
The Use of Romance and the Contingent World . . . . 187
Summary « . . . 222 CONCLUSION: VISION THROUGH PLAY 225
BIBLIOGRAPHY 232
v i
ACKNOWLEDGEMENTS
I wish, to acknowledge a debt to Dr. John Hulcoop f o r h i s
help with and encouragement of t h i s project over the past three years.
Dr. Hulcoop's enthusiasm f o r the subject never waned even though,
on occasion, my own d i d . Many of the ideas developed i n t h i s study
were o r i g i n a l l y sparked by h i s s t i m u l a t i n g l e c t u r e s on the novel and
by our pr i v a t e d i s c u s s i o n s .
Thanks also are due to my wife, Wendy, who bore the burden
of typing the f i n a l d r a f t .
vii
BIBLIOGRAPHICAL NOTE
The e d i t i o n s of Thackeray's works and l e t t e r s used i n quotations
and subsequently documented i n t e r n a l l y , are as f o l l o w s : The Works of
Wil l i a m Makepeace Thackeray, 32 v o l s . (New York: S c r i b n e r ' s 1904)5
V a n i t y F a i r , ed. Geoff r e y and Kathleen T i l l o t s o n , (Boston: Houghton
M i f f l i n , 1963); The L e t t e r s and P r i v a t e Papers of W i l l i a m Makepeace
Thackeray, ed. Gordon N. Ray, 4 v o l s . (Cambridge Mass.: Harvard
Univ. Press, I945-I946). Apart from V a n i t y F a i r , which w i l l be c i t e d
as VF, c i t a t i o n s of the works w i l l c o n s i s t of volume and page
r e f e r e n c e s . Quotations from Thackeray's correspondence w i l l be c i t e d
as L e t t e r s .
The S c r i b n e r ' s e d i t i o n i n c l u d e s almost a l l the i l l u s t r a t i o n s
made f o r the o r i g i n a l part i s s u e s of the novels and the s e r i a l i z e d
works. Quotations have been checked against the B i o g r a p h i c a l e d i t i o n
(London: Harper & Bros., 1898-99), and on l y minor v a r i a t i o n s of
s p e l l i n g and punctuation were r e v e a l e d .
S c r i b n e r ' s i s r e t a i n e d because the i n i t i a l i l l u s t r a t i o n s to
the chapters f r e q u e n t l y make i r o n i c comment on the t e x t and make
a s i g n i f i c a n t c o n t r i b u t i o n to Thackeray's secondary f i c t i o n a l world.
U s e f u l accounts of the e a r l y i l l u s t r a t i o n s to Thackeray's work
are provided i n Lewis M e l v i l l e ' s Some Aspects of Thackeray, pp. 124-139.
v'i'ii
INTRODUCTION: AUTHOR AND READER ROLES
In r e a l i t y , every reader, as he reads, i s the reader of himself. The work of a writer i s only a sort of optic instrument which he offers to the reader so that he may discern i n the book what he would probably not have seen i n himself.
—Marcel Proust, Remembrance of Things Past
It i s generally true that "the novelist moves cautiously from
the real to the f i c t i o n a l world, and takes pains to conceal the
movement.""*" However,, certain novelists, among whom are Cervantes,
Sterne and Thackeray, conceal this movement, either by emphasizing the
f i c t i o n a l nature of their stories, or i n giving them an inconclusiveness
by recourse to a v a c i l l a t i n g or bungling narrator, who p a i n f u l l y admits
his incapacity. While i n Don Quixote Part I I , The Don and Sancho Panza
offer comments and c r i t i c i s m on their biographer, i n Tristram Shandy
and Vanity Fair, the narrator comments upon and c r i t i c i z e s himself;
he i s aware of his own inadequacies, biases, and the ultimate impossibility
of t e l l i n g a clear and straightforward tale, which both he and his
reader can take seriously. Thus, while the typical novelist (concealing
the movement between the f i c t i o n a l and the real world) creates one
coherent f i c t i o n a l world, the "novelist i n motley" ( t y p i f i e d by
Cervantes, Sterne and Thackeray) through his self-conscious narrator,
moves ad r o i t l y between a f i c t i o n a l world of characters and a f i c t i o n a l
world where he addresses a reader who must play a variety of roles.
I t i s therefore clear that the "novelist in motley" offers his reader
^David Lodge, Language of F i c t i o n ; Essays i n Cri t i c i s m and Verbal Analysis of the English Novel (London: Routledge & Kegan Paul, 1966), p. 42.
1
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two f i c t i o n a l worlds, and that his predominant concern i s to reveal
the distance between the quasi-real world of narrator and reader and
the f i c t i o n a l world of the characters.
The essential factor contributing to the secondary f i c t i o n a l
world i s the reader's understanding of a dimension above and beyond
the simple story. It offers a kind of sub-plot on the d i f f i c u l t i e s of
reading and writing a novel, and i s v i t a l l y concerned with the r e l a t i o n
between i l l u s i o n and r e a l i t y . For the reader who i s predominantly
concerned with the sequence of the hero's adventures, the various guises
and t r i c k s of the narrator w i l l inevitably seem tedious and f r u s t r a t i n g .
The narrator, the reader, or even the characters may see the ineffectiveness
or the flaws of the story, but the story i s not the main issue —
rather, the l i g h t which f a l l s upon i t . Don Quixote i s sure that his
narrator " i s no sage but some ignorant prater who set himself blindly
and aimlessly to write i t £b.is story] down and l e t i t turn out anyhow."^
For the "novelist i n motley," the story i s a minor a f f a i r , and, as
Sterne's incompetent narrator has i t , "digressions, incontestably,
are the sunshine; — they are the l i f e , the soul of reading!"^
This study attempts to show that the typical digressions and
narrative anarchy of the "novelist i n motley," as employed by Thackeray,
lend greater verisimilitude to h i s novels. His secondary f i c t i o n a l
Miguel de Cervantes Saavedra, Don Quixote of La Mancha, trans, with Introd. Walter Starkie (New York: lew American Library, 1 9 6 4 ) , P. 5 4 9 .
•^Laurence Sterne, The L i f e and Opinions of Tristram Shandy, Gentleman (London: Co l l i n s , 1955)> P» 68.
3 world, i n fact, i s suggestive rather than d e f i n i t i v e , and t h i s
suggestiveness i s not a structural defect hutn.an i n t r i n s i c v i r t u e .
Furthermore, the contention here i s that, although the "novelist i n
motley" persists i n destroying the primary i l l u s i o n of the story,
his narrator's doubts, hesitations, self-contradictions and reader-
interrogations, are a crucial part of the aesthetic experience presented.
The reader i s offered not simply an anti-novel but a novel of broader
scope than the more typic a l novel. This multiplex, or as I c a l l i t
"expansive", novel attempts to show r e a l i t y i n the process of being
shaped into a r t . *
In t h i s process, fundamental questions are raised between
narrator and reader, and the most insistent and unanswerable i s the
question "Who am I?" The narrator employed by the "novelist i n motley"
attempts to reconcile contradictory aspects of himself and his reader;
the solemn and the impish; the l o g i c a l and the wayward; the pious and
the cynical. And i f narrator and reader contain such contraries, how,
i t i s constantly implied, can one t e l l an unequivocal and direct tale
which c l e a r l y distinguishes heroism and v i l l a i n y , wisdom and f o l l y , or
beauty and corruption? The "expansive" novel thus offers the reader
that e v e r - f e r t i l e foolishness, which we can only embrace by the words
"Quixotic" and "Shandean."
I t i s i n the quiet dialogue between narrator and reader that
the question of s e l f - d e f i n i t i o n becomes c r u c i a l . Thus after Don
Quixote's advice to Sancho Panza on how to rule his island i n the sky
wisely, the reader i s invited to scoff at the f o l l y of knight and
4
servant—to see them as other than his own sane and c i v i l i z e d s e l f .
But The Bon's fantasy i s also the reader's and becomes a r e a l i t y
through the t r i c k s and pl o t t i n g of others, u n t i l f i n a l l y , l i k e a l l
plots, schemes., systems and enchantments i t dissolves " l i k e smoke into
the a i r . " Yet the fantasy i s a means of self-probing for Quixote,
Sancho and the reader, and the Don's conduct i n the role of governor draws
wonder, amazement and admiration from a l l . Through h i s fantastic role-
playing, he "carries to a high pitch both his good sense and his
madness." The reader i s asked by the narrator, "who . . . would have
taken him for a very wise person, whose wisdom was exceeded only by his'
excellent intentions?"^" The greatest wisdom, the narrator i n p l i e s , i s
to take up the role which "sane" people, securely ensconced behind their
social personae, consider to be f o l l y . For i n this way the s e l f goes
beyond convenient d e f i n i t i o n and re a l i z e s i t s boundless p o s s i b i l i t i e s .
A reader of Don Quixote or Vanity F a i r can never be a purely
passive partner i n the f i c t i o n a l enterprise. Although he usually finds
l i t t l e d i f f i c u l t y i n identifying with central characters i n novels or
speakers i n poetry or drama, when faced with an inconsistent, i r o n i c a l
or consciously role-playing narrator, the reader i s forced into a more
complex r o l e . The narrator drops h i s formal pose at frequent intervals i n
order that he may suggest a r i c h l y diffuse otherness behind his
ostensible r o l e . His purpose thus becomes a ta n t a l i z i n g self-revelation
i n which he i s something of a confidence man and t r i c k s t e r enticing
Don Quixote, p. 827
5
h i s reader to d i s c l o s e and d i s c o v e r the secret s e l v e s which l i e behind 5
the "gentle reader" facade.*;; When the n a r r a t o r ' s d i s c l o s u r e s take
p l a c e , the' reader i s made d e f e n s i v e l y self-aware, and as the n a r r a t o r
begins to probe the reader, s e c u r i t y and d e f i n i t i o n are l o s t . Because
the Manager of V a n i t y F a i r w i l l " d e f e r e n t i a l l y . . . submit to the
f a s h i o n at present p r e v a i l i n g , and only . . . h i n t at the existence of
wickedness i n a l i g h t , easy, and agreeable manner, so that nobody's
f i n e f e e l i n g s may be offended " (VF, 617), the reader i s f o r c e d to
decide f o r h i m s e l f the extent of Mrs. Rebecca Crawley's g u i l t . The
n a r r a t o r , as urbane and uncommitted commentator, o f f e r s o n l y p o s s i b i l i t i e s
and l e a v e s h i s reader t o decide upon u l t i m a t e s at h i s own p e r i l ; f o r to
r i s k d e f i n i t i o n and commitment i s to attempt t o remove o n e s e l f from the
f l u x of time through which the changing s e l f i s r e v e a l e d .
The Manager seeks to avo i d the c o n s t r i c t i o n of r o l e - p l a y i n g
i n order t o avo i d d e f i n i t i o n by h i s reader. By so doing he makes
p l a i n the i m p o s s i b i l i t y of f i n a l knowledge and h i s own u n w i l l i n g n e s s
t o pronounce judgement. H i s r o l e i s thus that of m u l t i p l e r o l e - p l a y e r g
and the common ground between n a r r a t o r and reader i s the masquerade
where t r u t h l i e s i n a co n v i n c i n g performance and the s e l f i s f r e e d
from the shackles of everyday r e s p o n s i b i l i t i e s , and r o l e - p l a y i n g i s
b l a t a n t l y acknowledged r a t h e r - t l i a n r f c a c i i ; l y i m p l i e d as i t i s i n normal 5 Cf. E r v i n g Goffman on the two needs of those who woxild
renounce the c o n s t r i c t i n g t y p i c a l r o l e : "a need f o r an audience before which to t r y out one's vaunted s e l v e s , and a need f o r teammates with whom to enter i n t o c o l l u s i v e i n t i m a c i e s and backstage r e l a x a t i o n . " The P r e s e n t a t i o n of S e l f i n Everyday L i f e (New York: Doubleday Anchor Books, 195^J, p. 190.
6
l i f e .
It i s thus with the changing selves of the narrator that the
reader i s confronted rather than with a stable s e l f , ^and since he
does not simply i d e n t i f y with a character or a point of view, the
reader cannot rest secure i n the role of vicarious performer but must
also play the part of watcher. The reward f o r the reader's acceptance
of uncertainty and the discomfort of an insecure role i s a sense of
self-transcendence, a going beyond the convenient tidiness of sensible,
everyday p o l a r i t i e s of good and bad, wisdom and f o l l y , s e l f and other,
form and content, and a release into a world of unlimited p o s s i b i l i t y .
In summary, then, we can say that the s e l f contains a vast
complex of dark and private impulses which w i l l only be realized i n
dreams, imagination or under conditions of extreme stress. The
" s e l f " of the novelist communicates with the reader only across the
bridge of metaphor—or, to keep the original terms, the author adopts
and the reader accepts the convention of a r o l e . Novelists who are
conscious of the arbitrary nature of this role, and who consequently
seek to communicate.this arbitrariness, eschew the consistency of a
I am assuming here for the convenience of argument that there is; such a thing as a stable s e l f , a f e e l i n g of s e l f - i d e n t i t y i n normal l i f e . Cf. Erich Promm, Man..f or,...Himself: An.-Enquiry into ,the Psychology, of. Ethics (New York:. Rinehart, 1947), p. 206: "We are award of the existence of a s e l f , or a core i n our personality which i s unchangeable and which persists throughout our l i f e i n spite of varying circumstances and regardless cuE'certain changes i n opinions: and feelings. It i s t h i s core which i s the r e a l i t y behind the word 'I' and on which our conviction of our own identit y i s based." Cf. also Charles Horton Cooley, Human. Nature.., and.. the .Social Order, new ed. (Hew York: Schocken Books, 1964), p» 245; "Where there i s no s e l f -feeling, no ambition of any sort, there i s no efficacy or significance.
7
unified point of view and present their world to the reader through
an unstable and c o n f l i c t i n g persona who seeks to evoke from the reader
an awareness of the fluctuating and incalculable s e l f . Such novelists
are Cervantes, Sterne and Thackeray, and they offer their reader not
the neatness of pattern and plot carefully developed and concluded,
but a medley of story within story and r e f l e c t i o n upon r e f l e c t i o n .
Paradigm i s s a c r i f i c e d to process and the reader i s a v i t a l partner 7
i n this process.'
Communication demands at least two people who understand and
observe- the rules on which i t s basis rests. Without a mutual acceptance
between transmitter and receiver of the role-playing conventions
involved, a break-down i n meaning occurs; the l i n e s become crossed and
the message i s garbled and confused. In the diagram below, e f f i c i e n t
social and a r t i s t i c role-playing corresponds to area 'B1, and area 'A'
represents the normal sub-conversation that goes on i n the confused
and c o n f l i c t i n g s e l f . Area 'C i s one of excessively simplified
role-playing where the role i s too well-defined to allow f o r human
To lose the sense of a separate, productive, r e s i s t i n g s e l f , would be to melt and merge and cease to be." This absence of s e l f - d e f i n i t i o n , l e t t i n g go of identity, so a l i e n to Western philosophy, i s the only r e a l i t y f o r expounders of Oriental philosophy such as Alan Watts and J. Krishnamurti.
^Cf. Alfred North Whitehead, Modes of Thought (Cambridge: Cambridge Univ. Press, 1 9 3 8 ) , p. 131: "We must not dwell mainly on the issue. The immediacy of experience i s then past and over. The vividness of l i f e l i e s i n the transition, with i t s forms aiming at the issue." Cf. also George W. Morgan, The Human Predicament: Dissolution and Wholeness (Providence: Brown Univ. Press, I 9 6 8 ) , p. 330: "Man i s more whole or less whole, but his wholeness i s never a s t a t i c condition to be achieved and thereafter maintained i n fixed form."
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v a r i a b i l i t y and freedom.
—mechanical communication
— r i g i d role
OVER-DEFINED MAN UNDEFINED MAN — n o communication — n o clear role
DEFINED MAN — e f f i c i e n t communication — c l e a r role
The "novelist i n motley, " while he meets his reader i n area *B,' manages
to suggest the existence of the neighbouring areas which define i t .
The narrator of Vanity Fair has received considerable c r i t i c a l
attention, but only one study has attempted "to trace the strange mix
ture of jester and philosopher, of spectator and actor, which character-8
izes the basic narrator" of Thackeray's novels. The relationship of
narrator and reader to the complex medley of s h i f t i n g forms which 9
Thackeray presents has not, however, been very thoroughly explored.
In fact the highly sophisticated play between narrator and reader, which
contemporary novelists such as Nabokov, Durrell and Barth make a v i t a l
part of the reading experience, has been, i n Thackeray, almost t o t a l l y Q John C. KLeis, "The Narrative Persona i n the Novels of Thack
eray," Diss. Pennsylvania 1966, p. 4. o yk most penetrating discussion of "Thackeray's great subject,
the relationship of the s e l f to forms" i s found i n the l a s t chapter of James Fheatley's Patterns i n Thackeray's F i c t i o n (Cambridge, Mass.: The M.I.T. Press, 1969).
9
ignored. John Loofbourow •s study of Thackeray's "allusive textures"
i n Vanity Fair and Esmond attends closely to Thackeray's use of parodic
form.^ Loofbourow draws an interesting comparison with Proust which
i s v a l i d perhaps for Esmond but not for the se r i a l i z e d novels.
Thackeray's "expansive" novels depend on collusion between a playful
narrator and a patient and watchful reader. This relationship builds
up the secondary f i c t i o n a l world which encloses the progressive story
i n a series of illusion-breaking digressions.
For Thackeray, i l l u s i o n and r e a l i t y are merely different terms
for the same phenomena; for today's i l l u s i o n becomes tomorrow's r e a l i t y
and vice versa. Knowing that l i f e offers an incomprehensible wholeness,
an inexhaustible complexity, Pendennis, who epitomizes the playful
narrator, a r t f u l l y asks the reader of Ph i l i p : "Have you made up your
mind on the question of seeming and being i n the world?" (XV, 186).
The reader who has made up his mind w i l l have l i t t l e time for the
evasive narrator of Thackeray's mature novels whose favourite qualifying
phrases are "I dare say," "I wonder whether" and "I believe." The
self-conscious narrator, catching himself out revealing a prejudice.,
turns to his reader and invites him to take an active part i n the
novel: "What i s this? Am I angry because Twysden has l e f t off asking
me to his vinegar and chopped hay? No. I think not. Am I hurt
because Mrs. Twysden sometimes patronizes my wife, and sometimes cuts
her? Perhaps" (XV, 189).
^°Thackeray and the Form of Fiction . (Princeton: Princeton Univ. Press, 1964).
10
Thackeray knows that the s e l f i s an unstable compound, subject
to continuous change and made up of fluctuating memories and aspirations.
Since the s e l f can expand i n f i n i t e l y i n space and time through the
imagination, i t follows that any d i s t i n c t i o n between s e l f and world i s
purely arbitrary. Furthermore, i f the imaginative extensions of the
se l f into past and future are to be called i l l u s i o n s , then the only
r e a l i t y i s the eternal now. This question of the indeterminate s e l f
which pervades Thackeray's novels i s pl a i n l y articulated i n a l e t t e r
to Mrs. Brookfield:
But what i s memory? Memory without Hope i s but a negative idiosyncrasy and hope without memory a plant that has no root. L i f e has many such: but s t i l l I f e e l that they are too few. Death may remove or i n some way modify their poignancy: the Future alone can reconcile them with the irrevocable f i a t of yesterday: and Tomorrow I have l i t t l e doubt w i l l laugh them into melancholy scorn. Deem not that I speak l i g h t l y , or that beneath the mask of satire any doubt, any darkness any pleasure even at foreboding can mingle with the depth of my truthfulness. Passion i s but a hypocrite and a monitor (however barefaced)—Action f e b r i l e continuous action should be the pole star of our desolate being. I f t h i s i s not r e a l i t y I know not what i s — ( L e t t e r s , IV, 309-310).
This study i s an attempt to suggest the depth of Thackeray's
truthfulness as revealed i n the secondary f i c t i o n a l world of the novels.
Both reader and narrator must put on a bewildering variety of masks
i n the novels, but we are never i n doubt that these masks are mere
forms through which the changing s e l f i s revealed. The mercurial
narrator exists to expand the primary f i c t i o n a l world of the novels
where the ostensible action takes place. He exists to broaden the
novels' range, to nudge the reader, to suggest p o s s i b i l i t i e s , to break
down schematism and blur moral outlines. As he t e l l s the reader the
11
s t o r y he d i s c l o s e s h i m s e l f , r e l i v e s the s t o r y with the t e l l i n g and
a n t i c i p a t e s p o s s i b l e reader r e a c t i o n . He cuts h i m s e l f short i n a
passage of m o r a l i z i n g , d e c l i n e s to comment on some p a r t i c u l a r l y s p i c y
item of g o s s i p , adds an extraneous episode or anecdote to h i s s t o r y ,
takes on the r o l e of impro v i s i t ore,, repeats h i m s e l f at l e n g t h , becomes,
what would be i n l i f e , a bore. He teases h i s reader with suggestions
and h i n t s r e g a r d i n g what might have happened or what r e a c t i o n the reader
might take. N a t u r a l l y , the n a r r a t o r i s i n c o n s i s t e n t , i n c o n c l u s i v e and
h y p o c r i t i c a l , f o r h i s v i s i o n of the world changes a c c o r d i n g to the
dominant mood of the w r i t i n g p r e s e n t A s he runs the gamut from
omniscience to ignorance r e g a r d i n g h i s c h a r a c t e r s , they become puppets
or independent people a c c o r d i n g l y . I n consequence, the reader, too
must become protean and be prepared to recognize h i m s e l f i n '•unlikely" 12
p l a c e s . He must be the sentimental reader and the c y n i c a l reader;
C f . D.M. Stewart, "Vanity F a i r ; L i f e i n the V o i d , " College E n g l i s h , 2.5-(0.963), 211: "The moral center of the book i s not a p r i n c i p l e t h a t can be formulated; i t i s p r e c i s e l y the e v o l v i n g s i t u a t i o n i n which conventional moral p r i n c i p l e s are r e p e a t e d l y reversed and i n v e r t e d so that one never reaches a r e s o l u t i o n . " Stewart's a r t i c l e i s an e x c e l l e n t counter-argument to many c r i t i c s of the n a r r a t o r of V a n i t y F a i r , such as G r e i g and Van Ghent, who object to h i s i n t r u s i v e n e s s , u n r e l i a b i l i t y or confusion. Stewart goes on: "Thackeray l i e s , cheats, dissembles, suppresses i n f o r m a t i o n . . . . He gives us a world that r e f l e c t s h o n e s t l y the r e a l w o r l d — w h i c h c e r t a i n l y deceives us q u i t e as o f t e n , q u i t e as b l a t a n t l y . A b e t t e r wisdom than that which condemns h i s c o n t r a d i c t i o n s would express g r a t i t u d e to Thackeray f o r making i t d i f f i c u l t a f t e r r e a d i n g V a n i t y F a i r t o deceive o n e s e l f i n t o b e l i e v i n g he was ever q u i t e undeceived."
12 Perhaps Thackeray f i n d s h i s i d e a l reader i n the mid-twentieth
century i n the r o l e of "protean man" whom Robert Jay L i f t o n sees as a modern archetype: "While he i s by no means without y e a r n i n g f o r the absolute, what he f i n d s most acceptable are images of a more
12
he must f i n d within himself such seemingly incompatible elements as
moralist and hedonist, upright judge and malicious gossip, i d e a l i s t i c
hero and cynical v i l l a i n .
fragmentary nature than those of the ideologies of the past." "Protean Man," Dialogue, 1, No. 3 (1968), 94. Cf. Todd Andrews i n John Barth's The Floating Opera (New York: Avon Books, 1965), p. 27I: " I t i s one thing to say 'Values are only r e l a t i v e ' ; quite another, and more t h r i l l i n g , to remove the perforative adverb and assert 'There are r e l a t i v e v a l u e s i ' These at least, we have, and i f they are a l l we have, then i n no way whatsoever are they i n f e r i o r . "
CHAPTER I
THACKERAY AND "THACKERAY" AS ROLE-PLAYERS
I t ' s the other one, i t ' s Borges,. that things happen to. . . . News of Borges reaches me through the mail, and I see his name on an academic ballot or i n a biographical dictionary. . . . I l i v e , I allow myself to l i v e , so that Borges may continue his l i t e r a t u r e and that l i t e r a t u r e j u s t i f i e s my existence. . . . I am well aware of his perverse habits of f a l s i f y i n g and exaggerating. . . . Years ago I t r i e d to free myself from him and I passed from lower-middle-class myths to playing games with time and i n f i n i t y , but those games are Borges now. . . . I do not know which of us two i s writing t h i s page.
— J o r g e Luis Borges, The Maker
Just so I glut My hunger both to be and know the thing I am, By contrast with the thing I am not; so, through sham And outside, I arrive at inmost r e a l , probe And prove how the nude form obtained the chequered
robe. —Robert Browning, F i f i n e at the F a i r
Although the strange presence, who fathers the s t o r y - t e l l e r ,
who i n turn fathers the characters, i s something as removed from the
narrator as he i s from the h i s t o r i c a l author, there are intimate
connections between man and a r t i s t . We are not dealing with a man,
but neither are we dealing with a mask, when we speak loosely of
"Charles Dickens," "William Makepeace Thackeray" or "Henry James."
When we read David Copperfield, Vanity Fair, or The Ambassadors, we
sense the ghost of the old a r t i f i c e r who i s present i n these works,
but we should not confuse our sense of "him" with our sense of David
Copperfield, the Manager of the F a i r or Lambert Strether. For these
are masks only, although they are masks that "he" assumes to make his
presence f e l t . "Thackeray" therefore i s the a r t i s t i n the work,
13
14
whereas Thackeray's remains are found i n the records that the h i s t o r i c a l
figure l e f t outside of his deliberately created works of a r t . The
characteristics of t h i s authorial presence are, nevertheless, c r u c i a l l y
related to the h i s t o r i c a l man. In Thackeray's case, an examination
of the private l i f e , with i t s multiple awareness, agonizing s e l f -
consciousness and deliberate posturing, lays the ground for an evaluation
of the narrator who i s to dominate the mature novels.
This chapter shows some of the ways i n which the h i s t o r i c a l
Thackeray attempted to define himself through a variety of convincing
but c o n f l i c t i n g roles, i n his l e t t e r s , public lectures, novels and
c r i t i c i s m . The portrait that emerges from his l e t t e r s i s that of a man
who has no strong self-image. He i s a writer who knows the arbitrariness
of l i t e r a r y and social roles, but who i s also aware of t h e i r necessity
to e f f i c i e n t self-presentation. The impulsive and anarchic self
frequently breaks through the conventional facade that i s essential
to harmonious social relations, and this frequently causes Thackeray
to apologize f o r indiscretions committed when the social rules are
broken or the l i t e r a r y codes violated. His rudeness to Trollope, h i s
disparagement of his former Punch colleagues, and his dubious remark
through the narrator of The Virginians that Washington's courage was
worthy of a better cause, lead him to l a t e r retractions i n an attempt
to smooth over r u f f l e d s e n s i b i l i t i e s and mend the rules he has broken.
For, though the inner s e l f be unsure and f u l l of c o n f l i c t , the presented
se l f must appear secure and consistent i f the performance i s to succeed
i n i t s purpose of cementing social and cultural relationships.
15
But Thackeray found a constraint i n such role-playing, where
a persuasive performance i s achieved at a considerable cost to the
diverse claims of the self for recognition and expression. The intensity
and concentration of playing a single role, or of', stressing a s o l i t a r y
part of the s e l f , puts the whole s e l f under duress. As both man and
novelist, Thackeray gives expression to the contrary claims of the s e l f ,
and his honest acceptance of inner discord results i n h i s characteristic
v a c i l l a t i o n s and contradictions.
Thackeray can be severe i n censuring Sterne's lewdness or
Dickens' f a i l u r e to depiot nature, but he i s always aware that f a u l t s
and virtues inevitably grow side by side. Although one part of
Thackeray i s c r i t i c a l , another part of him i s aware of the limitations
of his criticism.^" His role i n the lecture on Sterne and Goldsmith
i s b a s i c a l l y that of exposer of Sterne's false sentiment and impurity,
yet he quotes at length a passage where he finds "wit, humour, pathos,
a kind nature speaking, and a real sentiment." Twelve years l a t e r , i n
the Roundabout Papers t he exclaims of Master Laurence Sterne, whom he
r e c a l l s as an old schoolfellow, "what a genius that fellow hasI Let
him have a sound flogging, and as soon as the young scamp i s out of the
whipping-room give him a gold medal" (XXVI, 371} XXVII, 328).
Criticism demands an appreciation of good and bad q u a l i t i e s and an
attempt at a just assessment of the overall work or writer, but
Thackeray's c r i t i c i s m does not rest i n judicious summary. His only
1Thus Edwin Clapp sees him as a " c r i t i c on horseback," and for this " c r i t i c - e r r a n t . . . no rules (unless they be the White Knight's)
16
certainty i s that of the momentary se l f that i s called out i n response
to the work.
The unstable sense of s e l f that Thackeray displays i n his
c r i t i c i s m — h i s i n a b i l i t y to maintain a fixed r o l e — i s brought out most
s t r i k i n g l y i n his correspondence. Many of his l e t t e r s were torn up,
not sent or couched i n evasive terms or a disguised hand. Lionel
Stevenson emphasizes this and points out that Thackeray i n his i n -
decisiveness burnt or destroyed as many l e t t e r s to Mrs. Brookfield as 2
he sent. Conscious of his own f a i l u r e to maintain an acceptable social
r o l e, Thackeray apologizes to Lady Blessington for his former indiscreet
remarks on Bulwer. He l a t e r apologizes to Bulwer himself for the fun
he had at the baronet 1s expense when he wrote under the pseudonym of
Yellowplush (Letters, I I I , 278). Thackeray i s continually finding
that the needs of the s e l f frequently upset social conventions, that
wicked irreverence and sentimental devotion can only be expressed by
means of various disguises, contradictions and retractions.
In a book review of Dickens' The Cricket on the Hearth one can
almost see Thackeray changing his mind as f i r s t one aspect of the work
and then another seizes his attention. The dialogue and characters
are, he complains, "no more l i k e nature than the talk of Tityrus and
Meliboeus i s l i k e the real talk of Bumpkin and Hodge over a s t i l e , or
are quite satisfactory as to why or how he chose, i n his own way, certain dragon-humbugs to destroy, certain moral maidens to succor." " C r i t i c on Horseback," Sewanee Review, 38(1930), 288.
2 The Showman of "Vanity Fai r" ; The L i f e of William Makepeace
Thackeray (New York: Scribner's, 1947), p. 184} p. 210; p. I78.
17 A
than Florian's pastoral petits maitres, i n red heels and powder, are
l i k e French peasants, with wooden shoes and a pitchfork," Later,
however, Thackeray finds a l l these impossibilities "become perfectly
comprehensible now, and the absurdities pleasant, almost credible,"
Thackeray's e a r l i e r strictures on the story's a r t i f i c i a l i t y , caricature
and pantomime quality are mellowed by a recognition that we are creatures
of extravagant imagination and that the child l i v e s on i n the man.
Typically, he appeals to the reader: "Have you not sympathised with
the distresses of many princesses described by Mother Bunch? — given
a certain credence to dwarfs and ogres, singing trees, and conversation
a l animals?"^
Sig n i f i c a n t l y , one of Thackeray's favourite metaphors i n
his art and i n his l e t t e r s i s that of the stage or the puppet show.
He re a l i z e s that "It i s very d i f f i c u l t for l i t e r a r y men to keep their
honesty, We are actors more or l e s s a l l of us we get to be public
personages malgre nous" (Letters, I I I , 13). He knows that as soon
as a man begins to write, his pen runs away with him, so to speak, and
produces a more or l e s s beautiful fabrication which he f e e l s undermines
his i n t e g r i t y as a man. The a r t i s t can only offer us what Fernandez
would c a l l " s u p e r f i c i a l imitations" of the man, Thackeray's awareness
of t h i s causes him to underline the a r t i f i c e i n his works i n order
Stevenson's account of Thackeray's l e t t e r s at a crucial stage of his relationship with Mrs. Brookfield i s apposite here: "Not having heard from her for some days, he composed a l e t t e r i n French, giving a f l o r i d account of his anxiety, and did not post i t . Three days l a t e r he sent her a long missive, partly i n an assumed hand, with the explanation that the use of a different language or calligraphy produced a complete change i n his character." p. 179. (My i t a l i c s )
^Thackeray's Contributions to the "Horning Chronicle," ed.
18
that we do not take them as definitive statements of Thackeray the man.
He shows us a reflection in a deliberately distorted mirror, in order
that we see, at the same time, the likeness to our world of the fictive
world, and also i t s essential otherness. Sometimes the incongruity
i t s e l f is the chief delight in our appreciation, as for instance, when
Mr. Snob at one and the same time mocks and supports the adage that in
a nation's hour of cri s i s a saviour will arise, that "cometh the hour,
come the man": ".just as in the Pantomime (that microcosm) where when
the Clown wants anything—a warming-pan, a pump-handle, a goose, or a
lady's tippet—a fellow comes sauntering out from behind the side-
scenes with the very article in question"(XXII, 4 ) . The significance
of Thackeray's emphasis on the diminutive world of Vanity Fair is
completely missed by Frank O'Connor, who, in his eagerness to expose
the cynical worldling (who is also a Peter Pan figure for O'Connor) he
sees Thackeray to be, finds that "the device of the puppet show in
Vanity Fair i s merely another method of indicating that i t does not
much matter whether the characters are good or bad, noble or ignoble;
they must die just the same."
When O'Connor says that "virtue in Thackeray's eyes i s always
weak or stupid," or that "he regards instinct as weakness; selfishness,
for a l l that he affects to denounce i t , as strength," he i s exactly
one half rightThackeray's attitude to his "dear old mother," like
Gordon N. Ray (Urbana: Univ. of I l l i n o i s Press, 1955), p. 88; p. 91.
^The Mirror on the Roadway: A Study of the Modern Novel (New York: Alfred Knopf, 1956), pp. 114-116.
19
the Manager's to Amelia, fluctuates between maudlin worship and
crabbed censure of her single-mindedness (Letters, I I I , 13; 93-94)•
Thackeray knew, certainly, that "virtue" had i t s weak and f o o l i s h as
well as i t s admirable aspects, and "Thackeray" exploits these p o l a r i t i e s
i n his work, through such ambivalent figures as Amelia, Helen Pendennis
and Rachel Castlewood. The l a t t e r two "are both angelic mothers, but
their beatitude i s s l i g h t l y tarnished by pronounced jealousy towards 5
their sons* love objects."
The i n t r i n s i c a l l y h i s t r i o n i c and capricious character of
Thackeray the man i s c a p i t a l l y exploited by Thackeray the a r t i s t . The
f a c i l i t y to see a l l aspects of a question and the reluctance to draw
conclusions permit him to lose himself i n a convincing performance.
"I don't control my characters," he told Cordy Jeaffreson; "I am i n
their hands, and they take me where they please." To Whitwell Elwin,
he maintained, "I have never seen the persons I describe, nor heard the
conversations I put down. I am often astonished to read i t myself
when I have got i t down on p a p e r . T h i s i s an apparent confession
of loss of control over his material, yet Thackeray, by surrendering
himself to the mood of the moment, succeeds i n creating a variable
response to a potentially s t a t i c situation. Raptures over Amelia, or
grateful prayers for the beautiful Helen Pendennis are balanced by
^Lambert Snnis, Thackeray; The Sentimental Cynic (Evanston, 111.: Northwestern Univ. Press, 1950), p. 81.
^Cited i n Lewis M e l v i l l e , Vf i l l jam Makepeace Thackeray (Garden City, New York: Doubleday-Doran, 1928), p. 254.
20
sobering assessments that bring out the negative q u a l i t i e s of these
seeming moral touchstones. I t i s because of hi s awareness of various
opposing modes of seeing that Thackeray i s able to give such successful
performances as the cynical Yellowplush, the boastful Gahagan and the
sentimental Fitzboodle.
I f 'Jthe man who habitually uses a pen name must . . . think of 7
himself as playing a l i t e r a r y role,"'the man who uses a wide variety Q
of pen names must see himself as a constant role-player. Thus Thackeray,
i n "Punch's Prize Novelists," captures the s p i r i t of Mrs. Gore's
fashionable novels, Lever's r o l l i c k i n g I r i s h rogue stories, and Di s r a e l i ' s
high-flown Young England mystique, not with the savagery of Augustan
satire, but with the sympathy of gentle burlesque. He does not set
himself apart from the subject he chooses to mock, but rather becomes
the part so convincingly that the reader i s enveloped i n the mood of
the o r i g i n a l and i s barely conscious of the f o l l y which i s being
subtly caricatured. In Thackeray i t often seems that the role takes
over and the man with a purpose almost disappears. I f we are reminded
of Joyce's Publiners with i t s pastiche of romantic modes of seeing,
we are not i n Thackeray's parody conscious of the b i t t e r incongruity 9
between author's view and character's view.
^Louis D. Rubin, Jr.- The T e l l e r i n the Tale (Seattle: Univ. of Washington Press, 1967), p. 53.
Q For a l i s t of some of the pseudonyms used by Thackeray, see
9 'The p a r a l l e l with Joyce can be further extended to their sense
21
Thackeray was, above a l l , a performer i n his l i f e as i n his
letter-writing, reporting, lectures, and through various personae i n
his sketches, tales and novels. Because he f a i l e d to take himself
seriously, to cast himself i n a secure and convincing mold, i t i s
impossible for his reader to see Thackeray as a stable compound with
set views or any particular convictions, Writing to Mrs. Scott about
Henry Esmond, which he considered his best novel, he declares "that i s
such an old story that I forget the book—a melancholy novel wasn't
i t , & a dismal imitation of the old style." Does this represent a i
conclusive judgement by the author, or i s he merely entertaining the
point of view of the hypothetical North B r i t i s h reviewer whom he
invents on the spur of the moment to damn the book (Letters, I I I ,
286; 286n)? Which of Thackeray's poems on the opening of the Great
Exhibition of 18S1 represents h i s true f e e l i n g s — t h e stately ode or
the humorous skit published i n Punch? These must remain open
questions, for Thackeray i s not concerned with ultimate justice or
f i n a l answers but with expressing the blur and complexity of his
whole s e l f . Since i t i s impossible to communicate t h i s complexity
without the adoption of a point of view, Thackeray makes i t plain
that his medium i s an a r t i f i c i a l convention which does no more than
represent the feelings of the moment.
of the arbitrary nature of language. Thackeray's use of French, German and Latin phrases i n his l e t t e r s and novels, his use of cockney, Oxford, American and broken-English accents and his penchant for puns, archaisms and portmanteau words show his constant endeavour to extend the range of acceptable forms of expression. There i s a Joycean flavour for instance i n the following coinages: "simtim," " p i a n o f o r t i f i c a t i o n , " "noncents," "refugeedom," " t o l l e r o l l a r a b l e , " "dthrinckh," "deleeshus," "lickwise my stummick," "suckinstansies," "ate o'clock," "womanifesto," "individdiwidyouall,"
22
For Thackeray i t was in the play-world or the dream-world that
the normally constricted parts of the Self gained expression. He
would draw no sharp distinction between fantasy and reality, and spoke
of his fictitious characters as friends, or projected his own dreams
onto real people. When asked by Mrs. Bray, with whom he was staying
while lecturing in Coventry, i f he had slept well, Thackeray answered
"How could I with Colonel Newcome making a fool of himself as he has
done?" After meeting the Baxters in America, Thackeray kept up a
continuous correspondence with Sarah Baxter to whom he played, among
other roles, that of wooer. For a man who is prepared to admit that
l i f e is made up of much nonsense and who seeks to delight people by
marketing "a pack of cards to be sold at a l l railway stations
bought by every body who loves stuff and nonsense," certitude of
performance is the only reality (Letters, III, 438n; 380; 386).
Thackeray frequently took on a role not as an advocate but
in order to see just how much of himself he could find within i t s
limits. His defence of America was not so much a matter of personal
conviction and loyalties as an opposition, for the sake of argument,
to John Bullishness. He writes to Sarah Baxter: "I go about praising
you Americans to a l l that will hear HushI between ourselves I know
some of what I say is unjust: and that I speak too favorably: but
i f you could hear the vulgarity and ignorance and outrecuidance on our
sidej" (Letters, III, 282). Travelling under the banner of Hew World
Liberty, he catches'himself in the act of rhetorical sermonizing.
Thus he writes tto Harriet Thackeray:
23
Greater nations than ours ever have been, are born i n America and Australia—and Truth w i l l be spoken and Freedom w i l l be practised, and God w i l l be worshipped among them, as they never have been with the antiquarian trammels that bind us i n the Old World. I look at t h i s , and speculate on this bright Future, as an Astronomer of a Star; and admire and worship the beautiful goodness of God.
Hullo I What sort of conversation i s t h i s ? — I t seems l i k e a b i t out of a Sermon doesn't i t ? I f I had anything funny to say you should have that; but there's no Fun at home tip.vda y,,
(Letters, I I I , 175)
Reality for Thackeray i s not i n any i n t e l l e c t u a l or moral
position but i n the conviction of the moment's performance, i n the
surrender of the s e l f and i t s desire for preservation through d e f i n i t i o n .
On the conversion of John Hungerford Pollen to Catholicism, Thackeray
shows a mixture of admiration and scepticism, and he adopts Pollen's
position i n order to examine and understand i t . He concludes, however,
that he can only look at Catholicism " a r t i s t i c a l l y as at Paganism
Mahometanism or any other ism" (Letters, III, 341). In having no
one position the s e l f i s free to lose d e f i n i t i o n and rea l i z e i t s
f u l f i l l m e n t i n d i v e r s i t y . The man l i k e Thackeray, whose "position"
i s i n commitment to no position, i s free to become a performer and
discoverer of his latent s e l f . Such a man cannot take himself
seriously, and, i n his waywardness, imaginative daring and social
unpredictability, has much i n common with the c h i l d .
The a r t i s t does self-consciously for humanity at large what
the child does unconsciously for himself—he engages men i n a play-
• world of strange fancy where the normal lo g i c and restraints of
adult conformity are suspended. The a r t i s t preserves men's "sanity"
24
by allowing free play to the " f o l l y " of their inner w o r l d . ^ Thackeray
and the other "novelists i n motley" permit their readers to see the
flimsy basis on which our normally water-tight structures of "sane"
and "foolish," "true" and "false" are b u i l t . By accepting their created
worlds as nonsense, these novelists show their command over r e a l i t y i n
the same way that a man who claims he i s a l i a r t e l l s the truth, or one
who accepts his insanity i s alone i n his sanity. The difference between
chi l d and a r t i s t i s essentially one of knowledge. The novelist offers
us controlled fantasy, and because he knows that he i s a deceiver,
he i s able to project his self-knowledge onto narrators and characters 11
who are parts created by a writing s e l f . He can only communicate
by parts, and his honesty l i e s i n not pretending that his parts are
wholes.
While a l l novelists are perforce role-players, the "novelist
i n motley" plays the role of role-player. He seeks to communicate
a sense of the f r a g i l e rationales on which our convictions rest.
Truth l i e s for him i n perpetual f l u x . Just as Thackeray the man
would point out to his mother the arbitrary nature of b e l i e f , so does
Thackeray the novelist, through h i s narrator, emphasize the arbitrary
"^Thus Freud says that the growing c h i l d "makes use of play i n order to withdraw from the pressure of c r i t i c a l reason." Freud goes on to say education demands r i g i d r e s t r i c t i o n s "along the right l i n e s of thinking, and . . . the separation of r e a l i t y from f i c t i o n , and i t i s for t h i s reason that the resistance against the pressures of thinking and r e a l i t y i s far-reaching and persistent." The Basic Writings of Sigmund Freud, trans, and ed. with Introd. A. A. B r i l l (N4w York: Random House, 1938), p. 717.
l i ' " / Cf. Rene Btiemble, Poetes ou faiseurs? (Paris: Gallimard,
I966), p. 193: "-Faute d'avoir accepte sa condition de faiseur au sens
25
nature of n o v e l i s t i c convention. To his mother's c r i t i c i s m of
Catholicism, Thackeray responds with* "Do you think you would not
have had the same love for Catholicism [as you have for the Church
of England] i f you had been bred to i t ? Indeed you would, as I fancy,
i n any other creed" (Letters, I, 466). For Thackeray, "God has a
responding face for every one of these myriad intelligences" (Ibid.,
467), and there i s an element of absurdity i n doctrinaire adherence to
any one creed. Although his l e t t e r s to his mother are at times pious,
he i s also capable of scepticism: "What numbers of gates to heaven have
we bu i l t ? and suppose after a l l there are no walls? But this i s a
mystery" (Letters,III, 604). In a world where men are always being
proved l i a r s and pretenders, the a r t i s t i s the honest l i a r , who,
l i k e Arnold's C a l l i c l e s , fables but speaks truth. Our enduring passions,
Thackeray realizes, are largely a matter of self-induced hypnoses.
Thus he says, through the Manager of Vanity F a i r , that "one of the
great conditions of anger and hatred i s , that you must t e l l and
believe l i e s against the hated object, i n order . . . to be consistent"
(VF, 171).
Thackeray i s very aware that art, too, demands a consistency
that does injustice to l i f e ' s complexity. In reply to Lewes' charge
of cynicism i n Vanity F a i r , he recognizes the arbitrariness of theme
and the way i n which thematic requirements inevitably d i s t o r t the
wholeness of l i f e :
de fabricateur, l e poete s'est degrade en faiseur, au sens d'imposteur." The"hovelist i n motley" presents himself as an honest impostor.
26
I am quite aware of the dismal roguery wh [ioh] goes a l l through the Vanity F a i r story—and God forbid that the world should be l i k e i t altogether: though I fear i t i s more l i k e i t than we l i k e to own. But my object i s to make every body engaged, engaged i n the pursuit of Vanity and I must carry my story through i n t h i s dreary minor key, (Letters, I I , 354)
Time after time i n h i s novels the avowed purpose and the ostensible
meaning i s undermined by h i s use of a confused or inconsistent narrator.
This figure acts out the balance of contraries that Thackeray found i n
l i f e and sought to include within his art, Thackeray's sympathy l i e s
with the man who plays many parts and w i l l be defined or r e s t r i c t e d
by no one part.
His admiration for a r t i s t s and Bohemians i s closely related to
their f l e x i b i l i t y i n the face of l i f e ' s complex demands. Speaking of
Vanity F a i r , he declares:
I l i k e Becky i n that book. Sometimes I think I have myself some of her tastes, I l i k e what are called Bohemians and fellows of that sort. I have seen a l l sorts of society, dukes and duchesses, lords and ladies, authors and actors, and painters—and taken altogether I think I l i k e painters the best and "Bohemians" generally. They are more natural and unconventional; they wear their haiTgOn their shoulders i f they wish, and dress picturesquely.
Becky, l i k e Thackeray, i s a performer—one who i s equally at home i n
the salon or the garret and who can take on the colour of the mood or
society which envelops her. In his lectures, Thackeray finds "at
certain passages a sort of emotion springs up, I begin to understand
how actors f e e l affected over and over again at the same passages of
the play" (Letters, I I I , I84) . Thackeray, whose narrator declares
James Grant Wilson, Thackeray i n the United States, 1852-3, 1855-6 (London: Smith, Elder, 1904), I, 255.
27
that he knows not whether Becky's tears are genuine or not, himself
can draw no hard l i n e between the simulated and the " r e a l . " The
whole person i s the one who makes the most of every part and knows that
he contains them a l l . Such a person gives r i g i d allegiance to none;
he i s guided by the winds of change l i k e the arrow of the weathercock.
Thomas Carlyle finds Thackeray such a mans "There i s a great deal of
talent i n him, a great deal of s e n s i b i l i t y , — i r r i t a b i l i t y , sensuality,
vanity without l i m i t ; — a n d nothing, or l i t t l e , but sentimentalism and
play-actorism to guide i t a l l w i t h . " ^
Thackeray has been c r i t i c i z e d for h i s excessive fondness for
the domestic virtues and mawkish indulgence i n sentimentality and 14
mother-worship, but his l e t t e r s support the view that these feelings
did not dominate him. We find an understanding that precludes such
adoration i n t h i s l e t t e r of 1852: It gives the keenest tortures of jealousy and disappointed yearning to my dearest old mother . . . that she can't be a l l i n a l l to me, mother s i s t e r wife everything but i t mayn't b e — There's hardly a subject on wh [Ichl we don't d i f f e r . . . , EhJ who i s happy? When I was a boy at Larkbeare, I thought her an Angel & worshipped her. I see but a woman now, 0 so tender so loving so cruel. (Letters, I I I , 12-13)
A perusal of Thackeray's early l e t t e r s suggests that he was
well aware of his own tendency to idealize women, and that he knew
his role of d u t i f u l and loving son was but a p a r t i a l expression of h i s
^Thomas Carlyle, Hew Letters of . . ., ed. Alexander Carlyle (London: John Lane, 1904), I I , 122.
^See e.g* Russell A. Fraser, "Sentimentality i n Thackeray's The Newcomeg," NCF, 4 (1949), 187-196; Mark Spilka, "A Note on Thackeray's Amelia," NCF, 10 (1955), 202-210.
28
whole s e l f . He humbly admits to his mother the idleness, extravagance
and unworthiness of his nature (Letters, I, 143), but when he writes
to his friend Fitzgerald his repentance occupies him only temporarily,
for the very contemplation of his l i f e as "a melancholy succession of
idleness & dissipation" brings out the hedonist i n him:—"I looked
by chance at the opposite page after I wrote the word repentance, &
do you know seeing that account of my dinners & wine drinking has
quite gladdened me, & made me think there i s some chance for me after
a l l " (Letters, I, 152). In another context he t e l l s Fitzgerald that
"A womand:; piety somehow does not suit me i t i s so made up of
exclamations—love—chastenings & so forth" (Letters, I, 158). In his
novels, too, despite the pious adorations of Pendennis and Esmond for
Helen and Rachel, the selfishness of mother-love i s markedly present.
¥e are given rapturous worship but also an occasional sobering
assessment of the worshipped icon.
Like his l a t e r narrators, Thackeray the man had an incredible
f a c i l i t y for s h i f t i n g h i s ground to accord with his feelings of the
moment. He praises his grandmother's "extreme warmth of heart" and
"delicate benevolence," i n a l e t t e r to his mother. But he immediately
turns upon himself with: "This kind of writing i s . . . better f i t t e d
for 'My Grandmother' a sentimental novel than for a l e t t e r to my
Grandmother's daughter; but i f I did not praise, I should^ I '• think
abuse; as I am at t h i s moment writhing under the stripes of her
satire, & the public expression of her wrath" (Letters, I, 273).
For Thackeray, the self has no hard boundaries but rather
29
includes a l l potential roles which are realized by external stimuli.
Moreover, the s e l f outgrows the selves of yesterday and must continue
i n this process i f i t i s to absorb the new challenges that l i f e presents.
Thackeray's work has often been attacked as snobbish and h y p o c r i t i c a l , 15
usually by c r i t i c s who are biographically oriented. J But t h i s i s a
very limited c r i t i c i s m , since Thackeray accepts these q u a l i t i e s as.
characteristic of a l l men. Snobbery and hypocrisy interest Thackeray
because they are aspects of disguise by means of which a man seeks to
define himself—they are v i t a l l y connected with the human need to
i d e n t i f y with something larger than o n e s e l f — a certain class, party of
country. I f we i n s i s t on defining ourselves as friend, enemy, novelist,
historian, we must inevitably do so at the cost of our whole s e l f . For
these are merely parts that a man might play. "I often think," he wrote
to Mrs. Carmichael—Smyth in 1842, "that i n one's intercourse with men,
whQlch] creates sympathies with some & antipathies with others, the
party who hates you, & he who loves you, are both rig h t " (Letters,
I I , 72). At other times he did not believe i n the r e a l i t y of his own
past. " I t seems to me such a time ago that VF ^Vanity F a i r j was written
that one may ta l k of i t as of some body elses performance," he wrote i n
I848, the year i n which s e r i a l i z a t i o n of his novel finished (Letters,
I I , 425)» It i s as the performances of another that Esmond, too, sees
his past.
Ikey Solomons, l i k e his successors, i s a role-playing narrator
who has one eye on his reader as he prompts him to applaud, hiss, 15 •'See esp. Greig, Thackeray, A Reconsideration; Ennis, Thackeray;
The Sentimental Cynic.
