MASTERS OF LITERATURE THACKERAY LONDON: GEORGE BELI. AND SONS PORTUGAL STREET, KINGSWAY, W.C. CAMBRIDGE : DEIGHTON, BELL & CO. NEW YORK : THE MACMILLAN CO. BOMBAY : A. H. WHEELER & CO, -... . if: 31. Wa ^1 MASTERS OF LITERATURE THACKERAY EDITED BY G. K. CHESTERTON LONDON GEORGE BELL AND SONS 1909 CHISWICK PRESS: CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. CONTENTS PAGE INTRODUCTION ....... ix VANITY FAIR Osborne, Senior and Junior . . ,- . i The Fall of Becky Sharp . . . .13 The Last Meeting of Becky and Amelia . . 23 PENDENNIS Major Pendennis and Captain Costigan . . 33 Pendennis and Warrington . . . 51 The Blackmailing of Major Pendennis . . 64 THE NEWCOMES Colonel Newcome in the Cave of Harmony . 80 Colonel Newcome's Last Song ... 89 Mr. Gandish's Art School .... 106 The Duel of Lord Kew . . . . 117 Fred Bayham v. Charles Honeyman . . 131 The Death of the Colonel . . . .136 ESMOND The Death of Lord Castle wood . . .147 Mr. Joseph Addison ..... 177 The Flight of the Prince . . . .188 THE VIRGINIANS The Tragedy of " Douglas " < 206 The Death of Beatrix Esmond . . . . 217 ON THUNDER AND SMALL BEER , . 226 vii 2052203 viii CONTENTS PAGE THE BOOK OF SNOBS On Some Country Snobs .... 236 Snobbium Gatherum ..... 246 THE FOUR GEORGES George the Fourth 252 THE FITZ-BOODLE PAPERS One of Fitz-Boodle's Professions . . . 284 ROUNDABOUT PAPERS On a Chalk Mark on the Door . . . 300 Autour de mon Chapeau . . . -312 Dessein's ....... 323 POEMS The Cane-Bottom'd Chair .... 337 Sorrows of Werther ..... 339 The White Squall 340 The Ballad of Bouillabaisse .... 344 At the Church Gate 346 The Age of Wisdom ..... 347 Vanitas Vanitatum ..... 348 INTRODUCTION THACKERAY was a great traveller all his life; and his travels began early; for he was born in Calcutta on i8th July, 1811, and was sent, while a mere child, to England. In his infancy he saw Napoleon, as in his early manhood he saw Goethe; a certain vague cosmo- politan quality was always mixed with his experience ; and it was his favourite boast that he had seen men and cities, like Ulysses. His blood and temper, however, were as English as they could well be ; he inherited the huge stature and hearty love of eating and drinking of a line of Yorkshire yeomen. On his arrival in England he was finally committed by his relatives to the Charter- house School, where he made many warm and lifelong friends, one of whom broke his nose. It is well known that Thackeray expressed a strong wish that no bio- graphy of him should be written. Yet it may be said in a sense that he broke his own rule and wrote his own biography. The biography is strewn and scattered in- deed through the pages of his novels ; but he is of all novelists the most autobiographical. He is the novelist of memory, that is, of the emotion of experience. And the truth about his schooldays and all his other days can be sought much more successfully in The Newcomes or The Roundabout Papers than in any such summary as this. In his later and looser writing especially, his allu- sions to his old school thicken like gathering shadows ; it seems almost as if he would have liked to die within the school, like Colonel Newcome. As it is with his boyhood so with his youth. Internal evidence indicates that there was a girl who broke his heart as there was a ix x WILLIAM MAKEPEACE THACKERAY boy who broke his nose ; and that he survived both in- flictions with cheerfulness. "That malady," he said, " is never fatal to a sound organ." He passed to Cambridge, which is also better described in his books than it can or need be described here. It is sufficient to say that, to a very recognizable extent, Pen- dennis of Boniface is really Thackeray of Trinity. He travelled; he saw Goethe as he had seen Napoleon without being much the wiser. But he did, in his own favourite quotation, see men and cities; he did learn, like his favourite Fitzboodle "to order a dinner in every language in Europe"; and he did pass through one ex- perience which was to him ever afterwards a fountain of furious satire. He sat down to play cards with some rich friends ; he got up having lost some fifteen hundred pounds, and having made the acquaintance of the Hon. Algernon Deuceace. He returned with a resolution to work his own way and was admitted to the Bar; in the intervals of that leisurely career he wrote articles and drew caricatures. It was as a draughtsman that he took himself most seriously. There is a legend that he actually waited upon Dickens with a proposal to illustrate his books, then already in the blaze of popularity. Dickens, pre- sumably, declined ; which was a good thing for Dickens's books, but also a good thing for Thackeray's. Although the interview was futile it affects the imagination as much as the meeting with Napoleon. Thackeray's first formidable appearance in letters was in Fraser's Maga- zine; where he made his name or rather made his pseudonym. Over the signature of "Michael Angelo Titmarsh " (with occasional holidays of a more vulgar sort under that of James Yellowplush) he began to pour out his experiences, which were already somewhat motley and even squalid. This must always be remem- bered in the silly discussion about whether Thackeray was a cynic. The false impression was given, not because he made his heroes less than his villains, but because he certainly wrote about villains before he wrote about heroes. Madame D'lvry and Captain Blackball, Mrs. INTRODUCTION xi Mackenzie and Mr. Moss, can be found in his earliest and crudest sketches. It is exactly Ethel Newcome and the Colonel who do not come in till afterwards. Something- of this healing- and humanizing may have been effected by his marriag-e ; though its ultimate issue was, as everyone knows, painful and