Dickens. Ward Adolphus William
new book before this desire took the shape of an actual resolution. There is no great difficulty in understanding why Dickens made up his mind to go to America, and thus to interrupt for the moment a course of life and work which was fast leading him on to great heights of fame and fortune. The question of international copyright alone would hardly have induced him to cross the seas. Probably he felt instinctively that to see men and cities was part of the training as well as of the recreation which his genius required. Dickens was by nature one of those artists who when at work always long to be in sympathy with their public, and to know it to be in sympathy with them. And hitherto he had not met more than part of his public of readers face to face.
CHAPTER III
A journey across the Atlantic in midwinter is no child’s-play even at the present day, when, bad though their passage may have been, few people would venture to confess doubts, as Dickens did, concerning the safety of such a voyage by steam in heavy weather. The travellers—for Dickens was accompanied by his wife—had an exceptionally rough crossing, the horrors of which he has described in his American Notes. His powers of observation were alive in the midst of the lethargy of sea-sickness, and when he could not watch others he found enough amusement in watching himself. At last, on January 28, 1842, they found themselves in Boston harbour. Their stay in the United States lasted about four months, during which time they saw Boston, New York, Philadelphia, Baltimore, Washington, Richmond, Cincinnati, St. Louis, Chicago, and Buffalo. Then they passed by Niagara into Canada, and after a pleasant visit to Montreal, diversified by private theatricals with the officers there, were safe at home again in July.
Dickens had met with an enthusiastic welcome in every part of the States where he had not gone out of the way of it; in New York, in particular, he had been fêted, with a fervour unique even in the history of American enthusiasms, under the resounding title of “the Guest of the Nation.” Still, even this imposed no moral obligation upon him to take the advice tendered to him in America, and to avoid writing about that country—“we are so very suspicious.” On the other hand, whatever might be his indignation at the obstinate unwillingness of the American public to be moved a hair’s-breadth by his championship of the cause of international copyright,5 this failure could not, in a mind so reasonable as his, have outweighed the remembrance of the kindness shown to him and to his fame. But the truth seems to be that he had, if not at first, at least very speedily, taken a dislike to American ways which proved too strong for him to the last. In strange lands, most of all in a country which, like the United States, is not in the least ashamed to be what it is, travellers are necessarily at the outset struck by details; and Dickens’s habit of minute observation was certain not to let him lose many of them. He was neither long enough in the country to study very closely, nor was it in his way to ponder very deeply, the problems involved in the existence of many of the institutions with which he found fault. Thus, he was indignant at the sight of slavery, and even ventured to “tell a piece of his mind” on the subject to a judge in the South; but when, twenty years later, the great struggle came, at the root of which this question lay, his sympathies were with the cause of disunion and slavery in its conflict with the “mad and villanous” North. In short, his knowledge of America and its affairs was gained in such a way and under such circumstances as to entitle him, if he chose, to speak to the vast public which he commanded as an author of men and manners as observed by him; but he had no right to judge the destinies and denounce the character of a great people on evidence gathered in the course of a holiday tour.
Nor, indeed, did the American Notes, published by him after his return home, furnish any serious cause of offence. In an introductory chapter, which was judiciously suppressed, he had taken credit for the book as not having “a grain of any political ingredient in its whole composition.” Indeed, the contents were rather disappointing from their meagreness. The author showed good taste in eschewing all reference to his personal reception, and good judgment in leaving the copyright question undiscussed. But though his descriptions were as vivid as usual—whether of the small steamboat, “of about half a pony power,” on the Connecticut river, or of the dismal scenery on the Mississippi, “great father of rivers, who (praise be to Heaven) has no young children like him!”—and though some of the figure-sketches were touched off with the happiest of hands, yet the public, even in 1842, was desirous to learn something more about America than this. It is true that Dickens had, with his usual conscientiousness, examined and described various interesting public institutions in the States—prisons, asylums, and the like; but the book was not a very full one; it was hardly anything but a sketch-book, with more humour, but with infinitely less poetic spirit, than the Sketch-book of the illustrious American author whose friendship had been one of the chief personal gains of Dickens’s journey.
The American Notes, for which the letters to Forster had furnished ample materials, were published in the year of Dickens’s return, after he had refreshed himself with a merry Cornish trip in the company of his old friend, and his two other intimates, “Stanny” and “Mac.” But he had not come home, as he had not gone out, to be idle. On the first day of the following year, 1843, appeared the first number of the story which was to furnish the real casus discriminis between Dickens and the enemies, as well no doubt as a very large proportion of the friends, whom he had left behind him across the water. The American scenes in Martin Chuzzlewit did not, it is true, begin till the fifth number of the story; nor is it probable from the accounts of the sale, which was much smaller than Dickens had expected, that these particular episodes at first produced any strong feeling in the English public. But the merits of the book gradually obtained for it a popularity at home which has been surpassed by that of but one or two other of Dickens’s works; and in proportion to this popularity was the effect exercised by its American chapters. What that effect has been, it would be hypocrisy to question.
Dickens, it is very clear, had been unable to resist the temptation of at once drawing upon the vast addition to his literary capital as a humourist. That the satire of many of the American scenes in Martin Chuzzlewit is, as satire, not less true than telling, it needs but a small acquaintance with American journalism and oratory even at the present day to perceive; and the heartrending history of Eden, as a type of some of the settlements “vaunted in England as a mine of Golden Hope,” at least had the warrant of something more than hearsay and a look in passing. Nor, as has already been observed, would it have been in accordance either with human nature, or with the fitness of things, had Dickens allowed his welcome in America to become to him (as he termed it in the suppressed Preface to the Notes) “an iron muzzle disguised beneath a flower or two.” But the frankness, to say the least, of the mirror into which he now invited his late hosts to gaze was not likely to produce grateful compliments to its presenter, nor was the effect softened by the despatch with which this souvenir of the “guest of the nation” was pressed upon its attention. No doubt it would have been easy to reflect that only the evil, not the good, sides of social life in America were held up to derision and contempt, and that an honourable American journalist had no more reason to resent the portraiture of Mr. Jefferson Brick than a virtuous English paterfamilias had to quarrel with that of Mr. Pecksniff. Unfortunately, offence is usually taken where offence is meant; and there can be little doubt as to the animus with which Dickens had written. Only two months after landing at Boston Dickens had declared to Macready, that “however much he liked the ingredients of this great dish, he could not but say that the dish itself went against the grain with him, and that he didn’t like it.” It was not, and could not be, pleasant for Americans to find the “New York Sewer, in its twelfth thousand, with a whole column of New Yorkers to be shown up, and all their names printed,” introduced as the first expression of “the bubbling passions of their country;” or to be certified, apropos of a conversation among American “gentlemen” after dinner, that dollars, and dollars only, at the risk of honesty and honour, filled their souls. “No satirist,” Martin Chuzzlewit is told by a candid and open-minded American, “could, I believe, breathe this air.” But satire in such passages as these borders too closely on angry invective; and neither the irresistible force nor the earnest pathos of the details which follow can clear away the suspicion that at the bottom lay a desire to depreciate. Nor was the general effect of the American episodes in Martin Chuzzlewit materially modified by
After dining at a party including the son of an eminent man of letters, he notes in his