Fifty Essays. George OrwellЧитать онлайн книгу.
approaching respect for Rawdon; and yet one sees, better than any diatribe could make one, the utter rottenness of that kind of cadging, toadying life on the fringes of smart society. Dickens would be quite incapable of this. In his hands both Rawdon and the Major would dwindle to traditional caricatures. And, on the whole, his attacks on 'good' society are rather perfunctory. The aristocracy and the big bourgeoisie exist in his books chiefly as a kind of 'noises off', a haw-hawing chorus somewhere in the wings, like Podsnap's dinner-parties. When he produces a really subtle and damaging portrait, like John Dorrit or Harold Skimpole, it is generally of some rather middling, unimportant person.
One very striking thing about Dickens, especially considering the time he lived in, is his lack of vulgar nationalism. All peoples who have reached the point of becoming nations tend to despise foreigners, but there is not much doubt that the English-speaking races are the worst offenders. One can see this from the fact that as soon as they become fully aware of any foreign race they invent an insulting nickname for it. Wop, Dago, Froggy, Squarehead, Kike, Sheeny, Nigger, Wog, Chink, Greaser, Yellowbelly—these are merely a selection. Any time before 1870 the list would have been shorter, because the map of the world was different from what it is now, and there were only three or four foreign races that had fully entered into the English consciousness. But towards these, and especially towards France, the nearest and best-hated nation, the English attitude of patronage was so intolerable that English 'arrogance' and 'xenophobia' are still a legend. And of course they are not a completely untrue legend even now. Till very recently nearly all English children were brought up to despise the southern European races, and history as taught in schools was mainly a list of battles won by England. But one has got to read, say, the Quarterly Review of the thirties to know what boasting really is. Those were the days when the English built up their legend of themselves as 'sturdy islanders' and 'stubborn hearts of oak' and when it was accepted as a kind of scientific fact that one Englishman was the equal of three foreigners. All through nineteenth-century novels and comic papers there runs the traditional figure of the 'Froggy'—a small ridiculous man with a tiny beard and a pointed top-hat, always jabbering and gesticulating, vain, frivolous and fond of boasting of his martial exploits, but generally taking to flight when real danger appears. Over against him was John Bull, the 'sturdy English yeoman', or (a more public-school version) the 'strong, silent Englishman' of Charles Kingsley, Tom Hughes and others.
Thackeray, for instance, has this outlook very strongly, though there are moments when he sees through it and laughs at it. The one historical fact that is firmly fixed in his mind is that the English won the battle of Waterloo. One never reads far in his books without coming upon some reference to it. The English, as he sees it, are invincible because of their tremendous physical strength, due mainly to living on beef. Like most Englishmen of his time, he has the curious illusion that the English are larger than other people (Thackeray, as it happened, was larger than most people), and therefore he is capable of writing passages like this:
I say to you that you are better than a Frenchman. I would lay even money that you who are reading this are more than five feet seven in height, and weigh eleven stone; while a Frenchman is five feet four and does not weigh nine. The Frenchman has after his soup a dish of vegetables, where you have one of meat. You are a different and superior animal—a French-beating animal (the history of hundreds of years has shown you to be so), etc. etc.
There are similar passages scattered all through Thackeray's works. Dickens would never be guilty of anything of that kind. It would be an exaggeration to say that he nowhere pokes fun at foreigners, and of course like nearly all nineteenth-century Englishmen, he is untouched by European culture. But never anywhere does he indulge in the typical English boasting, the 'island race', 'bulldog breed', 'right little, tight little island' style of talk. In the whole of A Tale of Two Cities there is not a line that could be taken as meaning, 'Look how these wicked Frenchmen behave!' The only place where he seems to display a normal hatred of foreigners is in the American chapters of Martin Chuzzlewit. This, however, is simply the reaction of a generous mind against cant. If Dickens were alive today he would make a trip to Soviet Russia and come back to the book rather like Gide's Retour de L'urss. But he is remarkably free from the idiocy of regarding nations as individuals. He seldom even makes jokes turning on nationality. He does not exploit the comic Irishman and the comic Welshman, for instance, and not because he objects to stock characters and ready-made jokes, which obviously he does not. It is perhaps more significant that he shows no prejudice against Jews. It is true that he takes it for granted (Oliver Twist and Great Expectations) that a receiver of stolen goods will be a Jew, which at the time was probably justified. But the 'Jew joke', endemic in English literature until the rise of Hitler, does not appear in his books, and in Our Mutual Friend he makes a pious though not very convincing attempt to stand up for the Jews.