terrible. Mrs. Thackeray was sent to an asylum ; and Thackeray said a very fine thing: " I would do it over again." The first two books with which his name is still uni- versally connected were The Book of Snobs and Vanity Fair. The first was a work much needed and very ad- mirably done. The solemn philosophic framework the idea of treating caddishness as a science was original and sound ; for snobbishness is indeed a disease in our society, requiring a large and responsible analysis. His definition of snobbishness is good a mean admiration. It is good, that is, as a philosophical formula for the vice in all ages and countries; it does little towards explain- ing its peculiar predominance in modern England. And this was indeed a thing that Thackeray could hardly be expected to explain. The true source of snobs in Eng- land was the refusal to take one side or the other heartily in the crisis of the French Revolution; the English attempt to have what Macaulay called (with un- conscious but awful irony) " the most popular aristocracy and the most aristocratic people in the world." Those words would make another good definition of snobbish- ness. We have a popular aristocracy ; it consists chiefly of brewers. We have an aristocratic people ; that is, it consists chiefly of snobs. If we had made our system sincere, if we had conformed to either of the two great models of government we might have had the vices in- volved in them, but we should have been free from this fever of worldliness, this vulgar unrest. Aristocracy does not have snobs any more than democracy. But we have neither securely closed our house nor boldly opened it. We have merely let it be whispered that a window is unbarred at the back; and a few burglars break in and are made peers. But the thought of that possible en- trance rides all men's fancy like some infernal love xii WILLIAM MAKEPEACE THACKERAY affair; and enfevers and exhausts England. All this Thackeray was too restrained and too early-Victorian to see. But it is remarkable that the mere subject stung him into an unusual pugnacity and even snappishness. George IV in his robes, he says, can be seen for a shill- ing, "children and flunkeys sixpence. Go, and pay six- pence." The mere title of Vanity Fair was certainly an inspira- tion; for it is both the strength and weakness of the book that it produces on the mind (I might say even on the nerves] the same impression of mixed voices and almost maddening competition as a crowded square on market day. The force and fault of Thackeray was always to be irrelevant; but here irrelevancy rises till it reaches to a sort of deafening distraction. Elsewhere in Thackeray digression was destined to be slow ; but here even digression is swift, swift as the dance of death at the balls of Lord Steyne or the swoop of all the vultures to the sick bed of Miss Crawley. Everyone in this tale is filled with a futile energy. The reader is purposely left wondering at so much courage in that craven battle, so much endurance in that strange and selfish martyr- dom. Newman said once, I believe, " Evil always fails by overleaping its aim and good by falling short of it." Whether true or not this might almost be a motto for Vanity Fair. Here Thackeray is right in calling himself so constantly a moralist. He is genuinely a moralist in this essential sense that he insists that actions shall be judged not by their energy, but by their aim. Many strenuous critics have sneered at the softness of Amelia Sedleyand openly exalted Rebecca along lines of the will to live. It would be hard to persuade modern critics that Thackeray may be deeper or even more daring than they are. But I hardly think that they see Thackeray's point. His point surely is that Amelia was a fool; but that there is a certain sanative and anti- septic element in virtue, by which even a fool manages to live longer than a knave. For after all when Amelia and Becky meet at the end, Amelia has much less energy, but she has much more life. She is younger', she has not INTRODUCTION xiii lost her power of happiness; her stalk is not broken. She could really, to use Thackeray's own metaphor, grow green again. But the energy of Becky is the energy of a dead woman ; it is like the rhythmic kicking of some bisected insect. The life of the wicked works outwards and goes to waste. The life of the innocent, even the stupidly innocent, is within ; if anyone dislikes the battered sentiment of the word "love," I will say that innocence has more zest, more power of tasting things. Hence Thackeray's thought is really suggestive ; that perhaps even softness is a sort of superiority ; it is better to be open to all emotions as they come than to reach the hell of Rebecca ; the hell of having all outward forces open, but all receptive organs closed. For the very definition of hell must be energy without joy. It was very specially in connection with Vanity Fair that the great accusation of " cynicism " broke about Thack- eray's ears. The argument is a mere logomachy, the trick of taking a vague word and then asking if it ap- plies precisely. If cynicism means a war on comfort, then Thackeray, to his eternal honour, was a cynic. If it means a war on virtue, then Thackeray, to his eternal honour, was the reverse of a cynic. It is absurd, in this sense, to call a man cynical whose whole object it is to show that goodness, even when it is silly, is a healthier thing than wickedness when it is sensible. The truth in the accusation is probably this ; that his vile characters are drawn a little more vividly than his virtuous char- acters. So, in the small artistic sense, Dante is more successful with hell than with the beatific vision. Virtu- ous characters are always drawn less