30
admire, or condemn the personages he presents. Like the wise and
prudent king from whom he i s named, Ikey l i k e s to dispense his own
justice and at the same time indulge his own voracious appetites. By
vicarious l i v i n g he i s able, l i k e the "editor" of Moll Flanders,
both to condemn immorality and enjoy i t at the same time. Ikey finds
within himself performer,, spectator, and c r i t i c of criminal a c t i v i t y ,
and his uncertainty about h i s own centre of moral gravity leads him
to see a corresponding confusion i n the world:
And do not l e t us be accused of an undue propensity to use sounding words, because we compare three scoundrels i n the Tyburn Road to so many armies, and Mr. Wood to a mighty f i e l d -marshal. My dear s i r , when you have well studied the w o r l d -how supremely great the meanest thing i n t h i s world i s , and how i n f i n i t e l y mean the g r e a t e s t — I am mistaken i t you do not make a strange and proper jumble of the sublime and the ridiculous, the l o f t y and the low. I have looked at the world, for my part, and come to the conclusion that I know not which i s which. (XXIX, 194-195)
Thackeray, l i k e Ikey, frequently finds his material by the
working out of various potential selves contained within. He
deliberately and consciously chooses to confuse the external
appearance with the internal f e l t r e a l i t y . Tieck "admitted that he
would act out ideas for a whole year before he actually came to
believe them."^ He commits himself to a state of h a l f - b e l i e f i n
the projected figure or personality found i n h i s work. Thackeray,
working on the material for Esmond, writes to Mrs. Carmichael-Smyth
i n 1851, that "I have been l i v i n g i n the l a s t century for weeks p a s t -
Rene Wellek, A History of Modern Criticism: 1750-1950 (New Haven: Yale Univ. Press, 1 9 5 5 7 7 II» 99-100.
31
a l l day that i s — g o i n g at night as usual into the present age; u n t i l
I get to fancy myself almost as familiar with one as the other" (Letters,
I I , 7 6 l ) . Many people i n l i f e who must preserve a consistent front
realize that consistency can only be achieved by a deliberate use of
a r t i f i c e . Only by the dual process of acting and watching oneself act
can one see what one i s not, and thereby understand more about what
one i s . Ramon Fernandez asks us
Combien connaissons-nous d'individus qui, introduisant sub-repticement dans l a conduite de leur vie des procedes que j u s t i f i e n t seules l e s l o i s de combinaison artistique cultivent un compromis entre l'imaginaire et l e r e e l , nous proposent comme actions personelles revelatrices de leur unite interieure des actes qui ne sont que d'habiles dans s u p e r f i c i e l l e s imitations?
In his l i f e and his art, Thackeray w i l f u l l y confused the real and the
imaginary i n order to further the process of self-knowledge.
The actor i n Thackeray frequently caused him social embarrass
ment, however. Thus, he apologizes to Alfred Tennyson f o r s l i g h t i n g
his friend's eulogy of Catullus. One can imagine any such fulsome
praise s t i r r i n g the i iconoclast within Thackeray, and i n response to
Tennyson's assertion of love of Catullus "for h i s perfection ;ih
form and for his tenderness" Thackeray declared, "I do not rate him
highly, I could do better myself." His chastened withdrawal of t h i s
i d l e boast shows a characteristic humility and self-knowledge that
make clear that the label "braggart" i s no more appropriate than that of
"snob" or "hypocrite" i n defining the whole man:
My dear Alfred, I woke at 2 o'clock and i n a sort of terror at a certain
17 'Messages (Paris; Gallimard, 1926), p. 90.
32
speech. I had made about Catullus. When I have dined, sometimes I believe myself to be equal to the greatest painters and poets. That delusion goes off; and then I know what a small f i d d l e mine i s and what small tunes I play upon i t . - I t was very generous of you to give me an opportunity of r e c a l l i n g a s i l l y speech: but at the tiraeJT thought I >?asr making ~ _ ~ j perfectly simple and satisfactory observation. Thus far I must unbus'm myself: though why should I be so uneasy at having made a conceited speech? It i s conceited not to wish to seem conceited. (Letters, IV, 360)
Every front that a man puts on, every role that he plays, i s but a
part of a larger unexplored s e l f . The snob, the hypocrite, and the
conceited man f a i l to penetrate into t h i s concealed region; they are
actors who perpetually play one role and are unaware that they are
actors.
The simulation of art, however, i s not i n i t s e l f valuable for
Thackeray unless i t i s seen as a sham. We must not only believe i n
the performance but also disbelieve i n i t as well—admit that i t i s a
quackery. Cynicism i s a necessary adjunct to sentimental ism, as
d i s b e l i e f i s to b e l i e f , and laughter to tears. Thus Thackeray only
half-believes i n his pathetic plea on behalf of George III and shows
contempt for those who f i n d more than a half-truth i n his performance.
Speaking i n the t h i r d person of Thackeray the lecturer, he writes;
When people seemed inclined to cry as he narrates the pathetic end of George I I I , he f e e l s inclined to cry out, "You great donkies, don't you know .that the Speaker i s ashamed of hims e l f whilst he i s talking to you, and of you for being so humbugged by his stale declamation?'. How much longer i s this quackery to continue?" (Letters, I I I , 583)
To engage with such a self-proclaimed deceiver and exploiter of our
latent selves, the reader, or the l i s t e n e r , too, must put on the
33
motley, and recognize that he does, indeed, belong to a race of "great
donkies" who delight i n humbug i n spite of their normal working "selves."
CHAPTER II
PRIMARY AND SECONDARY FICTIONAL WORLDS
Strange, indeed, that you should not have suspected that your universe and i t s contents were only dreams, visions, f i c t i o n l Strange, because they are so frankly and h y s t e r i c a l l y insane-l i k e a l l dreams,
—Mark Twain, "The Mysterious Stranger"
Les jeux flambent, l e sang chante, l e s os s'elargissent, l e s larmes et des f i l e t s rouges r u i s s e l l e n t , Leur r a i l l e r i e ou leur terreur dure une minute, ou des mois entiers,
Ji'ai seul l a clef de cette parade sauvage, —Rimbaud, Les Illuminations
Introductory Discussion
Dorothy Van Ghent's alignment of Thackeray with Fielding,
rather than Sterne, leads her to f i n d the narrator's comment on Becky
Sharp's dream of capturing Jos Sedley for a husband, "inane and
distra c t i n g , " "We f e e l , " she continues, "two orders of r e a l i t y are
clumsily getting i n each other's way," " It i s with the interaction and
juxtaposition of these two orders of r e a l i t y , each characterized by
i t s own particular doubts and certainties, that this chapter deals.
My contention i s that, far from getting i n each other's way, these
"two orders of r e a l i t y " complement and support each other; that, i n
fact, the second order of r e a l i t y , based on the relationship between
narrator and reader, expands the primary f i c t i o n a l world i n order to
create a more subtle and complex whole,
Jean-Paul Sartre makes j>ani. important d i s t i n c t i o n between
The English Novel/Form and Function (New York: Harper and Row, 1961), p. 139.
34
35
2 primary and secondary subjectivity. Medieval s t o r y - t e l l e r s , Sartre
reminds us, were intermediaries who did (or pretended to do) l i t t l e
more than point to tr a d i t i o n a l s t o r i e s . The t e l l e r "invented l i t t l e :
he gave them [his stories] style; he was the historian of the imaginary."
When the narrator became more self-conscious, however, when he became
aware of the r e l a t i v i t y of the truthfulness of his stories and the
subjective nature of the character of the t e l l e r and his mode of
presentation, he would draw attention to himself and h i s own contriving;
he would attempt to j u s t i f y himself. "When he himself started contriving
the f i c t i o n which he published, he found himself. He discovered
simultaneously his almost guilty solitude and unjustifiable gratuity,
the subjectivity of l i t e r a r y creation." The t e l l e r i s now no longer an
anonymous bard but a writer with a hidden audience. A new relationship
i s thus set up between narrator and reader, rather than between
speaker and audience, and t h i s relationship gives r i s e to a secondary
f i c t i o n a l world. As Sartre points out, the narrator "represented
himself i n his works by means of a narrator of oral t r a d i t i o n , and
at the same time he inserted into them a f i c t i t i o u s audience which
represented his real p u b l i c . " 3 The figures created i n the secondary
f i c t i o n a l world are therefore no more and no less real than those
of the primary f i c t i o n , since they are a l l aids to communication
between a real author and a real reader; i n themselves they have no
independence.
Slhat i s Literature? (New York: Philosophical Library, 1949), p. 138.
3 I b i d . , p. 137.
36
These f i c t i o n a l creations outside the world of the fahle cause
the real reader to l i v e i n two worlds at once. The deliberate
disruption of the primary f i c t i o n makes the reader aware of the contingent
secondary world which i s more mimetic i n the sense that i t i s more
free from pattern than the primary f i c t i o n a l world. One i s reminded
of the Verfremdungseffekt of Brecht and Pirandello. Thus, the narrator
of The Newcomes personates an irate c r i t i c with: "'What a farrago of
old fables i s t h i s j What a dressing up i n old clothesj . . . As sure
as I am just and wise, modest, learned, and r e l i g i o u s , so surely I
have read something very l i k e t h i s stuff and nonsense about jackasses
and foxes before'" (VII, 5 ) .
We see here that this f i c t i t i o u s c r i t i c of the fable i s not
performing the function of strengthening the primary i l l u s i o n by which
Ernest Baker j u s t i f i e s the intrusive narrator.^" The narrator i n fact
intrudes to dismiss the intruding c r i t i c as "a Solomon that s i t s i n
judgment over us authors and chops up our children" (Ibid.). Thus he
admits h i s authorial omniscience and implicates the reader i n the
fancies of a f i c t i t i o u s author called Arthur Pendennis, and the i l l u s i o n
i s broken only that another may be constructed. The reader comes out
of the world of fable and into the equally f i c t i o n a l , but more mimetic,
world where c r i t i c s seeking new and " r e a l i s t i c " stories castigate
authors f o r t e l l i n g old and " u n r e a l i s t i c " ones.
Thackeray can thus be seen to belong to a long t r a d i t i o n of
t a l e - t e l l e r s , from Chaucer and Cervantes to Nabokov and Durrell, who
^The History of the English Novel, VII (New York: Barnes & Noble, 1936), p. 384.
37
r e a d i l y a d m i t t h a t t h e y a r e g i v i n g u s an i l l u s i o n o f r e a l i t y . T h e s e
w r i t e r s g o o u t o f t h e i r way t o p o i n t o u t t h e a r t i f i c e o f t h e i r s t o r i e s .
L o u i s D . R u b i n 'JSF-.< h a s e m p h a s i z e d t h e f a c t t h a t " i f a n o v e l i s t o
s u c c e e d i n i n t e r e s t i n g u s i t i s e s s e n t i a l n o t o n l y t h a t t h e r e he
c r e a t e d a n i l l u s i o n o f r e a l i t y , h u t t h a t we r e m a i n q u i t e aware t h a t
i t i s a n i l l u s i o n . " F u r t h e r m o r e "by s l y l y r e m i n d i n g u s o f i t s [ i l l u s i o n '
e x i s t e n c e . . . t h e a u t h o r c a n i n t e n s i f y o u r c o n s c i o u s d e l i g h t i n o u r 5
p a r t i c i p a t i o n i n t h e a r t i s t i c p r o c e s s . " One o f t h e ways t h a t T h a c k e r a y
r e m i n d s u s t h a t we a r e d e a l i n g w i t h a r t and n o t l i f e i s b y h i s use o f
p a r o d y ; a n o t h e r i s b y h i s c o n t i n u a l b r e a k i n g o f t h e f i c t i o n a l s p e l l b y
u s e o f t h e n a r r a t o r and t h e r e a d e r a s o b s e r v e r s o f and commentators
on a s p e c t a c l e . I n t h i s way t h e p r i m a r y f i c t i o n i s a t once mocked f o r
i t s u n r e a l i t y and a d m i r e d f o r i t s a r t i f i c e . The f i c t i o n c a n o n l y be
s e e n and a d m i r e d f o r what i t i s , when t h e r e a d e r i s made t o s t a n d
b a c k and o b s e r v e d e t a c h e d l y , r a t h e r t h a n t o i n v o l v e h i m s e l f e m o t i o n a l l y
i n J h e l i v e s o f t h e c h a r a c t e r s . By a t o u c h o f e x a g g e r a t i o n i n a
p o r t r a i t o r a r a t h e r t o o i n s i s t e n t sermon t h e r e a d e r i s made aware o f
h i s r e l a t i o n s h i p t o t h e f i c t i o n .
T h a c k e r a y ' s Shandean N a r r a t o r
A l t h o u g h c r i t i c s o f t h e E n g l i s h n o v e l f r e q u e n t l y d e m o n s t r a t e
T h a c k e r a y ' s d e b t t o F i e l d i n g , few, i f any, acknowledge t h e many
common f e a t u r e s between T h a c k e r a y and S t e r n e . ^ B y h i s u s e o f t h e
^The T e l l e r i n t h e T a l e ( S e a t t l e : U n i v . o f W a s h i n g t o n P r e s s , 1 9 6 7 ) , p . 8; p . 9.
^See e . g . E r n e s t B a k e r , The H i s t o r y o f t h e E n g l i s h N o v e l , VII,
38
narrative persona Thackeray draws attention to the subjective nature
of the recording mind. It i s i n his real i z a t i o n of this central figure
that Thackeray aligns himself with Sterne and romanticism rather than
Fielding and neoclassicism. Geoffrey T i l l o t s o n sees Thackeray as 7
"a Rip Van Winkle author, a F i e l d i n g redivivus." But surely the
v a c i l l a t i n g and uncertain narrator, from the Manager of Vanity Fair to
Pendennis of The Newcomes and Batchelor of Lovel the Widower, has more
in common with the confused Tristram desperately trying to cope with
chaotic r e a l i t y and f a i l i n g hopelessly!
As one might expect, Thackeray's persistent v i o l a t i o n of the
conventions of the novel i s intimately associated with h i s awareness
of the inadequacies of art to do much more than suggest the richness
and complexity of experience outside a r t . Unlike the central conscious
ness of James's or the s t o r y - t e l l e r of Conrad's novels, Thackeray's
narrator i s both a novelist and an historian by turns. He i s fact
finder and honest recorder, but he i s also novelist and s l y contriver.
Moreover, the style of the novels i s diverse and uneven, not merely
because of the use of parodic form but because the r e a l i t y Thackeray
seeks to comprehend i s multiform and indeterminate. In h i s use of
the seemingly incompatible figure of novelist-historian and i n his
rapid changes of narrative voice, from inspired bard to club gossip,
we can see Thackeray's a f f i n i t y with Sterne rather than with F i e l d i n g ,
334, 340-4-1, et passim; Arnold Kettle, An Introduction to the English Novel (London: Hutchinson, 1951), I, 156-158; Walter Allen, The English Novel; A Short-Critical History (London: Penguin Books, I954), p. 63; p. 172.
'Thackeray; The C r i t i c a l Heritage (London: Routledge & Kegan Paul, 1968), p. 7 .
i n whom a more uniform tone and a more controlled form predominate.
When Tom Jones comes to the rescue of Molly Seagrim i n the mock-epic
t a t t l e i n the church-yard, or when Partridge defends himself against
his wife's attack for suspected i n f i d e l i t y , we are i n no doubt where
we as readers or observers should stand. For the reader the only
possible reaction to "one of the most bloody Battles . . . that were
ever recorded i n Domestic History" i s a humorous one. We appreciate
the incongruity of Mrs. Partridge i n loose cap and inadequate stays
behaving l i k e an Amazonian heroine; "her face was likewise-marked with
the blood of her husband; her teeth gnashed with rage; and f i r e , such 8
as sparkles from a smith's forge, darted from her eyes." In the mock-
heroic d i c t i o n that describes a Dobbin or a Harry Warrington, however,
the element of the genuine hero i n the characters makes our reaction
much more complex. Furthermore, we are not allowed to maintain a
secure and unified point of view towards the characters, nor are we
reassured by the attitude of an urbane and trusty guide as we are by
the narrator of Tom Jones.
Both Thackeray's narrator and Fielding's enjoy their role of
recorder of ludicrous heroic exploits, but i n the description of
Dobbin's victory over Cuff or Rawdon's disposal of Lord Steyne we
are encouraged to blend admiration with our r i d i c u l e . The narrator
of Vanity F a i r has i n his mind, as he describes the encounter of
schoolboys, the pretentious jargon of sports journalists and the g The History of Tom Jones, A Foundling (London; C o l l i n s , 1955),
p. 78. Subsequent references, documented internally, are to this edition.
40
c h a u v i n i s t i c p r e s s r e p o r t s on E n g l i s h and F r e n c h t r o o p s i n t h e N a p o l e o n i c
War, j u s t a s Homer l i e s i n t h e m i n d o f F i e l d i n g ' s n a r r a t o r . The names
o f the c o m b a t a n t s — F i g s , a l i a s D o b b i n , and C u f f — a r e a l m o s t a s
d e f l a t i n g a s t h e two P a r t r i d g e s i n Tom J o n e s . N e v e r t h e l e s s , n e i t h e r
c o n t e s t a n t i s w h o l l y r i d i c u l o u s and t h e g r a n d i o s e i m a g e r y , u s e d t o
p o r t r a y what i s a f t e r a l l p e r h a p s t h e a r c h e t y p a l n o b l e c a u s e — g i a n t
k i l l i n g — f r o m D a v i d t o Tom Brown, e l e v a t e s t h e c h a r a c t e r s r a t h e r t h a n 9
d e f l a t e s them. The n a r r a t o r m o d e s t l y p r o t e s t s he c a n n o t do j u s t i c e t o
t h e s c e n e , y e t a l l o w s h i s pen t o s p o r t w i t h t h e e x u b e r a n c e o f b a t t l e
i m a g e r y :
I t was t h e l a s t c h a r g e o f t h e G u a r d — ( t h a t i s , i_t would have b e e n , o n l y W a t e r l o o had n o t y e t t a k e n p l a c e ) — - i t was Ney's column b r e a s t i n g t h e h i l l o f L a Haye S a i n t e , b r i s t l i n g w i t h t e n t h o u s a n d b a y o n e t s , a n d crowned w i t h t w e n t y e a g l e s — i t was t h e s h o u t o f t h e b e e f - e a t i n g B r i t i s h , a s l e a p i n g down t h e h i l l t h e y r u s h e d t o h u g t h e enemy i n t h e savage arms o f b a t t l e . (JF, 49-50)
The c o n t r a s t between s h i f t i n g n a r r a t o r and t h e s t a b l e n a r r a t o r
i s f u r t h e r b o r n e out b y a c o m p a r i s o n o f t h e i n t e r n a l m onologues o f
t h e t e l l e r o f , s a y , L o v e l t h e Widower and t h e r e a d e r - a d d r e s s i n g i n
Tom J o n e s . I n F i e l d i n g t h e a p p e a l i s t o e x t e r n a l s t a n d a r d s , t o
h i s t o r y , t o t h e c l a s s i c s o r t o g e n e r a l common-sense, whe r e a s i n
T h a c k e r a y t h e a p p e a l i s t o t h e p u z z l i n g c o n f l i c t o f p e r s o n a l e x p e r i e n c e .
E c h o e s o f J o h n s o n r e s o u n d t h r o u g h t h e p r o s e o f F i e l d i n g a s he t a k e s
9 'Thomas Hughes, however, seems u n i m p r e s s e d b y D o b b i n ' s s c h o o l b o y
h e r o i c s a n d i n c r i t i c i z i n g t h e " k i d - g l o v e " a t t i t u d e t o b o y s ' f i s t i c u f f s s a y s , "even T h a c k e r a y h a s g i v e n i n t o i t . " Tom Brown's S c h o o l d a y s , Everyman e d i t i o n (London: J.M. D e n t , 1 9 0 6 ) , p . 268.
41
delight i n arr i v i n g at general conclusions by the methods of
ratio c i n a t i o n . This i s exemplified by a passage from h i s comparison
of the world to a stage compared with the bachelor of Beak Street's
meditations over the setting of his story:
Upon the whole, then, the man of candour and of true understanding i s never hasty to condemn. He can censure an imperfection, or even a vice, without rage against the gui l t y party. In a word, they are the same f o l l y , the same ch i l d i s h ness, the same ill-b r e e d i n g , and the same i l l - n a t u r e , which raise a l l the clamours and uproars both i n l i f e and on the stage, (p. 267)
Here speaks one who i s surely exempt, i n his own mind, from the
"clamours and uproars" of ignoble and indelicate passion. A glance at
the mind of the melancholy Batchelor, who embodies i n an extreme form
the despondency of the generalized narrator i n Thackeray and who, l i k e
a l l Thackeray's narrators, i s prone to confession and indecisive con
clusions, reveals the d i s t i n c t i o n between what has been called monist
and p l u r a l i s t posit ions : ^
Who shall be the hero of t h i s tale? Not I who write i t . I am but the Chorus of the Play. . . . There i s no high l i f e , unless, to be sure, you c a l l a baronet's widow a lady i n high l i f e ; and some ladies may be, while some certainly are not. I don't think there's a v i l l a i n i n the whole performance. There i s an abominably s e l f i s h woman, certainly; an old highway robber; an old sponger on other people's kindness; an old haunter of Bath and Cheltenham boarding-houses (about which how can I know anything, never having been i n a boarding-house at Bath or Cheltenham i n my l i f e ? ) ; an old swindler of tradesmen, tyrant of servants, bully of the poor—who, to be sure, might do duty for a v i l l a i n , but she considers herself as virtuous a woman as ever was born. (XXVIII, 197-198)
W.J. Harvey, Character and the Novel (New York: Cornell Univ. Press, 1965), p. 28.
42
Doubts about the nature of his own v i s i o n pervade Batchelor's narrative.
The narrator, who would perhaps l i k e to be an objective commentator
or chorus, i s inextricably involved with the story and can only narrate
by a process of contradictory tentative hints regarding any general truth.
His i n i t i a l attempt to be accurate and rational about hi s tale i s very
soon proved f u t i l e by a torrent of invective which he pours on Mrs.
Baker, the mother-in-law of his rather ordinary and ineffectual hero.
Unlike Fielding's narrator, Batchelor makes no unqualified statements
and time after time shows his own doubts and insecurities by re-invest
igating h i s original statements of his position. As his mood changes,
or as more facts are revealed to him, ultimate knowledge becomes more
and more problematic. The subjunctive mood predominates here; Fielding's
narrator by contrast shows a massive certainty.
The two passages further i l l u s t r a t e the contrast between general
certainty and s p e c i f i c doubt by their prose s t y l e . Thackeray's short
jerky sentence structure, interrogatives and parentheses suggest
momentary second thoughts and improvisation, whereas Fielding's
measured prose leads us to a preconceived and unavoidable climax.
Although Thackeray can at times write remarkably good Augustan prose,
his style i s never constant i n the way that Fielding's i s . Even i n
his lectures and i n the Roundabout Papers, the wayward and eccentric
int e r j e c t i o n or aside frequently disturbs the rhythmic flow of h i s
story or argument. As Leonard Lutwack says,
Uniform style i n a novel generally depends upon the writer's settled conviction of the single, unambiguous nature of his materials and of the novel's adequacy as a vehicle for their serious presentment; Ih so far as style i s a means of shutting
43
out many possible views on a subject and directing attention to a few selected views, a uniform style has the effect of better narrowing the scope to a single, unified view of reality. A uniform style is assimilative in that i t helps to create under a single aspect of language a single vision of the multiplicity of reality; i t is a bond between author and reader, insuring that .no different adjustment to language and viewpoint will^be demanded from the reader than that established at the outset.
There is:never any doubt where the narrator of Tom Jones stands vis a
vis his world, and the reader knows what Fielding intends him to see.
He also knows how to interpret his irony. Sterne and Thackeray,
however, employ a confused narrator whose irony is predominantly pain
ful l y self-directed rather than being securely pointed at others. As
we would expect, the prose style is uneven, f u l l of false starts, showing
the impossibility of being true, at one and the same time, to artistic
form and empirical experience.
Sterne, unlike Fielding, shows us, by repeatedly jerking us
out of any narrative flow, that the structure which the mind needs
in order to comprehend the vicissitudes of l i f e ar£ bound to be
a r t i f i c i a l and restrictive; that^in order "to make sense" of reality
we inevitably distort i t . A smoothly flowing prose style i s
therefore as inappropriate to express his vision as a conventional
narrative. Thus Tristram indulges in repeated intrusions and
qualifications:
I dare say, quoth my mother But stop, dear S i r — f o r what my
"Mixed and Uniform Styles in the Novel" in Perspectives on Fiction, ed. James L. Calderwood and Harold E. Toliver (New YorkT Oxford Univ. Press, 1968), p. 37.
44
mother dared to say upon the occasion—and what my father did say upon i t — w i t h her replies and his rejoinders, shall be read, perused, paraphrased,- commented, and descanted upon—or to say i t a l l i n a word, shall be thumbed over by Posterity i n a chapter a p a r t — I say, by Posterity—and care not, i f I repeat the word a g a i n — f o r what has t h i s book done more than the Legation of Moses, or the Tale of a Tub,^^hat i t may not swim down the gutter of Time along with them?
We are thus shown that traditional, form i s less than adequate
to give a map of the narrator's consciousness. I f Tristram i s to do
justice to Mrs, Shandy's tentative r e f l e c t i o n on Corporal Trim's story
of Tom's marriage to a Jewish widow, and a l l the certain and uncertain
motives which led up to the marriage, then he w i l l never get "his own
story" t o l d — a n d indeed he does not. In order to t e l l a story, so much
must be ignored for the sake of the end, so many doubts brushed aside,
so many reflections glossed over, so much injustice done to the humanness
of humanity. When we are i n the world of the self-conscious narrator,
we can never have more than his doubts; and f i n a l meaning and the tidiness
of form must be sa c r i f i c e d to the immediacy of impression. As Robert
J , Nelson puts i t , "conscious of a l l doubt, man becomes self-conscious.
Not only the meaning of action but the meaning of meaning i s examined.
Like Batchelor, or the Manager, or any of Thackeray's mature
narrators, Tristram, i n his awareness of the impossibility of t e l l i n g
12 The Li f e and Opinions of Tristram Shandy, Gentleman (London:
Co l l i n s , 1955)* PP» 461-62. Subsequent references, documented interna l l y , are to this edition.
a ^ P l a y Within a Play; The Dramatist 1 s Conception of His Art:
Shakespeare to Anouilh (New Haven: Yale Univ. Press, I 9 5 8 ) , p.10.
45
the objective truth, honestly accepts his human li m i t a t i o n s . But
Sterne i s more radical than Thackeray i n his use of the casual inter
jection or r e f l e c t i o n on material of the "story" which i s past. There
i s a greater use of redoubling and an even greater immersion of the
reader i n the mind of the t e l l e r — s o much so that the tale i s frequently
l o s t under digressions that threaten to take over the whole book. It
seems that the story w i l l never get told, and indeed, as i n l i f e i t s e l f ,
there i s no conceivable beginning or ending, for the story follows the
labyrinthine paths of the mind rather than being concerned with bodies,
with "action"—the business of getting born, getting married and dying.
Thus there i s no "story" i n the usual sense, only a polymorphous con
sciousness. Tristram, showing extraordinary courage, accepts, with a
candid open-ness, r e s p o n s i b i l i t y for the r e a l i t y he finds i n himself,
i n others, and i n the world: we see his n o v e l i s t i c structures breaking
down under the pressure of the insistent demands of a complex r e a l i t y .
Tristram i s l i k e Batchelor i n t e l l i n g a story with no hero or v i l l a i n ,
but unlike him i n his freedom from the neurotic compulsion to condemn
others for not complying with his own needs. He allows a maximum
of human freedom within a minimum of moral or aesthetic form—there
are no heroes or v i l l a i n s , and, i n effect, no "story." We might say,
then, that Sterne's secondary world has overwhelmed his primary world,
that the t e l l e r has f i n a l l y triumphed over his t a l e .
The chief quality shared by Thackeray and Sterne i s the sense
of intimacy and collusion between narrator and reader. Both novelists
present their stories through a hesitant and v a c i l l a t i n g central
46
consciousness who frequently admits he i s merely conjecturing about
his story or relyi n g on hearsay and inference. On many occasions, the
narrator sadly admits his own doubts and in s e c u r i t i e s . Unlike Fielding's
narrator, who shows a massive certainty and arrives at conclusions by
a rational organization of f a i r l y e a s i l y comprehensible facts, Sterne's
and Thackeray's st o r y - t e l l e r s are never sure of their facts and are
unable to organize them into an e a s i l y assimilated whole. Thus they
frequently appeal to the reader to supply his interpretation, and their
stories, when they do f i n a l l y get tol d , abound i n loose-ended suggestive-;
ness, i f not muddle. While Tristram Shandy's conclusion suggests that
the story i s , l i k e that of Obadiah's c a l f , merely one of a cock and a
b u l l , Vanity Fair offers i t s reader an ambiguous "happy ending," i n
which a doting Amelia and a f o o l i s h Dobbin are united and Mrs. Rebecca
Crawley re-instates herself respectably i n society. The Newcomes
presents a double endings a happy union of Ethel and Clive i n fable-
land for the sentimentalists a f i n a l estrangement of the lovers, by
the indirect assaults of the mercantile marriage market, for the reader
who would dwell with the hard facts of l i f e .
The Thackerayan narrator, l i k e Sterne's Tristram, frequently
seems to have l i t t l e regard for his story. Not only does he contin
u a l l y interrupt the narrative, he often openly disparages the story
which ostensibly he exists to r e l a t e . Thus the narrator of The
Virginians sees that although his old and typical story i s valuable,
i t i s also hackneyed. So he mercilessly exposes the f o l l y of Harry
Warrington's passion for the middle-aged siren, Maria, only to fi n d
47
voider the l a s t v e i l of i l l u s i o n he strips away—himself, his reader,
and the next generation. For "what i s the good of t e l l i n g the story?
My gentle reader, take your story: take mine. To-morrow i t shall he
Miss Fanny's, who i s just walking away with her d o l l to the schoolroom"
(XII, 232).
Although the narrator of Tom Jones comments f r e e l y on his
story, h i s characters, and human nature i n general, he d i f f e r s from
the exuberant and contradictory narrators of Sterne and Thackeray, who,
i n their marvellous f a c i l i t y for changing roles, attempt to ensnare
a f l u i d r e a l i t y which perpetually eludes their grasp. Fielding's
narrator i s never i n doubt about the nature and purpose of his story;
the actions of his characters i l l u s t r a t e indisputable moral truths,
and he i s always i n command of his story's structure:
I t i s our purpose i n the ensuing pages, to pursue a contrary method to the historian. When an extraordinary scene presents i t s e l f . . . we shall spare no pains nor paper to open i t at large to our reader; but i f whole years should pass without producing anything worthy his notice, we shall not be a f r a i d of a chasm i n our history, (p. 69)
Although the t e l l e r takes the reader into his confidence, yet the
relationship i s unequal, for the reader resigns himself to his urbane
mentor with whom he feels secure.
Tristram and Pendennis, by contrast, are frequently defensive,
hesitant and unsure of themselves. Their digressions are usually
more germane to themselves than their "stories" or any truth to
nature to be extracted from them. Reader-consciousness i n Sterne
48
and Thackeray is intimate and personal. Thus Tristram apologizes:
My dear friend and companion, i f you should think me somewhat sparing of my narrative on my f i r s t setting out—hear with me,—and l e t me go on, and t e l l my story my own way:—Or, i f I should seem now and then to t r i f l e upon the road,—or should sometimes put on a fool's cap with a h e l l to i t , for a moment or two as we pass along,—don't f l y o f f , — h u t rather courteously give me credit for a l i t t l e more wisdom than appears upon my outside;—and as we jog on, either laugh with me, or at me, or in short do any thin g , — o n l y keep your temper, (p. 26)
Although Pendennis, i n P h i l i p , t e l l s the story of a young
"scapegrace" rather than his own, yet he, too, i s uncertain and open to
suggestion as he abstracts his hero from h i s setting i n the novel and
offers him to his reader for their mutual inspection:
I have told you I l i k e P h i l i p Firmin, though i t must be confessed that the young fellow has many f a u l t s , and that his career, especially his early career, was by no means exemplary. Have I ever excused his conduct to his father, or said a word i n apology of his b r i e f and inglorious university career? I acknowledge his short-comings with that candour which my friends exhibit i n speaking of mine. Who does not see a friend's weaknesses, and i s so "blind"that he cannot perceive that enormous beam i n his neighbour's eye?_ Only a woman or two from time to time. And even they are undeceived some day. A man of the world, I write about my friends as mundane fellow creatures. Do you suppose there are many angels here? I say "again, perhaps a woman or two. But as for you and me, my good s i r , are there any signs of wings sprouting from our shoulder-blades? Be quiet. Don't pursue your snarling cynical remarks, but go on with your story. (XV, 215-216)
In this internal drama, the narrator's self-excusing i s more important
than his elaborate defence of his hero. He reveals his own propensity
to v a c i l l a t e between i l l u s i o n and disillusionment. He knows the
f o l l y of seeing erring beings as angels, yet his f i n a l self-reproof
4 9
suggests the painfulness caused by the awareness of this f o l l y .
Both Tristram and Pendennis continually look beyond the
world of character and neat plot to the random and fortuitous world
inhabited by the reader beyond the "story." Thus, Tristram, meditating
on the parson's reasons for investing his wife as midwife, says to his
reader: "lay down the book, and I w i l l allow you half a day to give
a probable guess at the grounds of t h i s procedure" (p. 31). Pendennis,
having got his gallant but penniless hero and his sweet young heroine
together, t e l l s the reader of P h i l i p to allow the routine part of the
story to take care of i t s e l f while he goes about his own business.
Thus both he and the reader pause from the unpleasant and routine
aspects of the story:
A l l I can promise about t h i s gloomy part i s , that i t shall not be a long story. You w i l l acknowledge we made very short work with the love-making, which I give you my word I consider to be the very easiest part of the novel-writer's business. As those rapturous scenes between the captain and h i s heroine are going on, a writer who knows his business may be thinking about anything else—about the ensuing chapter, or about what he i s going to have for dinner or what you w i l l . (XVI, 72)
The Shandean narrator knows that there are an i n f i n i t e number
of res modi considerandum and that any story he t e l l s i s arbitrary
and subjective. Pendennis, The Manager, George Warrington and
Batchelor punctuate their narratives with "I dare say," "perhaps,"
" i t seems" and " i t might have been." The subjunctive mood also
predominates i n Book V, Chapter 10 of Tristram Shandy, where
several speculations are offered regarding the reason for the pause
i n Trim's narrative. The narrator of P h i l i p even manages to identify
50
with Dr. Brand Pirmin,the v i l l a i n of his story. For, i f Ph i l i p ' s father, who sees himself as innocent of causing his son's poverty and hardship, i s deluded, why should not his narrator, Pendennis, who sees Brand Firmin as the necessary v i l l a i n of the piece, also he deluded? Many roles await to be played and many stories to be written from a given set of facts:
Now, i t i s true that Thackeray i s less radical than Sterne; he does give us a basic narrative,line from which his digressions take wing and his page i s less studded with typographical ligatures.. However, Thackeray's use of dashes, parentheses, and convoluted sentences increases i n the la t e r novels, u n t i l i n Lovel, Batchelor's confessional narrative, we fin d such a typical passage as this address to the reader:
I dare say you are beginning to suppose (what, after a l l , i s a very common case, and certainly no conjuror i s wanted to make the guess) that out of a l l this crying and sentimentality, which a soft-hearted old fool of a man poured out to a young g i r l — o u t of a l l this whimpering and pity, something which i s said to be akin to pity might arise. But i n t h i s , my good madam, you are ut t e r l y wrong. Some people have the small-pox twice; I do not, (XXVIII, 231)
51
Although he does not offer, as Tristram does, a chapter on digressions,
Batchelor's tortuous pursuit of the "mallard thought" as i t crosses
his path gives the reader the same sense of the t e l l e r ' s spontaneity
that he finds i n Sterne 1s novel.
Both Sterne and Thackeray offer their readers a dual f i c t i o n a l
world: the past world of the characters and the "story"; and the
world of the writing present where the randomness and immediacy of the.
moment forces the "story" into the background. This duality i s
emphasized when both narrators suspend their characters momentarily
at the insistence of a "digressive" thought. Uncle Toby, for instance,
i s l e f t "knocking out the ashes of his tobacco pipe" while Tristram
chats to his reader (p. 63). Batchelor, too, keeps Miss Prior waiting
at the door as he reminisces aloud to his reader, apologizing for
interrupting his narrative with;
You see, as I beheld her, a heap of memories struck upon me, and I could not help chattering; when of course—and you are perfectly right, only you might just as well have l e f t the observation alone, for I knew quite well what you were going to say—when I had much better have held my tongue.
(XXVIII, 229)
Pendennis, i n P h i l i p , leaves General Baynes "dipping his nose i n the
brandy-and-water" (XVI, 140), to take time out to go behind the
scenes'and chat with his s o c i a l l y aspiring lady reader.
The cap and b e l l s are the insignia of the Thackerayan narrator
as they are of Tristram. Each takes the maximum advantage of the
clown's freedom to move adr o i t l y between sentiment and cynicism,
s e l f - p i t y and self-mockery. Although i n Thackeray, the clown's gaiety
5 2
and irreverence are frequently jettisoned i n place df the preacher's
somlbre address, this moral stance i s merely temporary. The black
mood of world-weariness i n Vanity F a i r i s not sustained, and we detect
an i r o n i c a l tone even i n such a parsonical passage as t h i s :
0 brother wearers of motleyI Are there not moments when one grows sick of grinning and tumbling, and the j i n g l i n g of cap and bells? This, dear friends and companions, i s my amiable o b j e c t — t o walk with you through the F a i r , to examine the shops and the shows there; and that we should a l l come home after the f l a r e , and the noise, and the gaiety, and be perfectly miserable i n private. (VF, l80-l8l)
The Manager of Vanity Fair i s more t y p i c a l l y discovered i n the
act of changing roles: protesting the innocence of his "guilty"
heroine, Becky, or exposing the s e l f i s h possessiveness of h i s
"sweet" heroine, Amelia. He loves to reveal the virtues of the
vicious and the viciousness of the virtuous, and i n so doing involve
his reader i n a game of fluctuating r o l e s . Having exposed Becky as
a scheming worldling and cunning deceiver, the Manager makes a
nimble volte face;
I protest i t i s quite shameful i n the world to abuse a simple creature, as people of her time abused Becky, and I warn the public against believing one-tenth of the stories against her. I f every person i s to be banished from society who runs into debt and cannot pay . . . why, what a howling wilderness and intolerable dwelling Vanity Fa i r would be. (VF, 491)
Since we are a l l hypocrites by social necessity and rogues by
internal compulsion (though we carefully mask our roguery as virtue),
how, the Manager asks his reader, can we have the temerity to c r i t i c i z e
51
Becky the arch-rogue and arch-hypocrite, who has merely climbed to the
top of the ladder whither the reader himself aspires?
Although i t i s broadly true that Thackeray's area of
interest i s social and moral, whereas Sterne's i s i i n t e l l e c t u a l and
philosophical, yet their common feature i s their use of the mercurial
narrator—the confused but tenacious figure who takes his reader on
a hobby-horsical roundabout, journey through the narrator's own
consciousness, to the detriment of both ostensible plot and character
i z a t i o n . The narrators of Sterne and Thackeray t e l l neither a very
comfortable nor a.completely satisfactory story i n which virtue i s
rewarded and vice punished and everything i s f i n a l l y resolved. Instead,
they offer the peculiar virtue of "Shandeism" i n which the narrator
tenderly i r o n i c a l or comically alarmed, with one eye on his characters and another on his reader, never leaving anyone out of h i s sight foraamoment; leaping from one.idea to another, tangling the threads of his story only so as> . to untangle them the; more b r i l l i a n t l y l a t e r ; attentive to every inconsequence, juxtaposing incompatibilities, reconciling extremes, passing from the rational to the i r r a t i o n a l with enviable a g i l i t y of mind; always;;>subtle, always smiling, always borne up by the i n t e l l e c t u a l excitement that enables him to move e f f o r t l e s s l y through the impenetrable forest of "hypotheses" offered by the r e a l i t y he has imagined on the one hand, and on, the other by the r e a l i t y that stands across his path.
The Narrator's Unifying Presence
The tale i n Thackeray's novels usually gets told, even i t i f i s
Henri Fluchere. Laurence Sterne; Prom Tristram to Yorick; An Interpretation of "Tristram Shandy," trans. Barbara Bray~(London: Oxford Univ. Press, 19.65),'p. 446.
54
l e f t half-open to p o s s i b i l i t y and speculation, as i n Vanity Fair, or i f
the reader i s given a double ending, as i n The Newcomes. The pose of
historian or editor of private papers which the narrator frequently
adopts i s always overlaid by his imaginative participation i n the l i v e s
of his characters, by his reflections on them, by his dialogue with
imaginary readers, and by parts of his own l i f e which become mingled
i n his mind with what he-has heard, read or imagined about the l i v e s
he purports to record. As i n The Newcomes, the narrator t e l l s us early
i n the book that he i s l i k e an archeologist following traces that
human beings have l e f t and f i l l i n g i n the gaps by conjecture, so i n
The Virginians he looks at the l e t t e r s of his characters:
They are hints rather than descriptions—indications and outlines c h i e f l y : i t may be, that the present writer has mistaken the forms, and f i l l e d i n the colour wrongly: but, poring over the documents, I have t r i e d to imagine the situation of the writer, where he was, and by what persons surrounded. I have drawn the figures as I fancied they were; set down conversations as I think I might have heard them. (XII, 3)
This admission of l i m i t a t i o n and appeal for license, however,
does lead the narrator to a wanton self-indulgence which we could
never allow a historian, even were that h i s t o r i a n Thomas Carlyle
himself. The narrator i s l i k e the speaker of a dramatic monologue
i n his need to recapitulate his own experience and try to give i t
some meaning. Extraneous material, i t seems, w i l l keep breaking into
the narrator's mind as he attempts to formulate his story, and while
his digressions seem to throw l i g h t on the story, i n fact, they only
blur the c l a r i t y of i t and reveal instead the mind of the t e l l e r .
55
Ann Y. Wilkinson, i n one of the very few studies of Vanity Fair
that can he said to attempt to reconcile thefprimary and secondary
f i c t i o n a l worlds, suggests that we, as readers, should f e e l that the
action i n "both worlds "exists e s s e n t i a l l y i n the narrator's mind,
insofar as we have to r e l y on i t s vagaries and memories and a l l i t s
other movements for our point of view." I f we see the novel i n t h i s
way, she goes on,
i t becomes a kind of existential document . . . . It i s an'experience which takes place in the reading of the novel, with the reader involved i n half-truths, malice, and sentiment, and l e f t just as frustrated as the persona j s i n his inept attempts to get at what i s r e a l l y happening.
The crucial questions for us are surely: does the narrator r e a l l y know
or care "what i s r e a l l y happening," and i s he not at least as
concerned with the impossibility of f i n a l and certain knowledge? I f
he i s merely attempting "to get at what i s r e a l l y happening" as an
historian or archaeologist would, what i s the purpose of his incessant
self-revelations and of h i s continual appeal to the reader or to
"authority," which may be anything from the Bible and Homer to the
Arabian Hightscprhis own impression of l a s t night's opera?
There are no simple answers to these questions and my purpose
i n asking them i s not to agree or disagree with Ann Wilkinson, but
rather to use her idea of the novel as existential document as a
point of departure. The issues raised here are v i t a l to a f u l l appre
ciation both of Thackeray's constantly s h i f t i n g perspectives and of his
15 -'"The Tomeavesian Way of Knowing the World: Technique and Meaning
i n Vanity F a i r , " ELH, 32 (1965), 381; 382-383.
use of an eccentric narrator who i s by turns master and victim of
i l l u s i o n i n a world where there can be no stable r e a l i t y .
Unlike Sterne's Tristram, Thackeray's narrator pursues his
random s t o r y - t e l l i n g against a background of fable, f a i r y - t a l e , or
even the conventional triple-decker novel. These forms check the
unrestrained f l i g h t s of imagination and provide the course i n which
the primary f i c t i o n flows. Thus Harry Warrington becomes for the
narrator of The Virginians not so much a h i s t o r i c a l or "actual" figure
as a typical young man embodying the aspirations of hero and lover, i n
a world which w i l l inevitably show their inadequacy. Young, innocent,
Virginian Harry i s seen as an ideal figure i n a corrupt world; he i s
the male prototype of the Jamesian American heroine. In h i s love-
a f f a i r with the far from beautiful Maria Esmond who has a rather
dubious past, Harry reveals himself as f o o l i s h l y i d e a l i s t i c and
impractical. He i s , after a l l , a descendant of Henry Esmond the
Colonel i n Queen Anne's army. With childish simplicity, Harry f a i l s
to distinguish the complex and corrupt world from that of the f a i r y
t a l e . "I want to do something—to distinguish myself—to be ever so
great. I wish there was Giants, Maria, as I have read of i n — i n
books, that I could go and fight 'em. I wish you was i n distress"
(XII, 227). A s l i g h t l y ludicrous love-scene follows i n which the
narrator, who has promised his reader the f i d e l i t y of a historian
of the imaginary, continually shows Harry as fool and dupe to
Maria's calculating worldliness. In a two-page monologue following
t h i s scene, the narrator discountenances Harry's gallantry and heroics
57
by a gleeful reminiscence of Telemachus and the Sirens. Buried beneath
the weight of the narrator's re f l e c t i o n s , Harry i s reduced to an ideal
type as the narrator's mind struggles to reconcile real and the ideal,
the truths of experience and the truths of imagination.
Thackeray's narrator i s not so much a mock-historian f i l l i n g
i n gaps with conjecture and supposition as a figure who uses the
situation or story, to which he purports to be so f a i t h f u l , i n order
to give r e i n to his own fancy. The primary world i s reduced to more
aesthetically s a t i s f y i n g patterns to allow the secondary world of the
narrator's consciousness to expand, and thus the immediate present of
the writer and reader i s invoked, with a l l the doubts and interrogations
seen i n the discussion of Lovel's narrator. After h i s imaginative
re-creation of Ulysses' encounter with the Sirens, the narrator of
The reader i s now facetiously given two roles i n the same story; i n
the primary f i c t i o n a l world he i s naive Harry Warrington snared by
i l l u s i o n , while i n the secondary f i c t i o n a l world he i s the sophisticated
"Lector Benevolus." But Harry, we are told, i s unlike his prototype
Telemachus and i n any case the story i s dismissed as "twaddling."
This story, moreover, i s one which the narrator has previously described
gl e e f u l l y and at length. The reader i s asked to take roles i n a story
58
i n which he must believe and disbelieve. Moreover, the colloquialisms—
"tough old Boatswain," "quid of tobacco," "twaddling story"—mix
incongruously with the i r o n i c a l l y learned terms for his roles i n this
strange and f a n c i f u l drama where a " r e a l " reader and a f i c t i t i o u s
character l i t e r a l l y share the same boat for one moment, only to see i t
capsized i n the next.
The necessity constantly to undermine the r e a l i t y of whatever
internal structure their consciousness impose on the external world i s
characteristic of Thackeray's narrators. Thus the narrator above plays
at being Ulysses only to reject the role when i t has served i t s
purpose. In a sense a l l men become Ulysses, wanderers tempted from the
path of rigour or duty by the seductions of the imagination. We can
also say that a l l men have been "green Telemachus" ready to jump
overboard for worthless prizes. The i r o n i c a l narrator i s aware that he
i s only half involved i n the spectacle he describes, and he realizes
the disparity between the hypothetical and the actual, the way men
appear and the way they are. naturally enough there i s no formula of
style or story that i s adequate for this representation of his r e a l i t y .
The most he can offer us i s a medley of p o s s i b i l i t i e s , each one
quickly put aside as inadequate. The Thackerayan narrator's irony
shows "the struggle between the absolute and the r e l a t i v e , the
simultaneous consciousness of the impossibility and the necessity of
a complete account of r e a l i t y . " ^
"^Rene Wellek, A History of Modern Criticism; 1750-1950 (New Haven: Yale Univ. Press, 1955). I I , 14. Wellek speaks of the Romantic Irony of Friedrich Schlegel.
59
This i r o n i c a l awareness that today's r e a l i t y i s tomorrow's
i l l u s i o n , and tomorrow's r e a l i t y i s brought about by today's i l l u s i o n ,
leads to the continuous monologues of the narrator and to his mercurial
bent for role-playing. In fact, i t might be said that for the i r o n i s t
" i l l u s i o n " and " r e a l i t y " are but different names for different ways of
seeing the same thing. In the consciousness of the narrator there i s
no easy d i s t i n c t i o n between romance and common sense—both are convenient
f i c t i o n s f o r handling the emotional and practical d i f f i c u l t i e s of l i f e .
In an e f f o r t to keep his mental equilibrium, the narrator hovers between
the truths of fable, which are comfortably fantastic and can therefore
be ea s i l y punctured at need, and the truths of empirical experience,
which are always contradictory and open to question. Although the
narrator disposes of, the "twaddling story" of Homeric epic, yet at the
end of his monologue, following the seduction of Harry, he reasserts
the r e a l i t y of romantic love as a persistent factor i n human experience.
Harry's experience, which might be scoffed at by an outsider, i s seen
to be as real to him as the narrator's or reader's:
The song i s not stale to Harry Warrington, nor the voice cracked or out of tune that sings i t . But—but—Oh, dear me, Brother Boatswain! Don't you remember how pleasant the opera was when we f i r s t heard i t ? Cosi fan t u t t i was i t s name—Mozart's music. Now, I dare say, they have other words, and other music, and other singers and f i d d l e r s . . . . Well, well, Cosi fan t u t t i i s s t i l l upon the b i l l s , and they are going on singing i t over and over and over. (XII, 230)
It i s within the f r e e l y moving consciousness of the narrator
that the reader finds his o\m counterpart. Whether Becky or Colonel
Newcome or Beatrix Esmond are "people" or puppets, whether the
60
narrator i s a novelist or a historian, depends on the extent of the
reader's i d e n t i f i c a t i o n with them. Whether the figures were ever
known to the narrator i n person or through their papers, or whether he
conjured them up out of his imagination, we can never ultimately decide,
for they are unmasked and re-masked—treated variously as persons and
objects. The reader's view of them i s governed wholly by the way they
appear from moment to moment i n the narrator's mind. I t i s here that
the reader finds the key that he needs to make sense of the novels,
just as i n l i f e i t i s i n his own mental and, i n a sense, " f i c t i o n a l "
universe that he gives order and c l a r i t y to the impressions received
from the world outside him. For, " i n narrative works i t i s the
narrator who convinces. . . . A talking horse does not make sense, 17
but Homer makes sense of A c h i l l e s ' talking horse." 1
Since i t i s within the narrator's consciousness that the reader
finds the unifying device i n the novels, he cannot expect the consistency
of v i s i o n such as i s found i n the more "pure" forms of epic or romance.
He i s asked to look not merely at events for their own sake, but at
the way they impinge on the mind of the recorder at a particular
moment. In the mind of Henry Esmond, for instance there i s a
continual fluctuation between heroic and romantic ideal and the
more impure compounds i n which these elements are found i n Esmond's
day to day l i f e , where men are less predictable than the creative
mind would l i k e them. Thus Dick Steele can t e l l young Henry that
17 Paul Goodman, The Structure of Literature (Chicago: Univ.
of Chicago Press, 1954), p. 76.
61
"' T i s not the dying for a f a i t h that's so hard . . . ' t i s the l i v i n g
up to i t that i s d i f f i c u l t " (X, 76). And young Harry goes off he r o i c a l l y
to war and, l i k e Barry Lyndon, finds a total deficiency ;of n o b i l i t y and
greatness i n the corrupt and rather dull existence among the troops.
Greatness and n o b i l i t y i n the mind have their r e a l i t y , but they are
found i n l i f e ' s deeds to be debased, spasmodic and f l e e t i n g . Esmond
leaves Rachel, asking her blessing on his knees as a knight who "longs
for a dragon this instant that he may f i g h t , " but i n the battle of
Cadiz, "the only blood which Mr. Esmond drew i n t h i s shameful campaign,
was the knocking down an English sentinel with a half-pike." In doing
t h i s he was not rescuing a beauty or a princess, but a "poor wheezy old
dropsical woman, with a wart on her nose" (X, 1315 265-266). This
novel i s replete with beautiful, romantic motifs, and the home of
Castlewood and the wild splendour of Beatrix l i v e i n the reader's
mind as they do i n Esmond's. We are made aware, however, that we l i v e
not wholly i n the world of the wonderful and strange, but also i n the world
of hard fact where clumsy l i f e spoils our neat and delightful aesthetic
patterns. In this world f a i t h i s unstable, and kings and heroes
behave l i k e men rather than gods.