Dickens's lack of vulgar nationalism is in part the mark of a real largeness of mind, and in part results from his negative, rather unhelpful political attitude. He is very much an Englishman but he is hardly aware of it—certainly the thought of being an Englishman does not thrill him. He has no imperialist feelings, no discernible views on foreign politics, and is untouched by the military tradition. Temperamentally he is much nearer to the small noncomformist tradesman who looks down on the 'redcoats', and thinks that war is wicked—a one-eyed view, but after all, war is wicked. It is noticeable that Dickens hardly writes of war, even to denounce it. With all his marvellous powers of description, and of describing things he had never seen, he never describes a battle, unless one counts the attack on the Bastille in A Tale of Two Cities. Probably the subject would not strike him as interesting, and in any case he would not regard a battlefield as a place where anything worth settling could be settled. It is one up to the lower-middle-class, puritan mentality.
III
Dickens had grown up near enough to poverty to be terrified of it, and in spite of his generosity of mind, he is not free from the special prejudices of the shabby-genteel. It is usual to claim him as a 'popular' writer, a champion of the 'oppressed masses'. So he is, so long as he thinks of them as oppressed; but there are two things that condition his attitude. In the first place, he is a south-of-England man, and a Cockney at that, and therefore out of touch with the bulk of the real oppressed masses, the industrial and agricultural labourers. It is interesting to see how Chesterton, another Cockney, always presents Dickens as the spokesman of 'the poor', without showing much awareness of who 'the poor' really are. To Chesterton 'the poor' means small shopkeepers and servants. Sam Weller, he says, 'is the great symbol in English literature of the populace peculiar to England'; and Sam Weller is a valet! The other point is that Dickens's early experiences have given him a horror of proletarian roughness. He shows this unmistakably whenever he writes of the very poorest of the poor, the slum-dwellers. His descriptions of the London slums are always full of undisguised repulsion:
The ways were foul and narrow; the shops and houses wretched; and people half naked, drunken, slipshod and ugly. Alleys and archways, like so many cesspools, disgorged their offences of smell, and dirt, and life, upon the straggling streets; and the whole quarter reeked with crime, and filth, and misery, etc. etc.
There are many similar passages in Dickens. From them one gets the impression of whole submerged populations whom he regards as being beyond the pale. In rather the same way the modern doctrinaire Socialist contemptuously writes off a large block of the population as 'lumpenproletariat'.
Dickens also shows less understanding of criminals than one would expect of him. Although he is well aware of the social and economic causes of crime, he often seems to feel that when a man has once broken the law he has put himself outside human society. There is a chapter at the end of David Copperfield in which David visits the prison where Latimer and Uriah Heep are serving their sentences. Dickens actually seems to regard the horrible 'model' prisons, against which Charles Reade delivered his memorable attack in It Is Never Too Late To Mend, as too humane. He complains that the food is too good! As soon as he comes up against crime or the worst depths of poverty, he shows traces of the 'I've always kept myself respectable' habit of mind. The attitude of Pip (obviously the attitude of Dickens himself) towards Magwitch in Great Expectations is extremely interesting. Pip is conscious all along of his ingratitude towards Joe, but far less so of his ingratitude towards Magwitch. When he discovers that the person who has loaded