vividly than other characters: because they are so much more worth drawing. The next important work was the novel of Pendennis. Thackeray had called Vanity Fair a novel without a hero. He might almost have called Pendennis a novel with nothing else but a hero ; only that the hero is not very heroic. Nevertheless the chief character in the tale fulfils some of the most important conditions of the old heroic types of literature. Pendennis is an epic. It is an xiv WILLIAM MAKEPEACE THACKERAY epic in this essential sense that its hero is not merely a man, but is also Man. He is, as the old mystical tragedian of the Middle Ages would have put it, Every- man. Just as the wandering's of Ulysses are the wander- ings of Man, just as Dante in heaven or hell is man in heaven or hell, so Arthur Pendennis is deliberately meant to be something more than a character, he is a type and a symbol. Nowhere else, I think, has Thackeray this epic breadth. The love of Clive for Ethel is the love of Clive for Ethel ; the love of Dobbin for Amelia is the love of Dobbin for Amelia. But the love of Arthur Pen- dennis for Miss Fotheringay is First Love ; it is separated from all justifications or consequences ; it is the veritable divine disease which seems a part of the very health of youth. Clive Newcome's failure to be a painter is a mere professional failure to paint. Colonel Newcome's ruin in his banking business is only one financial col- lapse. But Arthur Pendennis being plucked at Oxbridge is the recurring ruin of the pride of youth, the eternal prodigal among the eternal swine. One result of this centralism in the subject is actually a slight increase in the comic accentuation of the other characters. Pen- dennis contains far more farce than the other serious novels; the irrelevant introduction of the impossible Mr. Archer, for instance, is much more like a page of Dickens. Nor is this combination paradoxical. When the mediaeval dramatist summed up the normal in Every- man all the forces outside him had to be made abnormal, had to be unmistakable and even monstrous. Death had to be very bony ; Good Deeds had to be very ill. So the other Pendennis characters have to be obvious and aggressive shapes because they are allegorical influences on the soul of Pendennis. It would be an exaggeration to say that Major Pendennis is the devil, while War- rington is the angel. But there is just this truth in it ; that we think of them both as influencing Pendennis. Yet it never crosses our mind to think of them influenc- ing each other. We may therefore say with truth that Pendennis is an epic, because it celebrates the universal man. But it is also a mediaeval, and even a late medi- INTRODUCTION xv aeval epic : because it celebrates not the strength of man but his weakness. In the character of Major Pendennis of course Thack- eray did splendidly a work which wanted doing. It is in a subtle way more effective than the whole of the Book jof Snobs; for it vividly presents, in the person of a not unsuitable man, the fundamental truth that the worship of this world is a superstition, and has all the limitations of a superstition. Religious people speak of worldlings as gay and careless; but such religious people pay the worldlings far too high a compliment. Major Pendennis was not particularly gay ; and he certainly was the very reverse of careless. He had to walk more cautiously and seriously than the adherent of any elaborate theo- logy. Worldliness and the worldlings are in their nature solemn and timid. If you want carelessness you must go to the martyrs. Thackeray's position as an author was now sufficiently established, and within close distance of each other appeared The Neincomes and Esmond. The public has largely forgotten all the Newcomes except one, the Colonel, who has taken his place with Don Quixote, Sir Roger de Coverley, Uncle Toby, and Mr. Pickwick, in that great catalogue of great attempts to capture and describe the almost eerie fascination of simplicity. But all the rest of the Newcomes are good and worth re- membering Hobson Newcome with the straw in his mouth and the hands in his pockets, and the truly masculine decision to mind his own business and let his wife mind everything else; Lady Anne Newcome, a fool with one infallible feeler or sense left in her, the power of knowing a gentleman, with which she salutes the Colonel; Barnes Newcome, the neat and nasty young man from the City, who is safe and successful enough to conquer the world, and has a soul like a small dried pea: above all Ethel Newcome, who is really a vision, who walks the world like a Diana. It is true, as is remarked elsewhere, that Thackeray suffered, like other good writers, from repeating him- self. But sometimes, when he was specially careless or xvi WILLIAM MAKEPEACE THACKERAY fatigued, it was not even himself that he repeated. It was somebody else, somebody much more commonplace and clumsy, but also (oddly enough) some one much more given to mere caricature. Dickens was extrava- gant when he was feeling extravagant, when his animal spirits broke beyond all reason and belief; but Thackeray is only occasionally extravagant when he is feeling dull. A case of what I mean can be taken from The Ne-wcomes. Barnes Newcome, at the beginning of the story, when he is young, and Thackeray's interest in him is young also, is a living personality leaping with life; leaping decorously of course, in his little lacquered boots, but definitely and utterly undeniable. The young fashionable business man, who talks with a drawl when he is discussing levities, but drops his voice to a quieter and simpler note when he is talking business, and speaks "quite good-naturedly, unaffectedly, and self- ishly," is a man we