Failure to take into account not only the story but the
narrator's various attitudes to the story w i l l almost certainly lead to
a misinterpretation of Thackeray. He w i l l be found too sentimental,
too cynical, too romantic or too worldly. Thackeray seeks to embrace,
within the narrator's mind, a world i n which dreams come true and
d i f f i c u l t i e s surmounted lead to happiness and a world of humdrum
62
r e a l i t y and money-grubbing selfishness. When J u l i e t McMaster says
of The Newcomes that "we have no dramatic depiction of the marriage of
Clive and Ethel, because according to the r e a l i t y of the main body of 18
the novel i t does not happen," she takes only what she needs for her
argument as "the r e a l i t y of the main body of the novel," and leaves
out the rest which includes the doubts, dreams, improbabilities and
p o s s i b i l i t i e s that lurk i n the mind of the narrator and are as i n
tangible as the contents of the unopened closet i n Bluebeard's castle.
The narrator may turn to his reader with a demand for niggardly
self-scrutiny or, on the other hand, he may almost forget his reader
as he indulges i n a bout of self-confession or a wild f l i g h t of
imagination. In The Newcomes, the reader i s interrogated regarding
his hidden desires, at the same time that he i s tempted to think of
the skeletons i n his wife's closet. Immediately following t h i s , he i s
treated to a fa n c i f u l escape from such sordid doubts andi questionings,
while his narrator takes wing through the imagination of J.J. Ridley,
who l i s t e n s enchanted to the piano playing of the feeble old Miss
Cann i n the parlour on a Saturday evening. The narrator moves between
the vexed r e a l i t i e s of existence and majestic visions conjured up by
the music of an old piano. Thus he indulges i n a medley of confession
"Theme and Form i n The Newcomes," NCF, 23(1968), I85 .
63
she t e l l you of that l i t t l e a f f a i r with Smith long before she knew you? Pshal who knows any one save himself alone? Who, i n showing his house to the closest and dearest, doesn't keep back the key of a closet or two? I think of a l o v e l y reader laying down the page and looking over at her unconscious husband, asleep, perhaps, after dinner. Yes, madam, a closet he hath: and you, who pry into everything, shall never have the key of i t . I think of some honest Othello pausing over th i s very-sentence i n a r a i l - r o a d carriage, and s t e a l t h i l y gazing at Desdemona opposite to him, innocently administering sandwiches to their l i t t l e boy—I am try i n g to turn off the sentence with a joke, you s e e — I f e e l i t i s growing too dreadful, too serious. (VII, 192)
Having played the part of the mean scrutineer, the narrator soon loses
himself i n the imagination of a young lad l i s t e n i n g to an old lady
play on an "old and weazened" piano that i s "feeble and cracked as i s
her voice." nevertheless
the l i t t l e chamber anon swells into a cathedral, and he who l i s t e n s beholds altars lighted, priests ministering, f a i r children swinging censers, great o r i e l windows gleaming i n sunset, and seen through arched columns and avenues of twilight marble. The young fellow who hears her has been often and often to the opera and /.tire' theatres;;-"&s~ she-plays ;"Don_Juan," Zerlina comes tripping over the meadows, and Masetto after her, with a crowd of peasants and maidens: and they sing the sweetest of a l l music, and the heart beats with happiness, and kindness, and pleasure. Piano, pianissimo, the c i t y i s hushed. The towers of the great cathedral rise' i n the distance, i t s spires lighted by the broad moon. The statues i n the moonlit place cast long shadows athwart the pavement; but the fountain i n the midst i s dressed out l i k e Cinderella for the night, and sings and wears a crest of diamonds. That great sombre street a l l i n shade, can i t be the.famous Toledo?—or i s i t the Corso?— or i s i t the great street i n Madrid, the one which leads to the Escurial where the Rubens and Velasquez are? It : i s Fancy Street—Poetry Street—Imagination Street—the street where lovely ladies look from balconies, where cavaliers strike mandolins and draw swords and engage. (VII, 195-196)
We see from these passages that any attempt to reduce the
discordant elements cast out from the narrator's consciousness i s
inapposite. By the f e r t i l e union of pragmatic doubt and visionary
64
fancy, the narrator guides his reader through the wilderness of the
human psyche from painful scepticism to the most positive certainty,
from c l i n i c a l i n t e l l e c t u a l probing to extravagant emotional conviction.
The need to reduce the free play of the mind to a manageable "position"
causes some c r i t i c s to misinterpret the narrator's function I n the
novels. I t i s important to see that the narrator i s not the interpreter
absolute of the action and that his visio n i s broad, contradictory and
at times f a l l i b l e , because impermanent and v a c i l l a t i n g . He i s not a
propagandist for any particular point of view, but a spokesman for the
vast range of p o s s i b i l i t y . Sister Corona Sharp seeks to f i n d the moral
centre of Vanity Fair by studying the narrator's character, and con
cludes that the clue to h i s "position" i s i n his sympathies with Lady
Jane Sheepshanks. To prove her point, Sister Corona i s forced to
emphasize certain aspects of the narrator's voice at the expense:: of
others. " I f he i s s h i f t l e s s and irresponsible," she says, then
"the novel i s defective i n meaning, merely a jest at the reader's
expense." Though she accurately states that "numerous- i l l u s t r a t i o n s
prove that the narrator cannot take Rebecca's fa u l t s any more
seriously than Amelia's virtues, " her eagerness to determine the narr
ator's "position" and the seriousness of the book's moral meaning i s
emphasized by her special plea on behalf of Lady Jane: "By presenting
t h i s woman the narrator espouses the values represented by her, and
i n so doing proves he i s no cynic. . . . :S-he i s an interesting
example of a minor character used to highlight the major characters 19
and to f i x the position of the narrator." '
19 '"Sympathetic Mockery: A Study of the Narrator's Character i n
65
As a moral guide and philosopher, the narrator of Vanity F a i r ,
we are hound to conclude, i s indeed " s h i f t l e s s and irresponsible•"
He c a l l s h i s novel "a novel without a hero" yet i n Dobbin he shows us
a figure.who embodies, despite h i s gaucheness^ the heroic virtues of
courage, constancy, and idealism. Dobbin's heroism i s proclaimed early
i n the novel when,as a youth, in defending the weak against the strong,
he puts down his copy of the Arabian Nights to defeat Cuff,the school
champion. Dobbin i s , moreover, one of the very few characters who
remains aloof from the values of Vanity F a i r . Yet, even so, the
narrator shows his own i n s t a b i l i t y and an awareness of the mixed
motives which constitute even outwardly heroic deeds:
I can't t e l l what his motive was. . . . Perhaps Dobbin's f o o l i s h soul revolted against that exercise of tyranny; or perhaps he had a hankering f e e l i n g of revenge i n h i s mind, and longed to measure himself against that splendid bully and tyrant, who had a l l the glory, pride, pomp, circumstance, banners f l y i n g , drums beating, guards saluting, i n the place. (VF, 48)
The narrator i s , generally, only too well aware that q u a l i t i e s that
we conveniently label "heroism," "tyranny," or "cowardice" are
unstable compounds and not as e a s i l y t y p i f i e d i n l i f e as they are i n
story. So while, for Amelia, George Osborne i s the quasi-chivalric
hero, Dobbin i s an i n f e r i o r underling f i t only to carry her shawl at
the Vauxhall pleasure-ground. But with George dead, and a suitably
long time spent i n idol-worship of his memory, Amelia finds a new
hero i n the sober and upright Dobbin. "But have^e? not a l l been
misled about our heroes, and changed our opinions a hundred times?"
Vanity F a i r , " ELH, 29(1962)325; 329-330
66
the narrator asks his reader, suggesting, at t h i s time, a token sympathy
with his sentimental heroine.
One of the narrator's primary functions i s to challenge the
reader by offering him a m u l t i p l i c i t y of appearances and leaving him
to find h i s own spasmodic sense of r e a l i t y . His idea of virtue i s
not that of Lady Jane Sheepshanks any more than i t i s that of Becky or
Amelia, Thus John K. Mathison i s nearer to the truth than Sister Corona
Sharp when he points out that "Amelia i s Lady Jane Sheepshanks' idea of 20
virtue, the evangelical idea of virtue,"
By his use of the controlling device of the narrator, Thackeray
i s able to do justice to the romance and epic forms and the "sense of
f e l t l i f e " which has given the novel i t s vast scope and sense of
immediacy. In Esmond, as i n his other novels, the "story" or primary
f i c t i o n controls the novel's shape while the digressions, reflections
and addresses to the reader provide the necessary openness and suggest
a world of p o s s i b i l i t y , doubt and random mental association. In
Esmond, the narrator's i n i t i a l determination to expose the sham and
hypocrisy which dwell behind the august appearance of majesty i n
history books, and i n the minds of men who see royalty and lo y a l t y i n
ideal or heroic terms, i s betrayed by his own propensity for romance
and idealism when he t e l l s his own story. He gives us a sense of a
recording mind i n the present which can only give shape and s i g n i f
icance to h i s past by seeing i t i n ideal terms. Though he seeks to 2 0 "The German Sections of Vanity F a i r , " NCF, 28(1963), 236-237.
67
t e l l the t r u t h about h i s t o r i c a l f i g u r e s such as Queen Anne, Marlborough
L o u i s Quatorze, Addison, or the Pretender, he can only r e v e a l h i s own
inner t r u t h through a v a r i e t y of f i c t i o n a l forms. He would unmask
others, but must give h i m s e l f the mask of hero, l o v e r , k n i ght, or
outcast; f o r , without the form of the t y p i c a l , there would be no way
of h i s making sense of the chaos of h i s experience.
Through the mind of the r e c o r d i n g Esmond we are o f f e r e d moment
ar y t r u t h s of present f e e l i n g — t h e patterns are used to give experience
shape but they are c o n t i n u a l l y m o d i f i e d . Esmond i s r e l u c t a n t to l e t
the dream va n i s h , but he i s f o r c e d to acknowledge the p e r s i s t e n t
f a i l u r e of the i d e a l v i s i o n to bear any but a f l e e t i n g r e l a t i o n to the
ex i g e n c i e s of l i f e and human inconstancy. " A f t e r the i l l u m i n a t i o n ,
when the love-lamp i s put out . . . and by the common d a y l i g h t we l o o k
at the p i c t u r e , what a daub i t l o o k s i what a clumsy e f f i g y J " (X, I48) .
The moment of joy or passion e x i s t s and i s r e a l , but i t does not and
cannot l a s t . I t i s to t h i s t r u t h that the Romantic poets bear witness
and even the i r o n i c a l Chaucer or Byron acknowledge i t with r e l u c t a n c e .
Chaucer p r e f e r s not to' know whether Criseyde gave her heart to T r o i l u s ,
and before he demolishes the l o v e r s * i d y l l of Haidee and Juan, Byron
e c s t a t i c a l l y r e c r e a t e s t h e i r b e a u t i f u l and f r a g i l e world. I n Thackeray,
too, behind the i r o n i c a l , the c l e a r - s i g h t e d and the s l i g h t l y c y n i c a l
pose, the v i s i o n of the i d e a l p e r p e t u a l l y hovers. Thackeray's
n a r r a t o r f l u c t u a t e s between emotional i d e n t i f i c a t i o n with r e c e i v e d forms
and an awareness of t h e i r inadequacy to encompass the t o t a l i t y of h i s
experience. He has the melancholy that comes with the knowledge that
68
perfect love and devout chivalry are mental constructs, i n f i n i t e l y
remote from the concerns of everyday l i f e . Thus Pendennis loses his
judgement over the very practical and ordinary actress, hut i t i s the
narrator who i s pained by the knowledge; i n the same way, Esmond
f i n a l l y r ealizes that the bewitching Beatrix i s an aspirer to wealth
and rank who has only a limited concern f o r her humble adorer. Never
theless, i n Esmond's mind the dream persists. As Prank Kermode says,
" f i c t i o n s , though prone to absurdity, are necessary to l i f e , and . . .
they grow very i n t r i c a t e because we know so desolately that as_ and is_ 21
are not r e a l l y one." Awareness of this d i s p a r i t y results i n irony
and one part of the narrator's mind always holds this i r o n i c awareness
of the incompatibility between seeming and being. The narrator's mind
becomes i n a sense a testing ground for ideas of being. Esmond, in
maturity, must r e l i v e the ideals and aspirations of his youth, seeing
himself as gallant knight or brave hero, i n order to appraise them.
He must see h i s whole l i f e — e v e n h i s death-—laid out before him l i k e
a map and retrace the paths of youth that he may conquer and comprehend
them.
The narrator, who meets his readers as equals i n the secondary
world, i s both serious and not serious i n his attitude towards the
primary world. At times he becomes so involved with his characters
that he not only speaks to them but enters a c t i v e l y into "their"
drama. Thus i n Vanity F a i r , the narrator meets his characters at 21
The Sense of an Ending: Studies i n the Theory of F i c t i o n (New York: Oxford Univ. Press, 1967), p. 155.
69
Pumpernickel. The borderline between ironic detachment and sympathetic
involvement is crossed and the narrator is temporarily on the other
side of the mirror, reinforcing §n the reader's mind a recognition in
that he too is involved in an illusion and that this is "only a story."
we see here the impossibility of the story teller's complete detachment
from his imagined world. He breaks the illusion for the reader by
becoming a victim of his own deliberately created world. This emphasis
on the humanity of the teller is typical of Sterne and romantic
ironists who are aware of the essential polarities of "self" and
"world" and their mutual dependency. While the "realistic" novelist
seeks to put the reader in the position of the observing "self" who..is
unaware of himself as he sees the world, the ironist sees his own
subjectivity, and his reader cannot "lose himself," as we say, in the
game by becoming the mask of the central consciousness. The reader
must be aware of the reflecting self of the narrator interacting
between an event more or less distant in time and space, and an
immediately felt present. These are the dramas of primary and
secondary fiction and their deliberate confusion is based on the
narrator's underlying awareness that the observer needs the
observed, that "self" and "world" are inextricable in the way that
22 A similarly flagrant and deliberate breach of arti s t i c decorum
occurs in an English movie, The Courtneys of Curzon Street (director Herbert Wilcox: producer: Sydney Box), where a character, played by Michael Wilding, introduces himself by his fictitious film name, only to be put down by his host's suspicious reply: "Oh; how strange! I could have sworn you were Michael Wildingl" Cervantes, Tieck and Pirandello also delight in such illusion-breaking.
70
we can only know one through, the other.
Thackeray, then, through the perceiving consciousness of his
narrator, shows us that the physical world i s always a world seen
from the outside, as a collection of things, of surfaces, conveniently
plastered with l i n g u i s t i c l a b e l s . I t has no r e a l i t y beyond the
perceiver. His narrator loses himself, and forces his reader to lose
himself, i n an imagined character or situation that i s as r e a l , or as
unreal, as that world we conveniently c a l l " r e a l i t y " which we experience
through the senses. He shows that i t i s through the imagination that
one discovers his " s e l f ' J ' looking through the eyes of a conventional
" v i l l a i n " such as Lyndon or a conventional "hero" such as Esmond, we
discover our r e a l i t y . A central characteristic of Thackeray's
narrator i s "a willingness to become." He i s a man of many masks and
no face, and to the bafflement of c r i t i c s , he i s neither a mirror nor
a lamp. An examination of his "personality" i s not enhanced by seeing
him as social or moral c r i t i c or as an author surrogate; he i s both
of these and yet i s not reducible to any single r o l e . I f he i s a
moral r e a l i s t , he i s also an epicurean and hedonist; i f he i s the
perennial c h i l d seeking the security of the mother, he i s also the
cynical club-haunting worldling. The personality of the narrator,
l i k e the inner " I " of the Hindu Atman, retreats before us with the
words "Neti, n e t i , Not thi s , not t h i s . "
Thackeray combines the probabilities of l i f e with the marvels
of fable, by establishing the core of his novel i n a subjective
See Swami Nikhilanandra, trans, and ed. The Upanishads (New York: Harper and Bros., 1956), I I I , 48-49.
71
recorder, to whom imagined truths are as real as practi c a l performance.
The narrator can allow his fancy free rein, yet, at the same time, sees
that the cold l i g h t of day w i l l prove him a l i a r . Like Tristram
Shandy, who thought a l l problems should be debated twice—once drunk and
once sober—Thackeray' s narrator realizes the essential dual dependency
of the mind on the f a n c i f u l and the pragmatic. The narrator of The
Virginians, for instance, does not doubt that under the influence of
good Bordeaux wine there i s a point when a man's generous f a c u l t i e s
are alerted and i n f u l l vigour, "when the wit brightens and breaks
out i n sudden flashes; when the i n t e l l e c t s are keenest; when the
pent-up words and confused thoughts get a night-rule, and rush abroad
and disport themselves." This new awakening and quickening of the nobler
and more uninhibited aspects leads him, says the narrator, i n a wildly
i d e a l i s t i c f l i g h t , to succour the poor and rescue the oppressed, "but
the moment passes, and that other glass somehow spoils the state of
beatitude." Indulgence i n grandiose dreams i s followed inevitably
by a correspondingly chastening awareness of the ordinary anxious
and petty concerns of l i f e , when
there i s a headache i n the morning; we are not going into Parliament for our native town; we are not going to shoot those French o f f i c e r s who have been speaking disrespectfully of our country; and poor Jeremy Diddler c a l l s about eleven o'clock for another half-sovereign, and we are unwell i n bed, and can't see him, and send him empty away. (XII, 402)
Unlike Esmond, the typic a l narrator i n the secondary f i c t i o n a l world
tends to puncture the romantic visions he conjures up. He does not
deny their r e a l i t y but their durability; he does not deny their
relevance to human vision, hut he i s aware that they do not give
complete account of to t a l r e a l i t y .
CHAPTER III
THACKERAY AND HIS NARRATORS
I forget who I am, i f indeed I have ever known. I become the other person. (They t r y to find out my opinion; I have no interest i n my own opinion. I am no longer someone, but several—whence the reproaches for my restlessness, my i n s t a b i l i t y , my fickleness, my inconstancy).
— G i d e , Journal of "The Counterfeiters"
The Ironist i s committed to the search of a more and more exterior point of view, so as to embrace a l l contradictions . . . . Beyond the Ironist's perception of a situation i s his Ironic perception of himself I r o n i c a l l y perceiving the s i t uation.
—Haakon Chevalier, The Ironic Temper; Anatole Prance and His Time
As Thackeray's f i c t i o n develops, he makes increasing use of a
complex narrator who i s much more aware of himself and the reader than
the e a r l i e r one-dimensional narrators—such as Fitzboodle, Gahagan,
and Yellowplush. This chapter traces the changing role of the
narrator i n Thackeray's f i c t i o n , from the early sketches to the
mature novels. The reader's role, i n the l a t e r work, becomes more
subtle as he attempts to relate to a protean figure who challenges him
to define either himself or others with any assurance. This post-1847
narrator, moreover, asking questions about the very nature of the i l l u s i o n
he projects, entices his reader into an elaborate game that dares him
to demarcate the genuine and the sham.
Thackeray's e a r l i e r narrators closely identify with the masks
which they present to the world. The la t e r narrators, by contrast,
present an ever-expanding v i s i o n i n which limited or p a r t i a l truths
73
74
of youthful heroism or moral idealism become essential parts of a
more comprehensive whole. Both the negative and positive aspects of
the ideal are retained i n the novels after Vanity F a i r . Thus Barry
Lyndon, looking back on the crucial accident to Nora Brady while they
were gooseberry-picking sees, on r e f l e c t i o n , his own f o l l y , and seeks
to desecrate the lovers' i d y l l :
In the course of our diversion Nora managed to scratch her arm, and i t bled, and she screamed, and i t was mighty round and white, and I t i e d i t up, and I believe I was permitted to kiss her hand; and though i t was as big and clumsy a hand as ever you saw, yet I thought the favour the most ravishing one that was ever conferred upon me, and went home i n a rapture. (XVIII, 22)
Barry seeks to discredit his own past feeling, whereas a l a t e r narrator
would include the f e e l i n g of past enchantment within the moment of
present enlightenment. As the narrator of Pendennis or The Virginians
sees the discarded mask, he must also t r y i t on again, test out the
part and rediscover the r e a l i t y of the i l l u s i o n by again becoming
that part for the moment; Barry, by contrast, seeks to preserve a
unified front.
The result of this continual re-invigorating of once
discredited forms and rejected selves i s an increasingly complex
sense of identity and a blurring of the d i s t i n c t i o n between i l l u s i o n
and r e a l i t y . The narrator i s , thus, both outside the story and
within i t — h e i s omniscient author and conjecturing historian, t e l l i n g
his own story or reporting another's. The Manager of Vanity Fair
purports to be giving his reader an entertainment, but we soon f i n d
75
he i s i n his own show, talking not about his puppets, but i n effect
becoming one of them i n Pumpernickel. Pendennis, the narrator of
The Newcomes, i s supposedly following traces and f i l l i n g i n the gaps
with conjecture, but he ends by placing Laura and himself within t h i s
fabulous t a l e . He i s , i n fact, the figure condemned by Norman Friedman
as "the irresponsible illusion-breaking . . . garrulous omniscient
author, who t e l l s a story as he perceives i t , rather than as one of h i s
characters perceives i t . " I Yet, as we have seen, he also l i v e s through
his characters' experiences as i f they were his own, and there i s no
hard l i n e between personal and vicarious experience.
Thackeray's awareness of the limitations inherent i n any one
"position" l e d him to make his l a t e r narrators contradictory and
v a c i l l a t i n g . The e a r l i e r narrators are victims of the spectral
Thackeray's irony because they are unaware of their posturing and
role-playing. Thus, Ikey Solomons, seeking to expose the Newgate
school of novelists, ultimately exposes himself by ide n t i f y i n g with
the rogues, and Barry Lyndon adopting the pose of gentleman reveals
himself as a rogue and a braggart. These narrators are no more
ir o n i s t s than are the s a t i r i c a l aspirer Yellowplush or the melancholy
s e l f - j u s t i f y i n g Fitzboodle. Even Mr. Snob, who comes nearest to the
central i r o n i c a l narrator from Vanity Fair onward, i s often caught
out by the silent author behind him. The genuine i r o n i s t realizes
that everyone, including himself, indulges i n various disguises,
and that person and persona are only related, not i d e n t i c a l .
"^'Point of View i n F i c t i o n : The Development of a C r i t i c a l Concept," PMLA, 70(1955), 1163.
76
Barry Lyndon, although he incorporates many of the contra
dictions and s h i f t s that we come to associate with the l a t e r narrators
i s ever a victim of sa t i r e . His attitude to Nora i s ambivalent—he
sees her as a j i l t , hut also as a divine creature (XVIII, 51). He i s
also prone to tender recollections of past mistresses whom at other
times he sees as worthless j i l t s and heartless jades. There i s a
romantic within the disenchanted cynic as th i s passage shows:
Oh, to see the Valdez once again, as on that day I met her f i r s t driving i n state, with her eight mules and her retinue of gentlemen, by the side of yellow Mancanares! Oh, for another drive with Hegenheim, i n the gilded sledge, over the Saxon snow I False as Schuvaloff was, 'twas better to be j i l t e d by her than to be adored by any other woman. I can't think of any one of them without tenderness. I have ringlets of a l l their hair i n my poor l i t t l e museum of recollections. Do you keep mine, you dear souls that survive the turmoils and troubles of near half a hundred years? How changed i t s colour i s now, since the day Sczotarska wore i t round her neck. (XVIII, 238)
Barry acts out an imagined past and indulges the mood of s e l f - p i t y and
regret, but he i s unconscious that he i s creating a f i c t i o n out of
fragments of his l i f e . He i s not an i r o n i s t , and l i k e the typical 2
alazon of Greek drama he i s essential prey to the subtly aware ejlron,
found here i n the spectral author and his reader.
Thackeray delighted i n the use of an alazon figure as narrator
of his e a r l i e r work for Fraser, the New Monthly and the Comic Almanac.
In these early stories and sketches, the spectral presence of the
Cf. G. G. Sedgewick, Of Irony: Especially i n Drama (Toronto: Univ. of Toronto Press, 1948J, pp. 6-10; Northrop Frye, Anatomy of Criticism; Four Essays (Princeton: Princeton Univ. Press, 1957T7 pp. 39-40.
77
author i s f e l t s i l e n t l y watching and enjoying the posturing and
boasting s t o r y - t e l l e r and would-be social s a t i r i s t . I t i s i n Thackeray's
work from The Book of Snobs and Vanity Fair on that the narrator combines
the alazon and the eiron. In the l a t e r work, as Gordon N. Ray and John
KLeis have pointed out, the s a t i r i s t modulates to the i r o n i s t . 3
Barry Lyndon, who acts l i k e a scoundrel but who looks upon him
self as a gentleman, frequently allows his reader to.catch, him out i n
his disguises. The gap between the real and the ideal i s a l l too
frequently revealed. Like Moll Flanders, Barry i s one who would be
thought genteel, and l i k e her, he looks down on his peers as wretches,
cheats, and criminals. Barry t e l l s us
I never had a taste for anything but genteel company, and hate a l l descriptions of low l i f e . . . . PahJ the reminiscences of the horrid black-hole of a place i n which we soldiers were confined, of the wretched creatures with whom I was now forced to keep company, of the ploughmen, poachers, pickpockets, who had taken refuge from poverty, or the law (as, i n truth. I had done myself), i s enough to make me ashamed. (XVIII, 77)
Up to this point i n the story, by his own account, Barry has cheated
tradespeople, impersonated an I r i s h lord, and k i l l e d an English captain
i n a duel over a g i r l who was not interested i n the I r i s h adventurer.
The reader's pleasure i n the story i s to a large extent owing to Barry's
unawareness of the disparity between the image he seeks to project and
the one he does actually show his reader. From his spurious ancestry
3See Thackeray: The Age of Wisdom I847-I863 (New York: McGraw-H i l l , 1958), PP. 39-40; John C. K l e i s , "The Narrative Persona i n the Novels of Thackeray," Diss. Pennsylvania I966, p. 10; p. 14,
78
t o h i s s p u r i o u s g r i e v a n c e s a g a i n s t t h e w o r l d , B a r r y ' s modes o f s e l f -
d e c e p t i o n a r e a p p a r e n t t o t h e r e a d e r , h u t B a r r y i s a n a c t o r who i s q u i t e
i n n o c e n t o f h i s r o l e s . T h a c k e r a y l e t s him p l a y h i s p a r t s , and i f t h e
r e a d e r p l a y s h i s p a r t , he w i l l see t h a t none o f t h e r o l e s d e f i n e s t h e
n a r r a t o r c o m p l e t e l y . B a r r y i s s o m e t h i n g o t h e r t h a n h i s p a r t s o f r o m a n t i c
l o v e r , a r i s t o c r a t i c g e n t l e m a n , f e a r l e s s f i g h t i n g man, o r e v e n o u t r i g h t
r o g u e and v i l l a i n . He d e f i n e s h i m s e l f t h r o u g h t h e p r o c e s s o f p l a y i n g
many p a r t s , and we f i n d t h e r e i s a se n s e o f t h e man b e y o n d what he, f o r
th e moment, becomes.
The G r e a t H o g g a r t y Diamond and B a r r y L y n d o n a r e n o v e l s t h a t o f f e r
o n l y a p r i m a r y f i c t i o n a l w o r l d . C a t h e r i n e i s c o m p l i c a t e d b y a n a r r a t o r
who i s n o t o n l y u n r e l i a b l e b u t s e l f - c o n s c i o u s . We f i n d t h e n a r r a t o r
f r e q u e n t l y d i g r e s s i n g , r e m i n i s c i n g , a p p e a l i n g t o h i s r e a d e r , and p o i n t i n g
p l a y f u l l y t o h i s own s t o r y . A l l t h e t r i c k s , i n f a c t , t h a t we come t o
a s s o c i a t e w i t h t h e more s e a s o n e d T h a c k e r a y n a r r a t o r o f t h e n o v e l s f r o m
V a n i t y F a i r t o D e n i s D u v a l , a r e d i s p l a y e d . However, t h e w a g g i s h t o n e
o f many o f t h e a s i d e s seems more c a l c u l a t e d t o e x c u s e t h e c r u d i t y o f
t h e main s t o r y t h a n t o enhance r e a d e r i n v o l v e m e n t and t o p l a y w i t h
s e c o n d a r y i l l u s i o n . Such p a s s a g e s a s t h i s , f o r i n s t a n c e , do h o t go
v e r y f a r t o w a r d s s u g g e s t i n g a n e n c l o s i n g m e n t a l w o r l d o f t h e n a r r a t o r
i n w h i c h h i s r e a d e r c a n t a k e a r e w a r d i n g p a r t :
R i n g , d i n g , d i n g i t h e gloomy g r e e n c u r t a i n d r o p s , t h e d r a m a t i s p e r s o r i a e a r e d u l y d i s p o s e d o f , t h e n i m b l e c a n d l e - s n u f f e r s p u t o ut t h e l i g h t s , and t h e a u d i e n c e g o e t h p o n d e r i n g home. I f t h e c r i t i c take; t h e p a i n s t o a s k why t h e a u t h o r , who h a t h b e e n so d i f f u s e i n d e s c r i b i n g t h e e a r l y and f a b u l o u s a c t s o f M r s . C a t h e r i n e ' s e x i s t e n c e , s h o u l d so h u r r y o f f t h e
79
catastrophe where a deal of the very finest writing might have "been employed, Solomons replies that the "ordinary" narrative i s far more emphatic than any composition of his own could he, with a l l the rhetorical graces which he might employ. (XXIX, 234)
The apology for writing an "immoral" and dull tale goes on for ssveral
more pages, with Ikey's usual excuse that he i s writing about real
criminals who are r e a l l y worthless and not deserving of our sympathy.
The irony at Ikey's expense becomes a l i t t l e superfluous* His mind i s
wayward and contradictory, but i t does not have the r i c h l y ambivalent
fascination of the l a t e r narrators* minds.
The narrators from Vanity Fair onward, l i k e Ikey Solomons, make
elaborate use of parody. Ikey, however, continually emphasizes his
own d i s b e l i e f i n the momentary i l l u s i o n which the parody creates. Like
the l a t e r narrators, he shows us a mask, but says, i n e f f e c t , not only
"this i s not I," but "this never was and never could be I." He does
not suggest, as the l a t e r narrators do, an i n f i n i t e range of inner
r e a l i t y . Ikey delights i n the incongruous figure of Count Maximillian
Galgenstein, the a r i s t o c r a t i c seducer of Catherine Hayes who ends i n a
madhouse l i s t e n i n g to the wailing of the tortured and the clanking of
chains:
The splendid Count came up. Ye gods, how his embroidery "glittered i n the. lampsi What a royal exhalation of musk and bergamot came from his wig, his hand&rchief, and his grand lace r u f f l e s and f r i l l s ! A broad yellow riband passed across his breast, and ended at his hip i n a shining diamond cross. . . . As Jove came down to Semele in state, i n his habits of ceremony, with a l l the grand cordons of his orders blazing about his imperial person—thus dazzling, magnificent, triumphant, the great Galgenstein descended towards Mrs.-Catherine. Her cheeks glowed red hot under her coy velvet mask, her heart thumped against the whalebone prison of her stays. . . . What
80
a rush of long-pent recollections hurst forth at the sound of that enchanting voice!
As you wind up a hundred-guinea chronometer with a twopenny watch-key—as by means of a d i r t y wooden plug you set a l l the waters of Ver s a i l l e s a-raging, and splashing, and storming—in l i k e manner and by l i k e humble agents, were Mrs. Catherine's tumultuous passions set going. (XXIX, 182-183)
We are here i n the region of low burlesque—the form i s distorted and
tortured, but we do not feel the restraint and sympathy that the l a t e r
narrators show us where we f i n d a strange and enchanting r e a l i t y within
the warped i l l u s i o n .
With Thackeray's narrators from Vanity Fair to Denis Duval, we
sense an a b i l i t y to l i v e i n two worlds at once. The semi-satiric
passages partake of the quality of the object, state, attitude or
i l l u s i o n that i s being ostensibly r i d i c u l e d . Like Chaucer's and Lucian's
satire they caress their object, they are, i n the words of David
Worcester on those two writers, "exquisite pieces of lapidary a r t .
They show us . . . grotesquerie sublimed into loveliness. Chinese
painting often possessed the same quality."^ As we saw i n the
preceding chapter, the narrators of The Virginians and Pendennis.
mingle sympathy with r i d i c u l e i n their exposure of the ardent lovers
of worldly maidens. Pendennis and Harry Warrington are b l i n d l y
romantic i n their infatuations with their unsuitable partners, and
they come to be aware of their own blindness. The narrators, however,
turn to their readers and invite them to i d e n t i f y with that passion,
which.in the cold l i g h t of day ; appears as f o l l y . The l a t e r narrators
The Art of Satire (New York: Russell and Russell, I960)-, p. 65.
81
f o r c e the reader through the experience of t h i s " f o l l y " and do not
permit escape by l a u g h t e r . The whalebone stays, i n Catherine, are as
incongruous i n a l o v e scene as Maria's f a l s e t e e t h are, i n The
V i r g i n i a n s , but i n the f i r s t i nstance the d e t a i l i s an e s s e n t i a l p a r t
of the r i d i c u l e of sentimental f a s h i o n a b l e f i c t i o n , whereas the l a t t e r
d e t a i l comes to the reader a f t e r the scenes of i d y l l i c p a s s i o n have
done t h e i r work. Furthermore, the l a t e r novel presents the d e t a i l through
the e f f e c t t h a t i t makes on H a r r y — t h e r e i s something r i d i c u l o u s i n h i s
obsession with a " f a c t " that he has r e c e i v e d through the m a l i c i o u s
gossip of Madame B e r n s t e i n . In Ikey Solomons* burlesque scene, the
reader's r e a c t i o n i s uncomplicated by doubt and the s h i f t s of f e e l i n g
between the poles of a d o r a t i o n and r e p u l s i o n ; we are i n v i t e d to s c o f f
not to p i t y . Maria and the Fotheringay, u n l i k e Catherine and Nora
Brady, are f l o a t i n g f i g u r e s w i t h i n the n a r r a t o r ' s consciousness, and
can be used as touchstones of romance or of r e a l i t y a c c o r d i n g to the
s t o r y - t e l l e r ' s mood. They are never p u r e l y e l u c i d a t i v e ; n e i t h e r are
they dummies through which the n a r r a t o r can acquire s e l f - g l o r i f i c a t i o n .
Since the i r o n y of the l a t e r narrator' i s not o n l y d i r e c t e d at
the subject of the s t o r y , but a l s o at h i m s e l f , the reader i s never i n
the comfortable p o s i t i o n of watching a pretender u n w i t t i n g l y d i s p l a y
the d i s g u i s e s . The n a r r a t o r of "The F a t a l Boots," i n c o n t r a s t , makes
a b i d f o r the reader's sympathy and esteem by adopting the r o l e of
p e n n i l e s s persecuted orphan and cheated gentleman by t u r n s . He i s
wholly unaware of the i n c o n g r u i t y i n v o l v e d i n h i s a l t e r n a t e whining
and bragging, and i s so unaware of the r e a l s i g n i f i c a n c e of h i s s t o r y
82
i n revealing the human need for s e l f - j u s t i f i c a t i o n , that he cannot see
why his l y i n g , cheating, bullying and cringing should have any moral
significance. He i s baffled by the l i t e r a r y man who s e l l s the story
of his adventures to the booksellers:
I'm blest i f J. can see anything moral i n them. I'm sure I ought to have been more lucky through l i f e , being so very wide awake. And yet here I am, without a place, or even a friend, starving upon a beggarly twenty pounds a year. (XXII, 545)
Bob Stubbs, a l i a s Boots, a l i a s Lord Cornwall i s has much i n common with
Barry Lyndon i n that he sees greed, wickedness, and corruption i n the
world but not i n himself. While the l a t e r narrators relate the vanity
and hypocrisy of the world to themselves, the e a r l i e r narrators make an
a r t i f i c i a l d i v i s i o n between an innocent s e l f and a corrupt world. The
reader of the l a t e r works i s thus put i n the position of having no
pharmakos, or scapegoat, onto whom he can project his own g u i l t . He
finds within himself—what the narrator admits i n himself—alazon,
eiron, and pharmakos.
Like Ikey Solomons, Mr. Snob begins his series of papers with
an ostensibly moral purpose, but he shows some rea l i z a t i o n that he i s
also involved i n the object lesson he sets before his reader. His
avowed purpose i s to show that "Society having ordained certain
customs, men are bound to obey the law of society, and conform to i t s
harmless orders" (XXII, 11). Snob i s p l a i n l y a sycophant, as his
paper on l i t e r a r y snobs reiterates, but he i s also aware of himself
as a possible target of c r i t i c i s m . He does not shy away from s e l f -
83
q u e s t i o n i n g , although he provides h i s own s e l f - f l a t t e r i n g answers.
Punch s t a r e s i n the m i r r o r i n the i n i t i a l i l l u s t r a t i o n to the paper
on l i t e r a r y snobs, and draws a f l a t t e r i n g l i k e n e s s of h i m s e l f , and
Mr. Snob f o l l o w s h i s e d i t o r ' s l e a d throughout, but the q u e s t i o n from
h i s h y p o t h e t i c a l reader does a r i s e :
W i l l that t r u c u l e n t and unsparing monster who a t t a c k s the n o b i l i t y , the c l e r g y , the army, and the l a d i e s , i n d i s c r i m i n a t e l y , h e s i t a t e when the t u r n comes to "egorger h i s own f l e s h and blood? (XXII, 90)
I n common with Thackeray's l a t e r n a r r a t o r s , Mr. Snob shows
an awareness of the need to mask h i s envy and m a l i c e . Snob presents
h i s reader with an ingenious whitewash of l i t e r a r y v u l g a r i t y , envy, and
pretence, but h i s defence, although i t diminishes the squalor of
Grub! S t r e e t , shows an awareness of other views. H i s f l a t t e r y of
Mr. Punch, moreover, i s f a r from gross toadyism:
Suppose, f o r i n s t a n c e , I good-naturedly p o i n t out a blemish i n my f r i e n d Mr. Punch 1s person, and say, Mr. P. has a humpback, and h i s nose and c h i n are more crooked than those f e a t u r e s i n the A p o l l o or Antinous, which we are accustomed to consider as our standards of beauty; does t h i s argue malice on my p a r t towards Mr. Punch? Not i n the l e a s t . (XXII, 91)
Snob gives us q u e s t i o n and answer i t i s t r u e , and h i s b r u t a l smear
leaves him with c l e a n hands i n h i s own view, but here, as throughout
The Book of Snobs, under the v a r n i s h of c e r t a i n t y l u r k s the suggestion
of doubt.
Mr. Snob i s , perhaps, Thackeray's f i r s t d e p i c t i o n of the s e l f -
doubting n a r r a t o r who. i s to become c e n t r a l to h i s mature n o v e l s . He
8 4
sees his targets as p l a i n l y as C. J . Yellowplush sees, for instance,
the pretence of Bulwer to serve the public morally, but he i s less sure
of. his own immunity to vanity, snobbery, and parasitism. Yellowplush,
of course, does have these vices that he exposes i n others, but his
keenly sardonic eye i s rarely, i f ever, turned upon himself. We get
the rare aside from him, as, for example, that his master, the scheming
Deuceace, who had contrived to win a fortune by marriage to either
Lady G r i f f i n or her daughter, "was sure of- one? as sure as any mortal
man can be i n this sublimary spear, where nothink i s suttin except
unsertnty," but he l i v e s i n a predictable world generally and i s
r e l a t i v e l y untroubled by i r r e s o l u t i o n (XIX, 2 4 4 ) . Snob, on the other
hand, knows that "Man i s a Drama—of Wonder and Passion, and Mystery
and Meanness, and Beauty and Truthfulness" (XXII, 2 2 4 ) . Though he
stops himself i n the middle of such a passage of fine writing, and
turns on himself his own c r i t i c a l eye, saying " l e t us stop this
capital style, I should die i f I kept i t up for a column," Snob i s
aware of an impenetrable inner l i f e i n h i s club—mates, as he
scrutinizes the enigmatical Pawney:
I see . .•. old Pawney stealing round the rooms of the Club, with glassy, meaningless eyes, and an endless greasy simper-he- fawns on everybody he meets, and shakes hands with-you, and blesses you, and betrays the most tender and astonishing interest i n your welfare. You know him to be a quack and a rogue, and he knows you know i t . But" he wriggles on his way, and leaves a track of slimy'flattery after him wherever he goes. Who can penetrate that man's mystery? What earthly good can he get from you or me? You don't know what i s working under the leering tranquil mask, You have only the dim inst i n c t i v e repulsion that warns you, you are i n the presence of a knave—beyond which fact a l l Pawney*s soul i s a secret to you. (XXII, 2 2 5 )
85
In a recent study of the n a r r a t o r ' s character as the clue to
the ambivalence of V a n i t y F a i r , Bernard J . P a r i s uses the p s y c h o l o g i c a l
s t u d i e s of Karen Horney to diagnose what he c o n s i d e r s t o be Thackeray's
n e u r o s i s . P a r i s maintains that "the implied author . . . i s not i n 5
harmony wit h h i m s e l f because he i s t r o u b l e d by n e u r o t i c c o n f l i c t s . "
Although the post -1847 n a r r a t o r s Thackeray uses are c l o s e r to what might,
f o r want of a b e t t e r phrase, be c a l l e d h i s "moral norms," we have to
remember that Thackeray i s not and cannot be h i s n a r r a t o r . A confused
n a r r a t o r does not n e c e s s a r i l y imply a confused Thackeray, any more than
a confused T r i s t r a m means a confused Sterne. When P a r i s concludes that
"the r e a l t r o u b l e with the n a r r a t i v e technique of much V i c t o r i a n
f i c t i o n . . . i s that the author as i n t e r p r e t e r u s u a l l y does not know
what he i s t a l k i n g about," he shows h i s impatience with the i r r a t i o n a l
and u n p r e d i c t a b l e . L i k e the anomalous works of Erasmus, Burton and
Browne, Thackeray's novels t h r i v e on the c o n f l i c t s of c a r e f u l l y
juxtaposed t r u t h s . Thackeray's f a i l u r e to i n t e r p r e t h i s s t o r y or to
present h i s theme co h e r e n t l y i s not due to n e u r o t i c c o n f l i c t s or
f a u l t y technique, but i s a d e l i b e r a t e device which allows him to r e v e a l
h i s v i s i o n of l i f e ' s precariousness and i n s t a b i l i t y .
Thackeray's n a r r a t o r s develop from the u n r e l i a b l e and c o n s i s t e n t
to the r e l i a b l e and i n c o n s i s t e n t . The n a r r a t o r of the mature novels
embraces the n a i v e t y of Barry Lyndon and the s o p h i s t i c a t i o n of Ikey
Solomons, the romanticism of F i t z b o o d l e and the wide-awake v a l e t i s m of
Yellowplush. He can no longer t e l l a p l a i n unvarnished t a l e about
^"The Psychic S t r u c t u r e of V a n i t y F a i r , " VS, 10(1967), 390.
6 I b i d . , p. 410.
86
rogues and dupes because he sees himself as an amalgam of such ea s i l y
i d e n t i f i a b l e figures; he i s Deuceace, Brough, the Earl of Crabs,
Mr. Pigeon and Sam Titmarsh as occasion demands, but he goes beyond
their immediate social scene to f i n d within himself the truths of
history, legend, and romance. Amelia and Becky, Laura and Blanche,
Rachel and Beatrix are projections of dove and serpent that the mature
narrator discovers i n himself. He sees them as heroines, fools, or
v i l l a i n e s s e s according to his domination by the domestic, mundane, or
c h i v a l r i c mood.
Pendennis i s saved from bad marriages as much by the worldly
Major as by the unworldly Helen. Mrs. Pendennis would continue to
spoil her son by lavishing on him an ever-increasing approval i f i t
were not for the checks of the Major. Helen, the narrator reminds us,
i s always s a c r i f i c i n g herself with just a l i t t l e too much insistence,
for Arthur's good, and her suspicions of Pendennis' relationship
with Fanny Bolton suggest the angel i s not above jealousy and malice
when her own preserves are threatened. In the story he t e l l s us, the
narrator offers us only his own visions of saints and heroes which
are based on a complex blend of the worldly and prudential with the
ephemeral and romantic. So even George Warrington, the honourable,
good and generous alter-ego of Pendennis, i s as tainted with s e l f -
interest as Helen:
For ours, as the reader has possibly already discovered, i s a Se l f i s h Story, and almost every person, according to his nature, more or less generous than George, and according to the way of the world as i t seems to us, i s occupied about Number One. So Warrington s e l f i s h l y devoted himself to
87
Helen, who s e l f i s h l y devoted herself to Pen, who s e l f i s h l y devoted himself to himself. (VI, 77)
The narrator here sees his story as a moral tale hut this moment of
disenchantment i s not a f i n a l assessment, and his i r o n i c a l v i s i o n
does not permit him to take one side exclusively and to deride the
other.
Just as the narrator's i d o l a t r y of Helen leads to a recognition
that the q u a l i t i e s he finds i n her are largely projections of fancy,
so his indulgence i n the vicarious experience of youthful passion has
i t s obverse side. Before he punctures his own i l l u s i o n , the narrator
sees Emily Costigan i n the prime and fulness of her beauty as follows:
Her forhead was vast, and her black hair waved over i t with a natural r i p p l e , and was confined i n shining and voluminous braids at the back of a neck such as you see on the shoulders of the Louvre Venus—that delight of gods and men. Her syes, when she l i f t e d them up to gaze on you, and ere she dropped the i r purple deep-fringed l i d s , shone with tenderness and mystery unfathomable. Love and Genius seemed to look out from them and then r e t i r e coyly. . . . She never laughed (indeed her teeth were not good), but a smile of endless tenderness and sweetness played round her beautiful l i p s , and i n the dimples of her cheeks and her lovely chin. **er nose defied description i n those days. Her ears were l i k e two l i t t l e pearl s h e l l s . (IV, 58)
We are again i n the realm of burlesque, but the passage, unlike Ikey
Solomons' on Catherine as romance heroine, barely touches on bathos.
The large feet and imperfect teeth hardly disturb the narrator's soar
ing vein once the f i t i s on him; there are no whalebone stays to
shatter the fa n c i f u l picture. However unworthy the subject.may be,
and however t r i t e the phraseology he employs, the narrator cannot,
88
and does not wish to, discredit his own feelings. The use of the
theatrical setting i n Pendennis* romance with the Fotheringay prefigures
a similar use of the unreal and deliberately pompous and melodramatic
setting of George Warrington's play i n The Virginians. Tears are
aroused i n the sentimental Theodosia there, as they are i n Bows i n
Pendennis. The narrator partakes of the passions before he discredits
them, before he lays aside the mask.
In the novels after 1847, Thackeray's burlesque pertains more
to irony than invective-satire. The targets are used not as a means
of s e l f - g l o r i f i c a t i o n on the r ^ r r a t o r ' . s part--but as a means of
exploration through i d e n t i f i c a t i o n . The " r e a l " Fotheringay, Helen
Pendennis or Blanche Amory, i s l e s s important than the visions which
they excite i n the observer 1s mind. AB John Loafbourow says of
Esmond, and his observation can be applied equally to the l a t e r novels,
"expressive metaphors no longer depend on parodic textures; they can
evoke universal perceptions, aspects of human experience so fundamental 7
that they cannot be discounted as unreal." The narrator makes this
e x p l i c i t after "The Stranger" has played before an e l e c t r i f i e d audience: Nobody ever talked so. I f we meet id i o t s i n l i f e , as w i l l happen, i t i s a great mercy that they do not use such absurdly fine words. The Stranger's t a l k i s sham, l i k e the book he reads, and the hair he wears, and the bank he s i t s on, and the diamond r i n g he makes play with—but, i n the midst of the balderdash, there runs that r e a l i t y of love, children, and forgiveness of wrong, which w i l l be listened to wherever i t i s preached, and sets a l l the world sympathising. (IV, 59)
Thackeray and the Form of F i c t i o n (Princeton: Princeton Univ. Press, 1964), p. 168.
89
We can thus conclude that Thackeray's l a t e r narrators have
a greater power to become what they burlesque than the more clea r l y
defined early narrators. The narrators of Vanity Fair and Pendennis
partake of the moods of fashionable writing, mock-heroic, and pastoral
myth, at the same time that they mock them. Similarly, the conventions
of the theatre are exposed as sham, yet commended for th e i r a b i l i t y to
express human fe e l i n g . The narrators have moved a long way from the
social unmaskers, Fitzboodle and Yellowplush, who knew what was real
and what was sham, and the rather naive role-players, Barry Lyndon and
Ikey Solomons,who were easy targets for reader irony. The mature
novels have a much more erudite and responsive narrator who has no
position to maintain, apart from t e l l i n g a loosely structured moral
story. The narrator here t r i e s to probe behind s u p e r f i c i a l facts to
discover the truer facts of f e e l i n g . The facts needed for narrative
frequently elude the narrator's grasp, and although narrative art i s
the art of story t e l l i n g , yet "the more l i t e r a t e and sensitive a man
i s , the more he feels creative pressures which drive him to seek beauty 8
or truth>at the expense of fact." The l a t e r narrators f i n d that truths can only be revealed
9 through the deliberate acceptance of the shams of Art.-' Thackeray's
^Robert Scholes and Robert Kellogg, The Nature of Narrative (New York:- Oxford Univ. Press, I966)., p. 258.
9 In a l e t t e r to David Masson complaining of Dickens' use of
caricature, Thackeray maintains "that the Art of Novels i s to represent Nature: to convey as strongly as possible the sentiment of r e a l i t y — i n a tragedy or/poem or a l o f t y drama you aim at producing different emotions; the figures moving, and th e i r words sounding, heroically; but i n a drawing-room drama a coat i s a coat and a poker a poker; and must be nothing else according to my ethics, not an
narrators, i n the post-1847 novels, apparently know better than the
writer of the Pendennis preface that a "MAN",- such as Tom Jones, i s
no more than a convenient f i c t i o n . When Batchelor, i n Lovel the
Widower, keeps Miss Prior waiting while he prepares his reader to
meet her, or when the narrator of Pendennis begins Chapter VIII,
"Once upon a time, then, there was a ;young gentleman of Cambridge
University," the f i c t i o n a l nature of our narrative i s impressed upon
us. The l a t e r narrators want their readers to be aware that they
are i n the land of make-believe and to enjoy not only the story but
the ingenuity of the s t o r y - t e l l e r . They impress upon the i r readers tha$
"almost every story we read demands that we accept as fact something
that we know to be nonsense: that good people always win, especially
i n love; that murders are . . . solved by l o g i c . " These conventions,
that Frye c a l l s "the maddened ethics of fairyland," which have l i t t l e
or no connection with "the normal behaviour of adult people,"'^ are
not only accepted, but delighted i n , by Thackeray's l a t e r narrators.
Whereas the e a r l i e r Thackerayan narrator i s frequently con
temptuous of the spectator's need for dramatic pabulum, the l a t e r
narrator g l e e f u l l y exploits this human need. Saintsbury points out
Thackeray's unsparing mockery of theatrical sham i n Flore et Zephyr
and other early work,"*'''" and The Paris Sketch Book of Mr. M.A. Titmarsh
embroidered tunic, nor a great red-hot instrument l i k e the Pantomime weapon."—Letters, I I , 772-773. This opinion, of course, i s constantly belied by Thackeray's blending of stage and novel conventions.
1 0Northrop Frye, The Educated Imagination (Toronto: CBC Publications, 1963), p. 35.
1 1 A Consideration of Thackeray (London: Oxford Univ. Press,
91
exposes French drama and melodrama with a c a v a l i e r d i s d a i n f o r the
hallowed conventions of the stage and the needs of the audience:
A f t e r having seen most of the grand dramas which have been produced at P a r i s f o r the l a s t half-dozen years, and t h i n k i n g over a l l that one has s e e n , — t h e f i c t i t i o u s murders, rapes, a d u l t e r i e s , and other crimes, by which one has been i n t e r e s t e d and e x c i t e d , — a man may take leave to be h e a r t i l y ashamed of the manner i n which he has spent h i s time; and of the hideous k i n d of mental i n t o x i c a t i o n i n which he has permitted h i m s e l f to i n d u l g e .
Titmarsh f i n d s "such t r a g e d i e s are not as good as a r e a l , downright
execution," yet "the h o r r o r s of the p l a y act as a piquant sauce to
the supper" (XVII, 369). For him r e a l i t y i s found only i n the s o l i d
molecular u n i v e r s e , and the p l a y i s a p e t t y and unimportant concern.
