Charles Dickens. Гилберт Кит Честертон

Much of our modern difficulty, in religion and other things, arises merely from this: that we confuse the word "indefinable" with the word "vague." If some one speaks of a spiritual fact as "indefinable" we promptly picture something misty, a cloud with indeterminate edges. But this is an error even in commonplace logic. The thing that cannot be defined is the first thing; the primary fact. It is our arms and legs, our pots and pans, that are indefinable. The indefinable is the indisputable. The man next door is indefinable, because he is too actual to be defined. And there are some to whom spiritual things have the same fierce and practical proximity; some to whom God is too actual to be defined.

But there is a third class of primary terms. There are popular expressions which every one uses and no one can explain; which the wise man will accept and reverence, as he reverences desire or darkness or any elemental thing. The prigs of the debating club will demand that he should define his terms. And, being a wise man, he will flatly refuse. This first inexplicable term is the most important term of all. The word that has no definition is the word that has no substitute. If a man falls back again and again on some such word as "vulgar" or "manly," do not suppose that the word means nothing because he cannot say what it means. If he could say what the word means he would say what it means instead of saying the word. When the Game Chicken (that fine thinker) kept on saying to Mr. Toots, "It's mean. That's what it is -- it's mean," he was using language in the wisest possible way. For what else could he say? There is no word for mean except mean. A man must be very mean himself before he comes to defining meanness. Precisely because the word is indefinable, the word is indispensable.

In everyday talk, or in any of our journals, we may find the loose but important phrase, "Why have we no great men to-day? Why have we no great men like Thackeray, or Carlyle, or Dickens?" Do not let us dismiss this expression, because it appears loose or arbitrary. "Great" does mean something, and the test of its actuality is to be found by noting how instinctively and decisively we do apply it to some men and not to others; above all, how instinctively and decisively we do apply it to four or five men in the Victorian era, four or five men of whom Dickens was not the least. The term is found to fit a definite thing. Whatever the word "great" means, Dickens was what it means. Even the fastidious and unhappy who cannot read his books without a continuous critical exasperation, would use the word of him without stopping to think. They feel that Dickens is a great writer even if he is not a good writer. He is treated as a classic; that is, as a king who may now be deserted, but who cannot now be dethroned. The atmosphere of this word clings to him; and the curious thing is that we cannot get it to cling to any of the men of our own generation. "Great" is the first adjective which the most supercilious modern critic would apply to Dickens. And "great" is the last adjective that the most supercilious modern critic would apply to himself. We dare not claim to be great men, even when we claim to be superior to them.

Is there, then, any vital meaning in this idea of "greatness" or in our laments over its absence in our own time? Some people say, indeed, that this sense of mass is but a mirage of distance, and that men always think dead men great and live men small. They seem to think that the law of perspective in the mental world is the precise opposite to the law of perspective in the physical world. They think that figures grow larger as they walk away. But this theory cannot be made to correspond with the facts. We do not lack great men in our own day because we decline to look for them in our own day; on the contrary, we are looking for them all day long. We are not, as a matter of fact, mere examples of those who stone the prophets and leave it to their posterity to build their sepulchres. If the world would only produce our perfect prophet, solemn, searching, universal, nothing would give us keener pleasure than to build his sepulchre. In our eagerness we might even bury him alive. Nor is it true that the great men of the Victorian era were not called great in their own time. By many they were called great from the first. Charlotte Brontë held this heroic language about Thackeray. Ruskin held it about Carlyle. A definite school regarded Dickens as a great man from the first days of his fame: Dickens certainly belonged to this school.

In reply to this question, "Why have we no great men to-day?" many modern explanations are offered. Advertisement, cigarette-smoking, the decay of religion, the decay of agriculture, too much humanitarianism, too little humanitarianism, the fact that people are educated insufficiently, the fact that they are educated at all, all these are reasons given. If I give my own explanation, it is not for its intrinsic value; it is because my answer to the question, "Why have we no great men?" is a short way of stating the deepest and most catastrophic difference between the age in which we live and the early nineteenth century; the age under the shadow of the French Revolution, the age in which Dickens was born.

The soundest of the Dickens critics, a man of genius, Mr. George Gissing, opens his criticism by remarking that the world in which Dickens grew up was a hard and cruel world. He notes its gross feeding, its fierce sports, its fighting and foul humour, and all this he summarises in the words hard and cruel. It is curious how different are the impressions of men. To me this old English world seems infinitely less hard and cruel than the world described in Gissing's own novels. Coarse external customs are merely relative, and easily assimilated. A man soon learnt to harden his hands and harden his head. Faced with the world of Gissing, he can do little but harden his heart. But the fundamental difference between the beginning of the nineteenth century and the end of it is a difference simple but enormous. The first period was full of evil things, but it was full of hope. The second period, the fin de siécle, was even full (in some sense) of good things. But it was occupied in asking what was the good of good things. Joy itself became joyless; and the fighting of Cobbett was happier than the feasting of Walter Pater. The men of Cobbett's day were sturdy enough to endure and inflict brutality; but they were also sturdy enough to alter it. This "hard and

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