all know we have met, or else (what is far more impressive in fiction) whom we all know we shall meet. But as the story goes on the smooth and slippery Barnes slips out of the fingers of the writer and the reader; in middle age he is not convincing; he becomes more and more a conventional villain. I believe, for instance, that Barnes Newcome did call Lord Kew " my dear fellow" while abusing Kew's par- ticular friend ; I believe he did offer one finger to Pen- dennis; I believe he did call Clive "young pot-house," and ask whether the Colonel " had given him any Brahminical cousins." All those shots are in the bull's eye. I do believe that all men thought Barnes detest- able, but that some women thought him witty. But my belief in him fails after the first volume. I do not believe that he lectured at Newcome on " Mrs. Hemans and the Poetry of the Domestic Affections." I do not even believe that he beat his wife, though I am sure that he gave her quite sufficient reason for beating him. Saving the grace of God, a dull, lifeless little cynic he would have remained to the end, and such men never put themselves absurdly in the wrong either by a parade of piety or an orgy of violence. But INTRODUCTION xvii the truth is that Thackeray grew tired of him, and being" tired he became conventionally exaggerative and melodramatic. Being weary he began to sprawl. But in Esmond there is none of this sprawling. It is the one work of Thackeray which is, in the somewhat artificial modern sense, a work of art. It is marvellous that a man so apparently casual and conversational as Thackeray should have written so many thousand words and so thick a book without once using a word that might not have been used at the court of Queen Anne. Realism is generally associated with the painful, and romance with the pleasurable. But indeed, though this is the most romantic of Thackeray's tales, it is much the saddest. The most dreadful and blood-chilling thing in this world is a tired kindness. And Colonel Esmond is the type of that weary and tasteless mag- nanimity; his large dark eyes darken the universe; I am sure that Lord Bolingbroke had converted him to irreligion. The tale is a high and chaste tragedy, which one reads through once with reverence and austere profit, as one reads Macbeth or The Master of Ballan- trae. But I never feel that I can return to the coffee- house with Steele and Addison as I return again and again to the " Cave of Harmony " with Warrington and Bayham and Pen. They are all alive and my friends for ever. But over the great Queen Anne romance there broods a peculiar conviction that Queen Anne is dead. Esmond and The Neivcomes mark the turning-point of Thackeray's triumph and decline ; after that his summer turned to autumn, a rich and reminiscent and strongly coloured autumn indeed, but still a distinctly autumnal one. Moreover his retrogressive habit of mind, his love of introducing old characters and old themes again and again, emphasized any weakening in his grip; because it made it easy to compare the later work with the earlier. The Virginians offers itself as a sequel to Esmond; and as such one can only call it an inadequate sequel. In the same way Philip is written in the style of The JVewcomes y only in such a different style. It goes without saying that there are wonderful things in both b xviii WILLIAM MAKEPEACE THACKERAY books. In comedy Thackeray never struck a smarter note than when in The Virginians he created the ter- rible little Yankee Countess of Castlewood, who says with such a sweet smile to the savage old aunt, "now the Baroness and I are going to have such a nice talk "; or when in Philip he created the wretched Talbot Twysden, swaggering about clubs and saying "No longer a hunting man myself. Lost my nerve, by George." And in tragedy Thackeray never struck a more deep or more resounding note than that which salutes poor spiteful Mrs. Baynes, sitting as a sentinel outside the sick room of her alienated husband, or which notes with ironic vengeance the last dissolution of Beatrix Esmond. But in spite of these fine things it remains the fact that one cannot read through either The Virginians or Philip with the old elan which carried one through Vanity Fair and Pendennis. To the last two novels published, one finished and the other unfinished, the same general criticism applies. Lovell the Widower is a very clever sketch if we consider it in the light of one of his earlier and somewhat less humane sketches ; but as a novel it seems too long drawn out, especially as there is nobody in the story with whom the reader can have any generous and warlike sympathy. Denis Duval, which Thackeray left unfinished, as Dickens left Edwin Drood, is a pleasant return to his more romantic manner, and contains some charming descriptions of the places and people about Pevensey Level, and in the old stranded towns of Win- chelsea and Rye. But beyond giving us a certain satis- fying sentiment that the great writer died in charity and at peace with primary things, the first chapters of Denis Duval tell us little either about itself or its author. That he did die thus, in the gentlest phase of his spirit, numberless evidences in his other essays and in the knowledge of all his friends attest. There are moments in the last days of this cynic when we have almost to pardon his pointless and flowing piety as we should pardon it in saints or innocent children. He does indeed become formless ; but he fades into the light. INTRODUCTION xix The last important act of his life was his acceptance of the editorship of the Cornhill Magazine, in the imme- diate success of which he took a pleasure at once witty and childlike, which makes very pleasant reading in the Roundabout