While Thackeray the man enjoyed the absurd and exaggerated
aspects of the stage, and Thackeray the w r i t e r d e l i g h t e d to expose
them to r i d i c u l e at considerable l e n g t h , h i s n a r r a t o r , Titmarsh, 12
stands a l o o f from the c a r n i v a l . Titmarsh pokes fun at the lower
c l a s s e s ' r e c e p t i o n of the Boulevard dramatists where "you see v e r y
f a t o l d men c r y i n g l i k e babies; and, l i k e babies, sucking enormous
s t i c k s of b a r l e y - s u g a r . A c t o r s and audience enter warmly i n t o the
i l l u s i o n of the p i e c e " (XVTI, 383). Titmarsh i s pleased not to be
part of the sensation-hungry c h i l d - l i k e audience, f o r he cannot,
and i s u n w i l l i n g to, share i n i l l u s i o n , f e e l i n g t h a t he has h i s own
1931), p. 21.
12 Cf. the account LhyMajor Frank Dwyer of Thackeray's comic t u r n
i l l u s t r a t i n g the absurd aspects of French t h e a t r e . Thackeray impersonates the p r o t a g o n i s t of "some drama or opera . . . who comes on/stage with a p i r o u e t t e , and waving h i s hand i n a m a j e s t i c manner to a chorus, r e p r e s e n t i n g Jews i n e x i l e at Babylon, says 'Chantez nous une chanson de Jerusalem^ "• L e t t e r s , I I , 67n,
92
superior r e a l i t y . The l a t e r narrators, by contrast, manage to project
their feelings onto even the most tawdry stage trappings, as we have
seen in Pendennis, and even while r e a l i z i n g the trumpery nature of the
"props" or the a r t i f i c i a l i t y and arbitrariness of their own story
t e l l i n g convention, they are able to involve themselves i n a f i c t i o n a l
and counterfeit world.
The introspective nature of the l a t e r narrators and the
apparently elusive hold which they retain on their ostensible subject,
frequently leaves the reader f e e l i n g he i s dealing with an impostor.
The narrator begins to partake of the colour of whatever mood takes
his fancy, and to point disconcertingly to h i s avowed subject with
some disdain as an "old" story about which we need not trouble ourselves
overmuch. As a s t o r y - t e l l e r he becomes something of a f a i l u r e i n the
manner of Tristram. "The s t o r y - t e l l e r i s often faced with the choice
of being either a bore or a charlatan. The great st o r y - t e l l e r s
inevitably choose the l a t t e r . " ^ 3 Once the narrator has indulged ,or
"thrown o f f " the l y r i c a l passages, he shows the same, disdain towards ;
'them as to the story i t s e l f . The narrator sprinkles his story not
only with apologies for the story, but with, gestures of self-renunciation,
metaphorical shruggings of the shoulders and grimaces to his reader that
suggest not only the impossibility of t e l l i n g a coherent story, but
the f u t i l i t y even of attempting communication. Part of the elusive
charm of the narrator i s due to the fact that we can never be sure
of him; neither i s he sure whether he i s the part he plays even
1 3The Nature of Narrative, p. 258.
93
after he has played i t .
The l a t e r narrators seek to contain contradictions by avoiding
commitment to any one point of view, and to give themselves a th i r d
dimension by becoming ir o n i c watchers of their changing selves. Whereas
Barry Lyndon sees himself as a hero i n Frederick of Prussia's army yet
also confesses to the baseness i n the looting, murder and pillage of
c i v i l i a n homes, Esmond, i n maturity, sees his.heroic and c h i v a l r i c
past as a part played with conviction at the time, but not involving
his whole nature. Esmond sees the reverse side of Addison's
celebration of B r i t i s h v i c t o r i e s ; he knows that mean motives and
base acts l i e behind the triumphs bruited i n heroic couplets. Yet,
when the f i t i s on, Esmond can s t i l l give himself up to a glamorous
vi s i o n of the mercenary Beatrix. She inspired him to f e e l heroically
and to perform what seemed great deeds, and he enjoys r e c a l l i n g and
entering into the visions of past glories which are made part of his
present r e a l i t y . Joseph E. Baker notices that both Thackeray and
St. Augustine "recognize the r e a l i t y of delight even when i t i s
ephemeral, or i n f e r i o r , " and that Thackeray "contemplates l i f e with
something of that poetic f e e l i n g which makes Platonism so charming,
that love for the beauties i t recognizes to be t r a n s i t o r y . " ^ Barry
Lyndon, Ikey Solomons, Yellowplush, Gahagan, and Titmarsh are too
concerned with appearing as integrated personalities to be able to
mirror the nuances of the changing s e l f . They offer us engaging
1 4 " V a n i t y Fair and the Ce l e s t i a l City," NCF, 1 0 ( 1 9 5 5 ) , 9 5 .
incongruities and a series of biases, based upon an almost total lack
of introspection.
By standing back from the society they seek to r e f l e c t , the
early narrators give a sharply s a t i r i c a l picture. The l a t e r narrators,
however, enter into t h i s society of Vanity Pair and see themselves
reflected through others. They no longer laugh with the certainty of
superiority and they experience some pain through this process of
i d e n t i f i c a t i o n . A.R. Thompson says that to perceive irony one must
be detached, but "to f e e l i t one must be pained for a person or ideal
gone amiss. . . . Someone or something we cherish i s c r u e l l y made 15
game of; we see the joke but are hurt by i t . " ' Barry Lyndon sees
no irony, Ikey Solomons sees i t but does not f e e l i t , but Esmond
both sees and feels irony. The knowledge that one i s both l a t e n t l y
the same and yet patently different from the world outside oneself
leads to doubts about the s t a b i l i t y of one's own personality. One
becomes nothing but a series of parts of "characters." But i f this
i r o n i c a l awareness i s painful, i t can also be l i b e r a t i n g , for one
i s then free to take on whatever role the mood of the moment suggests.
The e a r l i e r narrators who t e l l " s t o r i e s " — r a t h e r than giving
"sketches" or "papers" on contemporary l i f e — h a v e a more or less fixed
part to play. Barry Lyndon i s an Irishman, Ikey Solomons a Jew,
Yellowplush i s a footman and even Titmarsh, i n The Great Hoggarty
Diamond, plays the role of an ingenu at the mercy of the rapacious
world. Mr. Snob has more f l e x i b i l i t y , since "snob" becomes a v i r t u a l
15 ^The Dry Mock: A Study of Irony i n Drama (Berkeley; Univ. of
Ca l i f o r n i a Press, 19487, p. 15.
synonym for "pretender," but he has no narrative thread and no opportun
i t y to i d e n t i f y with familiar puppets. The l a t e r narrators make use
of a story which i s b a s i c a l l y an "old" story and i s ostensibly not
their own, but the story of a "scapegrace," whose adventures i n the
world consist of r e s i s t i n g the lures of ogling females and the lures
of g l i t t e r i n g gold. Upon this simple theme the l a t e r narrators work
their own strange and enchanting medley. The reader i s taken into the
world of theatre, of f a i r y - t a l e , of exotic legend, of c l a s s i c a l myth
and fable, and into the uncomfortable world of speculation and perplex
i t y which occupies the forefront of the narrator's mind.
The narrator of the mature novels i s so complex and ephemeral
i n h i s moods that i t i s impossible to do much more than suggest the
flavour of his qui c k s i l v e r - l i k e presence. This d i f f i c u l t y of defin
i t i o n i s experienced by Laurence Brander who finds that the narrator
of the Pendennis series
i s a charming Victorian gentleman of moderate means, happily married and almost uxorious, with h i s whole l i f e based on his family and his writing. He i s Thackeray himself, plus what Thackeray would have l i k e d for himself. To some of us i n . g London today, he might be the image of one of our friends.
Almost any fixed description can be contradicted, for the narrator i s
more l i k e a sensitive ear that picks up suggestions of rhythms of his
story, and beats them out as i f they were heart beats heard through a
stethoscope. The normal rhythms of l i f e become distorted and
exaggerated, and beneath the urbanity that Brander finds, the narrator
Thackeray (London: Longmans, Green, 1959), P» 29.
96
reveals an i n f i n i t e variety and a vast range of imaginative potential.
He partakes of the respectable worldly middle-class values only super
f i c i a l l y , for beneath his suave exterior i s revealed a figure who i s at
once erudite, grotesque, impish and c h i l d - l i k e i n h i s response to love
and danger.
Apart from Sterne, i t i s perhaps i n Rabelais that the mature
narrator finds his nearest counterpart, John Cowper Powys maintains
that "what Rabelais has the power of communicating to us i s the
renewal of that physiological energy which alone makes i t possible to 17
enjoy this monstrous world," Though Pendennis, the Manager, Esmond,
and the rest, lack the essential vulgarity of Rabelais, they are, l i k e
him, b r i l l a n t and sly improvisors who treat their imitations with both
love and contempt, Esmond, i t i s true, i s more melancholy and
restrained than the typical narrator, yet even he gives a sense of
abounding concern for discovering the ideal i n unlikely places,
"Rabelais' entire e f f o r t i s directed toward playing with things and
with the m u l t i p l i c i t y of their possible aspects; upon tempting the
reader out of his customary and definite way of regarding things, 18
by showing him phenomena i n utter confusion." The element of
gleeful exaggeration, which has such a l i b e r a t i n g effect on the
reader, i s often paralleled by an almost cruel act by the protagonist. 17 'Cited by Jacques Le Clercq i n The Complete Works of Rabelais,
trans. Jacques Le Clercq (New York: Random House, 1944)j P» x x v i i . 18
Erich Auerbach, Mimesis: The Representation of Reality i n Western Literature, trans. Willard Trask (New York: Doubleday, I957), p. 242.
This, too, has the effect of appealing to the reader's destructive
or demonic urge. He see that Pantagruel, chasing the town b u l l i e s
who eject a student with cause, "would have drowned them, had they not
burrowed into the earth l i k e moles and l a i n i n hiding a good two 19
miles under the r i v e r . " y P h i l i p Pirmin acts as just such a scourge
of the mendacious p o l i t i c i a n Woolcomb, when at Ph i l i p ' s instigation,
Yellow Jack and his donkey cart make a travesty of Woolcomb's campaign
Exuberance and cruelty j u s t i f y themselves i n t h i s passage; Plying their whips, the post boys galloped towards Yellow Jack and his vehicle. . . . Just as Yellow Jack wheeled nimbly round one side of the Ringwood statue, Wool comb's horses were a l l huddled together and plunging i n confusion beside i t , the forewheel came i n abrupt c o l l i s i o n with the stonework of the statue r a i l i n g : and then we saw the vehicle turn over altogether, one of the wheelers down with i t s r i d e r , and the leaders kicking, plunging, lashing out right and l e f t , wild and maddened with fear. . . . This accident, t h i s c o l l i s i o n , this injury, perhaps death of Woolcomb and his lawyer, arose out of our fine joke about the Man and the Brother. (XVI, 474-475)
For the mature narrator i n Thackeray's work a beautiful l i e
has more value than any reported or purely "objective" truth. Just
as Chaucer i r o n i c a l l y states that he w i l l swear his narrative i s as
true as the story of Sir Launcelot, so Thackeray, again l i k e Rabelais,
through h i s insidious narrator craves reader indulgence for his
preposterous story. He offers to join his reader i n hurling scorn on
stories containing the happy ending of the c i r c u l a t i n g l i b r a r y novel,
while at the same time presenting him with just such a novel. Rabelai
declares that " i t has never occurred to me to l i e or to make false
The Complete Works of Rabelais, p. l80.
98
representation. I speak l i k e St. John i n the Apocalypse Quod vidimus 20
testamur, we relate what we have seen." We are here blatantly asked
to believe that the creator of Gargantua never says the thing which i s
not. Mr. Roundabout does not ask us to give credence to absurdities,
so much as he maintains that we cannot l i v e without them, for a l i e once set going, having the breath of l i f e breathed into i t by the father of l y i n g , and ordered to run i t s diabolical l i t t l e course, l i v e s with a prodigious v i t a l i t y . You say, "Magna est Veritas et praevalebit." PshaJ Great l i e s are as great as great truths, and prevail constantly, and day after day. (XXVII, 156)
Thus, the l a t e r narrator of Thackeray's novels agrees with the narrator
of Middlemarch that "signs are small measurable things but inter-21
pretations are i l l i m i t a b l e , " and i t i s with the interpretations that he i s fascinated. Gossip and scandal, t y p i f i e d i n the figure of Tom
22
Eaves, form the mainstay of the mature novels, and Mr. Roundabout i s
i r o n i c a l towards worthy Mrs. Candour on their supposed pact to be
s t r i c t l y accurate and t r u t h - t e l l i n g about their neighbours: We w i l l range the f i e l d s of science, dear madam, and communicate to each other the pleasing results of our studies. We w i l l , i f you please, examine the infinitesimal wonders of nature through the microscope. . . . We w i l l take refuge i n cards, and play at "beggar my neighbour," not abuse my neighbour. (XXVII, 159)
? 0 Ibid., pp. 162-163.
21 Works of George E l i o t , Library ed. (London: Blackwood, 1901),
VII, 16. 22 For an interesting assessment of Vanity Fair as a product of
Thackeray's narrators develop from the acute social observer
of the middle-class scene to the ubiquitous narrator of the post-1847
period. Although the s a t i r i s t i s never completely absent from the
mature novels, the sting has gone from his s t r i c t u r e s . It can be said
that after Vanity F a i r , Thackeray discovered h i s natural metier
and real vocation as a novelist rather than a hack-journalist. He
became sympathetically involved with his creations and his narrators
learn that they cannot separate themselves a r b i t r a r i l y from the
mean-ness, viciousness and f o l l y that they discover i n t h e i r external
environment. Lionel Stevenson suggests prudential reasons for the
decline of his s a t i r i c a l sketches: " I f he was to make a l i v i n g by
his novels, he knew he had to humor the complacent i l l u s i o n s and 23
fetishes of his public." However true i t may be, this statement
ignores the fact that the same t r a i t s of moral and social satire
remain i n his work right up to the end, but, after about I847, a
pervasive irony envelops the would-be s a t i r i s t and moralist. The
narrator becomes more and more aware that he himself contains as
many complacent i l l u s i o n s as he detects i n his fellows. This
self-conscious stance makes him change at w i l l from shovel-hat to
cap-and-bells, and see himself reflected i n the social scene.
This awareness of the narrator of his own changing roles
leads to a constantly changing point of view and a concomitant
the narrator's conjecture see Ann Y. Wilkinson, "The Tomeavesian Way of Knowing the World: Technique and Meaning i n Vanity Fair," ELH, 32(1965), 370-387.
23 The Showman of "Vanity F a i r " : The L i f e of Will jam Makepeace
Thackeray (New York: Scribner's, 1947), p. 293.
100
increasing disruption of the novel's form. C r i t i c a l opinion i s s t i l l
mainly hostile to the l a t e r and more digressive novels, which, i t i s
true, do not offer the v i t a l i t y of character of Vanity Fair or even
Pendennis. However, i n an age sensitive to irony, few c r i t i c s would
support the verdict of G.U. E l l i s on Lovel the Widower that i t
i s no novel. Without a knowledge of Thackeray's l i f e , i t i s p r a c t i c a l l y meaningless. There are at least three "stories" i n i t . . . and characters so jumbled together and yet so unrelated that without the clue of his own l i f e the book must seem some puzzling allegory.
Lionel Stevenson's c r i t i c i s m of Ph i l i p ' s "lack of integrated structure
. . . disguised by a tissue of discursive comment," i s merely an echo
of James Oliphant's comment i n 1899 that "Thackeray's narrative
power i s . . . constantly interrupted by his tendency to moral
d i s q u i s i t i o n . "
The same questions of the sham and the true occupy the narrators
from the early to the l a t e r work, but the smooth, confident flow of
the early columnist gives way to the unrestrained probing of the
narrators of the chief novels. Thus, i n reviewing French fashionable
novels i n I84O, Titmarsh says sedately,
I have often thought that, i n respect of sham and real h i s t o r i e s , a similar fact may be noticed; the sham story appearing a great deal more agreeable, l i f e - l i k e , and
2^Thackeray (London: Duckworth, 1933), p. 133.
25 ' The Showman of."Vanity F a i r , " p. 371; Victorian Novelists
(New York: A.M.S. Press, I899), p. 57.
101
natural than the true one; and a l l who, from laziness as well as pri n c i p l e , are inclined to follow the easy and comfortable study of novels, may console themselves with the notion that they are studying matters quite as important as history, and that their favourite duodecimos are as instructive as the biggest quartos i n the world. (XVII, 114)
L i t t l e of the doubts, imprecations to the reader, exclamations and
rhetorical questioning of the l a t e r narrators appears i n the style
i t s e l f . The phrases are long and their rhythm i s confident and
measured. Apart from the style, however, there i s something familiar
and re-assuring i n the very nature of such eccentrics as Yellowplush,
Lyndon and Fitzboodle, whereas the l a t e r narrators are unsettling
and bizarre i n their bewildering protean aspects.
The l a t e r Thackeray does not assume a s o l i d r e a l i t y beyond
that which hi s narrator can see. As visio n becomes more v o l a t i l e ,
moreover, not only do character types begin to break down, but
reader-interpretation becomes more d i f f i c u l t and more c r u c i a l .
Solomons i s unsure about rogues and heroes, but, because he seeks to
appear as consistent and unified i n his outlook, the irony i s
directed against him. Pendennis, the Manager, Esmond, and the narrator
of The Virginians, invite the reader into a world of multiple
perspectives i n which the ultimate perspective of perspectives l i e s
somewhere i n the shared experience of reader and narrator. How we
fe e l about Becky Sharp or Beatrix, Lord Castlewood or Colonel Dobbin,
depends to a large extent on our mood of the moment, whether we are
under their spell or whether we have moved outside their sphere of
influence. The narrator's own temporary position complicates the
102
reader's response, for often when the narrator sees Amelia as a
heroine or Maria as an object of pity, the reader's response may be
the opposite. He i s , at times, not only an unsure guide, but also an
unreliable f i l t e r between Thackeray and the reader. When he declares
that he would give a l l of Mr. Lee's conservatories for a kiss from
Amelia, the narrator becomes his sentimental reader. But he can also
become his cynical reader—the counterpart of Jones at the club who
would write "twaddle" i n the margins of the tender passages of Vanity
F a i r . The real reader i s thus a marginal commentator on his elusive
narrator, and he includes within himself both the sentimental and
cynical reader. Irony thrives on such contradictions, and i n using
the nimble sprite to t e l l his story, Thackeray draws his reader into
a macabre game where the reader can see himself playing a variety of
incongruous roles which, strangely enough, seem to be "him," yet are
also nothing but frivolous i l l u s i o n .
CHAPTER IV
ILLUSION AS PROBE: NARRATOR-CHARACTER-READER RELATIONSHIPS
"Stop, Don Quixote. Look and y o u ' l l see that those you are knocking over and k i l l i n g are not r e a l Moors, hut only l i t t l e pasteboard f i g u r e s I"
— C e r v a n t e s , Don Quixote
" I t was the mask engaged your mind, And a f t e r set your heart to beat, Not what's behind."
—W. B. Yeats, "The Mask"
Sometimes I wonder whether these pages r e c o r d the a c t i o n s of r e a l human beings; or whether t h i s i s not simply the s t o r y of a few inanimate o b j e c t s which p r e c i p i t a t e d drama around them.
—Lawrence D u r r e l l , J u s t i n e
Masks C r i t i c s of the novel i n general and of Thackeray's novels i n
p a r t i c u l a r are r e l u c t a n t to accept the n o v e l i s t ' s d e l i b e r a t e emphasis
on the a r t i f i c i a l i t y of a r t . The overt dehumanization of character,
so t y p i c a l of the Thackerayan n a r r a t o r as he moves between two d i s
t i n c t f i c t i o n a l worlds, i s glossed over by many c r i t i c s of the n o v e l s .
Thus G e o f f r e y T i l l o t s o n f e e l s i t necessary to make an elaborate apology
f o r the c o n t i n u a l r e f e r e n c e s i n V a n i t y F a i r to the puppets which the
Manager d i s p l a y s :
I t was only because of h i s modesty tha t he c a l l e d them puppets. And even the word puppets may have c a r r i e d a more human connotation f o r him than f o r us, who t h i n k of puppets as small d o l l - l i k e t h i n g s . Puppets f o r Thackeray may have meant the pygmies we f i n d i n the drawings of the day. . . . The l a s t
103
104
sentence of V a n i t y F a i r may have been meant to set the showman at a d i s t a n c e from men, i r o n i c a l l y s j e n as c h i l d r e n , r a t h e r than to stand him c l o s e to d o l l s .
T h i s chapter maintains t h a t , on the contrary, Thackeray's n a r r a t o r
means p r e c i s e l y what he says. The n a r r a t o r i n V a n i t y F a i r and the
other s e r i a l i z e d novels d e l i b e r a t e l y and p r o v o c a t i v e l y draws h i s
reader's a t t e n t i o n to the f a c t that he i s i n v o l v e d i n an imaginative
experience, that a novel i s a r t and not l i f e , Thackeray i s not
a f r a i d to d e s t r o y the primary i l l u s i o n momentarily, by having the
Manager r e f e r to h i s puppets, i n order to c o n s t r u c t a f u r t h e r , more
s p e c u l a t i v e and i n c o m p l e t e — a n d hence more l i f e - l i k e — i l l u s i o n .
The secondary f i c t i o n a l world where n a r r a t o r and reader meet
r e f l e c t s not o n l y the i r o n i e s of l i f e but the i r o n i e s of a r t . I t ,
thus, c o n t r a s t s with the f i c t i o n a l worlds of Ford, Conrad, or James.
The worlds of Dowell, Marlow, or S t r e t h e r are p a r a l l e l e d by those of
t h e i r readers who are prepared to accept Ashburnham, Lord Jim, or
Chad ITewsome, as " r e a l men." These characters are the means by which
t h e i r n a r r a t o r s explore t h e i r own consciousness, but the reader i s
asked, and i s w i l l i n g , to accept them as " r e a l . " Pantagruel, Don
Quixote and Becky Sharp, on the other hand, although they perform
analogous f u n c t i o n s f o r t h e i r n a r r a t o r s , while they are " r e a l " i n
one f i c t i o n a l world, must be seen as f i c t i o n s i n the secondary
world.
T h i s world i s n e i t h e r the world of the characters nor that
of the a c t u a l world of e a t i n g , s l e e p i n g , w r i t i n g l e t t e r s and a t t e n d i n g
^"Thackeray the N o v e l i s t (Cambridge; Cambridge Univ. Press, 1954), pp. 116-117.
105
classes. I t i s a world half way between these which seems f u l l of
p o s s i b i l i t i e s and fun. In this world the narrator sees himself as an
exploiter of i l l u s i o n and the reader here, i f he i s w i l l i n g to play
the game, w i l l put on many disguises. I t i s a less serious world than
either the primary world or the actual world because both narrator and
reader know that they are playing games. The narrator draws the reader's
attention to himself as a reader of the novel and there i s a personal
f e e l i n g of collusion and dialogue. The pleasure the reader gains from
this quasi-personal contact with h i s s t o r y - t e l l e r i s comparable to
that of a member of a theatre audience who goes into the dressing-
room between the acts, or the c h i l d who after the puppet-show i n s i s t s
on seeing and handling the no-longer-animated rags and sticks which
captured h i s imagination during the show.
The novelist who admits us into the dressing-room, so to
speak, does not undermine his art, any more than the conjurer who
shows how a t r i c k i s performed spoils the t r i c k . We know with one
part of ourselves that he i s not r e a l l y sawing a woman i n half or
smashing our watch with his hammer, but that he i s a deceiver and we
are w i l l i n g l y deceived. Knowledge does not necessarily i n h i b i t b e l i e f
which ought l o g i c a l l y to be undermined by an awareness of the f a c t s .
Greig complains that Thackeray "indulged so often i n a kind of
f i c t i o n a l ventriloquism." Thackeray merely i n s i s t s that f i c t i o n i s
f i c t i o n and that h i s reader must be at least partly aware that he i s
inside the realm of a r t . When Greig notices "how often he JThackerayj
i s tempted to interpose between himself and h i s readers a supposed
106
n a r r a t o r — a sort of dummy on h i s knee, into whose mouth he can project 2
his own voice s l i g h t l y muffled," he i s merely accepting that t h i s i s
a work of a r t . And art deals with dummies i n the form of painted heads,
marhie "bodies, Elizabethan boys pretending to be women, poets pretending
to be i n love with ravishing maidens, and novelists creating f i c t i t i o u s
worlds out of words. To see the a r t i s t i n h i s studio, the boy rehears
ing his part out of costume, the novelist standing back and pointing
to his novel does not destroy the work for us, but adds, rather, another
dimension—the dimension of knowledge that we. are mysteriously involved
with the world of symbols and their excellent dumb discourse.
Thackeray's characters do not so much resemble f l e s h and blood
people we might meet i n the world as the masks of the t r a v e l l i n g
and vaudeville. Costigan and M. de Florae are successfully portrayed
through t y p i c a l e c c e n t r i c i t i e s of speech and action associated with
I r i s h Paddies and French noblemen. The figures of the commedia d e l l '
arte whose masks "were not po e t i c a l l y realized characters but pawns
i n the plot . . . tended to assume a stereotyped habit and name,
more significant, r e a l l y , than anything he might do." 3 A glance at
the vast number of characters i n any of the novels shows that
Thackeray, too, r e l i e s heavily on the use of the descriptive l a b e l . 2 Thackeray; A Reconsideration (London: Oxford Univ. Press, 1950),
p. 181.
^Winifred Smith, The Commedia D e l l ' Arte (Hew York: Benjamin Blom, 1964), p. 6.
107
When Becky Sharp, Lord Steyne, Lady Bareacres or S i r P i t t Crawley move
through V a n i t y F a i r , or when Dr. Brand F i r m i n , Dr. Goodenough or
Walsingham-Hely appear i n P h i l i p , the reader needs l i t t l e i n t r o d u c t i o n ,
and expects cunning, wickedness, decency, or t h e i r o pposites, a c c o r d i n g
to the worn emblem. Such f i g u r e s as Blanche Amory or Ringwood Twysden
represent more su b t l e v i c e s of h y p o c r i s y and s o p h i s t i c a t e d chicanery,
but we know them as s u r e l y by t h e i r names as we know the e s s e n t i a l s
about Dobbin and George Warrington by t h e i r s . N a t u r a l l y , since a
novel i s never pure a l l e g o r y , dumb f i d e l i t y and k n i g h t l y v a l o u r are
not the sole q u a l i t i e s of the l a t t e r . Nevertheless, Thackeray's
n a r r a t o r s depend on the reader q u i c k l y i d e n t i f y i n g the dominant t r a i t s
of t h e i r c h a r a c t e r s , i n order, subsequently, to d i s t u r b h i s equanimity.
The t y p i c a l n a r r a t o r i s an i r o n i c observer who has much i n
common with the Zanni of the commedia. His i s the watching b r i e f of
the e i r o n who enjoys a l l o w i n g the other masks who are alazona to act
out t h e i r more a c t i v e and p o s i t i v e r o l e s . I n the commedia, the
"Zanni . . . o f t e n spoke the p r o l o g or e p i l o g to the comedy," and
h i s speeches express t r a d i t i o n a l complaints, passions, serenades and
sonnets of l o v e that belong to no one f i r m l y d e f i n e d c h a r a c t e r . "They
merely express i n c o h e r e n t l y enough, sentiments and opinions appropriate
to the c l e v e r e s t , the most plain-spoken, the most s a t i r i c a l and the
most c y n i c a l of the I t a l i a n Masks, f o r whom the insensate r a p t u r e s
of a l o v e r are only food f o r m i r t h . " Although Pendennis, the Manager,
and the successive n a r r a t o r s of Thackeray's novels are as l i a b l e to
i d e n t i f y with the mask as to d e l i g h t i n unmasking, t h i s d e s c r i p t i o n
108
of the Zanni's function has obvious p a r a l l e l s with the Thackerayan
narrator:
The Zanni . . . was a Mask, or rather an i n f i n i t e variety of Masks. Always of humble station, usually the servant or confidant of a principal character, sometimes a rascal, sometimes a dunce, oftenest a complex mixture of the two, almost always the chief plot-weaver,—his main function was to rouse laughter, to entertain at a l l c o s t s . . . . . « . . . . . . « • . . . . . rg.e imitated different voices and led on h i s impatient dupes )< to their own confounding. . . . S t i l l more remarkable he was able i n h i s own person to play several parts, even on occasion simultaneously.
Thackeray's narrators, although they never quite allow their
readers to observe detachedly the splendid spectacle of human f o l l y
and vanity, take delight i n a grotesquely exaggerated pageant of
pretence, hypocrisy and v i c e . Vanity Fair, Pendennis, The Newcomes,
The Virginians and P h i l i p deal with the perennial themes of love
versus fortune and friendship versus duty, but with a freshness and
abandonment on the part of the narrator which makes the moral themes
subservient to the narrator's eccentric personality. The commedia
d e l l ' arte also used these themes, "and twisted them to suit i t s
purpose of merrymaking; shameless old men and s t i l l more shameless
young people attempt to get their w i l l s through a series of out-5
landish maskings and t r i c k s . " I f Thackeray's narrator i s something of a Zanni, yet he never
4 I b i d . , p. 14: pp. 9 -13. Cf. The Book of Snobs (XXII, 4 ) , on the Pantomime as microcosm.
m Ibid., p. 16.
109
u t t e r l y relinquishes sympathy for knaves and f o o l s . I t i s through
the narrator's perspective that we should see the vices of the
gaudy Lord Steyne, the cunning Becky, the pseudo-amorous Blanche Amory
and the treacherous Ringwood Twysden, and i n their glorious f o l l i e s
the reader should recognize his own. In Thackeray, laughter at others'
f o l l y i s never completely comfortable. Would the reader after a l l
refuse an i n v i t a t i o n to Lord Steyne's party? I f he did so on moral
grounds, could he be quite free from the smug hypocrisy of f e e l i n g
his own superiority? I t i s this sense of involvement that the narrator
induces i n the reader which makes laughter less comfortable than the
belly-laugh of vaudeville and pantomi&e. The spice of pain which
A.R. Thompson finds endemic i n the ironic mode creates i n the reader
a suggestion of uneasiness. This reaction i s not evoked by pure
comedy or farce and seems somewhat removed from the scurrilous t r i c k s
of the commedia. For while "comedy builds up a psychic pressure i n
one direction, then suddenly releases i t by offering something
unexpected i n another, , . . irony involves the contrast but not
the playfulness; i t s effect i s the emotional discord we f e e l when
something i s both funny and painful." Self-recognition, then, i s
as essential to the reader as to his narrator 0
Self-discovery on the part of a central character i s perhaps
the most hard-worked theme i n the novel since Jane Austen. In
Thackeray's novels, however, i t i s the narrator and reader who come to
^The Dry Mock; A Study of Irony i n Drama (Berkeley: Univ. of Ca l i f o r n i a Press, 194&"), p. 11.
110
recognize themselves in a l l the characters. 3ecky, Philip, and Harry
Harrington remain largely -unchanged at the end of their stories—they
are merely catalysts in an experiment performed between narrator and
reader. If i t is true, as Darley in Durrell's Justine maintains, that
"to every one we turn a different face of the prism" of our character,
then the corollary holds that from everyone we observe we receive a
different aspect of our own character. He need others in fact in
order that we may discover ourselves. Emma Woodhouse and Lambert
Strether are, in their different ways, rewarded for clearing the motes
from their own eyes. Mr. Khightley and Chad Hewsome, we might gather,
would mean different things to different people i f we could only, see
them from the point of view of say Miss Bates and Gloriani. Their
reality then would be made up, not only from what they thought
themselves to be from moment to moment, but from the contradictions
that every observer of, or meditator on, their character perceived in
them from moment to moment—an impossible situation for a novel which
must assume some tangibility of character. Thackeray's novels present
us with conveniently labelled characters who behave in conveniently
consistent ways; i t is narrator and reader who provide the variables.
If the narrator gives us scapegraces for heroes, he also gives
us frequently an active and a passive heroine betwixt whom his alleg
iance sways. He can not find stability in Amelia, Laura and Rachel
by rejecting the bad girls, Becky, Blanche and Beatrix, because each
Justine (London: Paber, 1957), P« H9«
I l l
needs the other for her own d e f i n i t i o n , and even the constant, dom
esticated and devoted heroines have their subtle tyrannies and
obstinate prejudices.
A.E. Dyson notes two very significant points about Becky.
F i r s t l y , the narrator refers to her consistently as "our l i t t l e schemer,"
and speaks of her "very much as one might speak of a naughty but not
wholly unsympathetic c h i l d . " Secondly, Dyson notes that "though she
employs hypocrisy, she i s never taken i n by i t herself. . . . ghe i s
able . . . to laugh at herself exactly as though she were someone g
else." The f i r s t observation suggests the f r i e n d l y diminution of the
ironic narrator's own particular faults,which Goethe sees as charact
e r i s t i c of the ir o n i c mode:
I f we do not indulge i n the common habit of unloading our errors on circumstances or on other people, there w i l l at l a s t arise . . . a kind of Irony within and with ourselves whereby we treat our fa u l t s and errors i n a playful s p i r i t — a s i f they were naughty children who would perhaps not be so dear to us, were they not a f f l i c t e d with such naughtiness.
By making Becky a masked figure, or, as he himself c a l l s her, a
puppet "uncommonly f l e x i b l e i n the joints, and l i v e l y on the wire"
(VF, 6 ) , the Manager i s enabled to treat his vice-figure p l a y f u l l y
and affectionately without any danger of her becoming too threatening
g The Crazy Fabric; Essays i n Irony (London; Macmillan, I965),
p. 80} p. 88. Becky's detachment from her part i s perhaps less apparent when her schemes collapse with the uprising of the Curzon Street menage.
9 <As cited by G. G. Sedgewick, Of Irony: Especially i n Drama, p. 16.
112
to his own necessary sense of his own values. The vicious and
destructive impulses within him are minimized to the point where they
can he seen and manipulated with security, and he feels toward them
a benevolence and paternity.
On the other hand, as the leading figure i n the Manager's drama,
Becky i s endowed with a great deal of her l i t e r a r y sire's own awareness.
She i s perhaps the only character i n Vanity Fair who i s aware that she
i s playing the world at i t s own game. The daughter of an a r t i s t and
an opera dancer, Becky continues to work her spell i n the haut monde,
winning over not only the wealthy Crawleys but also Lord Steyne and
Lady G r i z z e l . She i s at her most b r i l l a n t i n the charade scene, and
would cast her own husband as a Master of Ceremonies at a f a i r booth.
Lord Steyne thinks of Becky as "an accomplished l i t t l e devil . . . a
splendid actress and manager" (VF, 506). Becky herself, doing the
social round of fine dinner parties i n impeccable houses of the
great c i r c l e s of London fashion, thinks "how much gayer i t would be
to wear spangles and trowsers, and dance before a booth at a f a i r "
(VF, 487). The narrator t e l l s us "she was an a r t i s t herself, as she
said very t r u l y " (VF, 488). She i s the only figure, apart from the
narrator, able to see the masks worn by herself and others, and she
thus emerges superior to her surroundings, controlling them by
her knowledge. The mask that knows i t i s a mask begins to move into
f i c t i o n of another dimension. There i s an uncanny obstinacy about
such a figure who seems to enter our l i v e s with her, own particular
v i t a l i t y . We f e e l i n a similar position to Darley who finds the hand
113
of Cohen who "had become merely an h i s t o r i c figure" influencing him:
"And yet here he was, obstinately trying to i n s i s t on his identity,
trying to walk back into our l i v e s at another point i n the circum-
ference."
Despite her a b i l i t y to transcend the mask, however, Becky's
"freedom" i s i l l u s o r y . Dyson i n s i s t s that Becky could have been a
good woman on five thousand pounds a year, at least as the world
judges, but he i s wrong as far as can be predicted from the evidence.^
Becky's role i s that of aspirer and intriguer within whatever social
rank fortune may give her. Although the narrator suggests that she
could be a good woman i n other circumstances, we know that she can be
no other than Becky Sharp—consummate actress, hard bargainer and
perfect hypocrite. In spite of Thackeray's l e t t e r to Lewes defending
Becky as no worse than many other comfortable middle-class people
(Letters, I I , 353-354), wes know that she i s nothing more than a
functional character who suggests an aspect of human aspiration i n a
milieu that i s purely social and purely worldly. Becky i s an
archrogue i n a rogues' gallery!
We have here a world which, as Joseph Baker says, i s "a
picture of l i f e as i t would be without the s p i r i t u a l . To take t h i s 12
for 'man as he i s ' constitutes a profound misunderstanding." In
^ J u s t i n e , p. 104.
1 1The Crazy Fabric, p. 89.
1 2 " V a n i t y Fair and the C e l e s t i a l City," NCF, 10(1955), 93.
114
any case, to take a picture for anything more than a representation
also constitutes a profound misunderstanding. Becky's l i v e l i n e s s and
f l e x i b i l i t y , then, come from her surroundings rather than ours. As
Hugh Kenner says: "From Moll Flanders (1722) to Bleak House (1852)
and Lucky Jim (1954), novel after novel has demonstrated how rogues
( i n t e l l i g i b l e , l i k e a l l f i c t i o n a l characters, because automated)
are q u a l i f i e d denizens of an i n t e l l i g i b l e because automated world."'*"3
Becky's naturalism, therefore, i s r e s t r i c t e d to the realm of
Vanity Fair both i n the novel and i n the imaginative carrying-over i n
the mind of the reader. She i s s t i l l a mask or puppet however l i v e l y
"she may be on the wire, and l i k e a l l automated creatures she needs
the manipulation of author and reader to bring her into being. How
ever, since she has the function within the novel of being " l i k e Jonson's
Vol pone . . . a f i t t i n g scourge for the world which created h e r , " ^
she i s endowed with more s p i r i t and ingenuity than her fellow masks.
While we are watching Becky play her clever game with society on
our behalf, she has tremendous v i t a l i t y , but outside the world of
the Crawleys, the Osbornes and the Sedleys she has no existence
corporeal or visionary. Beoky cannot l i v e i n the world of the
Jarndyces, or the Woodhouses, or i n the world of the supermarket and
the drive-in bank.
* 3The Counterfeiters: An H i s t o r i c a l Comedy (Bloomington, Indiana: Indiana Univ. Press, I 9 6 8 ) , ' p . I 4 8 .
'The Crazy Fabric, p. 85.
115
It i s because Thackeray makes Becky play the social game so
exquisitely well that we attribute to her superior knowledge over her
fellow characters. J . H i l l i s M i l l e r says that
society cannot be anything but a system of conventional rules, exchanges, and substitutions which are l i k e metaphors. As long as a man takes the metaphor as r e a l i t y he i s deluded. When he sees through the metaphor and takes r e s p o n s i b i l i t y for l i v i n g according to i t , he^is s t i l l caught i n a play, but now he sees the game as a game.
The reader of Vanity Fair sees that he i s playing a game, and Becky
within the novel sees that she i s playing a game of pretending she i s
more virtuous, more wealthy, and more concerned with the welfare of
others, than she r e a l l y i s . Both Becky and the reader, i n their
different realms, thus r i s e superior to their environment and are not,
deluded.
The Thackerayan narrator i s more of a conscious entertainer
and role-player than an exhaustive analyst of situations. His
allegiance i s to the mask primarily and he acknowledges that the
r e a l i t y of personality i s intangible. His talent i s more h i s t r i o n i c
than s c i e n t i f i c . He knows that a l l conclusions are temporary and to
believe otherwise i s to become an unwilling victim of i l l u s i o n .
Pendennis, Batchelor, and their fellow narrators do not seek conclus
ions i n the i r ephemeral worlds, for they are never sure about their
own vision; they have only consciousness and no stable character,
15 The Form of Victorian F i c t i o n : Thackeray, Dickens, Trollope,
George E l i o t , Meredith, and Hardy (Notre Dame, Indiana: Univ. of Notre Dame Press, 1968), pp. 109-110.
116
and they are always i n danger of l o s i n g themselves i n parts played hy
others. The attempt to establish central control of a s e l f which i s
being pulled i n various directions at times leads the narrators to
adopt a purely impersonal stance. Batchelor's recourse to tabulation
of mysterious questions that arise from his story suggests the similar
use of objective documentation i n Ulysses, where Stephen and Bloom
make their way to Bloom's lodging, while the narrator seeks to track
down the minutiae of their motives, actions and reactions to each
other. Batchelor, l i k e the narrator of Ulysses, uses semi-legal
jargon or c i v i l service o f f i c i a l e s e i n a desperate attempt at object
i v i t y . In both novels, the effect i s of an omniscient author drawing
attention to his own power over h i s characters and complete knowledge
of their most intimate and fortuitous thoughts. The characters are
temporarily reduced to workable puppets, while the narrators catechize
themselves self-consciously as they elect to t e l l the whole truth
about their characters. Batchelor poses these questions to himself
and his reader:
1. Why did Mrs. Prior, at the lodgings, persist i n c a l l i n g the theatre at which her daughter danced the academy? 2. What were the special reasons why Mrs. Lovel should be very gracious with her son, and give him 150 L. as soon as he asked for the money? 3. Why was Fred Lovel*s heart nearly broken? And 4. Who was his consoler? (XXVIII, 223)
Joyce, more exhaustive, uses his o f f i c i a l narrator to sum up and explain
the many clues to the book's narrative and symbolic meaning that he
has scattered throughout the previous 800 pages. The effect of both
117
passages i s nevertheless to emphasize authorial power and reader
collusion i n an elaborate game with make-believe characters.
In both Lovel the Widower and Ulysses, the narrator a r t f u l l y
selects his questions i n order to further the reader's response to the
narrative. He i s both c l a r i f y i n g the narrative past and preparing for
the narrative future. Both narrators, moreover, by thei r deliberate
and straight-faced adoption of legal and s c i e n t i f i c phraseology poke
fun at the mask of impersonality which they have chosen. The ostensible
desire for objective report frequently verges on the incomprehensible
or the ludicrous. Thus Stephen, revived by a cup of cocoa, i s enticed
by Bloom to sing a jocular song about a Jew;
Bid the host encourage h i s guest to chant i n a modulated voice a strange legend on an a l l i e d theme?
Reassuringly, their place where none could hear them ta l k being secluded, reassured, the decocted beverages, allowing for subsolid residual sediment of a mechanical mixture, water^glus sugar plus cream plus cocoa, having been consumed.
And Batchelor, answers the question of Mrs. Lovel's generosity to her
son i n this way:
The reason why Emma, widow of the late Adolphus Lo e f f e l , of Whitechapel Road, sugar-baker, was so pa r t i c u l a r l y gracious to her son, Adolphus Frederick Lovel, Esq., of St. Boniface College, Oxbridge, and principal partner i n the house of Loeffel aforesaid, an infant, was that she, Emma, was about to contract a second marriage with the Rev. Samuel Bonnington. (XXVIII, 223)
Ulysses (London: Bodley Head, I960), p. 808.
118
The exhaustiveness and f i n a l lack of c l a r i t y , due to the clutter of
insig n i f i c a n t det a i l and circumlocutory devices, suggest the d i f f i c u l t y
of communication on the part of scrupulous narrators. I f the reader
does not see his narrator as very stupid i n th i s thoroughness, he w i l l
consider him engagingly wicked and fun-loving, even i f the fun, i n
Ulysses at least, tends to "become enervating to the point of boredom.
The role of the objective reporter can thus be interpreted as
another narrative mask, and i t i s one which, by reminding the reader
that he i s i n a f i c t i o n a l world, deliberately reduces the characters
to objects at the mercy of a scrupulously omniscient narrator. In t h i s
predominantly c l i n i c a l mood, no d e t a i l i s allowed to escape, and the
puppets are temporarily reduced to silence. The narrator occupies the
centre of the stage as he lays before his reader the vastness of his
researches. There i s an inhumanity about such a narrator's meticulous
ob j e c t i v i t y . He attempts to efface himself as well as his characters.
In Thackeray's novels this point of stasis i s rarely reached, for h i s
narrators are essentially h i s t r i o n i c and r e f l e c t i v e rather than
a n a l y t i c a l l y exhaustive. They are interested i n the changing mood
and the play of p o s s i b i l i t y , and their stories r e l y upon doubt and
suggestiveness.
Human Variants
In l i f e , as i n novels, we f i n d i t convenient to label our
surrounding r e a l i t y , but while objects passively accept their labels,
people persist, i n defying them and surprising us. The Thackerayan
119
narrator seeks to allow his characters maximum f l e x i b i l i t y within their
conventionally narrow range. I f he could hear the c r i t i c i s m frequently
hurled at him for not knowing his characters or for t e l l i n g l i e s
about them maliciously, he would not take offence, f o r he makes no
pretence to more truthfulness or l e s s malice than his neighbour. I t
does not come as a shock to him to learn that he has been wholly mis
reading Dr. Brand Firmin's character any more than he i s shocked to
learn that Moliere has been unfair to Tartuffe. Allowing for the nature
of a l l human f r a i l t y , including his own, the typical narrator i s never
faced with a sudden traumatic r e a l i z a t i o n of his own prejudices. Thus,
he i s impervious to such shocks as that suffered by Nicholas, the
narrator of Anthony Powell's The Acceptance World, who discovers that
h i s own image of h i s shy and awkward schoolfellow Widmerpool, i s not.
held by Widmerpool's business associates. Nicholas i s s i m i l a r l y
shattered to discover that his current mistress, Joan, has i n the past
had a l o v e - a f f a i r with the paunchy and boyish Spaulding whose mind
and body spelt repulsion to the narrator. Being an observer who i s
only an occasional actor i n his own f i c t i o n , the typical Thackerayan
narrator does not have to present a consistent front to h i s reader.
Since his characters are t i e d to their parts i n a f a i r l y simple
narrative, he himself can afford to be random and f l o a t i n g .
Before examining the relationship of reader and extraneous
narrator to the masks of the primary i l l u s i o n , I w i l l b r i e f l y deal
with the character-narrator who i s , i n some respects, l e s s disinterested.
Whether the narrator has a personal part i n h i s story or not, whether
120
he i s t e l l i n g his own story or presenting a wholly or partly invented
story, he uses his characters as sounding-hoards for his own se l f -
scrutiny. Usually the characters f a l l into some f a i r l y conventional
pattern involving a hero and a number of v i l l a i n s . Legend, fable and
B i b l i c a l and Greek myth l i e readily to hand, for appropriate use i n
the narrator's process of self-discovery. Never are the characters
of value i n and for themselves but only as they r e f l e c t different
aspects of the narrator's psyche. The narrator's own bias and prejudices
are plain to see, yet because he sees them himself, he cannot e a s i l y
be typed or characterized. He i s always on the point of shedding his
own skin, as i t were, and putting himself i n the position of his
reader or an observer. Two examples should make clear the method by
which the narrator's f l e e t i n g consciousness and generalized awareness
enable him to elude c l a s s i f i c a t i o n .
George Warrington, i n The Virginians, t e l l s how his mother
opposed his love-match with the impecunious and untit l e d Theodosia
Lambert, daughter of the honest Christian gentleman, Colonel Lambert.
George refuses to condemn his mother for c a l l i n g down the wrath of
God on his head and cutting him off from his inheritance, because i n
her he sees personified a l l human aspiration with i t s f a c i l i t y for
s e l f - j u s t i f i c a t i o n . He becomes by her action not simply an outcast
and cheated elder son s a c r i f i c i n g himself for love's sake, but part
of a vast human procession struggling with conviction towards some
i l l u s o r y goal. His own wrongs and sufferings, his own part i n the
mock-drama of Pyramus and Thisbe, are momentarily forgotten as George's
121
mind moves "beyond his own present situation and dwarfs i t to i n s i g
nificance .
When our pride, our avarice, our interest, our desire to domineer, are worked upon, are we not for ever pestering heaven to decide i n their favour? In our great American [quarrel, did we not on "both sides appeal to the skies as to the justice of our causes, sing Te Deum for victory, and boldly express our confidence that the right should prevail? Was America right because she was victorious? Then I suppose Poland was wrong because she was defeated?—How am I wandering into this digression about Poland, America, and what not, and a l l the while thinking of a l i t t l e woman now no more, who appealed to heaven and confronted i t with a thousand texts out of i t s own book, because her son wanted to make a marriage not of her l i k i n g ! We appeal, we imprecate, we go down on our knees, we demand blessings, we shriek out f o r sentence according to law; the great course of the great world moves on; we pant and strive and struggle; we hate; we rage; we weep passionate tears; we reconcile; we race and win; we race and lose; we pass away, and other l i t t l e strugglers succeed; our days are spent; our night comes, and another morning r i s e s , which shines on us no more. (XIV, 191-192)
Where George Warrington loses both himself and h i s character
i n an Olympian digression on human aspiration, Charles Batchelor's
wandering consciousness moves more nimbly and less majestically i n
realms of particulars and personalities. In Lovel the Widower, as i n
Barry Lyndon and Henry Esmond, the reader must interpolate between
the utterances of the narrators what he knows of their own biases.
These novels have something akin to the dramatic monologue where the
action takes place i n the narrator's mind. By keeping the action
there, the author presents a consciousness which has i t s own bias and
character, i t s own earnest desire for s e l f - a r t i c u l a t i o n . These
narrators, i n varying degrees, are more interested i n s e l f - j u s t i f i c a t i o n
122
t h a n i n t e l l i n g a s t o r y w h i c h g i v e s them o p p o r t u n i t y f o r i m a g i n a t i v e
d i g r e s s i o n . Thus C h a r l e s B a t c h e l o r r e d u c e s L o v e l ' s m o t h e r - i n - l a w t o a n
o g r e - f i g u r e on whom he c a n v e n t h i s w r a t h and d i s p l a y t o u s h i s own
f u r i o u s p r e j u d i c e s , y e t h i s f r e q u e n t mockery o f h i s own s t o r y and h i s
d e n i a l o f i t s r e s e m b l a n c e t o a n y t h i n g i n l i f e show a f e a r t h a t he
might be g i v i n g h i m s e l f away. B a t c h e l o r , i n h i s p a s s i o n a t e h a t r e d f o r
M r s . B a k e r and h i s f o o l i s h l o v e f o r E l i z a b e t h P r i o r , i s i n f i n i t e l y
more aware t h a n B a r r y L y n d o n . He i n d u l g e s t h e s e p a s s i o n s b u t one
p a r t o f h i m r e m a i n s b e h i n d a s w a t c h e r . I f he h a s t o c a s t one a s a
v i l l a i n e s s and t h e o t h e r a s a h e r o i n e he w i l l do so, b u t he does n o t
a c c e p t t h e permanence o f e i t h e r l a b e l . F o r M r s . B a k e r , "who, t o be
s u r e , m i g h t do d u t y f o r a v i l l a i n , b u t she c o n s i d e r s h e r s e l f a s
v i r t u o u s a woman a s e v e r was b o r n " ( X X V I I I , 198), i s l i t t l e more t h a n
a mask i n t h e drama. H e r f u n c t i o n i s t o p r o v i d e a n o u t l e t f o r h i s
own m a l i c e , a n d he i s n o t i n t e r e s t e d i n h e r a s a p e r s o n a l i t y i n
h e r own r i g h t .
I n h i s a w a r e n e s s o f t h e m a n y - s i d e d n e s s o f p e r s o n a l i t y ,
B a t c h e l o r f r e q u e n t l y g i v e s t h e r e a d e r t h e se n s e o f t h e n a r r a t o r ' s
own t r a n s c e n d e n c e o v e r h i s own l i m i t a t i o n s . I t i s , however, t h e
t r a n s c e n d e n c e o f knowledge r a t h e r t h a n a d e m o n s t r a t i o n o f h i s
c a p a c i t y o r d e s i r e f o r a c t u a l c h a n g e . I n t h i s he goes b e y o n d t h e
n o r m a l a w a r e n e s s o f t h e s p e a k e r o f t h e d r a m a t i c monologue, a n d
c e r t a i n l y b e y o n d t h e awareness o f a B a r r y L y n d o n o r H e n r y Esmond. He
s u c c e e d s i n t a k i n g on what would be t h e r e a d e r ' s p a r t i n a d r a m a t i c
monologue. R o b e r t Langbaum makes i t c l e a r t h a t t h e r e a d e r i s i n v o l v e d
123
with the speaker of the dramatic monologue for the sake of experien
cing his l i f e , and i t i s "because the speaker himself i s so much
particularized, because his characterization through contradictory
q u a l i t i e s renders inapplicable the publicly recognized categories of 17
character, that we f i n d i n him a pole for sympathy," Batchelor,
l i k e Clamence i n Camus' The F a l l , goes beyond such a speaker i n
giving words not only to his own thoughts but his reader's. Speaker
and reader seem at times to change places and the reader knows that i f
he mentally supplies the deficiency i n his narrator he i s at the same
time supplying h i s own deficiency. Batchelor openly c a l l s himself the
muff of his story, then suggests to his reader that even he might be
a muff i n one context or. another; But i s many a respectable man of our acquaintance much better? and do muffs know that they are what they are, or, knowing i t , are they unhappy? Bo g i r l s decline to marry one i f he i s rich? Bo we refuse to dine with one? I listened to one at Church . l a s t Sunday, with a l l the women crying and sobbing; and, oh dear mel how f i n e l y he preachedI Don't we give him great credit for wisdom and eloquence i n the House of Commons? Don't we give him important commands i n the army? Can you, or can you not, point out one who has been made a peer? Doesn't your wife c a l l one i n the moment any of the children are i l l ? Don't we read h i s dear poems, or even novels? Yes; perhaps even t h i s one i s read and written by—Well? Quid rides? Do you mean that I am painting a portrait which hangs before me every morning i n the looking-glass when I am shaving? Apres? Do you suppose that I suppose that I have not i n f i r m i t i e s l i k e my neighbours? Am I weak? It i s notorious to a l l my friends there i s a certain dish I cam'jtj r e s i s t ; no, not i f I have already eaten twice too much at
The Poetry of Experience; The Dramatic Monologue i n Modern Literary Tradition -(new York: Norton, 1963), P» 204.
