Thackeray

narration is an essential. In matter it should be moral and amusing. In manner it may be realistic, or sublime, or ludicrous;-or it may be all these if the author can combine them. As to Thacke

hat all his words shall seem to be natural to the occasion. We do not think the language of Dogberry natural, when he tells neighbour Seacole that "

ace was seate

ls; the front

rs, to threate

natural when she turns away fr

me that neve

s of men. To be realistic you must know accurately that which you describe. How often do we find in novels that the author makes an attempt at realism and falls into a bathos of absurdity, because

ntences, the ordinary reader would instantly feel such a style to be stilted and unreal. This reader would not analyse it, but would in some dim but sufficiently critical manner be aware that his author was not providing him with a naturally spoken dialogue. To produce the desired effect the narrator must go between the two. He must mount somewhat above the ordinary conversational powers of such persons as are to be represented,-lest he disgust. But he must by no means soar into correct phraseology,-lest he offend. The realistic,-by which we mean that which shall seem to be real,-lies between the two, and in reaching it the writer has not only to keep his proper distance on both sides, but has to main

neither of sesquipedalian grandeur nor of grotesque images. The one gives an idea of romance and the other of burlesque, to neither of which is truth supposed to appertain. We desire to soar freq

granted. For the sublime we look rather to poetry than to prose, and though I will give one or two instances just now in which it has been used with great effect in prose fiction, it does not come home to the hear

orrow; the latter is always striving after an effect;-and both on this account are difficult of management. A period for the story has been chosen which is strange and unknown to us, and which has required a peculiar language. One would have said beforehand that whatever might be the charms of the book, it would not be natural. And yet the ear is never wounded by a tone that is false. It is not always the case that in novel reading the ear should be wounded because the words spoken are unnatural. Bulwer does not wound, though he never puts into the mouth of any of his persons words such

, and would have looked with contempt on any junction of realism and romance, though, in varying his work, he did not think it beneath him to vary his sublimity with the ludicrous. The sublime in novels is no doubt most effective when it breaks out, as though by some burst of nature, in the midst of a story true to life. "If," said Evan Maccombich, "the Saxon gentlemen are laughing because a poor man such as me thinks my life, or the life of six of my degree, is worth that of Vich Ian Vohr, it's like enough they may be very right; but if they laugh because they think I would not keep my word and come back to redeem him, I can tell them they ken neither the heart of a Hielandman nor the honour of a gentleman." That is sublime. And, again, when Balfour of Burley slaughters Bothwell, the death scene is sublime. "Die, bloodthirsty dog!" said Burley. "Die as thou hast lived! Die like the beasts that perish-hoping nothing, believing nothing!"--"And fearing nothing," said Bothwell. Horrible as is the picture, it is sublime. As is also that speech of Meg Merrilies, as she addresses Mr. Bertram, standing on the bank. "Ride your ways," said the gipsy; "ride your ways, Laird of Ellangowan; ride your ways, Godfrey Bertram. This day have ye quenched seven smoking hearths; see if the fire in your ain parlour burn the blyther

who can content himself with a long protracted and most unemotional excitement. The sublimity which is effected by sparkling speeches is better, if the speeches really have something in them beneath the sparkles. Those of Bulwer generally have. Those of his imitators are often without anything, the sparkles even hardly sparkling. At the best they fatigue; and a novel, if it fatigues, is unpardonable. Its only exc

maller results by it. Manifest as are the objects in his view when he wrote The Hoggarty Diamond or The Legend of the Rhine, they were less important and less evidently effected than those attempted by Vanity Fair

y are so because they lack the power of appreciating grand language. We do not scruple to attribute to those who are indifferent some inferiority of intelligence. And in regard to the realistic, when the truth of a well-told story or life-like character does not come home, we think that then, too, there is deficiency in the critical ability. But there is nothing necessarily lacking to a man because he does not enjoy The Heathen Chinee

itzJeames De La Pluche, as he is afterwards called, would be nothing but for his "orthogwaphy so carefully inaccuwate." As I have before said, Mrs. Malaprop had seemed to have reached the height of this humour, and in having done so to have made any repetition unpalatable. But Thackeray

vice, or some growing vulgarity, which is made sharper by the absurdity of the language. In The Diary of George IV. there are the following reflections on a certain correspondence; "Wooden you phansy, now, that the author of such a letter, instead of writun about pipple of tip-top quality, was describin' Vinegar Yard? Would you beleave that the lady he was a-ritin' to was a chased modist lady of honour and mother of a family? O trumpery! o morris! as

guilt to his late comrade, so are some disposed to be almost angry with our author, who seems to be too much at home with his rascals, and to live with them on familiar terms till we doubt whether he does not forget their rascality. Barry Lyndon is the strongest example we have of this style of the ludicrous, and the critics of whom I speak have thought that our friendly relations with Barry have been too genial, too apparently genuine, so that it might almost be doubtful whether during the narrative we might not, at this or the other crisis, be rather with him than against him. "After all," the reader might say, on coming to that passage in which Barry defends his trade as a gambler,