Papers. In one of the most amusing- of these, called On Some Late Great Victories, he compares him- self to a pagan conqueror driving in his chariot up the Hill of Coru, with a slave behind him to remind him that he is only mortal. " In ancient times, Pliny (apud Smith) relates, it was the custom of the Imperator ' to paint his whole body a bright red ' ; and also, on ascending the Hill, to have some of the hostile chiefs led aside ' to the adjoining prison, and put to death.' We propose to dispense with both these ceremonies." In 1861 he built a large and quiet house in Kensington, in that Queen Anne style round which so much of his historic fancy had hovered; and there, in 1863, after little more than a hint of illness, he died quietly and suddenly. There is no writer, certainly no writer of so high a rank, from whom it is more difficult to make extracts than Thackeray. A book by Dickens is like a sublime scrap-book ; the pictures are separate, yet tell their own tale like the pictures on a nursery screen or a child's toy book. If nothing remained of Pickwick except the Sawyer supper party, all the characters would be com- plete and clear, and it would be impossible to guess that Jack Hopkins came in only for that scene while Bob Sawyer ran through the whole book. Both would be comic characters clearly depicted. By a sort of extrava- gant lucidity, by a grotesque symbolism almost like that of heraldry, Dickens stamped and branded on the brain in a few words all that it was essential to say about anybody. But Thackeray worked entirely by diffuseness ; by a thousand touches scattered through a thousand pages. It is a method admirably suited to his particular purpose ; that of half-ironically worming him- self into the centre of a subject; politely insinuating himself into the secrets of everybody before he begins to treat them satirically. Brevity may be the soul of wit ; but it would be quite as true to say in such cases xx WILLIAM MAKEPEACE THACKERAY that lengthiness is the soul of satire. To batter the worldly castle with the artillery of open derision, as Dickens did, is a much swifter task than to blow it up from within with one carefully constructed bomb of irony. This was indeed one of the essentials of Thack- eray's power and position; he was attacking Vanity Fair from the inside, and must have been at least suffi- ciently polite to get inside it. Some might even have said that he was betraying his class ; there is no doubt at least that he was betraying himself. That noble title, The Book of Snobs, would not have been so effective if he had not been able to add " By one of Themselves." By the very nature of his satire it had to be a slow satire. He could exhibit a stir of anger at the luxury of the rich. But he could not pretend to exhibit a start of surprise at it, as Dickens could. He could not speak of ladies and gentlemen as monsters whom he had just met on his travels; that was the great speciality of Dickens. He has awakened to the evil of his world; but it is essential to his method that he should have awakened slowly; therefore it is natural that the method of satiric revelation should be also slow. Even the bodily de- scription of his characters is scattered and disseminated. The Dickens method is to say: " Lord Jones, a tall man with a hook nose and a white pointed beard, entered the room." Thackeray's method is to say, in Chapter I: " Lord Jones, being very tall, had just knocked his head against the chandelier, and was in no very agreeable temper " ; in Chapter VII : " What jokes Jemima made about Sir Henry's bald head, Lord Jones's hooked nose, and so on " ; and in Chapter XXIII : " Little Mr. Frizzle, the hairdresser, had pursued Jones for years, advising his lordship to blacken artificially the white pointed beard that he wore." This method of the million small touches recurring at intervals is responsible in no small degree for the entertaining quality of Thackeray taken as a whole ; but it renders almost impossible the task of separating portraits or landscapes or other coherent pictures from the text. Thackeray has one ultimate merit, or rather magic. Thackeray is always interesting ; INTRODUCTION xxi even in the passages which are bad. And yet I have found it very difficult to pick out interesting- passages, or even passages that are good. It is, I think, unnecessary to urge this obvious point with any detail. There is no short and vivid description of Lord Steyne, let us say; you get his rank in one chapter, his red whiskers in another, his bald head in another, his domestic life in another. We discover point by point that Pendennis was of sturdy figure, that he walked with a slight swagger, that he had careful brown whiskers ; in no place is the swaggering figure in its fine raiment allowed to step complete upon the stage. But this difficulty in finding any definite summary of a man in Thackeray is of course only symbolic of the general difficulty of treating him in clear excerpts ; a difficulty which extends to the whole of his moral atmo- sphere and fundamental philosophy. His habit in this matter has an advantageous as well as a disadvantage- ous side ; and unless it is fully grasped it is likely enough that the reader will misunderstand and underrate Thackeray, not only when he reads him in extracts, but when he reads him in bulk. Many people would agree that irrelevancy is one of Thackeray's special weaknesses. Not so many perhaps have adequately realized that it is one of his special strengths. It may be perhaps that in his later years and works he did sometimes ramble and lose the thread and become merely garrulous ; many other ingenious or over-ingenious men have thus touched a kind of chaos in their decay. But in the