124
dinner. So, dear s i r , or madam, have you your weakness—your i r r e s i s t i b l e dish of temptation? (or i f you don't know i t , your friends do). (XXVIII, 198)
The typical narrator i s one who has come to terms with his own
prejudices and romantic predilections; he i s able to enjoy his own
f o l l i e s and phobias and act them out through people he shapes to f i t
his own world, who are pl a i n l y puppet-figures or functional characters
i n his drama. He i s what Stephen Pepper would c a l l the "normal man"
i n that he has come to terms with his own abnormalities. "Only a
normal man," says Pepper, "with a well integrated and r e l a t i v e l y free
emotional l i f e , can perceive normality. Moreover, he alone can also
perceive abnormality. He perceives i t not only because he can
contrast i t against the background of his own normality, but because
i n himself he has the impulses which have become exaggerated i n the
abnormal man and he resonates to the impulses and d i r e c t l y feels their 18
exaggeration." The narrator r e a l i z e s , moreover, that he i s dependant
on his puppets to express his own c o n f l i c t s . He needs hero, v i l l a i n ,
saint and rogue to make his internal c o n f l i c t s come a l i v e . Although
he knows that "we are no heroes nor angels; neither are we fiends from
abodes unmentionable, black assassins, treacherous Iagos, familiar with
stabbing and poison" (XXVIII, 199), he has to give l i f e and interest
to his story, and "you know, my dear madam, a l l good women i n novels
are i n s i p i d " (p. 201). The un-named narrator, Pendennis, the Manager,
18 The Basis of Criticism i n the Arts (Cambridge, Mass.: Harvard
Univ. Press, 196377 p. 108.
125
and, to a lesser degree, Batchelor and George Warrington, see them
selves painted larger than l i f e i n the characters of their stories.
They are pure examples of what G.G. Sedgewick c a l l s "the Irony of
Detachment or S p i r i t u a l Freedom." This i s "the attitude of mind held
by a philosophic observer when he abstracts himself from the contra
dictions of l i f e and views them a l l impartially, himself perhaps 19
included i n the i r o n i c v i s i o n . "
In submitting to the novelist's design, the reader permits
his complex and indeterminate s e l f to be simplified and c r y s t a l l i z e d .
He i s re-created anew by his author. He becomes,- as Walker Gibson
says, "the 'mock reader'—.whose mask and costume the individual takes
on i n order to experience the language." Gibson points out that i n
the phenomena we c a l l the reading experience, there i s a spectral
part assigned which we must take i f we are to experience a work f u l l y .
We must not allow our "normal" s e l f to enter the part, for i t w i l l
drag i n the extraneous and unnecessary controls which are useful only
i n our day-to-day l i f e , but must be put aside i f we are to become
a "mock-reader."
If the "real author" i s to be regarded as to a great degree d i s t r a c t i n g and mysterious, l o s t i n history, i t seems equally true that the "real reader," l o s t i n today's history, i s no less mysterious and sometimes irrelevant. The fact i s that every time we open the pages of another piece of writing, we are embarked on a new adventure i n which we become a new person—a person as controlled and definable and as remote from the chaotic s e l f of d a i l y l i f e as the lover i n the
'Of Irony: Especially i n Drama (Toronto: Univ. of Toronto Press, 1948), p. 13.
126
sonnet. Subject to the degree our l i t e r a r y s e n s i b i l i t y , we are created by the language.
The "mock-reader" i s naturally a multiform creation capable of
becoming many parts within an individual work. He w i l l agree, disagree,
or withhold judgement on both the narrator's pronouncements on the
characters, and those of the characters upon themselves and each other.
In a Thackeray novel, he w i l l have to take many shapes as, for example,
a young lady reader of fashionable novels, a g u i l t y husband, an
ignorant parent, a fellow clubman, a humble worshipper or a sentimental
mother. Hot only does he become these parts but he also puts on the
masks of the characters. This does not mean that he necessarily comes
to understand how they f e e l , but he comes to appreciate them for
what they are—masks, parts i n a drama that i s archetypal and inclusive,
for i t transcends particular variations of time, place and person.
But the "mock-reader" i s not only required to put on the masks;
he must also take them off, and see just how far these borrowed robes
" f i t " him, or how well they "become" him. To do this he must look into
the mirror which i s held partly by the narrator and partly by himself.
The reader of Thackeray discovers that "the world i s a looking-glass,
and gives back to every man the r e f l e c t i o n of his own face" (VP, 19)•
Thackeray's primary f i c t i o n displays., with a constantly lurking
parody and irony—perhaps seen to best advantage i n the i n i t i a l
i l l u s t r a t i o n s to the chapters—myths of innocence, heroic myths and
love myths. The secondary f i c t i o n a l world both contains and undermines
20 "Authors, Speakers, Readers, and Mock Readers," College English,
11(1950), 266; 265.
127
these myths within the created consciousness of the "mock-reader."
Maud Bodkin says that the a r t i s t performs for the community "the
function of objectifying i n imaginative form experience potentially
common to a l l , but exceptionally deep and v i v i d , and revealing a
certain tension and ideal reconcilement of opposite forces present i n 21
actual l i f e . " Thackeray i s l e s s interested i n expressing this
"ideal reconcilement" than i n the process of applying the ready-made
paradigm to random and elusive experience.
The narrator, l i k e his reader, contains both primitive c h i l d
and sophisticated adult. He i s torn between the magical world of art
and the threatening and less reassuring world where action and
decisions are demanded. The reader i s made to see that beneath the
practical adult s e l f which he shows to the world there l i e s a
delighted and imaginative c h i l d who i s devoted to i l l u s i o n . Thus
Pendennis addresses his reader, the text emerging from the Good Fairy's
magic wand, as she rides away to her Bower of B l i s s i n her resplendent
coach: You know—i-all good boys and g i r l s at Christmas know—that, before the l a s t scene of the pantomiHfe, when the Good Fairy ascends i n a blaze of glory, and Harlequin and Columbine take hands, having danced through a l l their t r i c k s and troubles and tumbles, there i s a dark, b r i e f , seemingly meaningless penultimate scene, i n which the performers appear to grope about perplexed. (XVI, 448)
But just as Hansel and Gretel's or Cinderella's f i n a l ordeals are
Archetypal Patterns i n Poetry: Psychological Studies of Imagination (London: Oxford Univ. Press, 1934), P« 327.
128
resolved in a happy ending, so this pantomime is preparing to satisfy
the longings of the spectator. It is after this climax that the reader
i s left face to face with the narrator, with the effect of a child who
watches the trappings of pantomime swept away leaving him alone in the
cheerless and unassuring world of his own vulnerable reality:
I t e l l you the house will be empty and you will be in the cold ai r . When the boxes have got their nightgowns on, and you are a l l gone, and I have turned off the gas, and am in the empty theatre alone in the darkness, I promise you I shall not be merry. Never mind! We can make jokes though we are ever so sad. We can jump over head and heels, though I declare the pit is half emptied already, and the last orange-woman has slunk away. Encore un pirouette, Columbine! Saute, Arlequin, mon ami! (XVI, 449)
While the reader is in the primary fictional world, the
characters speak wholly for him, for he identifies with them in the
same way that the child identified with the pantomime. When he
retreats into the secondary fictional world, however, he sees that
he has been in a world of masks, which, although they were psychic
probes that opened up ways of self-discovery through role-playing,
now are sadly realized to be inadequate or temporary.
The reader is thus forced back upon himself; he is interested
in the fictional characters purely as modes of self-exploration.
Henri Bergson says that "what has . . . interested us [in a dramaTj is
not so much what we have been told about others as the glimpse we have
caught of ourselves—a whole host of ghostly feelings, emotions and 22
events that would fain have come into real existence." The characters
22 "The Individual and the Type," in A Modern Book of Esthetics,
ed. Melvin Rader (New York: Holt, Rinehart and Winston, i960) , p. 84.
129
i n a drama, an epic or a novel have no r e a l i t y i n themselves, but we
invest them with our r e a l i t y . Thackeray, however, takes pleasure
i n l e t t i n g his reader see that he i s involved with an insubstantial
pageant which w i l l fade and leave not a raok behind.
There i s a common c r i t i c a l preference for "round" characters
rather than " f l a t " ones, and the creation of the former i n the novel
i s frequently f e l t to be an a r t i s t i c triumph. Characters who are
rounded must seem to have some kind of existence outside the scheme of
the novels that embody them. As Geoffrey T i l l o t s o n puts i t , "Unless
the personages are made flesh., how can they seem to be tempted as we are,
how can we f e e l with or for them?" T i l l o t s o n finds t h i s roundness i n
Thackeray's Barry Lyndon. To him "Lyndon seems an actual person . . II
i s so credible that the reader goes i n awe of him." He goes on to
say that "Lyndon i s apparently an actual man," and of Becky Sharp 23
he claims, "I saw her at an evening party the other day." A
willingness to become emotionally involved i n the r e a l i t y of a
f i c t i t i o u s character i s an essential aspect of the a r t i s t i c
experience, but there are dangers i n becoming too much l i k e Don
Quixote confronted by the puppets. Vfhen characters, who are painted
with commendable regard for techniques analogous to the trompe 1'oeil
painters, are taken as real people, c r i t i c a l perspectives cease to be
operative.
One part of the reader must sympathize with T i l l o t s o n ' s view 23
Thackeray the Novelist (Cambridge: Cambridge Univ. Press, 1954), p. 118; p. 119} P. 121} p. 122.
130
of the characters of Barry and Becky, hut another should realize that
these "round" characters are l i t t l e more than cleverly animated types.
Barry i s a rogue and boaster type to whom the reader must mentally
play the part of eiron, and Becky i s a clever worldly aspirer i n whom
the reader should recognize himself. Furthermore, neither Barry nor
Becky has much i n common with the more rounded and seemingly "free"
characters that we frequently meet i n Lawrence or Tolstoy. Anna,
Karenin, and Skrebensky do not have the driving monomania of the
Thackerayan v i l l a i n s and rogues, and they are, consequently, less
threatening and compelling since, l i k e the reader, they are made up
of many c o n f l i c t i n g parts p u l l i n g i n different directions.
When T i l l o t s o n says that "Barry Lyndon i s . . . t e r r i f y i n g
because he i s as credibly a man as Hamlet or Othello," the boundaries
between art and l i f e seem to have been confused for l i t t l e purpose.^
In l i f e we may meet, on occasion, boastful rogues and jealous husbands,'
i f not v a c i l l a t i n g princes whose father's s p i r i t s reveal the true nature
of their v i l l a i n o u s uncles, but the r e a l i t y of these figures i s confined
to their setting. For the average adult i n the greater part of his
waking l i f e , people are not t e r r i f y i n g , and their c r e d i b i l i t y consists
i n the variety of their environment and responses to i t , rather than i n
their predilection f o r a particular course. Hamlet and Othello may
show some degree of f l e x i b i l i t y , but their r e a l i t y for us l i e s i n their
"untruth to l i f e " — i n their violent rages, their incredible obsessions,
2 4 I b i d . , p. 243.
131
and unlikely idealisms. I f we met Barry Lyndon, a Hamlet or an Othello
tomorrow, we would surely say he was behaving "incredibly," i f not
"incredibly badly."
F i c t i o n a l characters allow the reader to invest them with h i s
own problems and aspirations. This happens whether the characters are
"round" or " f l a t , " l i f e - l i k e or grotesquely incredible and blatantly
schematic. I f the characters are " f l a t " l i k e Giant Despair, Mr. Micawber
or Jos Sedley, their range of movement w i l l tend to be more res t r i c t e d
and the burden they carry on the reader's behalf more uniform than that
of more "round?1 characters such as Tertius Lydgate, Ursula Brangwen or
Bloom. The reactions of the f i r s t group to any given situation would
be more predictable than those of the second group who are more l i k e
ourselves i n having a seemingly wider range of freedom and choice.
But, of course, the l a t t e r must remain as associated i n our minds with
their f i c t i v e environment as the former, and ultimately we may f e e l that
Vanity Fair i s just as real as Joyce's Dublin.
We may conveniently say that the primary world of Thackeray's
novels has a predominant quality of comedy, while i n the secondary
world, irony, with i t s painful sense of reader involvement, i s the
dominant mode. Bergson says that "comedy depicts characters we have
come across and shall meet again. I t takes note of s i m i l a r i t i e s . I t 25
aims at placing types before our eyes." y I f the reader of Thackeray's
novels looks to l i f e rather than to art for the framework within
which to see the characters, he w i l l not only conclude that Thackeray's 25
> l !The Individual and The Type," i n A Modern Book of Esthetics, P. 85.
132
view of the world is jaundiced, hut, more important, he will miss much of
the exuberance and wit with which his author plays with accepted forms.
The primary world of the novels gives us the traditional happy ending
of comedy, while the secondary world leaves reader and narrator facing
each other in an empty theatre as we have seen in Philip, or shutting
up the box of puppets.as in Vanity Fair, or day-dreaming over the
fable of The Newcomes. There i s , in the conclusion of the secondary
fiction, a sense of inconclusiveness and suspension from the comic
entertainment which has been presented. This sense of return to the
world of contingency after the footlights have been dimmed JyTjy.so
shown in Pendennis and Lovel the Widower. In Esmond and The Virginians,
a mature narrator looks back on the theatre, as i t were, of his own
l i f e , and commends God for uniting him with an angelic wife. Although
the narrators are here within their own fiction, the reader does not
take either Henry Esmond's or George Warrington's wife-worship too
seriously. After reaching what he calls the summit of his domestic
f e l i c i t y , George has already confessed to boredom, and the editor
of his journals regrets three pages torn from the MS. book which were
about to t e l l us of the period follox*ing the consummation of his , . 26 happiness.
26 Saintsbury misses the ironic juxtaposition of the two fictional
worlds, the necessarily typical and positive seen through the eyes of a dubious and conflict-ridden narrator, when he says "I am not sure that the three pages torn out of Sir George Warrington's notebook are quite legitimate or artistic."A,Consideration of Thackeray (London: Oxford Univ. Press, 1931), p. 233.
133
Through, his juxtaposition of the two f i c t i o n a l worlds, Thackeray
does justice to the reader's demands for the neatness of form and the
incompleteness which a sense of l i f e necessarily requires. He gives us,
what Barbara Hardy finds i n Sons and Lovers, examples of "categorical 27
form blurred by truthfulness." Horthrop Prye points out that " a l l l i f e l i k e characters, whether i n drama or f i c t i o n , owe their consistency
to the appropriateness of the stock type which belongs to their dramatic 28
function." In his primary f i c t i o n a l world, Thackeray offers us stock-
types, who, although they seem l i f e l i k e to an exceptional degree while
we are under their s p e l l , are p l a i n l y puppet-figures set i n motion by
the narrator. The narrator, however carried away he becomes at times
by his own v i r t u o s i t y i n creating an i l l u s i o n , nearly always returns
his:reader to the theatre, the puppet-show or the world of fable.
I l l u s i o n , t h e a t r i c a l i t y and f i c t i o n a l a r t i f i c e s are deliberately
contrasted with a world of greyness and unanswered questions. The
conclusion of Lovel i s typi c a l ; We may hear of LOVEL MARRIED some other day, but here i s
an end of LOVEL THE WIDOWER. Valete et plaudits, you good people, who have witnessed the l i t t l e , comedy. Down with the curtain; cover up the boxes; pop out the gas-lights. Hoi cab. Take us home, and l e t us have some tea^ and go to bed. Goodnight, my l i t t l e players. We have been merry together, and we part with soft hearts and somewhat rueful countenances, don't we? (XXVIII, 370)
27
'The Appropriate Form (London; The Athlone Press, 1964), p. 136.
28 Anatomy of Criticism; Four Essays (Princeton; Princeton Univ.
Press, 1957), P. 172.
134
Like Prospero at the end of The Tempest or Chaucer at the end of
Troilus and Crisejde, the narrator emphasizes the i l l u s o r y nature of
this world he has presented, hut at the same time shares with his reader :
an affection for the f i c t i v e creatures who have acted out the dreams and
desires of them both. This sense of joint-participation by reader and
narrator i n a shared experience runs a l l through the secondary
f i c t i o n a l world of the novels.
Through an unashamed adoption of the conventional character
type and tr a d i t i o n a l story, narrator and reader are enabled to conduct
researches into the nature of the s e l f . I l l u s i o n has i t s own r e a l i t y ,
for the s e l f can invest a l l parts with i t s own being, can become hero,
v i l l a i n , saint and sinner, can see at one and the same time the
d e s i r a b i l i t y and the impossibility of happy endings and the banishment
of v i l l a i n s . Lionel T r i l l i n g points out that "love, morality, honor,
esteem . . . are the components of a created r e a l i t y . I f we are to
c a l l art an i l l u s i o n then we must c a l l most of the a c t i v i t i e s and 2Q
satisfactions of the ego i l l u s i o n s . " y By accepting the i l l u s i o n
frankly as an i l l u s i o n , the reader can experiment with possible modes
of being. He does not simply escape into a fantasy world, he does
not i n Freud's terms forsake a r e a l i t y principle for a pleasure
principle, but extends his own range of tolerance by extending the
boundaries of the s e l f .
y"Freud and Literature," i n Criticism, ed. Mark Schorer et a l . (New York: Harcourt, Brace, 1948), p. 176.
135
T h i s s t r e t c h i n g o f t h e s e l f , t h r o u g h v i c a r i o u s e x p e r i e n c e , t o
embrace " o t h e r " ways o f b e i n g i s open o n l y t o t h e r e a d e r who l e a v e s
b e h i n d t h e w o r l d o f " n o r m a l i t y " and "common s e n s e . " The r e a d e r o f a
T h a c k e r a y n o v e l , o f a n y n o v e l , must be p r e p a r e d t o t r a v e l i n t o s t r a n g e
and unknown r e a l m s where he w i l l meet f i g u r e s l i k e B a r n e s Newcome, E m i l y
C o s t i g a n , and O l d L a d y Kew who w i l l have s c a n t s i m i l a r i t y t o anyone he
i s l i k e l y t o meet i n l i f e . Y e t , however f a n t a s t i c t h e s e f i g u r e s may be,
compared t o t h o s e o f o u r n o r m a l w o r l d s , t h e y have i n a way more r e a l i t y
and power o v e r o u r s u b c o n s c i o u s . We c a n d i s m i s s them f r o m o u r t h o u g h t s ,
r i d i c u l e them a s f i c t i o n s , b u t t h e y s u b t l y m o d i f y o u r way o f s e e i n g ,
t h e y r e a c h out f r o m t h e page and t o u c h o u r l i v e s i n ways t h a t our
f r i e n d s a n d a c q u a i n t a n c e s f r e q u e n t l y f a i l t o d o . R e a l p e o p l e a r e t o o
b u s y l i v i n g t h e i r own l i v e s , b u t f i c t i o n a l c h a r a c t e r s l i e q u i e t l y
w a i t i n g f o r u s t o r e c o g n i z e them and u n r e a l i z e d a r e a s o f o u r s e l v e s
t h r o u g h t h e i r a g e n c y .
When I am immersed i n a p l a y o r n o v e l , I c a n l i v e o u t f a n t a s i e s a b o u t my f u t u r e p o s s i b i l i t i e s o f e x i s t e n c e w h i l e a t t h e same t i m e I work t h r o u g h , e x i s t e n t i a l l y and c r e a t i v e l y , p a s t modes o f l i f e w h i c h I h a v g n e v e r c o n f r o n t e d b e f o r e i n t h e i r dynamic i m p a c t on my l i f e .
The r e l a t i o n s h i p - o f t h e r e a d e r t o T h a c k e r a y ' s c h a r a c t e r s must
be complex and v a r i e d . When t h e r e a d e r i s immersed i n t h e p r i m a r y
f i c t i o n a l w o r l d he i s c o n f r o n t e d ' w i t h v a r i o u s s y m b o l i c f i g u r e s whose
r e a l i t y c o n s i s t s i n t h e i r p l a y i n g a c a t e g o r i c a l p a r t i n a f a i r l y
" ^ A d r i a n V a n Kaam and K a t h l e e n H e a l y , The Demon and The Dove; - P e r s o n a l i t y Growth T h r o u g h L i t e r a t u r e ( [ P i t t s b u r g h ] : Duquesne U n i v .
P r e s s , |l967] ) , p . 132.
consistent pattern. Under the influence of the narrator's doubts,
qua l i f i c a t i o n s and speculations i n the secondary f i c t i o n a l world,
however, the reader finds these characters more elusive, and, as i n his
ordinary l i f e , hard and fast categories no longer apply. The pattern
becomes random and incomplete, open to a variety of interpretations.
One part of the reader i s quite prepared for Becky as v i l l a i n e s s to
commit a l l manner of malicious deeds and he w i l l cheerfully s a c r i f i c e
Lord Steyne to the embraces of Old Nick, but another part needs to
j u s t i f y Becky and allow for Steyne's humanity. Prank Kermode says
of the novel genre that "nowhere else, perhaps, are we so conscious
of the dissidence between inherited forms and our own r e a l i t y . " 3 ^
Thackeray's novels, while sounding this dissident note, make us aware
that our sense of our own r e a l i t y depends to a considerable degree
on our perpetual adoption and v i o l a t i o n of these inherited forms.
In his attitude towards the characters of the novels, the
reader's guide i s the narrator's tone, which i s not usually consistent.
In Chapter X of The Newcomes for instance, Pendennis t e l l s the story
of Ethel's youth according to the story Clive Newcome told him. Yet
he then introduces a p a r a l l e l f a i r y story involving King, Queen,
Princess, and Prince Prettyman, the scapegrace hero who escapes
parental tyranny to go and sow his wild oats., The digression i n
favour of the f o l l i e s of youth i s extended to include Prince Hal,
the Prince Regent, Lord Vfarwick, and Tom Jones. The theme of rebel
youth i s tangentially related to Ethel's s p i r i t e d resistance to the
3 1The Sense of an Ending: Studies i n the Theory of F i c t i o n (New York: Oxford Univ. Press, 1967), p. 130.
137
cruel and stupid values of the aspiring Newcomes. He have not so much
Clive's thoughts about the youthful Ethel as Pendennis 1 own outburst
i n favour of youthful prodigality. By Chapter XLV, Pendennis i s much
les s sure of his youthful heroine. Although he would l i k e to blame
Old Lady Kew en t i r e l y for the attempted match with Lord Parintosh, he
cannot e a s i l y exonerate Ethel:
I hope there was a good excuse for the queen of t h i s history, and that i t was her wicked domineering old prime minister who led her wrong. Otherwise, I say, we would have another dynasty. Oh, to think of a generous nature, and the world, and nothing but the world to occupy i t I (VIII, 348)
These perplexing s h i f t s of viewpoint are an i n t r i n s i c part of
the i r o n i s t ' s method, for " a l l i r o n i s t s l i k e to baffle us, to test our 32
mental and moral a g i l i t y as we read." The neatness Of categories
of character and of theme tend to become blurred under the open-minded-
ness, and at times perverse-mindedness, of the narrator of Thackeray's
novels. One part of Pendennis would have Ethel as the traditional
comic heroine overcoming, what Prye would c a l l , the "humorous blocking
characters" of her p a r e n t s . O n the other hand, he invests her with
his own sense of the way things happen i n l i f e , and realizes she may
not f i t the part assigned; For a heroine of a story, be she ever so clever, handsome, and sarcastic, I don't think for my part, at t h i s present stage of
32
T t i e Crazy Fabric, p. 113.
^Anatomy of Criticism, p. 172.
138
the t a l e , Miss Ethel Newcome occupies a very d i g n i f i e d position. . . . A g i r l of great beauty, high temper, and strong natural i n t e l l e c t , who submits to be dragged hither and thither i n an old grandmother's leash, and i n pursuit of a husband who w i l l run away from the couple, such a person, I say, i s i n a very awkward position as a heroine; and I declare i f I had another ready to my hand (and unless there were extenuating circumstances), Ethel should be deposed at t h i s very sentence.
But a novelist must go on with h i s heroine, as a man with h i s wife, f o r better or worse, and to the end. For how many years have the Spaniards borne with their gracious queen, not because she was f a u l t l e s s , but because she was there. (VIII, 342-343)
Pendennis gives us the sense that issues i n l i f e are so much more
complex, shapeless and subject to fluctuating mood and point of view
than those of art, that i f he i s to write a novel that i s true to l i f e
i t w i l l be a makeshift and imperfect a f f a i r . Though he appeals at
times to the i d e a l i s t within h i s reader, here he appeals to the
iconoclast •
Since the mature Thackerayan narrator finds ironies not only
i n his subject matter but i n the very act of writing, i t follows that
his, and consequently his reader's, view of the characters w i l l
fluctuate between conviction and doubt of their f i d e l i t y to an ideal
pattern and conviction and doubt that he i s t e l l i n g the truth about
his friends' innermost r e a l i t y . For the i r o n i s t " i s deeply concerned
with both aspects of the contradictions he perceives; and t h i s
concern leads to an ambivalence of attitude to one side and to the
o t h e r — t o both at once." And the i r o n i s t , being "not sure which i s
and which merely seems," 3 4 attempts an inclusiveness that i s bound to
^Andrew H. Wright, "Irony and F i c t i o n , " The Journal of Aesthetics and Art Criticism, 12 (1953), 113.
139
"be inconclusive, characterized by open questions and loose ends. The
narrator i s never quite sure about the conduct and motives of his
characters, and though he would apparently l i k e to t e l l a simple story
about heroic youth overthrowing parental tyranny and worldly scheming,
he i s sceptical about the neatness of such ideal patterns.
In a novel, reader, author, narrator and characters are caught 35
up i n a "dance of confrontations, role-playings, and clashes of w i l l . " '
The reader allows various aspects of his " r e a l " self to be drawn into
an "unreal" world. Thus, Thackeray's reader i s told not to trust h i s
children, his wife or even himself; he i s asked to wait while the
narrator prepares to introduce him to Miss Prior; he i s asked whether he
would attend social functions i n places he knows do not exist, i f he
were invited; he i s advised not to t e l l his old boring jokes to his
family, and warned that i f he does he can only expect hypocritical
responses. The reader i s thus put on a similar footing to the
f i c t i o n a l characters, and in fact becomes partly f i c t i o n a l . Luckily,
the reader can withdraw himself at w i l l from t h i s world and see that
he has been nothing but an actor i n a theatre which he then beholds
empty as the characters dissolve into thin a i r .
While under the f i c t i o n a l s p e l l , the way the reader feels about
the characters i s analogous to the way he fee l s about people outside
the book. He projects personal f e e l i n g into them and sees them as
more or less wicked, heroic, or beautiful because he has these feelings
35 'The Form of Victorian F i c t i o n : Thackeray, Dickens, Trollope,
George E l i o t , Meredith, and Hardy (Notre Dame, Indiana: Univ. of Notre Dame Press, 1968), p. 45*
140
inside himself and they need to he expressed by becoming affixed to
another rather than f l o a t i n g f r e e l y within h i s subconscious. As Darley
i n Justine i s told, "the love you now feel for Justine i s not a different
love for a different object but the same love you fe e l for Melissa
trying to work i t s e l f out through the medium of Justine," 3^ so the
reader of Pendennis i s told
You have an in s t i n c t within you which inclines you to attach yourself to some one: you meet Somebody: you hear Somebody constantly praised: you walk, or ride, or waltz, or talk, or s i t i n the same pew at church with Somebody: you meet again, and again, and— . . .Or, the a f f a i r i s broken off, and then, poor dear wounded heart! why then you meet Somebody Else, and twine your young affections round number two. I t i s your nature so to do. . Do you suppose i t i s a l l for the man's sake that you love, and not a b i t for your own? (vT, 26)
The reader's feelings about the characters i n the novels are
shown to be based not on their v a l u e — f o r they are i n t r i n s i c a l l y
valueless—but on the reader's need to find an object onto whom he
may project love, hatred or a sense of beauty. Potential heroines
such a Laura Bell and Theodosia Lambert, and v i l l a i n s l i k e Dr. Pirmin
and Barnes Newcome, detach themselves less from their functional
emblems than others, but the bias of their narrator i s made plain
in each case. The narrator of P h i l i p i s well-aware that i n choosing
to write a story with P h i l i p as nominal hero, he neglects many other
alternative stories, some of which might' paint P h i l i p i n an unfavour
able l i g h t , or cast him even i n the role of v i l l a i n . Although the
reader i s , so-to speak, imprisoned within the st o r y - t e l l e r ' s
Justine, p. 130.
141
consciousness, this consciousness has the capacity to expand beyond the
bounds of "story" and become aware of i t s own subjectivity. The narrator
comes to f i n d for example, i n Proust's words, "the purely subjective
nature of the phenomena that we c a l l love, or how i t creates, so to
speak, a fresh, t h i r d , a supplementary person, d i s t i n c t from the
person whom the world knows by the same name, a person most of whose 37
constituent elements are derived from ourselves." 1
Knowing that he i s offering us a supplementary person who i s
a mere convenience derived from hi s own desire for self-expression, the
narrator repeatedly stresses the a r t i f i c e of h i s story and i t s purely
arbitrary nature. The characters become mere pawns used to evoke a
vicarious response from the reader who should recognize that, though
i t i s an old and t r i t e story he i s involved in,, i t i s also his story.
I t i s de te fabula. Although t h i s seeming abjuration of the characters
should tend to diminish the reader's sense of their substantiality,
and although the narrator frequently shows more concern with the
ramifications of his own t r a i n of thought than with the fortunes of
h i s characters, the characters persist i n disavowing their unreality
because they are predominantly ideal constructs, symbols whose
counterparts are embedded within the reader's psyche. Thackeray, as
h i s i l l u s t r a t i o n s frequently emphasize, i s happy to work with
tra d i t i o n a l symbol and myth such as the serpent i n the garden, Cupid
and Psyche or St. George. These tradi t i o n a l images offer s t a b i l i t y
37 'Remembrance of Things Past, trans. C.K. Scott Moncrieff
(London: Chatto and Windus, 1941), I I I , 56.
142
and a sense of continuity. Against t h i s s t a t i c background, Thackeray's
narrator indulges f r e e l y i n following his own fluctuating moods,
probing into his own consciousness and his reader's rather than the
particular minds of his characters.
When J.W. Dodds claims that "stroke by stroke, i n conversation
and description, Thackeray brings out the subtle differences which
make individuals of his people," one must surely demur. I t i s the
generic consciousness that Thackeray reveals rather than individual
variants, which are accounted for by hints and suggestions or the
narrator's admission that he can never r e a l l y know the darker depths
of an individual's heart. In Pendennis, for instance, the hero, as
the i l l u s t r a t i o n s on the t i t l e pages of the f i r s t two volumes make
clear, must choose either the worldly expediency of a p o l i t i c a l
career and Blanche Amory or the domestic f e l i c i t y of a humble home and
Laura B e l l . .While Arthur and Blanche play Cupid and Psyche to each
other, write romantic poetry and indulge i n pretty dreams, Laura
remains the constant s i s t e r , the saint and good angel, sound as the
b e l l of her name. Pen has to choose Laura's genuine love rather than
the blanched,pretendedly pure love of the convict's daughter who
appears i n many disguises and stands predominantly for affectation
and i n s t a b i l i t y . The dice i s heavily loaded against the false heroine
whose role i s that of seducer of the hero away from the pl a i n and
simple Laura. The i n i t i a l i l l u s t r a t i o n to chapter LXXII shows Pen
Thackeray: A C r i t i c a l P ortrait , p. 196.
143
as harlequin offering a love l e t t e r to a masked and gowned lady.
Differences there are and must he between the parts, but their
" i n d i v i d u a l i t y " i s p l a i n l y dictated, and happily accepted by the
reader as being dictated, by the needs of the plot.
Summary
In the primary world of Thackeray's novels, then, we are faced
not with individuals but with types whom we enjoy not f o r the sense they
give us of being complex l i k e ourselves, but. because of their simplicity
and p r e d i c t a b i l i t y . We enjoy them a l l the more perhaps f o r not being
l i k e f l e s h and blood, for we are not disturbed by their absurdity,
wickedness and f o l l y , which have a comic i n e v i t a b i l i t y . The secondary
f i c t i o n a l world asks us to r e f l e c t on the convention and supply l i f e
to the drama by our own experience. When Mark Spilka i s outraged by
the unreality of a d o l l - l i k e figure such as Amelia, he ignores the
fact that the convention being parodied demands a sweet heroine.
Knowing t h i s figure as an ideal type, and knowing, moreover, that
Thackeray i s aware that she i s a dream figure whose r e a l i t y depends
upon the convictions of the moment, i t i s f u t i l e to complain that 39
"the woman scarcely exists i n her own right." '
The fate of Thackeray's "heroes," " v i l l a i n s " and "lovers,"
as we have seen, does not correspond to their suggested parts i n their
respective novels. Becky and Barnes end respectably and prosperously,
3 9Mark Spilka, "A Note on Thackeray's Amelia," NCF, 10(1955), 206.
144
while the triumphs of Esmond, Dobbin and George Warrington are ambivalent.
Dr. Pirmin and Lady Baker refuse to accept the part of v i l l a i n i n
which their hesitant narrator would see them. Lovers are united either
i n fable-land, as i n The Newcomes, or equivocally, as i n Vanity- F a i r ,
Esmond, The Virginians, and P h i l i p . Ideal constructs i n the novels
are continually reduced to their human context with emphasis on the
di s p a r i t i e s between aspiration and f u l f i l l m e n t , desire and capacity,
and the c o n f l i c t i n g demands of the truths of f e e l i n g and f a c t . The
uncertainty of the narrator's capacity to distinguish with any degree
of permanence between the ideal and the l i v e d " r e a l i t y " drives him to
the retreat of the play world where each role i s an expression of the
moment's truth, and i s self-contained and gives temporary sa t i s f a c t i o n .
William Dobbin, Henry Esmond, Henry and George Warrington, Arthur
Pendennis, and Clive Newcome are thus potential heroes, who, on
occasion, do act heroic a l l y . Whether they are " r e a l " people to
their narrators or whether they merely act out \the~ir narrator's own heroic
fantasies as puppet figures—and they do both as occasion demands—
they do duty for epic hero and c h i v a l r i c lover, although they may also
be at times, rogue, scapegrace, muff, hypocrite, snob and spooney.
Thackeray's f i c t i o n moves within the conventions of popular
melodrama, fashionable f i c t i o n , epic, and c h i v a l r i c romance. From
these worlds he draws a variety of stage and l i t e r a r y types such as
Altamont, Lightfoot, S i r Francis Clavering, Amelia Sedley, Blanche
Amory, Dr. Brand Firmin, Beatrix Esmond, George Osborn^ George
Warrington and Henry Esmond. The world of f a i r y - t a l e l i e s behind the
bourgeois worlds of the other novels from Vanity Fair to Lovel the
Widower, It i s also i n s i s t e n t l y present in the fragment Denis Duval,
whose nominal hero i s at various times seen as Adam, Romeo and Humpty
Dumpty, Many of the novels have a wicked f a i r y who wields her power
through the spell of money and family influence. Young Henry Esmond has
an unjust stepmother and an aunt who resembles a wicked tragedy queen.
Caroline Brandon in P h i l i p i s seen by the narrator as an injured
Cinderella whose Prince Charming proves f a l s e , while Agnes and Blanche
Twysden appear on another occasion as the hypocritical ugly sisters
who.fail to recognize the true worth of the poor Cinderella, Mrs.
Lovel, u n t i l she becomes s o c i a l l y and f i n a n c i a l l y i n f l u e n t i a l . In
chapter XXII of The Virginians, Theodosia Lambert becomes for the
narrator a runaway Princess while Harry Warrington i s her knight
i n shining armour ready to overcome ogres and dragons before besiebging
the fortress where hi s beloved i s imprisoned.
I t i s plain, then, that Thackeray i s not primarily concerned
with placing before his reader the inner consciousness of individual
characters, but with the fragments of many conventions as they pass
through the narrator's mind. The kind of participation the novel
t y p i c a l l y induces, according to Ian Watt, "makes us fe e l that we are
i n contact not with l i t e r a t u r e but with the raw materials of l i f e
i t s e l f as they are momentarily reflected i n the minds of the
protagonists." 4^ I f t h i s i s so, then the Thackerayan protagonist i s
^The Rise of the Hovel; Studies i n Defoe, Richardson and Fielding (Berkeley; Univ. of Ca l i f o r n i a Press, 1964), p. 193.
146
atypical; but then so are the protagonists of novels such as Tom
Jones, 01iver Twist, The Egoist, Tess of the D'Urbervilles, and
much of.Ulysses. A more, inclusive statement was made by R.L. Stevenson
i n 1883, when he said, " A l l representative art, which can be said to
l i v e , i s both r e a l i s t i c and ideal; and the realism about which we
quarrel i s a matter purely of externals." Stevenson, attacking the
doctrine of naturalism as "a mere whim of veering fashion," declares
that i t "has made us turn our back upon the larger, more various,
and more romantic art of yore."4'*' Watt's phrase "the raw materials of
l i f e i t s e l f " i s clear i n nothing except that i t i s !'not . . . l i t e r a t u r e . "
The p o s s i b i l i t y that l i t e r a t u r e may give a perceiving mind the tools
whereby i t i s able to organize and make coherent the raw materials of
l i f e seems to pass unnoticed here. The mind of the Thackerayan
narrator, at any rate, expresses i t s e l f by showing the tools of art
at work upon these intractable raw materials.
4 ^ C i t e d by Miriam A l l o t t , ed., Novelists on the Hovel (London: Routledge and Paul, ["1959"] ), p. 72.
CHAPTER V
ILLUSION AT WORK AND PLAY: HENRY ESMOND AND PHILIP
There i s a time when the romance of l i f e Should he shut up, and closed with double clasp.
—Landor, Last F r u i t Off An Old Tree
. . . wherein was something f i n i t e and sad, for the human soul at i t s maximum wants a sense of the i n f i n i t e .
—D.H. Lawrence, The Rainbow
Now my dear fellow I must once for a l l t e l l you I have not one Idea of the truth of any of my speculations—I shall never be a Reasoner because I do not care to be i n the right, when re t i r e d from bickering and i n a proper philosophical temper—
—Kea t s , Letters
Clearly, Henry Esmond d i f f e r s in aim, tone and method from the
se r i a l i z e d novels. Conceived and published as a unified whole, i t
combines the influence of Thackeray's research into eighteenth-century
history with a mood of personal despondency brought on by his a f f a i r
with Mrs. Brookfield. I t bears the mark of meticulous scholarship
within i t s sedate and pensive mood. I t " i s much too grave and sad"
for part publication, Thackeray declared (Letters. I l l , 24). This
novel, which Thackeray saw as h i s finest achievement, was written
while the author was secluded from h i s family, who were for once not
allowed to share i n the creative process: "Esmond did not seem to
be part of our l i v e s , as Pendennis had been," Anne Thackeray regretted
(X, v ) . Her father himself termed Esmond "a book of cutthroat
melancholy" and said that i t was "as dreary and du l l as i f i t were
true" (Letters, I I , 807; III, 100).
147
148
Moreover, Esmond was the only Thackeray novel to he published
without i l l u s t r a t i o n s , and the ori g i n a l binding and typography were
imitations of eighteenth-century book-making.^" Even l a t e r editions of
the novel were sparingly i l l u s t r a t e d and lacked the characteristic
i n i t i a l drawings of the author.
In Esmond there are fewer addresses to the reader than i n the
typical Thackeray novel, and when the narrator does speak to his
reader i t i s usually not to the novel-reader of the nineteenth century
but to Esmond's own descendants. The generalized comments, the
improvised characters, the witty anecdotes that draw the reader and
dare him to make a judgement or pronounce conclusively on the truth,
are, i f not relinquished, d r a s t i c a l l y reduced. When such passages do
occur, they are usually worked into the story or given out as the
reflections of young Esmond—as i n this axiomatic declaration to
Esmond's grandchildren, provoked by an account of the Colonel's
slavery to Beatrix:
And who does not know how ruthlessly women w i l l tyrannize when they are l e t to domineer? and who does not know how useless advice is? I could give good counsel to my descendants, but I know th e y ' l l follow their own way, for a l l their grandfather's sermon. A man gets his own experience about women, and w i l l take nobody's hearsay; nor, indeed, i s the young fellow worth a f i g that would. 'Tis I that am i n love with my mistress, not my old grandmother that counsels me: ' t i s I that have fixed the value of the thing I would have, and know the price I would pay for i t . It may be worthless to you, but ' t i s a l l my l i f e to me. Had Esmond possessed the Great Mogul's crown and a l l his
For facsimile of original t i t l e page, see Scribners ed. X, x i ; for description of f i r s t edition, see Van Duzer, A Thackeray Library (Port Washington, New York: Kennikat Press, 1965), pp. 56-57,
149
diamonds, or a l l the Duke of Marlborough's money, or a l l the ingots sunk at Vigo, he would have given them a l l for t h i s woman. A fool he was, i f you w i l l ; but so i s a sovereign a f o o l , that w i l l give half a p r i n c i p a l i t y for a l i t t l e crystal as big as a pigeon's egg, and called a diamond; so i s a wealthy nobleman a f o o l , that w i l l face danger or death, and spend half his l i f e , and a l l his t r a n q u i l l i t y , caballing f o r a blue riband; so i s a Dutch merchant a f o o l , that hath been known to pay ten thousand crowns for a t u l i p . There's some particular prize we a l l of us value, and that every man of s p i r i t w i l l venture his l i f e f o r . (XI, 158-159)
The l o c a l h i s t o r i c a l references that accumulate in this passage are
calculated to demonstrate the f i n a l proposition, which i s not only the
particular point of the address but the controlling theme of the novel.
Never does Esmond allow his imagination, i n such a "digressive" passage,
to take wing, to activate the scene of the Great Mogul, the ljutch
merchant, or the sovereign, casting away their riches for worthless ends.
Esmond has reached a point of vantage i n his maturity, and looking back
on his past he i s able to draw general conclusions about mankind. There
i s a marked absence of i r r e s o l u t i o n or misgiving i n his tone. He moves
straight to his settled opinion, pausing only long enough to gather
the necessary evidence.
Furthermore, the images of riches are related to a pattern
that runs throughout the novel. Beatrix i s always a "prize" or a
highly prized "object" and associated with r i c h and precious jewels,
or lustrous crowns. Esmond, himself, gives h i s cousin the family
diamonds on the news of her engagement to Lord Hamilton. Beatrix i s
s a t i s f i e d , f i n a l l y , with nothing l e s s than the Pretender's crown.
The point to be stressed i s that t h i s seemingly digressive passage
150
has a v i t a l r e l a t i o n to the novel's paramount theme: the incalculable
value of individual idealism i n contrast to worldly acquisition. It i s
of course, triumphantly asserted i n Esmond's dual abdication of his
legal claim to Castlewood.
A typical device employed by Thackeray in his major novels i s
to have a f r i e n d l y but detached t e l l e r comment on a youthful
scapegrace-hero's progress, from passion for worldly sirens to a f i n a l
r e a l i z a t i o n of the genuine humble virtue near at hand. Thus, ultimately,
Blanche Amory i s superseded by Laura B e l l , Agnes Twysden by Charlotte
Baynes, and Beatrix i s replaced i n Esmond's affections by Rachel.
However, the distinguishing feature i n Esmond's case—leaving aside
for the moment that he t e l l s his own story, i s an epic hero rather than
a scapegrace, and marries an older woman—is that Beatrix i s not
discredited u n t i l the f i n a l chapter, and, l i k e Mary Crawford i n
Mansfield Park, her v i t a l i t y dominates the novel.
Beatrix i s much more the a l t e r ego of Esmond than are Maria,
Blanche, or Agnes of their heroes. Esmond's passion for Beatrix i s
psychically far deeper than the domestic warmth and s i l e n t guardian
ship that he feels for Rachel. The reader, too, admires her f i e r y
s p i r i t as inevitably as he does Becky Sharp's. Becky's successful
amoral campaign i s compared to that of Napoleon, and Beatrix, too, i n
her scorn of the world, her s e l f - s u f f i c i e n c y , her self-knowledge
(including that of her own necessary hypocrisy), sees her struggle i n
m i l i t a r y terms:
151
"I have been long enough Prank's humble servant. Why am I not a man? I have ten times his brains, and had I worn the — well, don't l e t your ladyship be frightened—had I worn a sword and periwig instead of th i s mantle and commode to which nature has condemned me—(though 'tis/pretty stuff, t o o — Cousin Esmond! you w i l l go to the Exchange tomorrow, and get the exact counterpart of this ribbon, s i r ; do you hear?)—I would have made our name talked about." (XI, I64)
Unlike the typic a l hero, Esmond knows—and even knew at the
time 'of the a c t i o n — t h a t he i s , i n common-sense terms, f o o l i s h to
love such a wayward, headstrong and petulant creature, but he loves
her, for most part of the novel, i n spite of this knowledge:
Whilst Esmond was under the domination of th i s passion, he remembers many a talk he had with his intimates,, who used to r a l l y Our Knight of the Rueful Countenance at his devotion, whereof he made no disguise, to Beatrix; and i t was with rep l i e s such as the above [[See pp. 148-93 N E me^ his friends' s a t i r e . "Granted, I am a f o o l , " says he, "and no better than you; but you are no better than I . You have your f o l l y you labour for; give me the charity of mine. What f l a t t e r i e s do . you, Mr. St. John, stoop to whisper i n the ears of a queen's favourite? What nights of labour doth not the l a z i e s t man i n the world endure, foregoing his bottle, and his boon companions, foregoing Lais, i n whose lap he would l i k e to be yawning that he may prepare a speech f u l l of l i e s , to cajole three-hundred, stupid country-gentlemen i n the House of Commons, and get the hiccupping cheers of the October Club!" (XI, 159)
Although Esmond i s no naive hero of the Harry Warrington
stamp, he appreciates the q u a l i t i e s of Beatrix and admires "the
indomitable courage and majestic calm with which she bore" the death
of her fiance, the Duke of Hamilton, the summit of her worldly
ambition (XI, 230). Even as Beatrix's star i s setting f o r him,
Esmond s t i l l finds i n her something great and noble; "Beatrix's
152
nature was d i f f e r e n t to that tender parent's; she seemed to accept her
g r i e f , and to defy i t " (XI, 230). Esmond i s moving between the two
f i x e d extremes: from amoral B e a t r i x to moral Rachel, yet the g l o r y of
the f i r s t seems to remain i n h i s memory. At no time before her f i n a l
d e f e c t i o n does Esmond f a i l to recognize B e a t r i x ' s amoral worth:
Not t h a t we should judge proud s p i r i t s otherwise than c h a r i t a b l y . "Pis nature hath fashioned some f o r ambition and dominion, as i t hath formed others f o r obedience and gentle submission. The l e o p a r d f o l l o w s h i s nature as the lamb does, and a c t s a f t e r l e o p a r d law; she can n e i t h e r h e l p her beauty, nor her courage, nor her c r u e l t y ; nor a s i n g l e spot i n her s h i n i n g coat; nor the conquering s p i r i t which impels her; nor the shot which br i n g s her down.' (XI, 230)
I f B e a t r i x i s a f a l l e n s t a r , Rachel, by c o n t r a s t , i s a f i x e d
one. Esmond's v i s i o n of h i s " d i v i n e m i s t r e s s " remains constant.
Rachel, i n t h i s i d y l l i c passage, seems to hover over the whole of
human ex i s t e n c e from Eden to apocalypse:
They walked out, hand-in-hand, through the o l d court, and to the terrace-walk, where the grass was g l i s t e n i n g with dew, and the b i r d s i n the green woods above were s i n g i n g t h e i r d e l i c i o u s choruses under the b l u s h i n g morning sky. How w e l l a l l t h i n g s were rememberedJ The ancient towers and gables of the h a l l d a r k l i n g against the east, the purple shadows on the green slopes, the quaint devices and carvings of the d i a l , the forest-crowned h e i g h t s , the f a i r yellow p l a i n c h e e r f u l with crops and corn, the s h i n i n g r i v e r r o l l i n g through i t towards the p e a r l y h i l l s beyond; a l l these were before us, a l o n g with a thousand b e a u t i f u l memories of our youth, b e a u t i f u l and sad, but as r e a l and v i v i d i n our minds as that f a i r and always-remembered scene our eyes beheld once more. We f o r g e t nothing. The memory sleeps, but wakens again; I o f t e n t h i n k how i t s h a l l be when, a f t e r the l a s t sleep of death, the r e v e i l l e e s h a l l arouse us f o r ever, and the past i n one f l a s h of s e l f - c o n s c i o u s n e s s rush back, l i k e the s o u l -r e v i v i f i e d . (XI, 237)
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The t i m e l e s s q u a l i t y of Rachel's i n f l u e n c e on Esmond i s a l s o
s t r e s s e d by her r e f u s a l to age throughout the n o v e l . Speaking of her
daughter she d e c l a r e s , "¥e are l i k e s i s t e r s , and she the e l d e s t s i s t e r ,
somehow" (XI, 109). Returning from B r u x e l l e s , Esmond f i n d s that h i s
"dear m i s t r e s s , b l u s h i n g as he looked at her, with her b e a u t i f u l f a i r
h a i r , and an elegant dress, a c c o r d i n g to the mode, appeared to have
the shape and complexion of a g i r l of twenty" (XI, 111). Doctor
A t t e r b u r y found that Rachel "looked so charming and young," that he
spoke of her beauty to the Prince (XI, 309). On another occasion,
mother and daughter "made a ve r y p r e t t y p i c t u r e together, and looked
l i k e a p a i r of s i s t e r s — t h e sweet simple matron seeming younger than
her years, and her daughter, i f not o l d e r , yet somehow, from a
commanding manner and grace which she possessed above most women, her
mother's s u p e r i o r and p r o t e c t r e s s " (XI, 157). On Esmond's r e t u r n to
Castlewood, B e a t r i x "was o l d e r , p a l e r , and more majestic, than i n the
year before; her mother seemed the youngest of the two" (XI, 238).
Thus, although i n many ways Esmond's movement from the w o r l d l y
shrew to the humble and d i v i n e l y a f f e c t i o n a t e maternal f i g u r e i s a
t y p i c a l device of Thackeray, Esmond's attachment to and e v a l u a t i o n
of these opposites i s d i s t i n c t l y d i f f e r e n t . Esmond seeks h i s f u l f i l l m e n t
i n each c o n c u r r e n t l y r a t h e r than s e q u e n t i a l l y , and, as a moral creature
h i m s e l f , he attempts to do the i m p o s s i b l e — t o b u i l d an essence from
two incompatible h a l v e s . Before he f i n a l l y r e s i g n s h i m s e l f to
Rachel, he s u f f e r s an acute sense of l o s s and weariness at the double
d e f e c t i o n of h i s i d e a l s of lo v e and k i n g s h i p . Before t r e a t i n g t h i s l o s s
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more f u l l y , however, i t i s important, to examine further the d i s t i n c
t i v e l y different q u a l i t i e s of the narrative mode i n Esmond compared
with the typical novel.
