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: INTRODUCTION TO W. M. THACKERAY'S "THE FOUR GEORGES"

A PAUSE IN THE STRIFE.

CONCESSION TO THE CELT.

LESLIE STEPHEN.

LETTERS WRITTEN TO THE 'MORNING POST' FROM THE SEAT OF WAR IN ITALY.

INTRODUCTION TO W. M. THACKERAY'S "THE FOUR GEORGES"

WILLIAM MAKEPEACE THACKERAY was born at Calcutta, July 18, 1811, the only child of Richmond and Anne Thackeray. He received the main part of his education at the Charterhouse, as we know to our profit. Thence he passed to Cambridge, remaining there from February 1829 to sometime in 1830. To judge by quotations and allusions, his favourite of the classics was Horace, the chosen of the eighteenth century, and generally the voice of its philosophy in a prosperous country. His voyage from India gave him sight of Napoleon on the rocky island. In his young manhood he made his bow reverentially to Goethe of Weimar; which did not check his hand from setting its mark on the sickliness of Werther.

He was built of an extremely impressionable nature and a commanding good sense. He was in addition a calm observer, having 'the harvest of a quiet eye.' Of this combination with the flood of subjects brought up to judgement in his mind, came the prevalent humour, the enforced disposition to satire, the singular critical drollery, notable in his works. His parodies, even those pushed to burlesque, are an expression of criticism and are more effective than the serious method, while they rarely overstep the line of justness. The Novels by Eminent Hands do not pervert the originals they exaggerate. 'Sieyes an abbe, now a ferocious lifeguardsman,' stretches the face of the rollicking Irish novelist without disfeaturing him; and the mysterious visitor to the palatial mansion in Holywell Street indicates possibilities in the Oriental imagination of the eminent statesman who stooped to conquer fact through fiction. Thackeray's attitude in his great novels is that of the composedly urbane lecturer, on a level with a select audience, assured of interesting, above requirements to excite. The slow movement of the narrative has a grace of style to charm like the dance of the Minuet de la Cour: it is the limpidity of Addison flavoured with salt of a racy vernacular; and such is the veri-similitude and the dialogue that they might seem to be heard from the mouths of living speakers. When in this way the characters of Vanity Fair had come to growth, their author was rightly appreciated as one of the creators in our literature, he took at once the place he will retain. With this great book and with Esmond and The Newcomes, he gave a name eminent, singular, and beloved to English fiction.

Charges of cynicism are common against all satirists, Thackeray had to bear with them. The social world he looked at did not show him heroes, only here and there a plain good soul to whom he was affectionate in the unhysterical way of an English father patting a son on the head. He described his world as an accurate observer saw it, he could not be dishonest. Not a page of his books reveals malevolence or a sneer at humanity. He was driven to the satirical task by the scenes about him. There must be the moralist in the satirist if satire is to strike. The stroke is weakened and art violated when he comes to the front. But he will always be pressing forward, and Thackeray restrained him as much as could be done, in the manner of a good-humoured constable. Thackeray may have appeared cynical to the devout by keeping him from a station in the pulpit among congregations of the many convicted sinners. That the moralist would have occupied it and thundered had he presented us with the Fourth of the Georges we see when we read of his rejecting the solicitations of so seductive a personage for the satiric rod.

Himself one of the manliest, the kindliest of human creatures, it was the love of his art that exposed him to misinterpretation. He did stout service in his day. If the bad manners he scourged are now lessened to some degree we pay a debt in remembering that we owe much to him, and if what appears incurable remains with us, a continued reading of his works will at least help to combat it.

A PAUSE IN THE STRIFE--1886

Our 'Eriniad,' or ballad epic of the enfranchisement of the sister island is closing its first fytte for the singer, and with such result as those Englishmen who have some knowledge of their fellows foresaw. There are sufficient reasons why the Tories should always be able to keep together, but let them have the credit of cohesiveness and subordination to control. Though working for their own ends, they won the esteem of their allies, which will count for them in the struggles to follow. Their leaders appear to have seen what has not been distinctly perceptible to the opposite party--that the break up of the Liberals means the defection of the old Whigs in permanence, heralding the establishment of a powerful force against Radicalism, with a capital cry to the country. They have tactical astuteness. If they seem rather too proud of their victory, it is merely because, as becomes them, they do not look ahead. To rejoice in the gaining of a day, without having clear views of the morrow, is puerile enough. Any Tory victory, it may be said, is little more than a pause in the strife, unless when the Radical game is played 'to dish the Whigs,' and the Tories are now fast bound down by their incorporation of the latter to abstain from the violent springs and right-about-facings of the Derby-Disraeli period. They are so heavily weighted by the new combination that their Jack-in-the-box, Lord Randolph, will have to stand like an ordinary sentinel on duty, and take the measurement of his natural size. They must, on the supposition of their entry into office, even to satisfy their own constituents, produce a scheme. Their majority in the House will command it.

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