best days of Thackeray his apparent irrelevance was a very delicate and even cun- ning literary artifice and mode of approach. His ram- bling was all strategy; for it is the very triumph of strategy to look like rambling. His artlessness was pre- cisely his art. Mr. Max Beerbohm's very true criticism of him, that he never seems to be hunting for an adject- ive, is yet connected with a peculiar adjectival felicity. While actually reading him one is inclined to call it not merely felicity but good luck. But that is the whole exquisite art of Thackeray at his best: to get the one xxii WILLIAM MAKEPEACE THACKERAY perfect word yet seem to have got it by accident. When he calls Colonel Newcome a gentleman "with a lean brown face and long" black mustachios, dressed in very loose clothes," he has really picked the most pointed words for his picture as much as Stevenson did when he described Long John Silver as a big plain man with a large face like a ham. But Thackeray manages to be easy as well as vivid ; to find the true thing to say as a man finds it in the course of conversation. This is the first and most important purpose served by the seeming carelessness and copiousness of Thackeray's style. In so many well- written novels we can believe in the incidents; but we cannot believe that any man is really narrating them. We can believe in the story, though it be full of pirates and spectres ; but we cannot believe in the story-teller. Such things might conceivably happen ; but no man in his senses would narrate them in that way. But the tales of The Neivcomes and Philip really sound like tales told quietly in a club ; we seem to hear the voice of Arthur Pendennis telling them; we seem almost to smell his cigar, a good one. This is the most important of the artistic uses to which Thackeray puts the rambling method ; he uses it to make us feel his sincerity by the very fact of his gos- sip and divergences. The story is all the more likely to be an actual story because it is always running off into other stories. But over and above this there are other important purposes for which he uses the art of artless- ness, the strategy of wandering. No novelist ever carried to such perfection as Thackeray the art of saying a thing without saying it. Human life is (so to speak) so dense with delicacies, so thickly sown with things that are true and yet may be misunderstood, that this is a very valu- able faculty in a man telling tales about men. It may be true to say that a man drinks too much ; yet it may be exactly false to say that he drinks. A man may be hard or even exhausting to entertain; yet he may not be in any ordinary sense a fool or even a bore. It may be manifest that a woman has too much to put up with in her married life ; yet it may be quite untrue to INTRODUCTION xxiii call it an unhappy marriage. A man may just fail to be a gentleman; and yet be the very opposite of a cad. These gossamer threads of truth, which are destroyed with the very touch of tracing them, are very hard indeed to deal with in literature ; and I think they were never so well dealt with as by the Thackerayan method, the method which may be defined as an allusive irrelevancy. When Thackeray wished to hint a truth which was just not true enough to bear his whole weight, his way was to wander off into similes and allegories which re- peated and yet mocked the main story like derisive and dying echoes. If Thackeray wished to say that Jones drank too much without calling Jones a drunkard, then he would go into a long dreamy parenthesis, quoting Horace, humorously invoking Bacchus, talking about Bohemia and vineyards, and so come back to Jones, without having insulted him, but having shall we say sobered him. If he wished to indicate that Mrs. Jones had more trouble in her married life than she had had on her honeymoon, he did not say brutally that she was a disappointed woman ; which perhaps was not true. He merely touched on it and then trailed off into some epicurean song in prose about how youth must pass and roses fade, and by that avenue of universal autumn re- turns to Mrs. Jones, having humanely hinted at her melancholy without in the least suggesting (like a dirty modern) her despair. I have described this style in the general, so that any Thackerayan must recognize my meaning ; and not need many examples of the same thing in the particular. Such examples, however, could easily be given. Thus it was necessary to suggest that Clive Newcome had been, not a young blackguard, but something of a " young blood " ; this Thackeray does by the use of a playful theatrical metaphor about having been behind the scenes. Thus again it was necessary to suggest that Dobbin did not get quite the reward of his own heroic simplicity in winning the silly little woman whom he loved; it is suggested by a fine stroke of airy philo- sophy, as of one changing the subject, in the final xxiv WILLIAM MAKEPEACE THACKERAY " Vanitas "uanitatum, which of us has his wish in this world, or, having it, is satisfied?" It was necessary to suggest that Arthur Pendennis (of whom it would have been grossly untrue to say that he was not a gentle- man) was yet in a subtle manner less of a gentleman than his friend Warrington. This is indicated with just the right amount of airy emphasis by this fact, that while Warrington's unquestionable lineage is kept out of the picture altogether, the pages are full of fantastic ex- cursions about the Prince of Fairoaks and the ancient escutcheon of Pendennis. The occasions are indeed very numerous in which Thackeray finds this knack of half- suggestion very convenient. How delicately he sug- gests the peculiar character of Helen Pendennis; a saint without a sense of honour. With how quiet