The narrator of Esmond i s r e f l e c t i v e rather than reflexive
l i k e the typical Thackerayan narrator; he reveals for his descendants
his golden past, hut does not e l i c i t consciousness of his ephemeral
writing present. He seldom turns on himself an i r o n i c a l eye, seldom
has second thoughts, and never exposes himself as jester, f o o l , or
hypocrite. Esmond's history i s , i n fa c t , so far removed from his
writing present that he writes i t quasi-posthumously; "To the very
l a s t hour of his l i f e , Esmond remembered the lady as she then spoke
and looked" (X, 8 ) . While Pendennis entertains the ideal world of
romance and f a i r y - t a l e i n order subsequently to expose i t s i n s t a b i l
i t y , Esmond i s ever reluctant to jettison the ideals which Beatrix,
Holt, and the Pretender once held for him. Thus, young Castlewood,
paying his respects to the Duchess of Marlborough, looks to Esmond
"l i k e a prince out of a f a i r y t a l e " and of Beatrix's planned costume
for King James the Third's coronation, he declares "never a princess
i n the land would have become ermine better" (XI, 33j 221).
The ideal forms of love and kingship are i n d e l i b l y impressed
on Esmond's consciousness and when the human r e a l i t y t r a g i c a l l y f a i l s
to f i t these forms, as i t does i n the case of the Pretender, Esmond's
reaction i s one of weariness and despair. The worldly Pendennis,
acknowledging the nature of human weakness—including his own and his
reader's—would draw a discreet curtain over the scene that evokes
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i n Esmond such a fever of discontent* In t h i s Macbeth-like soliloquy,
Esmond reveals not merely personal jealousy of the Pretender (Esmond
had become hardened to this experience after Beatrix's a f f a i r s with
Blandford and Hamilton), but self-doubt combined with a savagery at
the betrayal of noble ideals by the shallow and callous figures who
ought to uphold them:
"I have done the deed," thought he, sleepless, and looking out into the night; "he i s here, and I have brought him; he and Beatrix are sleeping under the same roof now. Whom did I mean to serve i n bringing him? Was i t the Prince? was i t Henry Esmond? Had I not best have joined the manly creed of Addison yonder, tha"t scouts the old doctrine of right divine, that boldly declares that Parliament and people consecrate the Sovereign, not bishops, nor genealogies, nor o i l s , nor coronations." The eager gaze of the young Prince, watching every movement of Beatrix, haunted Esmond and pursued, him. The Prince's figure appeared before him in'-His" feverish, dreams many times that night. He wished the deed undone for which he had laboured so. (XI, 268)
Where the typical narrator, quite at home i n a world of flux
and ambiguous ideals, delights to reveal the disparity between human
aspiration and human achievement, Esmond i s always pained i n witness
ing the betrayal of noble causes. Although he espouses the cause of
King James the Third, Esmond b i t t e r l y records the Prince's feckless
conduct and blind ignorance of his kingly duties: "He l e t his chances
s l i p by as he lay i n the lap of opera-girls, or snivelled at the knees
of priests asking pardon; and the blood of heroes, and the devotedness
of honest hearts, and endurance, courage, f i d e l i t y , were a l l spent for
him i n vain" (XI, 127).
Esmond frequently exposes the private r e a l i t y behind the
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outward form of such public worthies as Marlborough, Addison, Steele,
and Dr. Johnson. Even King William whom "no man admired . . . more; a
hero and a conqueror, the bravest, justest, wisest of men" i s denounced
as a butcher and tyrant, for "'twas by the sword he conquered" (XI,
126-127). Esmond's dispute with Addison concerning the l a t t e r ' s epic
on the battle of Blenheim i s based .on the fact that poets t e l l the
truth neither about the horrors of war nor the corruption of leaders.
Epics are concerned not with men but with heroes; "We must paint our
great Duke . . . not as a man, which no doubt he i s , with weaknesses l i k e
the rest of us, but as a hero," declares Addison (XI, 44). Although
Esmond i s clear-sighted enough to note the incongruity between the
public image and the facts as vouchsafed to Marlborough's intimates,
when he deals with his own private l i f e , namely his love of Beatrix
and of Rachel, he i s seldom capable of consistent detachment. Beatrix
remains throughout the memoir Esmond's "enchantress" or h i s "charmer;"
Rachel i s always his "dear mistress." Rational assessment i s , therefore,
inadequate to account for the effect of these women upon him.
Beatrix and Rachel remain for Esmond ideal creatures, even
though Beatrix's image ultimately becomes tarnished and Rachel's
changes from that of perfect mother to perfect wife. The r e a l i s t i n
Esmond knows that Beatrix i s hard-hearted, mercenary, and s o c i a l l y
aspiring, but i t i s the ideal v i s i o n which dominates his view of her.
He i s too passionately involved to be amused by the incongruity of
his bifurcated vision; he i s devoted to an image, to an icon kept
sacred i n h i s memory irrespective of any worldly or factual knowledge
that may attempt to shatter i t . Beatrix i s the prize which Esmond
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seeks to win by noble and gallant action both i n Webb's regiment and
i n the intrigue to restore the crown to "The King over the Water."
Esmond i s not a f e r v i d believer i n either of these public causes:
"Esmond thought an English king out of St. Germains was better and
f i t t e r than a German prince from Herrenhausen, and that i f he f a i l e d
to s a t i s f y the nation, some other Englishman might be found to take
his place" (XI, 136). Esmond i s as aware, i n h i s rational moments,
of the foolishness of his pursuit of Beatrix as he i s of the f o l l y of
simple-minded s e l f - s a c r i f i c e f o r the worldly gain of others, yet he
cannot dismiss Beatrix as unworthy; t h i s , he makes clear to Rachel:
"What l i t t l e reputation I have won, I swear I cared for i t because I thought Beatrix would be pleased with i t . What care I to be a colonel or a general? Think you ' t w i l l matter a few score years hence, what our f o o l i s h honours to-day are? I would have had a l i t t l e fame, that she might wear i t i n her hat. I f I had anything better, I would endow her with i t . I f she wants my l i f e , I would give i t her. I f she marries another, I w i l l say God bless him. I make no boast nor no complaint. I think my f i d e l i t y i s f o l l y , perhaps. But so i t i s . I cannot help myself. I love her. You are a thousand times better: the fondest, the f a i r e s t , the dearest of women. Sure, my dear lady, I see a l l Beatrix's f a u l t s as well as you do. But she i s my fate. 'Tis endurable. I shall not die for want of having her. I think I should be no happier i f I won her. Que voulez-vous? as my Lady of Chelsey would say. Je 1'aime."
(XI, 107-108)
Esmond contrasts with Prank Castlewood i n being no simple
i d e a l i s t , no naive zealot. While the uxorious Prank becomes dominated
by the rather unattractive Clotilda—"my poor Prank was weak, as
perhaps a l l our race hath been, and led by women" (XI, 334)—Esmond
retains, at least i n h i s passion f o r Beatrix, a knowledge of his own
foolishness and his beloved's unworthiness. His devotion i s the more
exceptional, more moving, and more heroic because of t h i s knowledge.
Honours, whether won i n the Duke's, the King's, or the Pretender's
service, are useless to Esmond i f they f a i l to advance h i s suit with
Beatrix. Typically enough, Esmond renounces h i s t i t l e i n favour of
Prank, for honours of rank and t i t l e mean as l i t t l e to him as those
won on the b a t t l e f i e l d . Honour for Esmond l i e s i n s e l f - s a c r i f i c e for
the only cause he p r i z e s — t h e conquest of Beatrix. He i s not lured
by "the twopenny crown" (XI, 260 ) of the Castlewood e n t a i l . Young
Prank, to whom the t i t l e means so much, who b l i n d l y worships h i s
wife and who "was ready to fight without much thinking" f o r the
Jacobite cause (XI, 254), does not suffer as Esmond does at human
defection from the i d e a l .
Esmond knows that, though h i s f i d e l i t y i s f o l l y , he cannot
help himself. Nevertheless his T o l l y " i s precious to him; he can
never laugh at h i s feverish and insane passion, even i n retrospect.
Although, after Oudenarde, his name was sent into.the Gazette for
promotion, and this "made his heart beat to think that certain eyes
at home, the brightest i n the world, might read the page on which his
humble services were recorded," yet "his mind was made up steadily to
keep out of their dangerous influence, and to l e t time and absence
conquer that passion he had s t i l l lurking about him" (XI, 81). This
determination does not cool Esmond's ardour, however, and before long
he i s back,"pleased at the l i t t l e share of reputation which his good
fortune [at the battle of Wynendaelj had won him, yet i t was c h i e f l y
precious to him . . . because i t pleased his mistress, and, above a l l ,
because Beatrix valued i t " (XI, 104). Esmond values neither fame nor
t i t l e that does not enhance his suit with Beatrix, his splendid private
f o l l y that, l i k e young Hareel»s adolescent, passion for Gilberte
i n Proust's novel, remains locked i n the memory and burnished with
time.
Esmond's intimate relationship to his own story, naturally
enough precludes him from the self-conscious and reader-conscious
addresses that we associate with the typical Thackerayan narrator.
Esmond, t e l l i n g his own story, i s not free to stand outside the
i l l u s i o n and see i t s ephemeral nature; he i s "historian" and not a
novelist gently mocking a sentimental or cynical reader. In fact
Esmond i s very rarely conscious of a reader, and his soliloquies,
though they do occasionally sound the discursive and f a n c i f u l note
of the s e r i a l i z e d novels, contribute to the unifying theme of the
novel—the ultimate value of romantic idealism, and the heroic nature
of i t s pursuit i n the face of the tangible and the l o g i c a l . Esmond
does not merely end with a marriage and the prospect of eternal union,
but with the affirmation that "love v i n c i t omnia; i s immeasurably
above a l l ambition, more precious than wealth, more noble than name"
(XI, 333). This i s no sudden revelation for Esmond, whose whole l i f e
has consisted of the repudiation of ambition, wealth and name, and
whose passion f o r Beatrix i s extinguished only by her feckless betrayal
of the noble cause to which the Castlewoods are devoted:
She came up to Esmond and hissed out a word or two:—"If I
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did not love you before, cousin," says she, "think how I love you now." I f words could stab, no doubt she would have k i l l e d Esmond; she looked at him as i f she could.
But her keen words gave no wound to Mr. Esmond; his heart was too hard. As he looked at her, he wondered that he could ever have loved her. His love of ten years was over; i t f e l l down dead on the spot, at the Kensington Tavern, where Frank brought him the note out of "Eikon Ba s i l i k e . "
(XI, .329-330)
The emotional intensity of such a climactic passage i s not q u a l i f i e d
by any f r i e n d l y farewells to the reader or any promise to the senti
mental reader that his hero w i l l ultimately be rewarded. In some
degree t h i s i s indeed the death of Esmond's passion: Beatrix has
e f f e c t i v e l y stabbed him, and although the f i n a l r e a l i z a t i o n of Rachel's
worth has been prepared for throughout, the reader i s pained by the
hero's f i n a l repudiation of Beatrix. Esmond has moved towards an
awareness that not only does hi s i d o l have feet of clay, but that
i t s golden splendour emanated from his own ideal v i s i o n .
Although i t i s true that Esmond had reached this sad conclu
sion much e a r l i e r i n h i s l i f e , yet the process by which he achieved
this knowledge was rational rather than emotional. Returning to the
court, flushed with the dearly-won triumph of Wynendael, Henry
his v i s i o n . In this self-catechism, he approaches the detachment of
the more typical narrator of the s e r i a l i z e d novels:
What i s the meaning of f i d e l i t y i n love, and whence the b i r t h of i t ? 'Tis a state of mind that men f a l l into, and depending on the man rather than the woman. We love being i n love, that's the truth-on't; I f we had not met Joan we should have met Kate, and adored her. We know our mistresses are no
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better than many other women, nor no pr e t t i e r , nor no wiser, nor no w i t t i e r , 'Tis not for these reasons we love a woman, or for any special quality or charm I know of5 we might as well demand that a lady should be the t a l l e s t woman i n the world, l i k e the Shropshire Giantess, as that she should be a paragon in-any other character, before we began to love her, Esmond's mistress had a thousand fa u l t s beside; her charms; he knew both perfectly well! She was imperious, she was light-minded, she was f l i g h t y , she was f a l s e , she had no reverence i n her character; she was i n everything, even i n beauty, the contrast of her mother, who was the most devoted and the least s e l f i s h of women, Well, from the very f i r s t moment he saw her on the s t a i r s at Walcote, Esmond knew he loved Beatrix, There might be better women—he wanted that one. He cared for none other. Was i t - because she was gloriously beautiful? Beautiful as she was,he had heard people say a score of times in their company that Beatrix's mother .looked as young, and was the handsomer of the two. Why did her voice t h r i l l i n his ear so? She could not sing near so well as N i c o l i n i or Mrs. Tofts; nay, she.sang out of tune . . . and yet to see her dazzled Esmond; he would shut his eyes, and the thought of her dazzled him a l l the same.
( x i , 104-105)
Esmond's eye-closing i s ambivalent here; i t i s due not only to the
painful b r i l l i a n c e of Beatrix but also to h i s need to maintain the
ideal, even i n the face of i t s sensible and rational contrary. Where
Pendennis and his successive narrators would smile at such connivance
with their cloud-cuckoo visions, Esmond determinedly clings to the
timeless. The "thousand f a u l t s " of Beatrix, which the s o l i l o q u i z i n g
Esmond begins gaily to enumerate, become l o s t i n the culminating
transcendent radiance. The tone of the monologue, too, as i t moves
from the general to the particular, drops i t s jaunty playful note
and takes on a persistently personal one: "Esmond knew he loved
Beatrix," "There might be better women—he wanted that one," "and yet
to see her dazzled Esmond." It i s clear, at this time, that Esmond
s t i l l prefers to l e t his mental image dominate his rational sense; his
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culminating disgust with his false King and his false Queen s t i l l
needs the f i n a l evidence concealed (and never overtly discussed) i n
the "Eikon Basilike." The t i t l e of the volume i t s e l f alludes both
to the serpentine charm of Beatrix and the false image of the "King"
which Esmond and the other branch of the Castlewood family had indeed
worshipped as an icon,
Esmond i s , throughout his memoirs, possessed by a series of
romantic images. As a small boy he i s introduced to the reader,
s i g n i f i c a n t l y , i n the portrait gallery of Castlewood. His inviolable
image of Rachel, who never seems to age to Esmond throughout his
adolescence, early manhood, and adult l i f e , remains untarnished to the
end. In t h i s , Rachel's image contrasts with that of Beatrix, for,
ultimately, the mother replaces the discredited daughter as the focus
of Esmond's idealism. Rachel's image precedes her daughter's and
ultimately remains longer with him; i t dazzles but does not dominate
Esmond u n t i l Beatrix's star i s dimmed. Esmond looks up at Rachel " i n
a sort of delight and wonder, for she had come upon him as a (D.ea certe,
and appeared the most charming object he had ever looked on. Her
golden hair was shining i n the gold of the sun; her complexion was
of a dazzling bloom; her l i p s smiling, and her eyes beaming with a
kindness which made Henry Esmond's heart to beat with surprise" (X, 7).
Rachel appears, thus, as a divine messenger, and has much of the
qual i t y of a Pra Angelico "Annunciation." She i s s t i f f and b r i l l i a n t ,
bearing a sacred message from the heavens. Esmond i s transfixed by
the visionary Rachel, but the divine creature returns to him "with a
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l o o k of i n f i n i t e p i t y and tenderness i n her eyes," and the boy "who
had never looked upon so much beauty before, f e l t as i f the touch of
a s u p e r i o r b e i n g or angel smote him down to the ground" (X, 75 8).
T h i s impression made by the "charming o b j e c t " and " s u p e r i o r being" i s
never completely e f f a c e d from Esmond's memory, but almost immediately
t h i s j o y f u l and sublime p i c t u r e i s superseded by that of B e a t r i x ,
whose f a t h e r c a l l s her " T r i x . " (The name, indeed, i s as p e r f e c t l y
evocative of character as Thackeray's "Becky Sharp.") B e a t r i x
"looked at Henry Esmond solemnly, w i t h a p a i r of l a r g e eyes, and then
a smile shone over her f a c e , which was as. b e a u t i f u l as that o f a cherub"
(X, 9 ) , The mixture of the p l a y f u l and th.e.divine i n B e a t r i x i s f o r most
of tHe-novel t o haunt and t o r t u r e the hero, before he r e a l i z e s , with
i n f i n i t e r e g r e t , that the p r i z e i s not worth the winning. U l t i m a t e l y
the "cherub," the "madcap g i r l , " so arch, so b r i l l i a n t , so b e a u t i f u l ,
i s r e p l a c e d i n Esmond's esteem by "the angel," the " s u p e r i o r being."
There i s , however, a submerged aspect of Esmond that has a
good deal i n common w i t h the me r c u r i a l n a r r a t o r of the s e r i a l i z e d
n o v e l s . Despite Esmond's a l l e g i a n c e to the i d e a l (the s t a t i c p o r t r a i t ,
the Castlewood past that remains " f i x e d on the memory") (X, 11), the
Esmond who i s entranced by B e a t r i x i s aman who despises cant and
admires the impulsive. Though the reader misses the d e l i g h t f u l ,
w i t t y i m p r o v i s a t i o n s of a Pendennis, Esmond does remove h i m s e l f from
the s t o r y to address h i s descendants and even, o c c a s i o n a l l y , h i s
rea d e r . The v i t a l i t y of the nove l , on the whole, stems from the
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character of Beatrix with her b r i l l i a n t s a l l i e s , petulant behavior,
subtle mimicry and amoral adherence to self-advancement i n court
c i r c l e s . But a considerable r e l i e f from Esmond's humble devotion i s
attained not only by his evocative pictures of the past, but also by
hi s occasional informality and self-consciousness i n the writing
present.
Only rarely does Esmond see himself with irony and detachment,
but a passage such as t h i s , which i n the se r i a l i z e d works would claim
an impish i l l u s t r a t i o n , catches the narrator taking time out from his
melancholy epic to indulge i n l i g h t and f a n c i f u l speculation:
From the loss of a tooth to that of a mistress there's no pang that i s not bearable. The apprehension i s much more cruel than the certainty; and we make, up our mind to the misfortune when ' t i s irremediable, part with : the tormentor, and mumble our crust on t'other side of the jaws. I think Colonel Esmond was relieved when a ducal coach-and-six came and whisked his charmer away out of his reach, and placed her i n a higher sphere." As you have seen the nymph i n "the opera-machine go up to the clouds at the end of the piece where Mars, Bacchus, Apollo, and a l l the divine company of Olympians are seated, and quaver out her l a s t song as a goddess: so when th i s portentgusf elevation was accomplished i n the Esmond family, I am not sure that every one of us did not treat the divine Beatrix with special honours; at least, the saucy l i t t l e beauty carried her head with a toss of supreme authority, and assumed a touch-me-not a i r , which a l l her friends very good-humouredly bowed to. ( X I , 189-190)
Here the epic simile i s inverted to mock-epic as Beatrix i s seen as
"the nymph i n the opera-machine." The stately tone and often s t i l t e d
d i c t i o n of the bulk of the novel gives place to the i r o n i c a l : "divine
company of Olympians," "portentouselevation," "divine Beatrix,"
and the col l o q u i a l : "mumble our crust on t'other side of the jaws,"
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"saucy l i t t l e beauty," "touch-me-not a i r . " The tooth-drawing analogy
i t s e l f e f f e c t i v e l y deflates the image of the loss of the d i v i n i t y ,
and we have, f i n a l l y , the hall-mark of the reflexive narrator dis
played i n the qualifying phrase "I am not sure that."
Esmond's l i n k with the more typical narrator i s made stronger
when he follows the above passage by the anecdote concerning Colonel
Esmond's old army acquaintance. For:
honest Tom Trett, who had sold his company, married a wife, and turned merchant i n the c i t y , was dreadfully gloomy for a long time, though l i v i n g i n a fine house on the r i v e r , and carrying on a great trade to a l l appearance. At length Esmond saw his friend's name i n the Gazette as a bankrupt; and a week after this circumstance my bankrupt walks into Mr. Esmond's lodging with a face perfectly radiant with good-humour, and as j o l l y and careless as when they had sailed from Southampton ten years before for Vigo. "This bankruptcy," says Tom, "has been hanging over my head these three years; the thought hath prevented my sleeping, and I have looked at poor Polly's head on t'other pillow, and then towards my razor on the table, and thought to put an end to myself, and so give my woes the s l i p . But now we are bankrupts: Tom Trett pays as many s h i l l i n g s i n the pound as he can; his wife has a l i t t l e cottage at Fulham, and her fortune secured to herself. I am afra i d neither of b a i l i f f nor of creditor: and for the l a s t six nights have slept easy." So i t was that when Fortune shook her wings and l e f t him, honest Tom cuddled himself up i n his ragged virtue and f e l l asleep. (XI, 190-191)
Tom Trett, who plays no further part i n the memoir, i s merely an
i l l u s t r a t i v e figure, conjured out of the a i r , to emphasize Esmond's
point that the simplest remedy for loss—whether of money or l o v e — i s
that of speedy acceptance.
The purely i l l u s t r a t i v e anecdote, such as the above, i s ,
admittedly, rare i n Esmond, and the deliberately i n f l a t e d similes
and huge digressions, characteristic of the other novels, seldom
166
interrupt the single-minded s t o r y - t e l l e r . Nevertheless, there are
occasional generalized and speculative comments that are subordinate
to the narrator's purpose. Thus, r e g r e t f u l l y considering Rachel's
over-protectiveness of her son as a cause of Prank's prodigality,
Esmond concludesr
'Twas this mistake i n his early training, very l i k e l y , that set him so eager upon pleasure when he had i t i n his power; nor i s he the f i r s t lad that has been spoiled by the over-careful fondness of women. No training i s so useful for children, great and small, as the company of their betters i n rank or natural parts; i n whose society they lose the overweening sense of their own importance, which stay-at-home people very commonly learn. (XI, 151)
Esmond generalizes on the value of "training" and contact with their
"betters" f o r children, and goes on to compare Prank's secretive
conversion to Roman Catholicism with the action of "a prodigal that's
sending i n a schedule of his debts to his friends, [andj never puts
a l l down, and, you may be sure, the rogue keeps back some immense
swinging b i l l , that he doesn't dare to own" (XI, 151). Esmond i s
here engaging i n the familiar practice of the Thackerayan narrator,
by unveiling the young scapegrace hero, but i n Esmond there i s less
delight i n the process, and generalized comment, which would be
material enough for a two-page "digression" were the subject Harry
Warrington or P h i l i p , i s a l l the narrator allows himself.
Thus, i t i s seen that Esmond, unlike the typical narrator,
seeks a personal intensity of v i s i o n through fixed images; the
impressions of Beatrix, Rachel, Prank Castlewood, and the house of
Castlewood i t s e l f are engraved on his memory. He reviews hi s past as
i f he were r e c a l l i n g and arranging, a series of b r i l l i a n t portrait and
landscape paintings and f i l l i n g t heir i n t e r s t i c e s with narrative.
The dominant motif, or at least the most enduring, i s that of Rachel,
the "angel," "dearest mistress," "dearest saint," and "purest soul"
i n whose service Esmond undertakes his knightly duties: "Years ago,
a boy on that very bed, when she had blessed him and called him her
Knight, he had made a vow to be f a i t h f u l and never desert her dear
service. Had he kept that fond boyish promise? Yes, before heaven;
yes, praise be to God! His l i f e had been hers; his blood, his fortune,
his name, his whole heart ever since had been hers and her children's"
(XI, 234)• Esmond's v i s i o n of himself as f a i t h f u l , knight kneeling
before h i s lady i s a c h i v a l r i c motif which would have been used iron
i c a l l y by Pendennis or the Manager t e l l i n g of Harry Warrington's or
Dobbin's service on behalf of their rather ordinary and considerably
less worthy ladies. But i n Esmond, chivalry triumphs and the epic
hero, although on occasion he does see himself as the Knight of the
Woeful Countenance, triumphs over adversity and wins his lady.
The essential difference between Esmond and the typical Thackeray
novel l i e s i n the narrator's distance from the narrative; their
underlying moral values are not dis s i m i l a r . Despite a variance
of method and purpose, Esmond and P h i l i p t e l l stories of innocent
youths who somehow maintain their i n t e g r i t y i n a scheming world, to be
ultimately rewarded, either materially or s p i r i t u a l l y , i n a reassuring
domestic partnership. The v i l l a i n o u s seducers—the Pretender and
Dr. Pirmin—are f i n a l l y banished and discredited and.a benign dea
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ex machina assures both heroes of a happy ending. P h i l i p ' s beneficent
turns out to be "the Black Prince," Woolcomh, who unknowingly sets off
a chain of circumstance that causes an inheritance to f a l l on the
hero), whereas Esmond marries his guardian angel.
The proximity of Esmond to his own narrative ensures that h i s
moments of comparative detachment w i l l be rare and that he w i l l l i v e
into his story to a larger extent than Pendennis. Thus Esmond i s
aware that his biassed view of Marlborough and his partisanship
concerning ¥ebb are based on "a revengeful wish to wipe off an old
injury" (X, 98)• Had the Duke recognized the bashful young lieutenant
Esmond, his story would have been different:
A word of kindness or acknowledgement, or a single glance of approbation, might have changed Esmond's opinion of the great man; and instead of a s a t i r e , which his pen cannot help writing, who knows but that the humble historian might have taken the other side of panegyric? We have but to change the point of view, and the greatest action looks mean; as we turn the perspective-glass, and a giant appears a pigmy. You may describe, but who can t e l l whether your sight i s clear or not, or your means of information accurate? Had the great man said ,but a word of kindness to the small one (as he would have stepped out of h i s g i l t chariot to shake hands with Lazarus in rags and sores, i f he thought Lazarus could have been of any service to him), no doubt Esmond would have fought for him with pen and sword to the utmost of his might; but my l o r d the l i o n did not want master mouse at this moment, and so Muscipulus went off and nibbled i n opposition.
(XI, 27-28)
I t i s spontaneous, s e l f - c r i t i c a l and freely inventive passages l i k e
this that are more i n keeping with the typical novels,with their
assumption of multiple perspective. Esmond, who usually seeks a
169
unified perspective, does not go to the f i n a l position of renouncing
the p o s s i b i l i t y of a l l ultimate knowledge. Keats developing the
Byronic notion that knowledge i s sorrow goes on to maintain that
"'Sorrow i s Wisdom'—and further f o r aught we can know for certaintyl 2
•Wisdom i s f o l l y . ' " This f i n a l p o s s i b i l i t y i s never recognized by
Esmond, whose search i s complete i n the crowning happiness of his
union with Rachel:
And then the tender matron, as beautiful i n her autumn, and as pure as virgins i n their spring, with blushes of love and "eyes of meek surrender," yielded to my respectful importunity, and consented to share my home. Let the l a s t words I write ' thank her, and bless her who hath blessed i t .
(XI, 334)
The i r o n i c v i s i o n of a Pendennis would be out of place here, for the
i n t r i n s i c value of Esmond's ideal model of perfection has remained
steadfast from the dea certe apparition i n the f i r s t chapter. The
image of Rachel, remembered to his very l a s t hour, reappears contin
u a l l y i n Esmond's thoughts as pellu c i d as on the f i r s t occasion, when
the boy was enraptured by "the rings on her f a i r hands, the very scent
of her robe, the beam of her eyes l i g h t i n g up with surprise and
kindness, her l i p s blooming i n a smile, the sun making a golden halo
round her hair" (X, 8).
Esmond i s not a novel i n which the central character learns
ultimate wisdom through the shedding of i l l u s i o n s . The narrator
learns to modify h i s various idealisms through contact with experience,
2 The Letters of John Keats, ed. Maurice Buxton Porman, 2 vols.
(London: Oxford Univ. Press, 1§31), I, 154.
but be re-experiences them i n a l l their vividness i n the writing
present, and, as we have seen, ardent romanticism i s ever waiting to
envelop even the mature Henry Esmond. John Loofbourow finds that
Esmond's rediscovery of Rachel's humanity when he returns to Castle
wood after her husband's death i s the beginning of Esmond's matura
tio n . At t h i s moment, Esmond sees Rachel as a woman and not a div
i n i t y . "This recognition of r e a l i t y , " says Loofbourow, "preludes a
re c o n c i l i a t i o n scene i n which, for the f i r s t time, Rachel, and Esmond
meet as responsive adults.""^ But at the end of the novel Rachel i s
again being worshipped by Esmond, her devoted servant. The fantasy
motifs of the novel are, according to Loofbourow, "discredited by
r e a l i s t i c data," 4 yet the novel ends on a fantasy motif. The joys
of marriage and children only are emphasized, and an i d y l l i c conclu
sion i n a trans-Atlantic Eden of sweet sunshine and happily working
negroes suggests that Esmond, l i k e most of humankind, cannot bear
very much r e a l i t y .
Esmond i s exceptional among Thackeray's novels i n having a
greater unity of theme, form and s t y l e . The narrator seeks security
i n the coherence of aesthetically consistent patterns, but he lacks
the imaginative recklessness of the typical Thackerayan narrator who
always knows with half his mind that he i s dealing with puppets
rather than people. Since he knows that he i s involved with a world
"^Thackeray and the Form of F i c t i o n (Princeton: Princeton Univ. Press), pp. 137-135.
4 I b i d . , p. 168.
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of i l l u s i o n , the more typical narrator, such as Pendennis, Batchelor,
or the Manager, does not have the mania for s e l f - j u s t i f i c a t i o n that
Esmond persistently indulges. Esmond t r i e s to write what might he
described as a Bildungsroman, i n which the shedding of i l l u s i o n s i s a
process of maturation. The other narrators cheerfully accept that
not only children, but adults too, need their i l l u s i o n s , and these
narrators present their readers not with a growing-up process, but a
perpetual flux where there i s no hard l i n e between i l l u s i o n and r e a l i t y .
It follows from this that the serialized novels present a
narrator who i s reluctant to draw a d i s t i n c t i o n between himself and
others, for, as the opening i l l u s t r a t i o n to Vanity Fair makes clear,
he sees himself reflected i n the world he observes. Esmond i s , i n
any sense of the word, the hero of his own story, whereas the se r i a l i z e d
novels are novels without heroes. Pendennis and the other biographers
are content to t e l l plebeian stories which exclude the world of high
seriousness, the fate of empires and the f a l l of kings; epic i s replaced
by mock-epic. .'When narrators rea l i z e that there i s a hero within every
man, then they see the impropriety of conventional categorization.
Pendennis' ir o n i c appraisal of his "hero^1 P h i l i p , on the l a t t e r ' s
f a i l u r e to see his father's d u p l i c i t y , makes th i s clear:
As for supposing that his own father, to cover h i s own character, would l i e away his son's—such a piece of arti f i c e , was quite beyond Phi l i p ' s comprehension, who had been a l l his l i f e slow i n appreciating roguery, or recognizing that there i s meanness and double-dealing i n the world. When he once comes to understand the fact; when he once comprehends that Tartuffe i s a humbug and swelling Bufo i s a toady; then my friend becomes
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as absurdly indignant and mistrustful as before he was admiring and confiding. Ah, P h i l i p ; Tartuffe has a number of good, respectable q u a l i t i e s ; and Bufo, though an underground odious animal, may have a precious jewel i n h i s head. 'Tis you are cynical. J. see the good q u a l i t i e s i n these rascals whom you spurn. I see. I shrug my shoulders. I smile: and you c a l l me cynic. (XVI, 133)
The narrator here finds virtue i n unlikely places because he i s
w i l l i n g to allow for the maximum p o s s i b i l i t y , whereas the hero i s
impatient with half-truths and vague uncertainties. Esmond i s unlike
the other narrators, i n short, because he i s not an i r o n i s t . For the
i r o n i s t "never becomes absorbed i n his subject because he stands
outside and apart from i t . . . . He wanders far a f i e l d , with his eye
and mind open to a l l things; but while he watches them he also watches
himself." 5
Before giving detailed consideration of Pendennis, the
historian of Philip's adventures, i t i s appropriate to look at a
narrator who neither sees himself as a hero t e l l i n g his own tale as
Esmond does, nor as a novelist-cum-historian i n the manner of Pendennis.
The i n i t i a l narrator of The Virginians i s a nineteenth-century
figure recreating the l i v e s of the Harringtons and Esmonds of the
previous century from l e t t e r s and his own conjecture about what might
have happened based upon those l e t t e r s . Ultimately, however, he
includes within his story a transcription of the journal of George
Warrington himself. George, i n t e l l i n g his own story, i s more akin
'Haakon M. Chevalier, The Ironic Temper: Anatole France and His Time (New York: Oxford Univ. Press, 1932), p. 28.
173
to the uxorious Pendennis than the c h i v a l r i c Esmond. He i s a perpetual
i r o n i s t , both of h i s own and o t h e r s ' romantic p r e d i s p o s i t i o n s . Although
he i s l i k e Esmond i n h i s need to r e c o r d h i s l i f e f o r p o s t e r i t y , he i s
much more a k i n to the p l a y f u l l y i r o n i c Pendennis, i n s o f a r as he seeks to
i n v o l v e h i s reader i n the drama he r e c r e a t e s . With h i s s o f t , k i n d and
devout w i f e , Theodosia, on one hand, and h i s f i e r c e , c y n i c a l and w o r l d l y
o l d aunt, Madame B e a t r i x B e r n s t e i n , on the other, George r e t i r e s to the
n e u t r a l ground where he can enjoy what amounts to a contest between an
angel of l i g h t and the scourge of God on the a s p i r i n g Castlewoods.
George Warrington of The V i r g i n i a n s i s i n the c e n t r a l t r a d i t i o n
of the Thackerayan n a r r a t o r . He a p p r e c i a t e s the v i r t u e s and the f o l l i e s
of youth and age and i s able to see h i m s e l f as one who, although he
d e l i g h t s to unmask others, yet knows that he h i m s e l f needs to wear a
v a r i e t y o f masks. George knows that the s e l f i s never f u l l y r e v e a l e d
and can never be completely explored; f o r much remains hidden or, para
d o x i c a l l y , open to q u e s t i o n . Thus, when h i s devoted wife confesses her
s c h o o l g i r l attachment f o r G r i g g the mercer, George pays a s p e c i a l v i s i t
to the mature G r i g g and f i n d s him to be "a l i t t l e bandy-legged wretch
i n a blue camlet coat, with h i s r e d h a i r t i e d with a d i r t y r i b b o n , " and
he congratulates h i m s e l f on h i s g e n e r o s i t y i n not r e p r o a c h i n g h i s w i f e .
He r e a l i z e s that h i s wife i s as b l i n d e d to what he sees to be the t r u t h
as he i s to her s u s c e p t i b i l i t y f o r Grigg's l o v e l y eyes. He knows that
we b e l i e v e what we want to b e l i e v e and that though the masks w i l l change,
the mask of the moment ±s our r e a l i t y . He concludes " i f our wives saw
us as we are, I thought, would they love us as they do? Are we as much
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mistaken i n them, as they i n us? I l o o k i n t o one candid f a c e at l e a s t ,
and t h i n k i t has never deceived me" (XIV, 236)
George Warrington, however, l i k e Esmond, i s an autohiographer
and not a n o v e l i s t or puppeteer. Thus, he i s never completely f r e e to
see i l l u s i o n as i l l u s i o n . Although he l i v e s more i n t o the l i v e s of
others than Esmond, l i k e Esmond he has h i s own unshakeable a l l e g i a n c e ,
at the time of w r i t i n g , to a romantic image. Theodosia i s George's
Rachel and, though he i s l e s s p o s i t i v e than Esmond, as we can see from
the q u e s t i o n i n g above, he adopts Theodosia as symbol of constancy
and a reward f o r h i s own endurance of danger, poverty and pa r e n t a l
h o s t i l i t y . On the subject of h i s wife, George i s g e n e r a l l y r e l u c t a n t to
b r i n g i r o n y and doubts i n t o p l a y . We can perhaps see i n her a mother-
s u b s t i t u t e s i m i l a r to Rachel, f o r both George and h i s grandfather were
deprived of maternal a f f e c t i o n as c h i l d r e n .
Having t h i s personal stake i n the s t o r y thus r e s t r i c t s the f r e e
dom of the n a r r a t o r to see hi m s e l f as r o l e - p l a y e r i n c e r t a i n areas. I n
t h e i r r e c o l l e c t i o n of the past, George Warrington and Henry Esmond are
not completely f r e e to d i s c o v e r the t r u t h about themselves; they have
c e r t a i n cherished i d e a l s which prevent them from being t r a v e l l e r s without
baggage. But where Esmond searches f o r h i s l o s t mother's grave, George
has the advantage of having known and been r e j e c t e d by Madam
Esmond. On r e f l e c t i o n , he i s able to gain i n knowledge and mat u r i t y .
George sees t h e i r d i f f e r e n c e s as due to haughty r i v a l r y , but a l s o he
sees h i s p r i d e as the governing p r i n c i p l e of h i s l i f e :
When I commit a wrong, and know i t subsequently, I love to
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ask pardon; "but ' t i s as a s a t i s f a c t i o n ' to my own p r i d e , and to myself I am a p o l o g i z i n g f o r having been wanting to myself. And hence, I t h i n k (out of regard to that personage of ego), I scarce ever could degrade myself to do a meanness. How do men f e e l " whose, whole.. JLiyes . (and many..men'.a 1 i v e s are) l i e s , schemes, and subterfuges? What so r t of company do they keep when they are alone? D a i l y i n l i f e I watch men whose every smile i s an a r t i f i c e , and every wink i s an h y p o c r i s y . Doth such a f e l l o w wear a mask i n h i s own p r i v a c y , and to h i s own conscience? (XIV, 288)
Thus George o b j e c t i f i e s h i s own s i t u a t i o n v i s a v i s h i s mother i n
order to probe behind the masks of o t h e r s . George goes on to point
out that he a c t s i n a C h r i s t i a n way not so much through c o n v i c t i o n
but out of h i s duty to h i s own ego. T h i s a b i l i t y to s p l i t the s e l f
i n t o an a c t i n g and a watching part i s t y p i c a l of the Thackerayan
n a r r a t o r , and an awareness that others.do not o f t e n have t h i s a b i l i t y
to unmask themselves i n t h i s way i s what gives the n a r r a t o r h i s
power and s u p e r i o r i t y over h i s c h a r a c t e r s . George's " p r i d e " above
i s the spur to self-knowledge found i n the t y p i c a l l y r e f l e x i v e n a r r a t o r .
The n a r r a t o r of P h i l i p , who can i d e n t i f y with the necessary
v i l l a i n s of h i s s t o r y and accuse h i m s e l f of exaggerating t h e i r
d e f e c t s , suggests a v a s t area of uncharted i n n e r l i f e i n h i s char
a c t e r s . T h i s awareness of p o s s i b i l i t y i s i n o p p o s i t i o n , however, to
the needs of a r t . The reader needs the i l l u s i o n that there i s one
s t o r y and i f that s t o r y t e l l s of a metaphorical journey from Jerusalem
to J e r i c h o i t needs a robber, a high p r i e s t , and a L e v i t e as well as
a Good Samaritan. Thus P h i l i p ' s f a t h e r , Dr. Brand Pirmin, i s a s s o c i
ated with H e l l and the Twysdens are d e v i l ' s d i s c i p l e s , while Dr.
Goodenough and the L i t t l e S i s t e r o f f e r succour and sympathy to the
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d i s t r e s s e d v i c t i m . These are the parts assigned "by the very nature
of the story, but the mature nar r a t o r of Thackeray's novels sees
beyond the concepts of "story" and "character," f o r he f i n d s a l l
s t o r i e s and characters w i t h i n himself, s t r u g g l i n g f o r expression, and
he takes up the part of cynic, s e n t i m e n t a l i s t , innocent b e l i e v e r and
hard-headed w o r l d l i n g by turns.
The mature narrator has a transcendental consciousness that i s
aware of multivalent nuances. John Bayley points out that "'Charac-
t e r ' . . . i s what other people have, 'consciousness' i s ourselves."
Thackeray's l a t e r n a r r a t o r s ^ a f t e r presenting the reader w i t h the
paradigmal story and character, proceed to b l u r i t s o u t l i n e s so that
the reader begins to read into the o r i g i n a l sketch doubts and ambi
g u i t i e s , p o s s i b i l i t i e s which seem i n part the product..of h i s own
speculations, and i n part the suggestions of h i s ever f e r t i l e story
t e l l e r and stage-manager. He shows the reader that he l i v e s i n a
world of p o l i t e and convenient f i c t i o n s which he i s accustomed to
take f o r r e a l i t y . He shows us, i n the words of Frank Kermode, that
"we are . . . equipped f o r coexistence with [chaos] . . . only by our 7
f i c t i v e powers." "We believe what we wish to believe" says the
narrator of P h i l i p (XVI, 470). The l a s t chapter of the novel, which
6 ' The Characters of Love• A Study i n the L i t e r a t u r e of
P e r s o n a l i t y (London; Constable, I960) , p. 33 . 7 The Sense of an Ending; Studies i n the Theory of F i c t i o n
(New York: Oxford Univ. Press, I967), p. 64.
177
bears the i n i t i a l i l l u s t r a t i o n of a beneficent f a i r y waving'a magic
wand, i s c a l l e d "The Realms of B l i s s . " The reader needs the s e c u r i t y
of a happy ending and the n a r r a t o r gives i t to him, at the same time
o v e r p l a y i n g h i s part that we may be sure to recognize i t as only one
among many d i s g u i s e s . In the same way, Pendennis disposes of one of
h i s supernumerary c h a r a c t e r s whose f u n c t i o n has been to r i v a l h i s
hero.
C-ood-by, Monsieur B i c k e r t o n . Except, mayhap, i n the f i n a l group, round the FAIRY CHARIOT (when, I promise you, there w i l l be such a blaze of g l o r y that he w i l l ! be i n v i s i b l e ) , we s h a l l never see the l i t t l e s p i t e f u l envious creature more. Let him pop down h i s appointed trap-door; and, q u i c k f i d d l e s ! l e t the b r i s k music j i g on (XVI, 450).
In t h e i r exuberance and marvellous f a c i l i t y f o r changing r o l e s ,
the n a r r a t o r s of the l a t e r novels have something of the t r i c k s i n e s s of
the medieval V i c e f i g u r e . Though they are more s e l f - a s s u r e d and have
d e f i n i t e s e l f - i n t e r e s t beneath t h e i r d i s g u i s e s , Webster's t o o l v i l
l a i n s , Flamineo and Bosola, have some of the same rapport with t h e i r
audience. I t i s perhaps the d e l i g h t of having power by knowing more
than the " c h a r a c t e r s " and being, i n a sense, outside the drama that
gives these f i g u r e s , t h e i r uncanny q u a l i t y of b e i n g , l i k e us, somewhat
removed from the drama. Yet, as reader or s p e c t a t o r we almost f e e l we
have a stake i n the p l a y or novel and are c o m p l i c i t l y r e s p o n s i b l e f o r
i t s outcome. The sense of c o l l u s i o n with the audience i s . more, than
a s o l i l o q u y i n the Iago manner. The reader i s f o r c e d to sympathize
and mock at the same time. Thus, i n t h i s passage, Pendennis r e v e a l s
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h o r r o r s to Laura while he i n v i t e s h i s reader to mock at her stereo
typed r e a c t i o n :
My dear c r e a t u r e , wrath i s no answer. You c a l l me h e a r t l e s s and c y n i c , f o r saying men are f a l s e and wicked. Have you never heard to what l e n g t h s some "bankrupts w i l l go? To appease the wolves who chase them i n the winter f o r e s t , have you not read how some t r a v e l l e r s w i l l cast a l l t h e i r prov i s i o n s out of the sledge? then, when a l l the p r o v i s i o n s are gone, don't you know that they w i l l f l i n g out perhaps the s i s t e r , perhaps the mother, perhaps the baby, the l i t t l e dear tender innocent? Don't you see him tumbling among the howling pack, and the wolves gnashing, gnawing, cr a s h i n g , gobbling him up i n the snow? 0 h o r r o r — h o r r o r I (XVI, 132-133)
Pendennis' gruesome metaphor causes Laura to draw her c h i l d r e n to her,
but the reader applauds such extempore h i s t r i o n i c s . However out of
place t h i s passage may be i n the sequence of the st o r y , i t i s an
e x t r a o r d i n a r y performance by the n a r r a t o r , and gives the reader the
pleasure of se e i n g i t s e s s e n t i a l t h e a t r i c a l i t y .
pendennis, i n P h i l i p , compels h i s reader to see h i m s e l f as a
novel-reader who needs to p l a y the game of " l e t ' s pretend." But s i n c e
the n a r r a t o r , too, i s i n v o l v e d i n t h i s game, the reader i s not exposed
as a f o o l or dupe, but r a t h e r has a sense of c o l l u s i o n and intimacy
w i t h h i s n a r r a t o r .
. . . Suppose there be h o l i d a y s , i s there not work-time too? Suppose today i s feast-day; may not t e a r s and repentance come tomorrow? Such times are i n store f o r Master P h i l , and so please l e t him have r e s t and comfort f o r a chapter or two.
(xv, 247)
T h i s p l e a to the reader on behalf of a p r o d i g a l son suggests a freedom
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i n t h i s novel's form which i s p l a i n l y not there i n f a c t . As a friend
of P h i l i p and as a novelist, the narrator knows the outcome of the
"adventures of Ph i l i p on his way through the world," hut as an eager
spectator who i s i n collusion with a reader with whom he i s at present
identifying, the narrator i s subject to the suspense of his own story.
In P h i l i p one finds the indispensable components of Thackeray's
secondary f i c t i o n a l world generously displayed: f i r s t l y , a dynamic
and buoyant narrator who moves a d r o i t l y i n and out of his story, and
secondly, a confounding of absolute values. Unlike Esmond, Pendennis
never very seriously entertains h i s hero's ideal v isions. He admits
that "Charlotte, you see, i s not so exceedingly handsome as to cause
other women to perjure themselves by protesting that she i s not great
things after a l l . " After admitting to her good manners and gentle
disposition, the narrator begins to hedge by questioning h i s reader:
"Is she not grateful, t r u t h f u l , unconscious of s e l f , e a s i l y pleased that
and interested i n others? Is she very witty? I never said so—though^ '
she appreciated some men's wit. . .1 cannot doubt" (XVI, 245)• The
reader would, presumably, agree with t h i s assessment, but he i s continu
a l l y required to modify or question previous assumptions. Even such
seemingly positive eulogies on h i s hero's happy poverty as th i s , are
not without ambiguity:
As P h i l i p walks away at midnight, (walks away? i s turned out of doors; or surely he would have gone on talking t i l l dawn,) with the r a i n beating i n his face, and f i f t y or a hundred pounds for a l l his fortune i n his pocket, I think there goes one of the happiest of men—the happiest and ri c h e s t . For i s
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he not possessor of a treasure which he could not buy, or would not s e l l , for a l l the wealth of the world? (XVI, 2 4 6 )
The proposition is suitably put in the interrogative mood. The
"treasure" is the amiable but rather undistinguished Charlotte, but
attached to that precious creature, the reader knows is the inflexible
termagant of a mother-in-law, Mrs. Baynes. Luckily, too, for Philip
a further windfall from "fortune" helps eke out his modest competence.
Where Esmond underwrites myth and romance, Pendennis f i r s t
entertains then gently deflates them. The mature Esmond, looking
back, sees the vision of himself and Rachel walking in the Paradise
garden of Castlewood, in picturesque: terms. Nothing disturbs the
intensity of the dream. Pendennis, by contrast, breaks off from a
similarly harmonious lovers' union with an acknowledgement to an
elderly female reader who may look askance at such t r i v i a l dalliance
by her narrator:
Through the vast cathedral aisles the organ notes peal gloriously. Ruby and topaz and amethyst blaze from the great church windows. Under the t a l l arcades the young people went together. Hand in hand they passed, and thought no i l l .
Bo gentle readers begin to tire of this spectacle of b i l l i n g and cooing? I have tried to describe Mr. Philip's love affairs with as few words and in as modest phrases as may be—omitting the raptures, the passionate vows, the reams of correspondence, and the usual commonplaces of his situation. And yet, my dear madam, though you and I may be past the age of b i l l i n g and cooing, though.your ringlets, which I remember a lovely auburn, are now-—well—are now a rich purple and green black, and my brow may be as bald as a cannon-ball 5 I say, though we are old, we are not too old to forget. We may not care about the pantomime much now, but we like to take the young folks, and see thefi ;;rejoicing. Prom
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the window where I write, I can look down into the garden of a certain square. In that garden I can at this moment see a young lady of my acquaintance pacing up and down. They are talking some such tal k as Milton imagines our f i r s t parents engaged i n : and yonder garden i s a paradise to my young friends. Did they choose to look outside the r a i l i n g s of the square, or at any other objects than each other's noses, they might see—the tax gatherer we w i l l say—with his book, knocking at one door, the doctor's brougham at a second, a hatchment over the window of a t h i r d mansion. (XVI, 250-251)
The reader and narrator, l i k e the mature Esmond, l i v e through a vicar
ious experience of young love, but the romantic image i s , here, subor
dinated to a worldly perspective which contains the i d y l l . The "rap
tures" and "passionate vows" are somewhat incongruous in the world of
the tax-gatherer and the doctor. ¥e see what we want to see, implies
Pendennis,who himself essays the broadest possible perspective. He
seeks to include the richness and the glory, experienced by the happy
couple, within the mundane and the commonplace. Pendennis moves from
the majestic b r i l l i a n c e of the cathedral setting which almost vies
with Esmond's splendid view of Castlewood (though we miss the haunting
movements of the black rooks and plashing fountains) to an examina-
tion of h i s present position v i s a v i s his reader. The emphasis
changes from past to present: "your r i n g l e t s . . .are now—well—are
now a r i c h purple and green black," "though we are old, we are not too
old to forget," "we may not care about the pantomime much now," "from
the window where I write," and " i n that garden I can at t h i s moment
see . . . ." Where Esmond sees time as s t a t i c , Pendennis emphasizes
i t s passing. The juxtaposition of the young lovers i n the garden with
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the narrator and reader past their prime accentuates the passing of
time. Furthermore, i t provides the essentially ironic perspective of
Thackeray's secondary f i c t i o n a l world—a perspective which i s much less
prevalent i n Esmond.
Although the reader i s invited to scoff at P h i l i p and Charlott
he cannot do so with impunity. The reader knows more than the lovers,
i t i s true; l i k e the narrator, he sees them "talking some such talk as
Milton imagines our f i r s t parents engaged in?" he knows that "did they
chopseto look outside the r a i l i n g s of the square," they would see how
f r a g i l e was their enclosed world. The scene i s , moreover, a "pantomime
to the spectator rather than a "paradise," and the situation one where
"the usual commonplaces" are uttered. But, i f the lovers are a l i t t l e
ridiculous from our elevated position above the garden—and they a r e —
the jaded reader and narrator are equally so, or, from the pii)nt of
view of the lovers, perhaps more so. The dyed hair of the lady reader
and the brow "as bald as a cannon-ball" of the narrator denote the
price to be paid for the wisdom of experience. As Keats has i t , for
a l l we can say to the contrary wisdom i s , at times, f o l l y . I f the
reader chooses to disassociate himself from the lady with dyed hair,
he must s t i l l face the fact that he i s a novel-reader who i s getting
his experience vi c a r i o u s l y through P h i l i p and Charlotte.
Both Esmond and P h i l i p end on a b l i s s f u l note. But the reward
of P h i l i p are arbitrary and dealt out p l a y f u l l y by his narrator: "And
was the tawny Woolcomb the f a i r y who was to rescue P h i l i p from grief,
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debt, and poverty? Yes. And the o l d postchaise of the l a t e Lord
Ringwood was the f a i r y c h a r i o t " (XVI, 478). Esmond's reward i s not
simply t h a t of the g i r l and the f o r t u n e . In f a c t , h i s g a i n i s to
l o s e both h i s i n h e r i t e d fortune and h i s i l l u s i o n s concerning B e a t r i x
and the Pretender. Thus, we see the d i f f e r e n t impulse t h a t actuates
the n o v e l s . The reader of Esmond i s o f f e r e d a c u l m i n a t i n g v i s i o n of
a b e t t e r world i n V i r g i n i a where diamonds are turned i n t o ploughs and
a gold button i s worth more than any jewel (XI, 335)• The mature
Pendennis o f f e r s no such c o n s o l a t i o n : f o r him and h i s reader i t i s
merely the end of the s t o r y , the game i s over and, come what may:
"The n i g h t w i l l f a l l : the s t o r i e s must end: and the best f r i e n d s - .
must p a r t " (XVI, 481).