Willow Tree, and his own parody on his own work. There the reader may see how effective a parody may be in destroying the sentiment of the piece parodied. But in dealing with other authors he has been grotesque without being severely critical, and has been very like, without making ugly or distasteful that which he has imitated. No one who has admired Coningsby will admire it the less because of Codlingsby. Nor will the undoubted romance of Eugene Aram be lessened in the estimation of any reader of novels by the well-told career of George de Barnwell. One may say that to laugh Ivanhoe out of face, or to lessen the glory of that immortal story, would be beyond the power of any farcical effect. Thackera

d the bishop. "He a

him intended, thou

eligious, for to ta

lly being discussed, of a nature so complicated that the inexperienced writer is puzzled at every turn to express himself, and the altogether inartistic writer fails to do so. Who among writers has not to acknowledge that he is often unable to tell all that he has to tell? Words refuse to do it for him. He struggles and stumbles and alters and adds, but finds at last that he has gone either too far or not quite far enough. Then there comes upon him the necessity of choosing between two evils. He must either give up the fulness of his thought, and content himself with presenting some fragment of it in that lucid arrangement of words which he affects; or he must bring out his thought with ambages; he must mass his sentences inconsequentially; he must struggle up hill almost hopelessly with his phrases,-so that at the end the reader will have to labour as he himself has laboured, or else to leave behind much of the fruit which it has been intended that he should garner. It is the ill-fortune of some to be neither easy or lucid; and there is nothing more wonderful in the history of letters than the patience of readers when called upon to suffer under the double calamity. It is as though a ma

there was to understand in the matter. Have they run backward over the passages, and then gone on, not quite sure what the author has meant? If not, then he has been easy and lucid. We have not had it so easy with all modern writers, nor with all that are old. I may best perhaps explain my meaning by taking something written long ago; something very valuable, in order that I may not damage my argument by comparing the easiness of Thackeray with the harshness of some author who has in other respects failed of obtaining approbation. If you take the play of Cymbeline you will, I think, find it to b

s readers. If there be no such common ground, they will certainly not come into full accord. There have been recusants who, by a certain acuteness of their own, have partly done so,-wilful recusants; but they have been recusants, not to the extent of discarding grammar,-which no writer could do and not be altogether in the dark,-but so far as to have created for themselves a phraseology which has been picturesque by reason of its illicit vagaries; as a woman will sometimes please ill-instructed eyes and ears by little departures from feminine propriety. They have probably laboured in their vocation as sedulously as though they had striven to be correct, and have achieved at the best but a short-lived success;-as is the case also with the unconventional female. The charm of the disorderly soon loses itself in the ugliness of disorder. And there are others rebellious from gr

has been nearest to the mark of any,-writing English and not writing Swift. But I doubt whether an accurate observer would not trace even here the "mark of the beast." Thackeray, too, has a strong flavour of Thackeray. I am inclined to think that his most besetting sin in style,-the little earmark by which he is most conspicuous,-is a certain affected familiarity. He indulges too frequently in little confidences with individual readers, in which pretended allusions to himself are frequent. "What would you do? what would you say now, if you were in such a position?" he asks. He describes this practice of his in the preface to Pendennis. "It is a sort of confidential talk between writer and reader.... In the course of his volubility the perpetual speaker must of ne

said before, the reader always understands his words witho

myself, that I regard him who can put himself into close communication with young people year after year without making some attempt to do them good, as a very sorry fellow indeed. However poor your matter may be, however near you may come to that "foolishest of existing mortals," as Carlyle presumes some unfortunate novelist to be, still, if there be those who read your works, they will undoubtedly be more or less influenced by what they find there. And it is because the novelist amuses that he is thus influential. The sermon too often has no such effect, because it is applied with the declared intention of having it. The palpable and overt dose the ch

creeps in closer than the schoolmaster, closer than the father, closer almost than the mother. He is the chosen guide, the tutor whom the young pupil chooses for herself. She retires with him, suspecting no lesson, safe against rebuke, throwing herself head and heart into the narration as she can hardly do into her task-work; and there she is taught,-how she shall learn to love; how she shall receive the lover when he comes; how far she should advance to meet the jo

t words he uses, and what thoughts he expresses, when he sits in council with his young friend? This, which it will certainly be his duty to consider with so much care, will be the matter of his work. We know what was thought of such matter, when Lydia in the play was driven to the necessity of flinging "Peregrine

nd the horrors of feminine evil-doing, than the fate of Effie Deans? The Templar would have betrayed a woman to his lust, but has not encouraged others by the freedom of his life. Varney was utterly bad,-but though a gay courtier, he has enticed no others to go the way that he went. So it has been with Thackeray. His examples have been generally of that kind,-but they have all been efficacious in their teaching on the side of modesty and manliness, truth and simplicity. When some girl shall have traced from first to last the character of Beatrix, what, let us ask, will be the result on her mind? Beatrix was born noble, clever, beautiful, with certain material advantages, which it was within her compass to improve by her nobility, wit, and beauty. She was quite alive to

so true a gentleman. It is in the handling of questions such as these that we have to look for the matter of the novelist,-those moral lessons which he mixes up with his jam and his honey. I say that with Thackeray the physic is always curative and never poisonous. He may he admitted safely into th

l cost ￡33 12s. when completed. It is understood that a very large proportion of the edition has been already bought or ordered. Cost, it will be said, is a bad test of excellence. It will not prove the merit of a book any more than it will of a horse. But it is proof of the popularity of the book. Print and illustrate and bind up some nov

ly,-gentle almost to a fault,-has been shown elsewhere. But they who have called him a cynic have spoken of him merely as a writer,-and as writer he has certainly taken upon himself the special task of barking at the vices and follies of the world around him. Any satirist might in the same way be called a cynic in so far as his satire goes. Swift was a cynic certainly. Pope was cynical when he was a satirist. Juvenal was all cynical, because he was all satirist. If that

the world as a satirist on the doings of gentlemen generally; when he wrote his Catherine, to show the vileness of the taste for what he would have called Newgate literature; and The Hoggarty Diamond, to attack bubble companies; and Barry Lyndon, to expose the pride which a rascal may take in his rascality. Becky Sharp

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e found in the February number of The Cornhill of 1864. It was the first number printed after his death. I would add that, though no Dean applied for permission to bury Thackeray in Westminster Abbey, his bust was placed there without delay. What is

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n's character, or who have brought to the study of it a better knowledge of

gestive introduction to Scott and

s excellent throughout."-

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