a shade as of the coming on of twilight, does he convey the fact that Colonel Newcome's character was, after all, slightly spoilt in prosperity; suggests it less by any change in the old face with the gray moustaches than by a certain change in the faces of Clive or Laura or Ethel as they look at it. In this connection it is specially unjust to call Thackeray a cynic. He falls away into philosophizing not because his satire is merciless but because it is merciful ; he wishes to soften the fall of his characters with a sense and suggestion of the weakness of all flesh. He often employs an universal cynicism because it is kinder than a personal sarcasm. He says that all men are liars, rather than say directly that Pen- dennis was lying. He says easily that all is vanity, so as not to say that Ethel Newcome was vain. Of course he suffered in his later work, like most other great men, from a tendency to imitate himself. It is a remarkable fact in first-class authors that they not only write imitations of themselves; but they are gener- ally bad imitations. They imitate their own externals and miss the point and the spirit exactly as if they were total strangers ; I suppose they remember the way they had of saying things but forget what they were trying to say. Thus the parodists of Swinburne's exquisite early poetry started a stupid idea that his effects depended INTRODUCTION xxv entirely on alliteration. It was not in the least true; but Swinburne believed it, and began to write merely alliter- ative poetry. In the same way, in some of his last books Thackeray did no doubt use this rambling" style without its old subtle purpose of suggestion. He did not merely leave the subject, he lost it. He did not merely get into a parenthesis, but he never got out. I will give one comparison of his two uses of the irrelevant. When Ethel Newcome is about to be married to the great Lord Farintosh, Thackeray indulges in a long and amusing apologue about how women in the East are sold to dance in the temples and how natural it seems in the East. In his later book, Philip, he seems to remember the suc- cess of this passage and introduces another long figura- tive chapter on the selling of Eastern maidens apropos of the decision of Agnes Twysden to marry Captain Woolcomb. But he does not notice that there is no need for this excursus in the second case ; while there was a subtle psychological need for it in the first. A certain magnanimous mystery was deliberately kept up round the motives of Ethel Newcome. The reader was really not supposed to know, at least until he reviewed the book as a whole, how far that proud head had consciously stooped to the slavery of calculation, how far it had still the bewildered pride of a princess in captivity. It was, therefore, a strictly artistic touch to remind the reader, among other things, that there are societies where such sale does not feel degrading. But about Agnes Twysden there is no mystery at all ; she is simply a cold-blooded minx. There is no sort of doubt what- ever that she would have married for money in any society, Eastern or Western. Thackeray has put this character down in black and white especially black. There is, therefore, no need for that hesitating and allusive style of allegory which was quite appropriate in the riddle of the Farintosh betrothal, when Thackeray had to fling a faint and fugitive shadow upon the shining face of the noblest of Victorian heroines. This is not, however, the only use to which Thackeray put his rambling and rollicking method. He did at least xxvi WILLIAM MAKEPEACE THACKERAY one other thing with it ; he invented a new mode of con- troversy. In controversies he did not indeed very often indulge ; he was primarily a man of impressions rather than a man of convictions. And such convictions as he had were of the slightly humdrum Victorian sort; a vague disapproval of armed revolution, a vague approval of philanthropy. But when it happened, by some accident of his literary life that he had to defend himself against assault or avenge what he conceived to be a wrong, he showed that this seemingly loose and flying lasso of his had qualities as a weapon which made it in another way not inferior to the battle-axe of Macaulay or the steel trap of Newman. Writing in a conversational and leis- urely manner, as if he had his whole life before him, he contrived really to give the impression that his op- ponents were preposterous people with whom his mel- low experience could be patient. Controversialists like Macaulay showed an eagerness in pouncing upon errors which was, in its way, a confession that errors were few. Thackeray did not seem to pounce on errors ; he seemed to fall over them, and this was much more insulting for it implied that they were many; that they were strewn about his path like pebbles on the beach. Also his in- direct method had in argument an indirect and boomerang character which was sometimes startlingly effective. We expect to find the sting in the tail of an epigram ; but there is something arresting about finding it in the tail of a Roundabout Paper. It is often when he seems most pointless that the reader is impaled upon the point. This is a minor aspect of Thackeray, and almost entirely neglected by his critics ; because his controversies occupy a very small space in the immense bulk of his works, and because they were not commonly concerned with any great political or religious principle. But they are very characteristic of the roundabout style of realism ; and for this reason I have included one example in the selections ; the essay on Thunder and Small Beer, which he wrote in reply to a pompous Times review, and which is a model of easy remonstrance and affable