P l a y f u l n e s s and parody, r a t h e r than earnest a n a l y s i s of
motive or f i d e l i t y to an i d e a l , predominate i n P h i l i p , and a concomi
tant v a r i e t y of mood and s t y l e p r e v a i l s throughout. The moral t a l e
of the Good Samaritan i s t r e a t e d e n i g m a t i c a l l y by Pendennis, who
d e l i b e r a t e l y d i s t a n c e s the s t o r y to allow the reader's doubts and
s p e c u l a t i o n s to come i n t o p l a y . I t i s n a r r a t i v e d i s t a n c e r a t h e r than
the u n d e r l y i n g f a b l e which d i s t i n g u i s h e s these two n o v e l s . Both heroes
are marked with the s u s p i c i o n of i l l e g i t i m a c y , both are deceived by
t h e i r parents and, as has been shown, both have to choose between
w o r l d l y and unworldly women. In each work, Thackeray conjures Utopian
dreams, but while Esmond humbles h i m s e l f before the v i s i o n a r y experience
of B e a t r i x , the P r i n c e , or Rachel, and i s t r a n s f i x e d by the whole
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aura of Castlewood, Pendennis i s an improvisatore i n the manner of
the Byron of Bon Juan. We do f i n d i n P h i l i p solemn moments, such as
that of P h i l i p o f f e r i n g up prayers of thanks f o r the r e m i s s i o n of h i s
poverty, and the n a r r a t o r develops h i s own sermon out of the occasion,
but t h i s consecrated mood i s d i s p e r s e d as b r i e f l y as i t i s induced;
Pendennis moves a d r o i t l y from the sanctimonious to the mundane, where
he exposes h i s w i f e ' s c h a r i t a b l e h y p o c r i s y on P h i l i p ' s b e h a l f (XVI,
318-320).
The v i t a l q u e s t i o n f o r us concerns the value of the r o l e -
p l a y i n g n a r r a t o r who c o n s t a n t l y d i s s i m u l a t e s , who r e t r e a t s behind
l a y e r s of i r o n y and ambiguity, and who o b s t i n a t e l y r e f u s e s to t e l l
a p l a i n unvarnished t a l e . P l a y f u l n e s s i s a l l v e r y w e l l , but what u l t i
mate purpose, apart from sharpening h i s reader's w i t s and extending
h i s sense of the m u l t i v a l e n c y of l i f e , does i t achieve? The main
f u n c t i o n of the deceptive n a r r a t o r , and of the ambivalence of the
secondary f i c t i o n a l world which he inaugurates, i s to undermine the
f o r m a l l y s t r u c t u r e d world of the primary f i c t i o n . The e s s e n t i a l d i s
t i n c t i o n between Esmond and P h i l i p , then, i s not that they are cast
i n d i f f e r e n t eras, nor the d i f f e r e n c e between memoir and biography,
nor, n e c e s s a r i l y , due t o t h e i r separate methods of p u b l i c a t i o n ; t h e i r
v i t a l element of divergence l i e s i n t h e i r d i s t i n c t use of the n a r r a
t i v e f i l t e r . No clouds cross Esmond's f i n a l , or, f o r t h a t matter, h i s
preceding, v i s i o n of Rachel. Pendennis, on the other hand, i s ever
aware of the p r o b a b i l i t y of other p e r s p e c t i v e s . The seeds of doubt
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are sown, f o r instance, i n such a p r o t e s t on b e h a l f of h i s d i v i n e
m i s t r e s s as t h i s ;
My wife humbugged that wretched Member of Parliament i n a way which makes me shudder, when I t h i n k of what h y p o c r i s y the sex i s capable. Those a r t s and d i s s i m u l a t i o n s w i t h which she wheedles others, suppose she e x e r c i s e them on me? H o r r i ble thought! No, a n g e l ! To others thou mayest be a coaxing h y p o c r i t e ; to me thou a r t a l l candour. Other men may have been humbugged by other women; but I am not to be taken i n by that s o r t of t h i n g ; and thou a r t a l l candour! (XVI, 320)
The reader may wonder whether Pendennis i s being hoodwinked, or whether
he i s d e l i b e r a t e l y c l o s i n g h i s eyes to the p o s s i b i l i t y that h i s wife
could deceive him, or whether he i s aware of t h i s p o s s i b i l i t y , but
wishes to deceive, h i s reader i n t o b e l i e v i n g that he (Pendennis) i s a
dupe. These qu e s t i o n s can never be c o n c l u s i v e l y r e s o l v e d , f o r Thackeray
expects h i s reader to be aware of a l l these p o s s i b i l i t i e s . I t i s
t h i s awareness that makes up the reader's part i n the secondary f i c t i o n a l
world.
CHAPTER VI
THE EXPANSIVE NOVEL; THE FUNCTION OF "UNPATTERNED" EXPERIENCE
Fo r g i v e t h i s o u t b u r s t ! I can hear my readers p r o t e s t i n g : "Hey what's a l l t h i s about? Are we going to l e t an ass l e c t u r e us i n philosophy?" Yes, I dare say I had best r e t u r n to my s t o r y .
— A p u l e i u s , The Golden Ass
Nothing i s so easy as i m p r o v i s a t i o n , the running on and on of i n v e n t i o n .
— H e n r y James, The A r t of the Novel
I n t r o d u c t o r y D i s c u s s i o n
Thackeray's secondary f i c t i o n a l world pushes the f r o n t i e r s of
the novel i n t o the t e r r i t o r i e s of the c o n f e s s i o n and the dramatic
monologue. The term "expansive" a p p l i e s here t o novels whose n a r r a t o r s
r e l y on t h e i r readers to take part i n a dialogue without end. The ex
pansive novel i s not merely one t h a t i s e x c e p t i o n a l l y bulky or one whose
time-scheme n e c e s s a r i l y extends over a l o n g p e r i o d ; i n my terms, i t i s a
novel that f o l l o w s the expanding mental world of a n a r r a t o r seeking to
grapple w i t h dynamic experience. I t records the f l u c t u a t i o n s between
doubt and c e r t a i n t y and does not move towards any p r e s c r i b e d goal or
u l t i m a t e v i s i o n . The expansive novel suggests the i n t r a c t a b i l i t y of
l i f e i t s e l f .
Despite i t s a r t i s t i c dangers, the i n s t a l l m e n t system of novel
p u b l i c a t i o n o f f e r e d unique advantages i n f l u i d i t y and openness, and i n
the gradual f a m i l i a r i t y which grew up over an extended p e r i o d between
the n a r r a t o r and the reader. In the works of Dickens, Thackeray, 186
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George E l i o t , Meredith., and T r o l l o p e , the s t o r y - t e l l e r g ossips c a s u a l l y
to h i s reader about the c h a r a c t e r s as mutual acquaintances who l e a d ,
or have l e d , independent l i v e s . When the n a r r a t o r dramatizes h i m s e l f
as a character, however, and more e s p e c i a l l y , when h i s r e l a t i o n s h i p
to the reader becomes of more concern to him than h i s r e l a t i o n s h i p to
h i s c h a r a c t e r s , the k i n d of novel which i s here termed "expansive" i s
born.
The Use of Romance and the Contingent World
The n a r r a t o r of the expansive novel knows, and intends h i s
reader to know, that any r e a c t i o n to h i s s t o r y i s based on s e l f - r e c o g
n i t i o n i n a world of i l l u s i o n . The n a r r a t o r seems as conscious of h i s
reader as he i s of h i m s e l f , and the s t o r y f r e q u e n t l y seems a j o i n t pro
duction of t h e i r common need to r e c o n c i l e the hard f a c t s of l i f e with
the convenient a b s t r a c t i o n s of a r t . Reader and n a r r a t o r b r i n g t h e i r
own complex humanity with a l l i t s passions and p r e j u d i c e s to the theatre
of puppets or the novel of t i d y ends where l o v e and v i r t u e are rewarded,
and v i c e i s punished and dismissed. Pact and a b s t r a c t i o n run p a r a l l e l
i n t h i s secondary f i c t i o n a l world which superimposes on the neatness
and c e r t a i n t y of r e c e i v e d forms a sense of l i f e ' s randomness and incon-
c l U s i v e n e s s .
F r e q u e n t l y Thackeray's n a r r a t o r challenges h i s reader to comment
upon the primary i l l u s i o n i n which both are engaged. Thus Pendennis
addresses the h y p o t h e t i c a l parent—whom the reader must become—who
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would hide the s o r d i d r e a l i t i e s of existence from her c h i l d r e n , and
b u i l d a b e a u t i f u l card house i n the midst of l i f e ' s storms:
Now, how w i l l you have the story? Worthy mammas of f a m i l i e s — i f you do not l i k e to have your daughters t o l d t h a t bad husbands w i l l make bad wives*, that marriages begun i n i n d i f f e r e n c e make homes unhappy; that men whom g i r l s are brought to swear to l o v e and honour are sometimes f a l s e , s e l f i s h , and c r u e l ; and that women f o r g e t the oaths which they have been made to s w e a r — i f you w i l l not hear of t h i s , l a d i e s , c l o s e the book, and send f o r some other. Banish the newspaper out of your houses, and shut your eyes to the t r u t h , the awful t r u t h , of l i f e and s i n . I s the world made of Jen n i e s and Jessamies; and pass i o n the p l a y of school-boys and s c h o o l - g i r l s , s c r i b b l i n g v a l e n t i n e s and i n t e r c h a n g i n g l o l l i p o p s ? I s l i f e a l l over when Jenny and Jessamy are married; and are there no subsequent t r i a l s , griefs., wars, b i t t e r heart pangs, d r e a d f u l temptations, d e f e a t s , remorses, s u f f e r i n g s to bear, and dangers to overcome? (IX, 77-78)
Barnes Newcome's w i f e - b u l l y i n g becomes an occasion f o r a homily
on the dangers of mercenary marriage d i s g u i s e d as romance. The n a r r a t o r
suggests the pa r e n t a l reader would p r e f e r to keep s o r d i d r e a l i t i e s
hidden, j u s t as Barnes would keep h i s conduct to Lady C l a r a hidden. But
the reader scores over the n a r r a t o r when he catches him i n the next
breath s h i e l d i n g h i m s e l f from the unpleasant f a c t s and dreaming of other
f a t e s f o r Lady C l a r a :
I fancy a b e t t e r l o t f o r you than that to which f a t e handed you over. I fanc y there need have been no d e c e i t i n your fond simple l i t t l e heart could i t but have been given i n t o other keeping . . . . Suppose a l i t t l e p l a n t , v e r y f r a i l and d e l i c a t e from the f i r s t , but that might have bloomed sweetly and borne f a i r f lowers, had i t r e c e i v e d warm s h e l t e r and k i n d l y n u r t u r e .
(IX, 83)
A f t e r t h i s the reader must r e t u r n Pendennis to h i s own q u e s t i o n — " I s
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the world made of J e n n i e s and Jessamies?"
The Newcomes can he seen as a c a u t i o n a r y t a l e i n which man's
p u r s u i t of m a t e r i a l i s m causes unhappiness. But since the whole novel
i s an i l l u s i o n , a mere dream as the l a s t pages suggest, and since the
c h a r a c t e r s are manipulated puppets a c t i n g i n a p r e d i c t a b l e and systemat
i z e d f a s h i o n , the reader must l o o k to the n a r r a t o r ' s consciousness f o r
the r a t i o n a l e of the "book. Within that consciousness the reader i s
drawn i n t o a p l a y world; he i s r e p e a t e d l y addressed as a reader who
apparently knows he i s r e a d i n g a novel and not a biography of some
people c a l l e d Newcome, whose f r i e n d Arthur Pendennis seeks to w r i t e
t h e i r h i s t o r y . Moral theme and h i s t o r i c a l v e r a c i t y give p l a c e , t h e r e
f o r e , to a medley of i l l u s i o n - m a k i n g and i l l u s i o n - b r e a k i n g which allows
"Thackeray" to be Pendennis, Pendennis to be a n o v e l i s t , h i s t o r i a n ,
biographer, preacher, philosopher, wise parent, romantic dreamer, c y n i c a l
w o r l d l i n g , outraged f r i e n d , uxorious husband, and spinner of o l d t a l e s .
Thus s e l f - c o n t r a d i c t i o n i s no more a problem f o r Pendennis as n o v e l i s t -
h i s t o r i a n than i t was f o r him i n h i s part of r e a l i s t - d r e a m e r above:
I have of l a t e had to recount p o r t i o n s of my dear o l d f r i e n d ' s h i s t o r y which must needs be t o l d , and over which the w r i t e r does not l i k e to d w e l l . I f Thomas Hewcome's opulence was unpleasant to d e s c r i b e , and to c o n t r a s t with the b r i g h t goodness and s i m p l i c i t y I remembered i n former days, how much more p a i n f u l i s that part of h i s s t o r y to which we are now come p e r f o r c e , and which the acute reader of novels has, no doubt, l o n g foreseen. Yes, s i r or madam, you are q u i t e r i g h t i n the o p i n i o n which you have h e l d a l l a l o n g r e g a r d i n g that Bundlecund Banking Company . . . . I d i s d a i n , f o r the most par t , the t r i c k s and s u r p r i s e s of the n o v e l i s t ' s a r t . Knowing, from the v e r y beginning of our s t o r y , what was the issue of t h i s Bundlecund Banking concern, I have scarce had patience
190
to keep my counsel about i t ; and whenever I have had occasion to mention the company, have s c a r c e l y been able to r e f r a i n from breaking out i n t o f i e r c e d i a t r i b e s against that complicated, enormous, outrageous- swindle. (IX, 293)
Surely Pendennis' suppression of h i s n a t u r a l anger at h i s f r i e n d ' s mal
treatment i s e x a c t l y due to h i s a l l e g i a n c e to "the t r i c k s and s u r p r i s e s
of the n o v e l i s t ' s a r t . " For here we have the c l a s s i c device of p e r i
p e t i a i n which the reader i s made aware of h i s own worst f e a r s — n a m e l y
that noble v i r t u e , i n the person of Colonel Newcome, has been defeated
and h u m i l i a t e d by c l e v e r and corrupt mercenary i n t e r e s t s .
The n a r r a t o r here permits h i s reader to dwell i n the realm of
i l l u s i o n while a l s o g i v i n g him the sense of c o m p l i c i t y i n the s t o r y
t e l l e r ' s s u p e r i o r knowledge. I t i s as i f Henry James had i n t e r s p e r s e d
h i s c r i t i c a l p refaces throughout h i s novels and inv o l v e d h i s reader i n
the s t o r y not only of what Chad Newsome meant, at v a r i o u s times, to
Lambert S t r e t h e r , but what the s t o r y of the s t o r y meant to "Henry James."
Wayne Booth, indeed, d e c l a r e s that "the whole process of James's t r a n s
formations from germ to f i n i s h e d s u b j e c t i s almost as f u l l of suspense
as the f i n i s h e d t a l e s themselves."''" By ena b l i n g the reader to share
the "author's" confidence as he cre a t e s h i s s t o r y , Thackeray gives the
s t o r y - t e l l e r a new dimension of v e r i s i m i l i t u d e . Like Henry Esmond, or
l i k e any man r e c a l l i n g h i s own past, we are at once c r e a t o r , a c t o r and
"^The R h e t o r i c of F i c t i o n (Chicago: Univ. of Chicago Press, I96I), p. 4 9 ' The novel i n which commentary and c r i t i c i s m outweighs the ostens i b l e subject has at l a s t been w r i t t e n i n Nabokov's Pale F i r e .
191
s p e c t a t o r of bur own drama. Although we are actors- only by i d e n t i f i
c a t i o n and c r e a t o r s o n l y by i m p l i c a t i o n , the sense of being i n v o l v e d
i n a l l three e s s e n t i a l aspects of a work of a r t remains. Perhaps the
"sense of l i f e , " which has been f o r so many readers and c r i t i c s the
novel's r a i s o n d'etre, i s enhanced by t h i s f e e l i n g of confusion and
i n c l u s i v e n e s s . For, i n l i f e , we are a l l s p e c t a t o r s of and a c t o r s i n
someone e l s e ' s drama, and they cast us i n convenient r o l e s which we
u n w i t t i n g l y p l a y f o r them. Furthermore, we are a l l imaginative r e -
cr e a t o r s of our own pa s t s i n which other people assume formal p a r t s .
We see Pendennis, i n The Newcomes, c o n v e n t i o n a l l y a r r a n g i n g and adapting
h i s knowledge to f i t the requirements of the novel reader, r e p r e s s i n g
h i s n a t u r a l f e e l i n g s f o r the sake of h i s a r t ; yet i n v i t i n g h i s reader
to share a u t h o r i a l power and s u p e r i o r i t y , which h i s normal r o l e as
reader should p r e c l u d e .
When Pendennis asks h i s reader how he would l i k e the s t o r y to
go h i s q u e s t i o n i s o b v i o u s l y r h e t o r i c a l . Even i f we as readers f e e l a
response coming to our l i p s we are powerless to e.ffect a change i n the
novel's sequence. But Pendennis, l i k e the speaker of the dramatic mono
logue, assumes a response i n a reader he creates f o r h i s own conven
i e n c e . T h i s created reader e i t h e r r e j e c t s h i s n a r r a t o r ' s demand f o r
the hard f a c t s of l i f e and ceases to read, or he repud i a t e s the address
to the i l l u s i o n - s e e k e r and reads on i n t a c i t agreement wit h h i s supposedly
i c o n o c l a s t i c n a r r a t o r . When Pendennis h i m s e l f f a l l s v i c t i m to h i s dream
of a p o s s i b l y b e t t e r l o t f o r Lady C l a r a , the wary reader p a r t i a l l y w i th-
192
holds h i s consent; the fancy i s p r e t t y hut i t i s not i n keeping with
the r e a l i t i e s of what we might c a l l "Newcome F a i r . " But, on the other
hand, Newcome F a i r can only he d e f i n e d by a r e c o g n i t i o n of a contra r y
s t a t e . T h i s f l u c t u a t i o n between f a c t and fancy i n the mind of the nar
r a t o r makes up the d i a l e c t i c of The Newcomes i n which the f a b l e of New-
come F a i r v i e s with the f a b l e of F a i r y l a n d . The s t o r y moves towards
two c o n c l u s i o n s , which s a t i s f y both the i l l u s i o n - s e e k i n g reader and the
reader who would dwell with the hard f a c t s of Newcome F a i r , where Barnes
i s rewarded and C l i v e and E t h e l are estranged by the i n d i r e c t a s s a u l t s
of m e r c a n t i l e marriage markets.
Pendennis, as n a r r a t o r , i s caught between the claims of two
r e a l i t i e s . He must pay homage to the noble o l d Colonel who, with Laura,
i s h i s touchstone of goodness, but he must a l s o allow f o r the nature of
h i s own and h i s reader's knowledge of human v a r i a n c e , u n p r e d i c t a b i l i t y
and c o n t r a r i n e s s . Although i n the primary world he can l o o k through
Newcome F a i r to an i n f i n i t e l y b e t t e r world, and p e r s o n i f y v i r t u e i n
young and o l d through h i s wife and the Co l o n e l , yet he must allow f o r
the humdrum grey world where dragons and angels impinge only remotely.
Pendennis knows that "men must l i v e t h e i r l i v e s ; and are per
f o r c e s e l f i s h . . . . Some say the world i s h e a r t l e s s : he who says
so e i t h e r p rates commonplaces (the most l i k e l y and c h a r i t a b l e suggestion),
or i s h e a r t l e s s h i m s e l f " (IX, 343-344). The heart may be a r a g and
bone shop, but i t i s f o r Pendennis the b a s i s of r e a l i t y to which he must
r e t u r n c o n t i n u a l l y . We would have many f r i e n d s , Pendennis says, but we
193
cannot permit t h e i r i n e v i t a b l e demands on our own p r i v a c y .
How many persons would you have to deplore your death; or whose death would you wish to deplore? Could our h e a r t s l e t i n such a harem of dear f r i e n d s h i p s , the mere changes and recurrences of g r i e f and mourning would be i n t o l e r a b l e , and tax our l i v e s beyond t h e i r v a l u e . In a word, we c a r r y on our own a f f a i r s ; are pinched by our own shoes. (IX, 344)
The p r a c t i c a l r e a l i t y i s emphasized by the images of paying taxes,
c a r r y i n g burdens, pushing and s t r u g g l i n g , and wearing of shoes that
p i n c h .
In Thackeray's novels the secondary f i c t i o n a l world, with i t s
open qu e s t i o n s , f r e e - r a n g i n g comment and sense of the sheer randomness
of l i f e , f r e q u e n t l y overwhelms the more t i g h t l y - s t r u c t u r e d primary
i l l u s i o n . A powerful and p a i n f u l sense of the vast t o t a l i t y of present
existence with, i t s n i g g l i n g cares, c o n f l i c t i n g demands and l a c k of
coherent or purposive design weighs down upon the reader. But the sec
ondary i l l u s i o n i s a l s o a world f u l l of p o t e n t i a l , of untrodden paths
and e x c i t i n g p o s s i b i l i t y . The s t r u c t u r e d primary i l l u s i o n i s l i k e a
map which i s u s e f u l but outdated, f o r i t does no more than h i n t at the
paths which l i e before the reader and n a r r a t o r . Barbara Hardy says th a t
"the t r u t h f u l n e s s and r e a d a b i l i t y of f i c t i o n depends on characters and
language a c t i n g i n the i n t e r e s t of l o c a l v i t a l i t y as well as . . . theme."
The Appropriate Form (London: The Athlone Press, I964), p. 84. C f . Graham Hough, An Essay on C r i t i c i s m (London: Duckworth, I966), p. 21: "Such works as Orlando F u r i o s o and T r i s t r a m Shandy f u n c t i o n by c o n t i n u a l l y a r o u s i n g i n t e r e s t r a t h e r than by the e x p e c t a t i o n of a comp l e t e d form."
194
I t i s through t h e i r t r u t h f u l n e s s to the process of f i n d i n g out that
Thackeray's mature n a r r a t o r s secure our a l l e g i a n c e and sympathy.
Although Pendennis, as we have seen, i s eager to descend, as
i t were, i n t o the market-place of the world which i s symbolic of the
f o u l r a g and bone shop of h i s own heart, yet he a l s o f i n d s the appeal
of the i d e a l e q u a l l y i n s i s t e n t . H i s hero, C l i v e , i s t o r n between two
m i s t r e s s e s — t h a t of p a i n t i n g symbolized by J . J . R i d l e y and that of the
sweet and s o f t Rosey who i s made a v a i l a b l e to him through the C o l o n e l ' s
bounty. O l i v e ' s movement between the humdrum world of the market and
the i d e a l world of a r t f o r c e f u l l y i l l u s t r a t e s the c o n f l i c t w i t h i n the
n a r r a t o r ' s own heart, and that warring d u a l i t y which i s found even i n
the Colonel who f o r a l l h i s noble and s a i n t l y q u a l i t i e s i s s t i l l a
Newcome and a s p e c u l a t o r i n the money market. ¥hile on another occa
s i o n , Pendennis w i l l l a y before h i s reader the brute f a c t s of existence
and human s e l f i s h n e s s , here he pleads f o r the beauty and s a n c t i t y of
the world of a r t .
The p a l e t t e on h i s arm was a great s h i e l d p ainted of many co l o u r s : he c a r r i e d h i s m a u l - s t i c k and a sheaf of brushes along with i t , the weapons of h i s g l o r i o u s but harmless war. With these he achieves conquests, wherein none are wounded save the envious . . . . Occupied over that c o n s o l i n g work, i d l e thoughts cannot gain the mastery over him; s e l f i s h wishes or d e s i r e s are kept at bay. A r t i s t r u t h : and t r u t h i s r e l i g i o n ; and i t s study and p r a c t i c e a d a i l y work of pious duty. What are the world's s t r u g g l e s , brawls, successes, to that calm r e c l u s e pursuing h i s c a l l i n g ? See, t w i n k l i n g i n the darkness round h i s chamber, numberless b e a u t i f u l t r o p h i e s of the g r a c e f u l v i c t o r i e s which he has won—sweet flower s of fancy re a r e d by h i m — k i n d shapes of beauty which he has devised and moulded. (IX, 232)
195
I n h i s d i v e r s i o n a r y addresses to h i s reader we can see how the
n a r r a t o r uses h i s s t o r y and c h a r a c t e r s as a means f o r e x p r e s s i n g h i s
own sense of the complex nature of r e a l i t y . The above passage i s Pen
dennis' v i s i o n r a t h e r than anything to do with the C l i v e llewcome pres
ented i n the primary f i c t i o n a l world. In the mood of worshipper of
beauty and h e r o i c defender of a r t against the t h r e a t e n i n g barbarism of
the market-place, Pendennis the n o v e l i s t i s able to b u i l d a secure but
f r a g i l e world where the shoe of w o r l d l y concerns does not pinch; a
world where "flowers of fancy" can be r e a r e d — a realm of pure mind.
But as a h i s t o r i a n of the r e a l i t i e s of Hewcome P a i r , Pendennis must
include the world of struggle where men are p e r f o r c e s e l f i s h even i n
t h e i r f r i e n d s h i p s , and i n f l u e n c e d more by the r e a l i t i e s of the l e d g e r
than the marvels of the brush. In t h i s r e s p e c t , Colonel Newcome r e f u s e s
to p l a y - t h e ' p a r t "assigned" him. by. Pendennis—he i s , despite h i s .virtue's.,''" a the world with h i s own strong p r e j u d i c e s .
The Thackerayan n a r r a t o r of the mature novels knows that man
cannot l i v e without i l l u s i o n . Man f i n d s h i s i l l u s i o n s i n the world of
a r t and i n h i s manipulation of " f a c t s " i n the world of pragmatic r e a l i t y .
When John Loofbourow d e c l a r e s of Amelia and Dobbin, at the end of V a n i t y
F a i r , that " t h e i r w i l f u l evasions of r e a l i t y have robbed them of a f u l l
r e l a t i o n s h i p , but t h e i r meagre f r u i t i o n i s b e t t e r than glamorous
s t e r i l i t y , " 3 he assumes that there i s a r e a l i t y to be evaded. I f Amelia
Thackeray and the Form of F i c t i o n ( P r i n c e t o n : P r i n c e t o n Univ. Press, 1964), p. 31.
196
and Dobbin are deluded they are so no more than any of the other char
acters, and a "meagre f r u i t i o n " i s perhaps no more than we are offered
in any of the novels. Reality f o r the Thackerayan narrator i s the being
aware of i l l u s i o n . Some glimpses of this are vouchsafed to Amelia and
Dobbin, but they, l i k e their narrator and reader, cannot l i v e long with
out dreams of a better world.
The narrator thus shows that i l l u s i o n belongs to the ordinary
man i n the street as much as to the most fabulous a r t i f i c e r . Both are
caught i n the human predicament of the need to assert absolutes, while
at the same time they must l i v e i n the world of relative values. As
Pendennis narrating the adventures of P h i l i p points out, men are- a l l
s t o r y - t e l l e r s i n one or another sense of the word, whether they pro
fess to be historians or entertainers, whether they set out to t e l l
truth or l i e s , to be honest or dishonest. Of the Twysden,- si s t e r s , he
says,
Agnes might have told stories about Blanche, i f she chose—as you may about me, and I about you. Not quite true stories, but stories with enough a l l o y of l i e s to make them serviceable coins stories such as we hear da i l y i n the world; stories such as we read i n the most learned and conscientious history-books, which are tol d by the most respectable persons, and perfectly authentic u n t i l contradicted. It i s only our h i s t o r i e s that can't be contradicted (unless, to be sure, novelists contradict themselves, as sometimes they w i l l ) . What we say about people's virtues, f a i l i n g s , characters, you may be sure: i s a l l true. And I defy any man to assert that my opinion of the Twysden family i s malicious, or unkind, or unfounded i n any particular.
(XV, 200)
Pendennis, naturally enough, not only contradicts himself frequently,
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but d e l i g h t s i n so doing and i n i n v o l v i n g h i s reader with him. H i s
a s s e r t i o n of f a i r n e s s to the Twysdens i s s u f f i c i e n t to put the reader
on h i s guard to take Pendennis*s a s s e r t i o n s with care and s c e p t i c i s m .
In the i n t e r e s t of i d e a l t r u t h , which demands c e r t a i n t y and b l a c k and
white c a t e g o r i e s , Pen i s prepared to t e l l a l o c a l l i e — s o at any r a t e
runs the i m p l i c a t i o n ; Pen i s a s t o r y - t e l l e r who admits he i s d r e s s i n g
up the " f a c t s " j he knows that a r t i s more concerned with imaginative
than f a c t u a l t r u t h , and that l i e s or i l l u s i o n s are the a r t i s t ' s b u s iness.
Awareness of r e l a t i v e values, however, tends to be a disadvan
tage f o r the man who would t e l l a c l e a r and coherent s t o r y . For the
sake of the scheme of h i s s t o r y he must put aside the o b s t i n a t e quest
i o n i n g of p r o b a b i l i t i e s and h i s own l a c k of c e r t a i n knowledge. Pendennis
knows—to the detriment of h i s " s t o r y " — t h a t there may w e l l be- other
v e r s i o n s of the Twysden character, and that to a considerable degree a
man sees i n the world what he wishes to see,, f o r
I f you were a bachelor, say, with a good f o r t u n e , or a widower who wanted c o n s o l a t i o n , or a l a d y g i v i n g v e r y good p a r t i e s and belonging to the monde, you would f i n d them agreeable people. I f you were a l i t t l e Treasury c l e r k , or a young b a r r i s t e r with no p r a c t i c e , or a lady, o l d or young, not q u i t e of the monde, your o p i n i o n of them would not be so f a v o u r a b l e . (XV, 200-201)
The i m p l i c a t i o n here i s that the Twysden g i r l s would r e a c t a c c o r d i n g to
the company they were i n , but Pendennis as we know has h i s ( a r t i s t i c )
axe to g r i n d , and the reader f o r the sake of the s t o r y w i l l accept that
t h i s i s a s t o r y "with enough a l l o y of l i e s to m a k e [ i t ] s e r v i c e a b l e c o i n . "
198
I n the world of V a n i t y F a i r , which i s the world of the t y p i c a l
Thackeray novel, h y p o c r i s y i s an e s s e n t i a l mask. T h i s i s the world i n
which the i r o n i c v i s i o n of the n a r r a t o r t h r i v e s , f o r he i s not only an
unmasker but one who pretends to take the mask at i t s own v a l u a t i o n ,
while a l l the time he knows b e t t e r . For i r o n y
i s a pretence . . . the purpose of which i s mockery or decept i o n of one s o r t or another; and i t s f o r c e d e r i v e s from one of the keenest and o l d e s t and l e a s t t r a n s i e n t p l e a s u r e s of the r e f l e c t i v e human mind— t h e pleasure i n c o n t r a s t i n g Appearance with R e a l i t y .
While the c h a r a c t e r s seek to deceive themselves or others by wearing a
mask, the n a r r a t o r seeks to f i n d h i m s e l f by removing t h e i r masks. He
i s thus, i n p a r t , h i s own t a r g e t , f o r he sees h i m s e l f i n both the mater
i a l i s t and the dreamer, i n Becky and i n Dobbin, i n the Twysdens and i n
J . J . R i d l e y . I t takes one pretender to understand another, and i t i s
the n a r r a t o r ' s triumph that he knows he i s p r e t e n d i n g . The reader l i k e
wise i s a pretender and i f he i s to l e a r n from'his n a r r a t o r he must
see not o n l y the h y p o c r i t e s of the F a i r but h i m s e l f as a pretender.
For Thackeray " i s the master of a mood and a moment," and "does not so 5
much d e f l a t e romance as egg i t on." Despite the mock-Arcadian scenes
of Queen's Crawley i n V a n i t y F a i r , the mock-Edenic scenes i n The V i r g i n
i ans, and a c o n s i s t e n t d e l i g h t i n p l a y i n g with p a s t o r a l legends, seen
4 0 f Irony; E s p e c i a l l y i n Drama (Toronto: Univ. of Toronto Press, 1948), p. 5.
'Edwin Clapp, " C r i t i c on Horseback," Sewanee Review, 38 (1930), 296,
199
i n the o v e r r i d i n g metaphor of sheep-shearing w i t h r e f e r e n c e to the
marriage market, the Thackerayan n a r r a t o r becomes i n v o l v e d i n t h i s
Arcadian world, as i n a l l the other mental worlds, h i m s e l f . He does
not stand back from the myth i n order to expose i t s f a l l a c y i n the l i g h t
of the pushing and shoving of workaday V a n i t y F a i r , but adopts the con
ventions of both as h i s own. He f i n d s w i t h i n h i m s e l f the values of an
i d y l l i c l o v e world and a f i e r c e l y competitive mercenary s o c i e t y . He
.can see h i m s e l f i n the wolves and the lamb.
Although Pendennis f e e l s an a t t r a c t i o n towards the o l d s t o r y
which he debunks, yet he has sympathy f o r the Twysden. f a m i l y that
martyrs i t s e l f f o r the cause of re s p e c t a b l e appearance. He gives them
as much sympathetic understanding as he can, from h i s own p o s i t i o n of
the i r o n i c observer who must keep one f o o t outside the s t o r y . Thus he
removes h i m s e l f from P h i l i p ' s p o s i t i o n of j i l t e d l o v e r i n order to
comprehend the Twysden p o s i t i o n *
T h i s I can vouch f o r Miss Twysden, Mrs. Twysden, and a l l the r e s t of the f a m i l y : — t h a t i f they, what you c a l l , j i l ' t e d P h i l i p , they d i d so without the s l i g h t e s t h e s i t a t i o n or n o t i o n tha t they were doing a d i r t y a c t i o n . T h e i r a c t i o n s never were d i r t y or mean; they were necessary, I t e l l you, and calmly proper. (XV, 284)
T h i s i s not simply an i r o n i c comment at the expense of the Twysdens,
but the n a r r a t o r ' s attempt to t i p the balance of judgement back i n
t h e i r favour, at t h i s moment. Does Pendennis merely pretend sympathy
with the Twysden p o i n t of view or has he a genuine a p p r e c i a t i o n ;of
200
t h e i r s e n s i b l e , and not unheroic, conduct a c c o r d i n g to the r u l e s of
V a n i t y F a i r ? H i s l a t e r outburst on the almost u n i v e r s a l p r a c t i c e of
resp e c t a b l e p r o s t i t u t i o n among the mi d d l e - c l a s s e s suggests he i s an
opponent of Twysden v a l u e s , but then he a l s o makes i t p l a i n that he i s
adopting the r o l e of clergyman ad d r e s s i n g h i s "dear brother and s i s t e r
s i n n e r s " as he preaches against Babylon. The answer s u r e l y i s that the
n a r r a t o r e x t r a c t s the maximum p o s s i b l e e f f e c t from whatever point of
view he chooses to take, whatever r o l e commands him at a p a r t i c u l a r
moment. He cannot have a f i x e d p o i n t of view, but i s always l o o k i n g at
hims e l f , seeing that without c o n t r a r i e s there i s no p r o g r e s s i o n . I t
i s the reader's ta s k to be nimble-witted and not to be caught t a k i n g
the mask f o r the f a c e , f o r the Thackerayan n a r r a t o r , l i k e h i s ancestors
the Zanni, l i k e A r l e c c h i n o of the commedia d e l l ' a r t e , and A r l e q u i n of
l a t e r date, i s e s s e n t i a l l y f a c e l e s s . A g i l i t y and the c a p a c i t y to e n t e r
t a i n remain the e s s e n t i a l s of the Thackerayan n a r r a t o r as of the Zanni:
A b i l i t y to move q u i c k l y was the f i r s t r e q u i s i t e of the clown; on t h i s he had to depend f o r the e f f e c t i v e n e s s of h i s i n s t a n - • taneous maskings and unmaskings, and the appearances and d i s appearances that so m y s t i f i e d slow-witted o l d Pantolone and Gratiano p r o p o r t i o n a t e l y d e l i g h t e d the audience.
I f the Twysdens are a r c h - p r e t e n d e r s — a n d they a r e — t h e y are
i d e a l m a t e r i a l f o r the unmasking n a r r a t o r . Yet Pendennis i n p u t t i n g
W i n i f r e d Smith, The Commedia D e l l ' A r t e (New York: Benjamin
Blom, 1964), p. 12.
t
201
on the mask of Agnes Twysden, the outwardly pure, gentle and p l a i n -
d e a l i n g maiden, does not simply expose t h i s d i s g u i s e as f a l s e . He
shows that P h i l i p ' s f e e l i n g f o r Agnes i s drawn out of him by the f a l s e
mask, but the f e e l i n g i s r e a l or seems to b e — a n d who can make the d i s
t i n c t i o n ? When pretence so i n f l u e n c e s a c t i o n and f e e l i n g , how j u s t i f i e d
are we i n d i s m i s s i n g i t as mere worthlessness and sham? Such a judge
ment i m p l i e s a knowledge of hard and f a s t d i s t i n c t i o n s , and such a
knowledge i s denied the n a r r a t o r , who i s a perpetual experimenter and
examiner of d i f f e r e n t "positions!' Pendennis shows that we are a l l
i n e v i t a b l y both d e c e i v e r s and deceived, f o r i f we w i l l i n g l y accept as
golden the c o i n of l o v e , which we know with one part of o u r s e l v e s to be
brass, we must expect perpetual disenchantment. To the l o v e r at the
moment of acceptance, the c o i n i s golden, and as such i t l i v e s i n h i s
mind a f t e r d e v a l u a t i o n , so to speak. Thus Pendennis shares i n P h i l i p ' s
r e j e c t i o n by the Twysdens, and shares h i s f e e l i n g of i n c r e d u l i t y , hurt
pr i d e and p a i n . Since t h i s i s u n i v e r s a l human experience, he i n v i t e s
the reader to share i n these moments of disenchantment;
I t could not be; ahl no, i t never could be, that Agnes the pure and gentle was p r i v y to t h i s c o n s p i r a c y . But then, how v e r y — v e r y o f t e n of l a t e she had been from home . . . . Yes; eyes were somehow averted that used to l o o k i n t o h i s very f r a n k l y , a glove somehow had grown over a l i t t l e r h a n d l w h i ' c h
Vbnce. used to l i e v e r y comfortably i n h i s broad palm . . . . AhJ f i e n d s and t o r t u r e s i a gentleman may cease to l o v e , but does he l i k e a woman to cease to l o v e him? People c a r r y on ever so l o n g f o r f e a r of that d e c l a r a t i o n that a l l i s over. Ho c o n f e s s i o n i s more dismal to make. The sun of love has s e t . We s i t i n the dark. I mean you, dear madam, and Corydon, or I and A m a r y l l i s ; uncomfortably, with nothing more to say
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to one another* with the night dew f a l l i n g , and a r i s k of catching cold, drearily contemplating the fading west . . . . Sink, f i r e of lovel Rise, gentle moon, and mists of c h i l l y evening. And, my good Madam Amaryllis, l e t us go home to some tea and a f i r e . (XV, 372-373).
Here as elsewhere, however, the narrator makes i t quite clear
that he w i l l not be caught out acting any one part for long. As a
nimbie-witted entertainer, he i s prepared to take whatever position
yields him another part i n his expansive repertoire. Since humility i s
endless and we learn only by a continual renunciation of convenient
parts, the narrator and his reader must l e t the sun set on today's role
of lover, or man of virtue, or whatever mask they place between them
selves and the world. Pendennis and Madam Amaryllis return home to the
humble domestic scene from which we can assume that a l l their golden
ladders, a l l their dreams, hopes, new images w i l l start out again. V i r
tue for the Thackerayan narrator consists i n a surrender of self to the
process of enchantment and disenchantment. He seeks, l i k e Browning's
narrator i n F i f i n e at the Fair, not a glorious heaven, but the earthly
goal of wisdom where mimes and mummers perform, and
whereby came discovery there was just Enough and not too much of hate, love, greed and l u s t , Could one discerningly but hold the balance, s h i f t The weight from scale to scale, do j u s t i c e to the d r i f t Of nature, and explain the glories by the shames Mixed up i n man.
'Fifine at the Fair (London: Smith, Elder, -I872), p. 134.
203
P e n d e n n i s ' p r o b l e m i n P h i l i p i s t o do j u s t i c e t o t h e d r i f t o f
n a t u r e , y e t a t t h e same ti m e t o p r e s e n t a c o h e r e n t work o f a r t , a n d i t
i s on t h e s e c o n f l i c t i n g c l a i m s t h a t T h a c k e r a y ' s n o v e l s , w i t h t h e i r two
f i c t i o n a l w o r l d s , a r e b u i l t . C a r l Grabo p o i n t s out t h a t " t h e more t h e
i m a g i n a t i o n i s hampered by o b l i g a t i o n s o f one k i n d a n d a n o t h e r — t o
h i s t o r i c a l f a c t , t o a n e t h i c a l p u r p o s e , t o t h e l i n e a m e n t s o f a h a c t u a l
m o d e l — t h e l e s s v i t a l , t h e l e s s ' r e a l ' i n t h e s e n s e t r u e t o a r t , w i l l Q
t h e r e s u l t b e . " P e n d e n n i s s e e s t h e d a n g e r s o f a l l e g i a n c e t o b o t h
" h i s t o r i c a l f a c t " a n d " e t h i c a l purpose," e a c h o f w h i c h t e m p t s t h e r e a d e r
t o r e l y on some a u t h o r i t y w h i c h i s e x t e r n a l t o h i m s e l f , r a t h e r t h a n
coming down t o t h e f o u l r a g and bone shop o f h i s own h e a r t . He s e e s
" t h e c h a r a c t e r o f i n f a l l i b l e h i s t o r i a n " (XV, 201), a s j u s t a n o t h e r
r o l e t h a t he must t e m p o r a r i l y p l a y .
When i t comes t o a c h o i c e o f d e v o t i o n t o a n i d e a l o f b e a u t y ,
t r u t h , o r g o o d n e s s , P e n d e n n i s c h o o s e s b e a u t y — f o r t h e o t h e r s have
a m b i v a l e n t and r e l a t i v e : q u a l i t i e s . A s i n The Newcomes, so i n P h i l i p
J . J . R i d l e y p e r s o n i f i e s t h e h a ppy and d i s i n t e r e s t e d - a r t i s t :
I n c e r t a i n m i n d s , a r t i s dominant and s u p e r i o r t o a l l b e s i d e — s t r o n g e r t h a n l o v e , s t r o n g e r t h a n h a t e , o r c a r e , o r p e n u r y . . . . L o v e may f r o w n and be f a l s e , b u t t h e o t h e r m i s t r e s s n e v e r w i l l . She i s a l w a y s t r u e : a l w a y s new; . . . I wonder a r e men o f o t h e r t r a d e s so enamoured o f t h e i r s ; w h e t h e r l a w y e r s c l i n g t o t h e l a s t t o t h e i r d a r l i n g r e p o r t s ; o r w r i t e r s p r e f e r t h e i r d e s k s and i n k s t a n d s t o s o c i e t y , t o f r i e n d s h i p , t o d e a r i d l e n e s s ? I have s e e n no men i n l i f e l o v i n g t h e i r p r o f e s s i o n so much a s p a i n t e r s , e x c e p t , p e r h a p s , a c t o r s , who when n o t e ngaged t h e m s e l v e s , a l w a y s go t o t h e p l a y . (XV, 240)
The T e c h n i q u e o f t h e H o v e l (New York; S c r i b n e r ' s , 1928), p . 203.
204
And i t is as actor that Pen invites his reader to join him in the
intriguing game of, masking and unmasking, disguise and recognition,
for in acting, as in painting, we find "there is the excitement of the
game, and the gallant delight in winning i t " (XV, 240). The reader of
Thackeray's novels who ignores the narrator's challenge to unravel the
various changes of role and of moral stance which he adopts, and who
himself refuses to become the part assigned him, inevitably misses the
sheer delight of the novels. Vladimir Nabokov, in Speak Memory, points
out that "competition in chess problems is not really between White and
Black but between the composer and the hypothetical solver (just as in
a first-rate work of fiction the real clash is not between the characters . 9
but between the author and the world.)"' So, in Thackeray's novels, i t
is not Amelia and Becky, Laura and Blanche, Rachel and Beatrix, but the
narrator and the reader who oppose each other in friendly rivalry.
By a fruitful contact with the narrator, the reader discovers
within himself a range of possibility that was previously hidden. When
he is asked for instance i f he would have accepted an invitation to Lord
Steyne's party, knowing the man as he is presented in Vanity Fair,
the reader does not answer—for the question i s not relevant to his
world. But i f he plays the game of illusion according to the narrator's
rules, a half-conscious idealist in the reader says "No,",, while a
slumbering cynic says "Yes!1. This is the mode of self-discovery through
'Cited in Page Stegner, Escape into Aesthetics: The Art of Vlad imir Nabokov (New York: The Dial Press, I966), p. 23« Cf.. Robert Scholes, The Fabulators (New York: Oxford Univ. Press, I967), p. 108: "The ideal reader, in his structure-building, is probably much like a good chess player, who is always thinking ahead many moves and holding alternative possibilities in mind as structures which the game may actually assume."
205
i l l u s i o n on which the mature novels are b u i l t , and we can say of
Thackeray, as has been said of Moliere, that he "actually t e l l s us
through his irony that i n becoming something you think you are not, you
become yourself.""*"^
The process of self-masking and unmasking gives the narrator
hi s greatest opportunity and gives his reader the greatest s a t i s f a c t i o n .
Pendennis w i l l on occasion f l a t t e r h i s reader, but expect him to see
through t h i s f l a t t e r y . Thus he t e l l s the reader that P h i l i p enjoyed
playing the l o r d and being idle and self-indulgent, and "I dare say
P h i l i p l i k e d f l a t t e r y . I own that he was a l i t t l e weak i n this respect,
and that you and I, my dear s i r , are, of course, far his superiors"
(XV, 243). Later he turns on the reader who would p l a c i d l y accept his
own innocence and not ide n t i f y himself with the Twysdens who, with
P h i l i p ' s father, are the ostensible v i l l a i n s of the piece. I f the
reader would understand the Twysdens,, he must f i r s t f i n d the Twysden
i n himself, for does he not at some periods l i v e by the rules of Vanity
Fair? I f he sees himself as virtuous and t o t a l l y opposed to the
Twysdens, then, unknowingly, he shares the quali t y of hypocrisy with
them; for,the price of virtue i s hypocrisy:
I f somebody or some Body of savans would write the history of the harm that has been done i n the world by people who believe themselves to be virtuous, what a queer, edifying book i t would be, and how poor oppressed rogues might look upi Who burn the Protestants?—the virtuous Catholics, to be sure. Who roast the Catholics—the virtuous Reformers. Who thinks I am a dangerous character, and avoids me at the club?—the virtuous Squaretoes. Who scorns? who persecutes? who doesn't forgive?—the virtuous Mrs. Grundy. (XV, 275)
Robert J . Nelson, Play Within a Play: The Dramatist's Conception of His Art, Shakespeare to Anouilh (New Haven: Yale Univ. Press, 1958), p. 67.
206
Pendennis p l a i n l y shows that the censure of others inevitably rebounds
upon the head of the censor.
The process of self-expansion by role-playing i n the reader and
narrator i s brought about only by a kind of self-transcendent humility.
This stems from the method of Socratic irony which reaches i t s f u l l
flowering only by an abrogation on the ironist's part of any concealed
"position" or any hiding behind pretence of ignorance, i n order to
demolish one's victim by a sudden display of mental or moral superiority.
The Thackerayan narrator and his reader discover themselves i n their
"victims". They adopt the false positions of the characters, not to
expose them as vain and foo l i s h , but as a mode of self-exploration. The
Thackerayan narrator.'frequently shows his own awareness that he i s not
only partly guilty, but also incapable of judging others, since he hasvnot
a god-like a c c e s s i b i l i t y to a l l the facts. His humility i s seen i n his
lack of certainty and his willingness to contradict himself. A reluctance
to condemn others categorically and absolutely i s typical of the mature
narrator. Innocence and guilt are relative i n his world; Becky Sharp,
Mrs. MacKenzie, Br. Pirmin and Lady Baker proclaim their own innocence
of malice or shady dealing, and who w i l l cast the f i r s t stone and say
they are guilty, malicious, s e l f i s h , unreliable and hypocritical?
Pendennis confesses that
being young and very green, I had a l i t t l e mischievous pleasure i n i n f u r i a t i n g Squaretoes, and causing him to pronounce that I was "a dangerous man." Now, I am ready to say that Nero was a monarch with many elegant accomplishments, and considerable natural amiability of disposition. I praise and admire success wherever I meet i t . I make allowance for f a u l t s and shortcomings especially i n my superiors; and fee l that, did we know a l l , we should judge them very d i f f e r e n t l y . People don't believe me, perhaps, quite so-, much as formerly. But I don't offend: I trust I don't offend. Have I said anything painful?
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Plague on my blunders! I r e c a l l the expression. I regret i t . I contradict i t f l a t . (XV, 218)
Thus humility turns to sycophancy, but this role, too, i s only for the
moment. It i s the opening of the doors to p o s s i b i l i t y rather than the
a r r i v a l at a f i n a l destination.
This opening of the door to p o s s i b i l i t i e s accounts for the
feel i n g of the expansiveness of l i f e that we receive from Thackeray's
novels. In novels which are dominated by r i g i d schemes, the suggestion
of l i f e going on beyond the selected details i s usually absent,or, i f
present, as i n The Ambassadors or The Marble Faun, awkwardly intrusive.
The open questions of the nature of the small domestic object manufactured
by the Newsomes, or whether Donatello had ass's ears or not, draw
attention to themselves and to the i r authors' ingenuity. But when the
Manager of Vanity F a i r , recounting the fantastic prodigality of the
legendary Steyne family, declares of a huge sum of money won by the
Marquis from "Egalite Orleans that " i t forms no part of our scheme to t e l l
what became of the remainder," the reader's sense of an imperfectly com
prehended l i f e going on beyond the world of the novel i s enhanced
(VF», 452). The eccentric narrator of a Thackeray novel suggests to the
reader the mystery of a world of p o s s i b i l i t y outside the range of his
knowledge. He does t h i s by constant shif t s of point of view, by reliance
on such gossips and unreliable sources of "information" as Tom Eaves,
and by allowing f o r the subjective nature of himself and h i s characters,
who, though he may see them as v i l l a i n s , see themselves as virtuous
martyrs.
The reader of Thackeray's novels must complete the paradigms
of art for himself. He i s for ever subject to the narrator's appeal and
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f l a t t e r y , and both, h i s own and the narrator's temporary "position"
depend on the interpretation the reader himself chooses to put on his
narrator's words. What i s the reader, for instance, to make of the
narrator's opinion of Amelia's feelings towards Dobbin while they
journey together on the Rhine? The "story" demands that an honest gentle
man and a sweet heroine realize and express love for each other, but the
narrator i s by no means sure that Amelia i s not a s i l l y l i t t l e fool and
that Dobbin i s not rather ridiculous. And even though " i t was on this
very tour that I, the present writer of a history of which every word
i s true, had the pleasure to see them f i r s t , and to make their acquain
tance" (VP., 602), yet f i n a l knowledge eludes the narrator. However much
narrator and reader may desire a love-scene, a happy ending, the expression
of a beautiful and eternal passion which w i l l triumph over the petty
det a i l s of l i f e , they are disappointed. The narrator returns the reader
to his own experience to complete the pattern: "Perhaps i t was the
happiest time of both th e i r l i v e s indeed, i f they did but know i t — a n d
who does? Which of us can point out and say that was the culmination—
that was the summit of human joy" (VF, 602)? The expansive novel
imitates l i f e i n i t s uncertainty and inconclusiveness; furthermore, i t
not only casts doubt on our aspirations for a better world - j-it also
denies the certainty of our knowledge i n th i s world.
There i s only one certainty i n the perspectives of the secondary
f i c t i o n a l world and that i s that l i f e must end for individuals. It i s
i n contrast to this surrounding darkness that the gay and exuberant
world of Vanity Pair exists. The deaths of old Miss Crawley, Old Lady
Kew, and Madame Bernstein provide occasion for the narrator to put off
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h i s motley and don solemn b l a c k as he preaches a sermon on l i f e ' s v a n i t i e s .
But v e r y soon the b u s t l e of the P a i r resumes and weeds and c r o c o d i l e
t e a r s are f o r g o t t e n . Pious and l y i n g epitaphs are a l l t h a t remain to
mock the noble a s p i r a t i o n s of those who remain a l i v e and the ignoble con
duct of those who have d i e d . Although i n the scheme of the novels these
semi-serious scenes of m e d i t a t i o n on death do not seem v e r y c r u c i a l or
even very memorable, they have an intense l o c a l e f f e c t . L i k e the gossip
and the s p e c u l a t i o n , and the anecdote conjured, as i t were, from m i d - a i r ,
these f u n e r e a l impromptus t h i c k e n the texture of the novels and l e a d the
reader back i n t o h i s own consciousness. Thus, i n the Sedley s i c k room,
the n a r r a t o r turns to h i s reader, f o r g e t t i n g f o r a moment Mr. Sedley,
to meditate on the second-floor a r c h i n the w e l l of the s t a i r c a s e .
—What a memento of L i f e , Death, and V a n i t y i t i s — t h a t arch and s t a i r — i f you choose: to c o n s i d e r i t . . . . . The doctor w i l l come up to us too f o r the l a s t time there, my f r i e n d i n motley. The nurse w i l l l o o k i n at the c u r t a i n s , and you take no n o t i c e — a n d then she w i l l f l i n g open the windows f o r a l i t t l e , and l e t i n the a i r . Then they w i l l p u l l down a l l the f r o n t b l i n d s of the house and l i v e i n the back r o o m s —then they w i l l send f o r the lawyer and other men i n black, &c.—Your comedy and mine w i l l have been played then, and we s h a l l be removed, 0 how f a r , from the trumpets, and the shouting, and the posture-making. I f we are gent l e f o l k s they w i l l put hatchments over our l a t e domicile, with g i l t cherubim, and mottoes s t a t i n g that there i s "Quiet i n Heaven." Your son w i l l new f u r n i s h the house, or perhaps l e t i t , and go i n t o a more modern quarter; your name w i l l be among the "Members Deceased," i n the l i s t s of your clubs next year.
(VP, 584-585)
A m e d i t a t i o n such as the above, which goes on f o r several pages
i n a book c a l l e d " Vanity F a i r " might persuade us that we had at l a s t
reached the n a r r a t o r ' s c e n t r a l p o s i t i o n , were i t not f o r h i s e q u a l l y
c o n v i n c i n g a b i l i t y to become worldling,comedian, i n s i d i o u s c y n i c or
210
frivolous entertainer. Thackeray's narrator i s l i k e Dryden's Zimri,
hut i s not disgraced hy the fact that he " i n the course of one revolving
moon/ Was chymist, f i d d l e r , statesman, and buffoon." "Vanity Pair"
was not the book's original t i t l e , and i n Thackeray's novel, i n contrast
to Bunyan's allegory, the emphasis i s as much on the f e s t i v i t i e s of l i f e
as on i t s vanit i e s . John A. Lester, J r . claims of such scenes as the
above, that "by virtue of his.peculiar/ detachment, the timeless wisdom
of his comment on events and character, Thackeray can touch the inter
mittent scene with magic. It becomes a delicate balance of scene and
summary, of the voices and actions of people plus an acceleration of
tempo which reveals their meaning and consequence." Although;the inter
mittent scene " s a c r i f i c e s . . . the actuality" of the dramatic scene,
Lester claims that i t helped Thackeray gain what he preferred to
dramatic actuality, which was, "a coalescence of characteristic speech
and action with the long-range moral perspective of the social preacher." ^
I feel that such scenes have as much "dramatic actuality" as any within
the primary f i c t i o n a l world, and that far from offering us "by virtue of
his peculiar detachment, the timeless wisdom of his comment," Thackeray's
momentary existence i s that of a very mortal man creating an elegy out
of his own haphazard meditations on death.
Lester thinks of a stable narrator, a "Thackeray" who i s a wise
old man figure who seeks to convey eternal truths. He lays special emphasis
on the bewildering variety of scenes which he sees as "devices for avoiding
"Thackeray's Narrative Technique," HI LA, 69 (I954), 405-406.
211
12 dramatic enactment of the story." These "devices" are not so bewildering
when we see that we are offered a map of consciousness unrolled extempor
aneously, improvised for the moment from the threads of the story as they
occur within the narrator's mind. In the secondary fictional world we
have "dramatic enactment" of a very different kind, but i t is as dramatic,
in i t s own way, as the world of the "story". There is an untidiness, an
unfixedness, and a rich sense of the unexpected and the absurd in the
narrator's monologues. For the narrator is a part-player who, like the
fool, has license to contradict himself, and to run the gamut from wisdom
to follyjand even to muddle the reader's sense of which is which. This
freedom, his delight, is the reader's problem—the problem of whether to
accept the parts for their own sake, or whether to try to add them up and
see i f they make a whole. The problem of deciding whether or not he
should reject the parts as false because they do not cohere with his own
design, involves him in a situation analogous to that of actual l i f e , where
he must either ignore the data of raw experience or impose his own system-
making compulsion upon them.
The narrator's presentation of many points of view from the out
rageous and unorthodox to the subtle and invitingly conventional, involves
the reader in a constant mental shuffling and re-shuffling of previously
accepted ideas. Thackeray, though he touches the grotesque chiefly in
his illustrations, delights to play with the reader's expectations, and
to confound his propensity for seeing only the better and nobler side of
himself. Sometimes, indeed, i t is difficult to know where the hypothetical
12 x Ibid
212
reader i s h i t by h i s s u b t l e a n t a g o n i s t . The n a r r a t o r who c o n s i s t e n t l y
"plays the f o o l " l o s e s h i s advantage, i f the reader does not know how
s e r i o u s l y to take him. I t i s p o s s i b l e that the reader may become l o s t
i n the l a y e r s of c o n t r a d i c t i o n of t h i s passage, f o r example, from The
V i r g i n i a n s , f o l l o w i n g the n a r r a t o r ' s advocacy of wif e - b e a t i n g :
Women w i l l be pleased w i t h these remarks, because they have such a t a s t e f o r humour and understand i r o n y ; and I should not be surp r i s e d i f young Grubstreet, who corresponds with three penny pape r s and d e s c r i b e s the persons and con v e r s a t i o n of gentlemen whom he meets at h i s " c l u b s , " w i l l say, "I t o l d you s o l He advocates the t h r a s h i n g of women! He has no n o b i l i t y of s o u l ! He has no he a r t ! " Nor have I, my eminent young Grubstreet.' any more than you have e a r s . Dear ladies.' I assure you I am on l y j o k i n g i n the above r e m a r k s , — I do not advocate the t h r a s h i n g of your sex at a l l , — a n d , as you can't understand the commonest b i t of fun, beg leave f l a t l y to t e l l you, that I consider your sex i s a hundred times more l o v i n g and f a i t h f u l than ours. ( X I I I , 4 6 )
The n a r r a t o r i s p l a i n l y not i n t e r e s t e d i n the idea as an idea but as a
means of aro u s i n g the anger and h o s t i l i t y of h i s r i v a l , G rubstreet.
Women, who are supposed to understand i r o n y , have; f i n a l l y to be c a j o l e d
and f l a t t e r e d , because they are too s t u p i d to see the joke. By p l a y i n g
not only the f o o l , but the w i l d and u n c i v i l i z e d man, the n a r r a t o r exposes
the needs of the "dear l a d i e s " to be f l a t t e r e d and reassured. The r e a l
reader must be able to see hi m s e l f i n both Grubstreet's p l a t i t u d e s and
the f e a r s of the l a d i e s — i f he does not, the game i s played to no e f f e c t ,
f o r i t i s a s o l i t a r y one played by the n a r r a t o r . The n a r r a t i v e element
of the l a t e r Thackeray novels becomes i n c r e a s i n g l y dwarfed by the sheer
p e r s o n a l i t y of the expansive n a r r a t o r . T h i s i s the reverse process to
that demonstrated by Henry James' novels, i n which we f i n d the "gradual
d e s u b s t a n t i a t i o n of the n a r r a t i v e f i g u r e on the w a l l t i l l he i s a mere
213
g h o s t . J o h n 1. Dodds, who finds in Lovel a "dull . . . plot" and
"colourless characterizations," maintains that i t "was a literary
indiscretion, and those who love Thackeray will not want to linger
long here." He feels that in i t "Thackeray is shadow-boxing with him
self, that he knew he was being a bore." 1 4 Modern criticism may well
find in the windings of the narrator's self-consciousness, with his
wild accusations and justifications of himself and others, much to
linger on. John KLeis finds that "the work prefigures the modern
narrative techniques that we find in later works like The Sacred Fount, 15
The Good Soldier and the novels of Conrad and Joyce." ' We can certainly
say that, through Batchelor, the reader comes to re-experience the
process by which men manipulate chaotic and mysterious experience into
coherent and aesthetically pleasing designs.
Unlike the typical Ford or Conrad novel, however, we find in
Thackeray's novels a sense of unlimited l i f e that has somehow managed
to escape the neat design of art. The "story" becomes increasingly more
shadowy as the personality of the narrator takes command. Lord Jim and
Edward Ashburnham are symbols who dominate the minds of Marlow: and
Dowell. For the Thackerayan narrator, figures such as Harry Warrington,
Philip and Lovel do not become obsessive to the same degree. We do not
^ P h y l l i s Bentley. Some Observations on the Art of Narrative (New York: Macmillan, 1947), P. 36.
1 4Thackeray: A Critical Portrait (New York: Oxford Univ. Press, 1941), p. 231.
15 '"The Narrative Persona in the Novels of Thackeray," Biss.
Pennsylvania 1966, p. 294.
214
have several viewpoints on a character, hut differing moods in which
various characters become dominant for a fleeting moment. The reader
is not challenged to ask himself what the vital significance of Philip,
Harry or Lovel may be, for we see them through the vision of an ex
pansive narrator who is more concerned with momentary self-expression
than ultimate self-revelation. He seeks not the "truth" about his
heroes, but the truth of the moment's experience, which passes and
refuses to be held within a rigid framework. Henry James rightly said
that "experience is never limited, and i t is never complete, i t is an
immense sensibility, a kind of huge spider web of the finest silken
threads suspended in the chamber of consciousness, and catching every
air-borne particle in its tissue. It is the very atmosphere of the 16
mind" This can only be suggested by an expansive novel with an ex
pansive narrator, or in a novel where the "design" is muted, and a
sense of the open-ness of l i f e retained.
Batchelor, with his perpetual making and remaking of his own
experiences, is perhaps the epitome of the Thackerayan narrator. He,
i f any of the narrators, suggests that "humanity is immense, and reality 17
has a myriad forms." 1 When his self-esteem is most deeply shattered
by his failure to impress Elizabeth Prior with his) gallantry, and by his
humiliation in being rejected in favour of Edward Dencher, the physician,
he is forced to appear calm and unmoved, for his passion had remained
unexpressed. The night after his rejection he dreams of the past, and "The Art of Fiction," in Partial Portraits (London: Macmillan,
1888), p. 388. 1 7 I b i a , pp. 387-388.
215
sees h i m s e l f s i t t i n g amid the r u i n of h i s own happiness. A multitude of
responses to the f a c t of h i s "tragedy" suggest themselves. Th i s i s not
j u s t the saddest s t o r y , i t i s the most r i d i c u l o u s , the most incomprehen
s i b l e , the most u n r e a l , the most o r d i n a r y and d u l l . The f a c t of r e j e c t
i o n i s turned round i n B a t c h e l o r ' s mind, and becomes a b r i l l i a n t and
many-faceted treasure on which h i s imagination can p l a y . One part of
him, indeed, i s not r e a l l y i n t e r e s t e d i n the r a t h e r prim and no longer
yo u t h f u l woman. Batchelor's response to the " f a c t s " i s complex:
Would you know who i s the s o l i t a r i e s t man on earth? That man am I . Was that c u t l e t which I ate at breakfast anon, was that lamb which f r i s k e d on the mead l a s t week (beyond yon w a l l where the unconscious cucumber l a y basking which was to form h i s s a u c e ) — I say, was that lamb made so tender, tha t I might eat him? And my h e a r t , then? Poor heart i wert thou so s o f t l y c o n s t i t u t e d o n l y that women might stab thee? So I am a Muff, am I? And she w i l l always wear a l o c k of h i s "dear h a i r , " w i l l she? Hal haj The men on the omnibus looked askance as they saw me laugh. They thought i t was from Hanwell, not Putney, I was escaping. Escape? Who can escape? . . . I took another omnibus and went back to Putney . . . . I t i s s a i d that ghosts l o i t e r about t h e i r former haunts a good deal when they are f i r s t dead; . . . But suppose they r e t u r n and f i n d noho&y t a l k i n g of them at a l l ? Or suppose, Hamlet (Pere, and Royal Dane) comes .back and f i n d s C laudius and Gertrude v e r y comfortable over a piece of c o l d meat, or what not? Is the l a t e gentleman's present p o s i t i o n as a ghost a v e r y pleasant one? Crow, Cocks! Quick, Sundawn! Open, Trap-door! A l l o n s : i t ' s best to pop underground ag a i n . So I am a Muff am I? . . . Why, b l e s s my s o u l ! what i s L i z z y h e r s e l f — o n l y an o r d i n a r y woman—freckled c e r t a i n l y — i n c o r r i g i b l y d u l l , and without a s c i n t i l l a t i o n of humour; and you mean to say, Charles B a t c h e l o r , th a t your heart once beat about that woman? (XXVIII, 346-347)
We see here the attempt of the mind to a s s i m i l a t e f a c t s that
are p a i n f u l and damaging to the ego or self-image which has been b u i l t
up as a w a l l between the s e l f and the world. Batchelor indulges i n a
v a r i e t y of c o n t r a d i c t o r y s u p p o s i t i o n s : he i s "the s o l i t a r i e s t man"
but a l s o , by extension, a tender lamb; he i s an escaped maniac, a muff,
216
and Hamlet senior's ghost. F i n a l l y , he i s p l a i n Charles Batchelor i n
love with a pla i n and common-place woman. He moves from extreme s e l f -
p i t y to the most scathing self-contempt while h i s consciousness returns
i n a parabola to his immediate predicament, v i a h i s r e c o l l e c t i o n of
yesterday's pleasant and painful events and a personal variation on the
theme of the returning ghost of Hamlet.
This constant fluctuation of the mind under stress i s emphasized
by the continual self-questioning, the bouts of manic laughter, and way
ward improvisation. The prose rhythm frequently suggests a wild f l i g h t
of imagination which becomes suddenly checked byyan abrupt r e a l i z a t i o n
of the painful immediate situation. The fluency of his picture of the
f r i s k i n g lamb i s cut off short by staccato mutterings: "And my heart,
then?" Poor heart I . . . So I am a Muff, am I? And she w i l l always
wear a lock of his 'dear hair,' w i l l she? Hal Hal" Batchelor then
l e t s his mind swing into a further re c o l l e c t i o n , only to bring himself
to a s t a n d s t i l l over the word "escape." He toys for a moment with t h i s
word as i f not f u l l y comprehending i t as he does with the other key
words "muff" and "heart."
I f Batchelor's story had been read by Lovel or by Elizabeth, they
would have surely concluded that they were reading the diary of a madman.
But for the novel-reader, who finds h i s own counterpart i n the narrator,
there i s a sense of immediate and personal truth i n such a passage which
catches the evanescence of authentic experience. The question of truth
to "fact" i s no longer pertinent, for the "facts" become l o s t i n the
cross-weaving of impressions within "the chamber of consciousness."
The reader i s never forced into the position of the poet Shade who asks
217
his perverse commentator and c r i t i c Kihbote, " 'How can you know that 18
a l l this intimate stuff about your rather appalling king is true? 1 "
For Batchelor, like Kinbote, actually writes his own "novel," and in
the act of writing becomes obsessed with his "own" subject, or his
own interpretations, at the expense of his supposed or claimed subject,
hovel's re-marriage, like Shade's poem, is valuable for the narrator
only insofar as i t enables him to tap his own sub-conscious, to un
leash the demons that lurk within, struggling perpetually for expression.
As a work of literature becomes more steeped in irony so does the
ostensible subject become more di f f i c u l t to locate, and reader partici
pation correspondingly increases. In irony and burlesque "reading has
become a game of wits. The reader's creative participation is essential 19
to the author's design." In Thackeray's novels the secondary fictional
world of narrator and reader increasingly threatens to engulf the
primary fictional world. In Lovel the Widower, as Lionel Stevenson
disparagingly says, "lacking an adequate plot, he |_Thackeray[] had fallen
back on his old device of a seffli-fictitious narrator, who had but a
small part in the action and yet kept himself interminably in the fore
ground." In Batchelor, in other words, we have another Tristram, an
ancestor of Dowell, Marlow and Proust-Marcel. Stevenson complains
that Philip's lack of integrated structure was disguised by a tissue of discursive comment. Repetition and t r i v i a l detail clogged i t s movement, with only an occasional dramatic scene to
Vladimir Nabokov, Pale ^ire (New York: Putnam's, 1962), p. 214.
19 'David Worcester, The Art of Satire (New York: Russell and
Russell, 1940), p. 31.
218
cut through the s l u g g i s h flow . . . . I n previous novels the author's musings had been kept subordinate to the n a r r a t i v e , but i n P h i l i p they too o f t e n seemed to be predominant."
The i r o n i c a l awareness of the a r b i t r a r y nature of n a r r a t i v e , of p l o t ,
and of form, make any " i n t e g r a t e d s t r u c t u r e " impossible f o r Batchelor
and Pendennis. Furthermore, the knowledge of t h e i r own and t h e i r
reader's s u b j e c t i v i t y compel these confused and h i g h l y s e l f - c o n s c i o u s
n a r r a t o r s to f o l l o w the t r u t h s of immediate experience and the tortuous
windings of t h e i r own minds. T h i s c l i n g i n g to the immediate i n v o l v e s
them i n the " r e p e t i t i o n and t r i v i a l d e t a i l " which i n e v i t a b l y clogs
the movement of the s t o r y and reduces i t to a s l u g g i s h f l o w .
Henry James, who uses the same metaphor of the stream, not
f o r the ".story" but f o r the freedom of imaginative i m p r o v i s a t i o n which
he sought to contain w i t h i n the form of The Aspern Papers, suggests h i s
aim of g i v i n g the f e e l i n g of l i f e i n t h i s passage:
To improvise with extreme freedom and yet at the same time without the p o s s i b i l i t y of ravage, without the h i n t of a f l o o d : to keep the stream, i n a word, on something l i k e i d e a l terms with i t s e l f : that was here my d e f i n i t e business . . . to depend on an imagination working f r e e l y , working ( c a l l i t ) with extravagances by which law i t wouldn't be th i n k a b l e ^ except as f r e e and wouldn't be amusing except as c o n t r o l l e d .
So appropriate i s James's statement, he might almost be r e f e r r i n g to
Thackeray's problem of keeping h i s f a s c i n a t i o n with the d i g r e s s i v e
n a r r a t o r w i t h i n the bounds of n a r r a t i v e . H a l t e r A l l e n says that V a n i t y
The Showman of "Vanity Fair".; The L i f e of W i l l jam Makepeace Thackeray~XHew York: S c r i b h e r ' s , 1947), p. 365? p. 371.
21 The A r t of the Novel: C r i t i c a l P r e f a c e s , with I n t r o d . , P.. P.
Blackmur (New York: S c r i b n e r ' s , 1948), p. 172.
219
22 F a i r i s "an extended conversation, a monologue." I f l i f e i s capable, 23
as James says elsewhere, of n o t h i n g but s p l e n d i d waste, where b e t t e r
can we f i n d the counterpart of t h i s " l i f e " than i n the looseness of
chatty c o n v e r s a t i o n and the d i g r e s s i o n s and c o n t r a d i c t i o n s of the mono
logue i n which the mind moves between doubts and mutually e x c l u s i v e
c e r t a i n t i e s ? Perhaps s c e p t i c i s m i s indeed the mind's n a t u r a l d w e l l i n g
p l a c e , i n s p i t e of the c e r t a i n t i e s , c o n v i c t i o n s , or conclusive argu
ments that may be expressed i n speech or w r i t i n g . Although i t s e i z e s
upon s o l i d , or seemingly s o l i d , c e r t a i n t i e s w i t h a l a c r i t y , the mind
more normally dwells i n the hollows between c e r t a i n t i e s . And while
the mind l u r k s there, the i r o n i c a l awareness of perpetual f l u x i s the
o n l y p o s s i b l e response t o the s p l e n d i d waste that l i f e o f f e r s .
The s t y l e of the mature Thackerayan n a r r a t o r ' s address to h i s
reader has something of the casualness, frankness, and u n c e r t a i n t y of
o r d i n a r y c o n v e r s a t i o n . I t i s thus both u n l i k e the p o l i s h e d and s l i g h t l y
bookish dialogue of novels by Jane Austen, Henry James or Ivy Compton-
Burnett, and more c o n t r o l l e d and s e l f - c o n s c i o u s than the meandering
r e v e l a t i o n s of the stream of consciousness monologue. Of I v y Compton--
Bum e t t ' s n o v e l i s t i c dialogue, N a t h a l i e Sarraute says, the speeches
"are here, one f e e l s , what they are i n r e a l i t y : the r e s u l t a n t of
numerous, entangled movements that have come up from the d e p t h s . " 2 4
22 The E n g l i s h Novel; A Short C r i t i c a l H i s t o r y (London: Penguin
Books, 1958), p. 175. 2 3 T h e A r t o f the Novel, p. 120.
24 , The Age of S u s p i c i o n , t r a n s . Maria J o l a s (New York: George
B r a z i l l e r , 196377 P» H 6 .
220
But these speeches are far too pithy, compact and grammatical for
ordinary speech which, " i s concerned mainly with putting into words
what i s loosely called the stream of consciousness: the daydreaming,
remembering, worrying, associating, brooding and mooning that continually 25
flows through the mind." ' The monologues of the mature Thackerayan
narrator seem to catch at thoughts as they f l y , but they also control
them and give them rhetorical d i r e c t i o n . At i t s most t y p i c a l , the
narrator's monologue combines the drive and enthusiam of a public
speech with the informality of a private confession. This mixture of
the personal idiosyncratic association and the speaker's sense of public
performance i s well i l l u s t r a t e d i n t h i s half-monologue, half suggested
dialogue between Mr. Roundabout and young Walter, i n which the topic
overriding and "controlling" the digression i s the question of the
r e a l i t y of i l l u s i o n ; and whether the senses become less susceptible
in age to the spells that entrance the young: Bo not suppose I am going, siout est mos, to indulge in morali t i e s about buffoons, paint, motley, and mountebanking. Nay, Prime Ministers rehearse their jokes; Opposition leaders prepare and polish them; Tabernacle preachers must arrange them in their minds before they utter them. A l l I mean i s , that I would l i k e to know any one of these performers thoroughly, and out of his uniform; that preacher, and why i n his travels this and that point struck him. . . . I would only say that, at a certain time of l i f e certain things cease to interest: but about some things when we cease to care, what w i l l be the use of l i f e , sight, hearing? Poems are written, and we cease to admire. Lady Jones invites us, and we yawn; she ceases to invite us, and we are resigned. The l a s t time I saw a ballet at the opera—oh! i t i s many years ago—I f e l l asleep in the s t a l l s , wagging my head i n insane dreams, and I hope affording amusement to the company, while the feet of fi v e hundred nymphs were cutting f l i e f l a c s on the stage at a
Northrop Prye, The Well-Tempered C r i t i c (Bloomington, Indiana: Indiana Univ. Press, 1963), p. 20.
221.
few paces' distance. Ah! I remember a different state of things! (XXVII, 86-87)
We see at work here what Gordon Ray describes as the "naturalness 26
and informality" of the mature style, and i t s meandering course
suggests the a l e r t but undisciplined mind more bent on seizing the next
impression than following a l o g i c a l t r a i n of thought. Mr. Roundabout
seeks to expose the f r a i l t y of i l l u s i o n , but at the same time reveals
i t s strength and his own s u s c e p t i b i l i t y . His mind does not control his
"subject" but allows the wandering l i g h t s , which are loosely i n orbit
around the central nucleus of the "subject", to r e f l e c t upon i t . The
digressive narrator of the l a t e r novels and the Roundabout Papers seeks
to comprehend an i n f i n i t e universe, and his own fumbling f o r words ("all
I mean i s , " "I would only say that") indicates that the narrator i s over
whelmed by the vastness of p o s s i b i l i t y , and i s prepared to retreat from
whatever position he for the moment elects to adopt. The reader, who
temporarily becomes young Walter, the boy naively delighted by pantomime,
i s given the part of opposing the disenchanted exposer of the f o l l i e s of
i l l u s i o n . When the i r a s c i b l e old man reveals, not his own superiority
to the sordid trappings and subterfuges of stage i l l u s i o n , so much as
his present s u s c e p t i b i l i t y to the i l l u s i o n s he experienced i n h i s youth—
i l l u s i o n s which have become his r e a l i t y — t h e reader smiles and has his
moment/of superiority. But the reader's superiority i s only a temporary
state, for he too can be carried away, not by argument, but by sheer
Thackeray: The Uses of Adversity I 8 I I - I 8 4 6 (New York: McGraw H i l l , 1955), P. 4 0 1 .
2 2 2
v e r b a l l u x u r i a n c e when the Roundabout Pegasus impels both: n a r r a t o r and
reader i n t o realms where the moment's i l l u s i o n r e i g n s sufprlsme>. Thackeray's
reader must: r e a l i z e v i t a l p a r t s of a complex whole. And, as i n o r d i n
ary conversation, many of the p a r t s w i l l seem opaque and f l a t i n i s o l a t i o n ,
but on t h e i r presence the r h e t o r i c a l and l u c i d depend f o r t h e i r convic
t i o n , s i nce the n a r r a t o r ' s mind moves not s t r a i g h t towards a goal, but
c y c l i c a l l y through c o n t r a r i e s expressed i n a p p r o p r i a t e l y c o l l o q u i a l or
r h e t o r i c a l language. Sy h i s r e f u s a l to submit to the needs of h i s p u b l i c
f o r the s e c u r i t y of neat endings, such as Dickens provides i n the r e v i s e d
Great E x p e c t a t i o n s , or George E l i o t i n Adam Bede and The M i l l on the
F l o s s , Thackeray shows a d i s t i n c t l y modern tendency. But Thackeray, un
l i k e James, V i r g i n i a Woolf, or E.M. F o r s t e r , does not subscribe to the
modern myth, "that anyone's d i s t u r b i n g , expanding experience can ever be
ordered f i n a l l y , f i n a l l y made sense of, f i n a l l y l i m i t e d , and hence 27
transcended."
Summary
Joyce, Proust and Faulkner leave i n t h e i r wake a swarm of
c r i t i c s who p i c k up the pieces and assemble v a s t s t r u c t u r e s which i n
some way p a r a l l e l those of the n o v e l i s t s . Thackeray, l i k e Tolstoy, whom
he so f r u i t f u l l y i n f l u e n c e d , i s not e a s i l y subjected to systematic 2 8
c r i t i c a l s c r u t i n y . He does not leave a t r a i l of symbols f o r h i s
27 'Alan Friedman, The Turn of the Novel (New York: Oxford Univ.
Press, 1 9 6 6 ) , p. 1 8 7 .
2 8
For the i n f l u e n c e of Thackeray on T o l s t o y , see John Bayley, T o l s t o y and the Novel (London: Chatto and Hindus, 1966), pp. 155; 1 6 3 .
223
reader to follow, nor does he give undue emphasis to formal properties
such as caves, mosques, towers, lighthouses, or labyrinthine c i t i e s .
When the sea appears i n hi s novels, as i t does i n The Newcomes, i t i s
there to be enjoyed for i t s own sake. I t i s at Brighton that we see
humanity at i t s most various, and Brighton with i t s p a v i l l i o n i s half
way back to Arthur Pendennis' own youth when the twanging coach-horn
l e f t for London and the Prince Regent gave colour and dash to pre-
Victorian England, We know that nothing appears i n novels entirely
"for i t s own sake," but when the sense of freedom and unpredictability
of l i f e as i t seems to a perceiving consciousness, who i s not a part
of the pattern but a creator of patterns, i s sought, the "irrelevant"
or "digressive" or "intrusive" anecdote i s as valuable as the more
patently functional or i l l u s t r a t i v e one.
Thackeray presents reader and c r i t i c with peculiar d i f f i c u l t i e s .
Furthermore, when the t e l l e r ' s consciousness overlays the tale to the
extent that i t does i n P h i l i p or Lovel, the novel, as we normally
conceive the genre, begins to disintegrate. I f i t i s the narrative or
story which must be the primary focus of the reader's attention, the
l a t e r Thackeray novel's w i l l prove a disappointment. Martin Schutze,
censuring advocates of the " i r r a t i o n a l form-type" such as Tieck and
Strich, points out that " i t i s an i l l u s i o n to seek i n f i n i t y i n poor and
fragmentary form." Despite a l l th e i r complexity and suggestiveness,
Thackeray's novels re t a i n the firmness of a basic paradigm which, though
i t i s never obtrusive or r i g i d l y controlling, gives a sense of the conti
nuity of l i f e and l i t e r a t u r e . For " a l l structure i s based on the repe-
224
29 t i t i o n of.fundamental units i n a m u l t i p l i c i t y of d e t a i l . " ' Thus, under
l y i n g the multiple view-point of the narrator, we have i n Becky and
Amelia wicked and virtuous heroines who meet their respective "unhappy"
and "happy" ends, i n Henry Esmond an Aeneas who marries h i s Bido, i n
P h i l i p a man who f a l l s among thieves and whose good Samaritans are
Br. Goodenough and the L i t t l e S i s t e r ,
The narrator, we may say, i s less a. supporter of such purely
formal systems than one who uses them i n order to prove th e i r inadequacy.
These old stories provide reader and narrator with a common frame of
reference which has the human f a m i l i a r i t y of a symbolism handled by
generations. But since they are variously inadequate and even inappro
priate to explain the inconstant human elements, they must of necessity
be undermined by the ir o n i c interpreter. The reader thus has no sure
resting place i n the novels, for the ir o n i c v i s i o n eschews completeness.
'Academic Illu s i o n s i n the F i e l d of Letters and the Arts, new ed. (Hamden, Connecticut: Archon Books, I962), p. 212s p. 219. This i s true even i f the "fundamental units" are merely the episodes of our reading experience. Cf. Graham Hough, An Essay on Criticism, pp. 20-23.
CONCLUSION: VISION THROUGH PLAY
Two things of opposite natures seem to depend On one another, as a man depends On a woman, day on night, the imagined On the r e a l . This i s the origin of change.
—Wallace Stevens, "Notes Toward a Supreme F i c t i o n "
Every novelist has the defects of his virtues. In reading an
i r o n i c a l novelist such as Thackeray, the reader must renounce his need
for an ultimate commitment to an ethical i d e a l . He cannot even commit
himself temporarily to such cultural myths as the wisdom of so c i a l
integration which George E l i o t propounds, or D.H. Lawrence's reliance
on the power of remote ancestral knowledge transmitted through the
i n s t i n c t s . Nor does Thackeray offer us a commitment to a moment of
personal revelation or s o c i a l communion which we f i n d i n Joyce, V i r g i n i a
Woolf and E.M. Forster. Thackeray's sole alignment seems to he with a
policy of non-alignment. For some readers Thackeray may well appear
aesthetically careless and morally oonfused. But for the reader who i s
patient, who i s prepared to l e t Thackeray lead him, and who seeks nothing
extraneous to the novel and himself through which to understand his
author, f o r that reader Thackeray can provide his own kind of revelation.
Much of the suspicion and disfavour which Thackeray suffered i n
his day, and s t i l l to some extent suffers from i n ours, can he attributed
to his f a i l u r e to subscribe absolutely to the human need for certainty
and passionate loyalty. The i r o n i s t , who alienates himself from himself
i n order to see the nature of his needs, prejudices, and enthusiasms,
can never be a partisan with a programme; he offers us the paradox of a
rea l wholeness (or whole r e a l i t y ) which i s incomplete because r e a l i t y 225
.226
i s incomplete. To the i r o n i s t every position which the s e l f adopts
implies an antagonistic position which might have been adopted with
equal certitude. He knows that "doubt and trusts subtend each other;
they cohere i n the unity that i s the whole man."1 The price of this
"wholeness" i s uncertainty; the attempt to be inclusive inevitably
leads to being inconclusive.
Thackeray offers his reader not a v i s i o n of the world trans
formed but v i s i o n of man i n the process of transforming himself by f l u c t u
ation between changing r e a l i t i e s . He does not deny the truth of the
visionary, as we have seen i n h i s recreation of the moods of Pendennis
and J.J. Ridley as they appear to the narrator, but he denies i t s
permanence. Wholeness (that i s health) i s achieved paradoxically by
s p l i t t i n g the self into an actor and a spectator, each learning from
and dependent upon the other. The play or pantomime, with i t s emphasis
on a r t i f i c i a l i t y and the human need to experiment and learn through
play, thus becomes Thackeray's dominant metaphor. Seeing the play
purely as a play enables the spectator to have a v i s i o n of himself as a
continual part-player. Thackeray's reader, i n short, detaches himself
from i l l u s i o n i n order to have knowledge of h i s i l l u s i o n s .
Colin Wilson says that " i n some sense, every work of f i c t i o n that
has ever been written i s somehow obscurely concerned with the problem of 2
how men should l i v e . " A d i a l e c t i c between good and evilj-. or desirable
George W. Morgan, The Human Predicament: Dissolution and Wholeness (Providence: Brown Univ. Press, 1968), p. 321.
2 The Strength to Dream: Literature and the Imagination (Boston:
Houghton-Mifflin, 1962), p. 205.
'227
and undesirable or le s s desirable attitudes, runs through the novels of
Thackeray as i t does through those of, for example, Jane Austen, Dickens,
and V i r g i n i a Woolf. But although Thackeray supports such moral positives
as the value of tact, intelligence and good breeding, the necessity f o r
benevolence and charity, and the need for s e n s i t i v i t y to others, he has
the courage, honesty, and humility to admit to the negatives which
define these values. Moreover, i n both absolutes he finds the seeds of
i t s opposition. In short, he offers no system either e x p l i c i t or
impli c i t on which men can re l y . The problem of how men should l i v e i s
resolved i n Thackeray's philosophy by each one for himself, as he watches
himself from moment to moment quietly, closely, without praising or
blaming,in a s p i r i t of eternal vigilance.
Thackeray's d i a l e c t i c i s not merely one of moral opposites,
where Becky i s opposed by Amelia, Blanche by Laura, and so forth; i t i s
also a c o n f l i c t that takes place within the reader who becomes at once
protagonist and observer. It i s a process of self-exploration whereby
the adult discovers the child within, and enthusiastic participation i s
balanced by s e l f - c r i t i c a l analysis. The reader must become both Young
Walter and Mr. Roundabout. Thackeray's own "Fireside Pantomime,"
The Rose and The Ring, i s thus appropriately designed by him "for great
and small children" (XXIV, 197).
I f the chi l d i s a natural role-player who learns i n s t i n c t i v e l y
through dramatic play, then the adult must recover some of th i s l o s t
power to learn by becoming a c h i l d . Thackeray offers us no simple
c h i l d - l i k e adults such as Mr. Dick or Joe Gargery, but he takes the
s p i r i t of play into the sophisticated and deadly earnest world of the
228
salon and gaming table. If roles seem more important to him than goals,
this does not imply that his world has no meaning, that it':.i-s entirely
frivolous or ultimately escapist. On the contrary, his play-world is
highly serious: i t disturbs our hallowed conventions of novels and
morals and lets the anarchist, the child, and the dreamer within us
come into our stern and repressive consciousness.
Like the mysterious Juggler of the Tarot Pack, the Dreamer is continually doing the apparently impossible, capsizing our solemn ultimates of birth and death, manipulating space and time with a breathtaking impudence, riding roughshod across a l l our most treasured and assured convictions. With the Dreamer you never know where you are. At one moment he chills by an inhuman cruelty, at another uplifts with a sheer grandeur of spiritual vision; he irritates us by t r i v i a l i t i e s , silences us with an unreachable wisdom, charms us by his subtlety and wit, and often enough disgusts us with his coarse and bestial fantasies.
The child-at-play within the reader can, like the dreamer when
he is recognized, enrich immensely the compulsive planner and organiser
who is the essentially, sane and respectable adult in the reader. When
the adult listens to the babble of the child within he becomes aware
that " l i f e ' s nonsense pierces us with strange relation." 4 Creative
artists from Blake and Wordsworth to Van Gogh and Picasso have paid
tribute to the unselfconscious visionary power of children. In Thackeray,
l i t t l e Miles Warrington, young Rawdon, and young Walter display a fresh
ness and honesty which shocks, startles, and waylays social conventions
which are accepted and inviolable rules to the adult. Preud points out
that "under the influence of alcohol the adul.t again becomes a child who
Alan McGlashan, The Savage and Beautiful Country (London: Chatto and Windus, 1966), p. 147•
4 Wallace Stevens, "Notes Toward a Supreme Fiction," in Transport to
Summer (New York: Alfred Knopf, 1947), p. 120.
229
derives pleasure from the free disposal of his mental stream without 5
being r e s t r i c t e d by the pressure of l o g i c . " Most works of art also
contain t h i s a b i l i t y to liberate the imaginative and undisciplined
ch i l d within the reader or spectator. Thackeray, however, evokes the
eternal watcher as well as the c h i l d within the reader—the watcher who
protects the child-at-piay and who sees the complex self indulging i n
various forms of child's play. Thackeray does not seek to disparage
his reader when he has the Manager of Vanity F a i r say: "Come, children,
l e t us shut up the box and the puppets, for our play i s played out"
(VF, 666).
Thus, for Thackeray, the only r e a l i t y i s a process of continual
self-renewal where the self reveals i t s e l f through the play of i l l u s i o n .
Only the c h i l d i s naturally at home i n the world of i l l u s i o n , but only
the adult i s capable of seeing the i l l u s i o n for what i t i s . For th i s
ultimate v i s i o n to take place, adult and c h i l d must come together i n
the person of the reader. The role of the narrator and reader thus
necessitates a double projection: into the primary and into the secondary
f i c t i o n a l world of the novels. In the primary i l l u s i o n the reader i s
actor and believes i n his role l i k e a child, and i n the secondary i l
l usion he i s an adult watcher. Ultimately, the novels do not lead any
where except back to the reader's own consciousness? hence, their
provocatively open form.
The Basic Writings of Sigmund Freud, trans, and ed. with Introd. A.A. B r i l l , The Modern Library (New York: Random House, 1938), pp. 718-719.
230
The secondary f i c t i o n a l world i n the l a t e r novels i n c r e a s i n g l y
predominates over the primary, as the n a r r a t o r focuses upon him s e l f
r a t h e r than h i s " s t o r y . " In L o v e l , i n f a c t , the nominal hero i s l i t t l e
more than a supernumerary f i g u r e . Batchelor attempts, i n j e s t and
earnest, to e x t r a c t a maximum of t r u t h from a most commonplace and
t r i v i a l i n c i d e n t . The legendary world of Edenic and Greek myth i s
compounded with Batchelor ' s own f a b r i c a t e d past a f t e r he i s r e j e c t e d
by the s p i n s t e r who could "never' have more than a f i l i a l regard f o r
the k i n d o l d gentleman." Batchelor c o n t i n u a l l y r e - e v a l u a t e s h i s p o s i t i o n
i n t h i s scene which suggests a complex and indeterminate r e a l i t y :
There were the t r e e s — t h e r e were the b i r d s s i n g i n g — t h e r e was the bench on which we used to s i t — t h e same but how d i f f e r e n t ! The t r e e s had a d i f f e r e n t f o l i a g e , e x q u i s i t e amaranthines the b i r d s sang a song p a r a d i s i a c a l : the bench was a bank of roses and f r e s h f l o w e r s , which young love twined i n f r a g r a n t c h a p l e t s around the statue of G l o r v i n a . Roses and f r e s h flowers? Rheumatisms and f l a n n e l - w a i s t c o a t s , you s i l l y o l d man! F o l i a g e and song? 0 namby-pamby d r i v e l l e r ! A s t a t u e ? — a d o l l , thou twadd l i n g o l d d u l l a r d ! a d o l l with carmine cheeks, and a heart s t u f f e d with bran. (XXVIII, 348)
Whether Glorvina,. i s a woman, a d o l l , a statue, or a phantom of the mind
i s never c l e a r : B a t c h e l o r ' s r a v i n g s have no c e r t a i n t y beyond h i s own
ambiguous dreams.
The incongruent p e r s p e c t i v e s of the secondary f i c t i o n a l world,
which i s made up of such c o n t r a d i c t i o n s and changes of stance, r e s i s t
the i m p o s i t i o n of any r e d u c t i v e p a t t e r n . Thus, George Levine has
r e s e r v a t i o n s about James Wheatley's recent study of Thackeray which,
he f i n d s , too neat to suggest "the sprawling d i s o r d e r and redundance
231
of so much of Thackeray's . . . f i c t i o n . " Thackeray, finding absolute
certainty to be unattainable, has constant recourse to alternation and
ambiguity. Sprawl, disorder, and redundance are thus essential con
stituents of his world view, and the secondary f i c t i o n a l world, with
i t s fragmented but dynamic perspectives, f a i t h f u l l y captures this
v i s i o n . Since, for Thackeray, change i s the only r e a l i t y , then such
questions as Becky's innocence or g u i l t i n her-liaison with Lord Steyne,
and the contents of the pages torn from George Warrington's manuscript
revelations about h i s wife, are v i t a l to his reader. In the context
of the reader's experience within the novel, these are, l i t e r a l l y ,
v i t a l questions because any answers he may f e e l temporarily convinced
about giving are always subject to endless r e v i s i o n .
Review of Patterns i n Thackeray's F i c t i o n , Novelt A Forum on F i c t i o n , 3(Spring 1970), 268.
BIBLIOGRAPHY
A. PRIMARY SOURCES
1 - ffORKS OF THACKERAY
Thackeray, W i l l i a m Makepeace. A C o l l e c t i o n of L e t t e r s of Thackeray. New Yorki S c r i b n e r ' s , I887.
. The L e t t e r s and P r i v a t e Papers of W i l l i a m Makepeace Thackeray, ed. Gordon N. Ray. 4 v o l s . Cambridge, Mass.! Harvard Univ. Press, 1945-1946.
. Thackeray's C o n t r i b u t i o n s to the "Morning C h r o n i c l e , " ed. Gordon N. Ray. Urbana: Univ. of I l l i n o i s Press, 1955*
. V a n i t y F a i r ; A Novel Without a Hero, ed. wit h I n t r o d . and notes by G e o f f r e y and Kathleen T i l l o t s o n . Boston: Houghton M i f f l i n , 1963.
. Works. 32 v o l s . New York: S c r i b n e r ' s , 1904.
2. OTHER WORKS
Apuleiu s . The Transformation of Lu c i u s , Otherwise Known as the Golden Ass, t r a n s . Robert Graves. New York: F a r r a r , Straus and Giroux, 1951.
Barth, John. The F l o a t i n g Opera. New York: Avon Books, 1965,
Borges, Jorge L u i s . Dreamtigers, t r a n s , from E l Haoedor (The Maker) M i l d r e d Boyer and Har o l d Morland. A u s t i n , Texas: Univ. of Texas, I964.
The Brontes. The Brontes: T h e i r L i v e s , F r i e n d s h i p s and Correspondence, ed. T . J . Wise and J.A. Symington. 4 v o l s . Oxford: Shakespeare Head Press, 1932.
Browning, Robert. The P o e t i c a l Works of Robert Browning. 2 v o l s . London: Smith, E l d e r , I9O6.
Burton, Robert. The Anatomy of Melancholy, ed. f l o y d D e l l and Paul Jordan-Smith. New York: Tudor P u b l i s h i n g Co., 1955*
232
233
Byron, Gordon George. The P o e t i c a l Works of Lord Byron. London: Oxford Univ. Press, 1945.
Camus, A l b e r t . The F a l l , t r a n s . J u s t i n O'Brien. New York: A l f r e d Knopf, 1956.
C a r l y l e , Thomas. New L e t t e r s of Thomas C a r l y l e , ed. Alexander C a r l y l e . 2 v o l s . London: John Lane, 1904.
Cervantes Saavedra, Miguel de. Don Quixote of La Mancha, t r a n s , with I n t r o d . Walter S t a r k i e . Signet C l a s s i c s . New York; New American L i b r a r y , 1964.
Clough, Arthur Hugh. The Correspondence of Arthur Hugh Clough, ed. F r e d e r i c k L. Mulhauser. 2 v o l s . Oxford: Oxford Univ. Press, 1957.
Dryden, John. The P o e t i c a l Works of John Dryden. The Globe E d i t i o n . London: Macmillan, 1894*
D u r r e l l , Lawrence. J u s t i n e . London: Faber and Faber, 1957.
E l i o t , George. Works of George E l i o t . 10 v o l s . London: W i l l i a m Blackwood, 1901.
F i e l d i n g , Henry. The H i s t o r y of Tom Jones, A Foundling. London: C o l l i n s , 1955.
Gide, Andre. The C o u n t e r f e i t e r s , with J o u r n a l of "The C o u n t e r f e i t e r s , " t r a n s . Dorothy Bussy and J u s t i n O'Brien. New York: A l f r e d Knopf, 1951. F i r s t French e d i t i o n 1927.
James, Henry. The Ambassadors, ed. with Afterword R.W. ..Stallman. New York: New American L i b r a r y , i960.
Joyce, James. U l y s s e s . London: The Bodley Head, i960.
Keats, John. The L e t t e r s of John Keats, ed. Maurice Buxton Forman, 2 v o l s . London: Oxford Univ. Press, 1931.
Nabokov, V l a d i m i r . Pale F i r e . New York: Putnam's, 1962. P i r a n d e l l o , L u i g i . " S i x Characters i n Search of an Author," i n
Naked Masks ed. E r i c Bentley, New York: Dutton & Co., 1952.
Proust, M a r cel. Remembrance of Things Past, t r a n s . C.K. Scott M o n c r i e f f and Stephen Hudson. 12 v o l s . London: Chatto and Windus, 1941.
234
R a b e l a i s . The Complete Works of R a b e l a i s , t r a n s . Jacques Le Clerq.. New York: Random House, 1944.
Rimbaud, Ar t h u r . OEuvres completes. P a r i s : G a l l i m a r d , 1954.
Sterne, Laurence. The L i f e and Opinions of T r i s t r a m Shandy, Gentleman^ London: C o l l i n s , 1955*
Stevens, Wallace. Transport to Summer. New York: A l f r e d Knopf, 1947.
T r o l l o p e , Anthony. An Autobiography. New ed. London: Oxford Univ. Press, 1950.
. The L e t t e r s of Anthony T r o l l o p e , ed. Bradford Booth. London: Oxford Univ. Press, 1951.
Wordsworth, W i l l i a m . The P o e t i c a l Works of W i l l i a m Wordsworth, ed. Thos. A. Hutchinson. London: Oxford Univ. Press, 1907.
Yeats, W.B. C o l l e c t e d Poems. London: Macmillan, 1963.
B. SECONDARY SOURCES
1. WORKS SPECIFICALLY ON THACKERAY
Baker, Joseph E. "Vanity F a i r and the C e l e s t i a l C i t y . " NCF, 10(1955), 89-98.
B l o d g e t t , H a r r i e t . "Necessary Presence: The R h e t o r i c of the N a r r a t o r of V a n i t y F a i r . " NCF, 22(1967), 211-223.
Brander, Laurence. Thackeray. W r i t e r s and T h e i r Work S e r i e s p u b l i s h e d f o r The B r i t i s h C o u n c i l and The N a t i o n a l Book League. London: Longmans, Green, 1959*
Clapp, Edwin R. " C r i t i c on Horseback." Sewanee Review, 38(1930), 286-300.
C r a i g , George Armour. "On the S t y l e of V a n i t y F a i r , " i n S t y l e i n Prose F i c t i o n , ed. H a r o l d C. M a r t i n . E n g l i s h I n s t i t u t e Essays 1958. New York: Columbia Univ. Press, 1959.
Dodds, John W. Thackeray: A C r i t i c a l P o r t r a i t . New York: Oxford Univ. Press, 1941.
E l l i s , G.U. Thackeray. London: Duckworth, 1933.
235
Ennis, Lambert. Thackeray; The Sentimental Cynic. Evanston, I l l i n o i s ; Northwestern Univ. Press, 1956.
Praser, R u s s e l l A. " S e n t i m e n t a l i t y i n Thackeray's The Newcomes." NCF, 4(1949), 187-196.
G r e i g , J.Y.T. Thackeray: A R e c o n s i d e r a t i o n . London: Oxford Univ. Pr e s s , 1950.
Hannah, Donald. "'The Author's Own Candles': The S i g n i f i c a n c e of the I l l u s t r a t i o n s to V a n i t y F a i r , " i n Renaissance and Modern Essays . . . , ed. G.R. Hibbard. London: Routledge and K. P a u l , 1966.
K l e i s , John C. "The N a r r a t i v e Persona i n the Novels of Thackeray," D i s s . Pennsylvania 1966.
L e s t e r , John A., J r . "Thackeray's N a r r a t i v e Technique." PMLA, 69(1954), 392-409.
Levine, George. Review of Patterns i n Thackeray's F i c t i o n , by James H. Wheatley. Novel: A Forum on F i c t i o n , 3(Spring 1970), 266-268.
Loofbourow, John. Thackeray and the Form of F i c t i o n . P r i n c e t o n : P r i n c e t o n Univ. Press, 1964.
Loomis, Chauncey Chester. "Thackeray the S a t i r i s t . " D i s s . P r i n c e t o n 1964.
McMaster, J u l i e t . "Theme and Form i n The Newcomes." NCF, 23(1968), 177-188.
Mathison, John K. "The German Sections of V a n i t y F a i r . " NCF, 18(1963), 235-246.
M e l v i l l e , Lewis [Lewis S. Benjamin]. Some Aspects of Thackeray. Boston: L i t t l e , Brown, 1911.
P a r i s , Bernard J . "The P s y c h i c S t r u c t u r e of V a n i t y Fair.'"VS., 10(1967), 389-410.
Ray, Gordon N. The Bu r i e d L i f e ; A Study of the R e l a t i o n Between Thackeray's F i c t i o n and His Personal H i s t o r y . London: Oxford Univ. Press, 1952.
. Thackeray: The Age of Wisdom 1847-1863. New York: McGraw H i l l , 1958.
. Thackeray: The Uses of A d v e r s i t y I 8 I I - I 8 4 6 . New York: McGraw H i l l , 1955.
236
Saintsbury, George. A Consideration of Thackeray. London: Oxford Univ. Press, 1931.
Sharp, Sister M. Corona. "Sympathetic Mockery: A Study of the Narrator's Character i n Vanity F a i r . " ELH, 29(1962), 324-336.
Spilka, Mark. "A Note on Thackeray's Amelia." NCF, 10(1955), 202-210.
Stevenson, Lionel. The Showman of "Vanity F a i r " : The L i f e of William Makepeace Thackeray. New York: Scribner's, 1947.
Stewart, D.H. "Vanity F a i r : L i f e i n the Void." College English, 25(1963), 209-214.
Sundrann, Jean. '"The Philosopher's Property': Thackeray and the Use of Time,"_VS,:10(1967), 359-388.
Talon, Henri-A. "Time and Memory i n Thackeray's Henry Esmond." RES, N.S. 13(1962), 147-156.
Taube, Myron. "The George-Amelia-Dobbin Triangle i n the Structure of Vanity F a i r . " VN(Spring 1966), 9-18.
. "Thackeray and the Reraisoential Vision." NCF, 18(1963), 247-259.
. "The Parson-Snob Controversy and Vanity F a i r . " VN ( F a l l 1968), 25-29.
Thompson, Leslie M. "Becky Sharp and the Virtues of Sin." VN (Spring 1967), 31 -33.
T i l l o t s o n , Geoffrey. Thackeray the Novelist. Cambridge: Cambridge Univ. Press, 1954*
, and Donald Hawes, eds. Thackeray: The C r i t i c a l Heritage. London: Routledge & Kegan Paul, i960.
Trollope, Anthony. Thackeray. New York: Harper, n.d.
Van Duzer, Henry Sayre. A Thackeray Library, facsimile rept. with new Introd. Lionel Stevenson. Port Washington, New York: Kennikat Press, 1965. O r i g i n a l l y published 1919.
Wheatley, James H. Patterns i n Thackeray'3 F i c t i o n . Cambridge, Mass.: M.I.T. Press, I969.
Wilkinson, Ann Y. "The Tomeavesian Way of Knowing the World: Technique
237
and Meaning i n Vanity F a i r , " ELH, 32(1965), 370-387. Wilson, James Grant. Thackeray i n the United States, 1852-3; I855-6.
2 v o l s . London: Smith, Elder, 1904. ~* ~~
Worth, George J . "The Unity of Henry Esmond." NCF, 15(1961), 345-353.
2. WORKS ON GENERAL1 LITERARY, AND PHILOSOPHICAL BACKGROUND
Ahrams, M.H. The Mirror and the Lamp: Romantic Theory and The C r i t i c a l Tradition. Norton Library edition. New York: Norton, 1958
Allen, Walter. The English Novel: A Short C r i t i c a l History. London: Penguin Books, 1954*
A l l o t t , Miriam,eJ.Novelists on the Novel. London: Routledge and Paul, 1959 .
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