offensiveness. The style of sentence that begins: " How INTRODUCTION xxvii can I be like a dustman that ring's for a Christmas box at your hall door? I never was there in my life," strikes a new note in the art of controversy. I may seem to have spoken of Thackeray's work rather as if the parenthesis were the only important part of it. And this is to a certain extent true ; he is one of those men (there are even more women) whose best remarks are always in brackets. So much is this so that in some of his later novels one may say that the narrative is a failure redeemed by the non-narrative passages, the typical aimless talks in clubs, the glimpses of glowing minor characters, and above all the dialogues between Pendennis and Laura, who really tell the story between them. But we have to consider not only how he used and placed the parenthesis, but the nature of the paren- thesis itself. Thackeray was fond of calling himself the Preacher of Ecclesiastes or the Chorus of a Greek tragedy ; and all his interludes and comments are indeed of this character; what fills up the gaps in the Thackeray story is the Thackeray view of life ; and of this a word must be said. He himself spoke of it gaily as his philo- sophy ; but it was scarcely logical and coherent enough to be a philosophy in the full sense ; and indeed if you try to turn it into a formal philosophy you will find yourself bringing out as a result something entirely un- Thackerayan, something harsh and ludicrous like pessi- mism. But it was a spirit and a point of view; and it might be called romantic, only that the word romantic has now somewhat the sense of adventurous. And the word adventurous means rather a man who is always looking forward to adventures. But Thackeray was a man who was always looking backwards at adventures ; he is the romantic of mere memory. If some think that there was too much salt about him, it was the same with Lot's wife. The closest definition of his spirit would I think be this; that he loved all fresh and beautiful things, like other romantics ; but loved them with a deliberate recol- lection of their eternal recurrence and decay. He loved youth ; but he did not love youth because it is young. xxviii WILLIAM MAKEPEACE THACKERAY He loved youth because it is old; one of the oldest thing's in the world. Human history had for him the hig-h monotony of an everlasting 1 song", in which every verse is beautiful, but the tune is always the same. He had the healthy sympathy of romance for love in a cottage or love scaling- castle walls. But this had nothing to do with reasoned lawlessness or any theoretic trust in passion, it was a mere instinct for the tune that makes the world go round. In short he did not admire the troubadour climbing the rope ladder because he v/as unconventional. He admired him because he was con- ventional; he was doing the correct thing; he was doing what nature and human tradition expect of a trouba- dour. Thackeray expected the young to rebel as he expected the birds to sing. Thackeray's liberalism again had no connection with those vistas of change in human affairs which many of his contemporaries saw opening before them. He asked for rational freedom, for the ordinary human affection and opinions ; he did not think that those affections and opinions were ever likely to be anything but ordinary. He believed in emancipation, but not very much in progress. His admiration for youth, the golden and exultant youth of Clive Newcome or Harry Warrington, has nothing to do with any feeling about the future, such as has inspired most descriptions of patriotic or revolutionary boyhood. Boys will be sailors, cries Mr. Rudyard Kipling, boys will found a new Empire that shall girdle the globe. Boys will be rebels, cries Ibsen, they will bring their boisterous freedom to break down the barriers that separate us from truth and free creation. For Thackeray the most important and solid prophecy about boys is that they will be boys. This is of course the key to another quality in Thack- eray, haunting and to some exasperating. I mean his perpetual reference to the remote past especially to his three favourite sages, ^Esop, Horatius Flaccus and King Solomon. They were meant to stand as an enduring re- buke to those who rebelled against the vital recurrences of existence, lovers who were certain that no man had INTRODUCTION xxix loved before, prophets who were certain that no man would doubt afterwards. All three sages stood to cure the mere hot sickness and malady of novelty; by point- ing out that even such maladies were old. Solomon bore testimony that there is nothing new under the sun not even the sunstroke. Horace testified that there were strong men before Agamemnon and weak men too, minor poets and mad decadents before the birth of Achilles. ALsop bears witness to a tremendous and primal tradition that the very beasts are human in many of our human vanities and vulgarities, morbidities and sophistries. Perhaps we were madmen even before we were men. It is in consequence quite unfair to Thackeray to talk as if these classical allusions and fabulous parallels with which his work is strewn were either the mere padding of a man who had nothing to say or the mere senile loquacity of a man who could not stop saying it. They were introduced to create that very air and light of antiquity and eternal human nature in which alone he could see his characters move. If in writing of his fashionable heroine whirling round a ball room in Mayfair he always said something like neque tu choreas speme, puer, it was not pedantry but a melancholy passion for reminding people how many debutantes had come out since the age of Horace or the end of Eden. If he always called a humbug a wolf in sheep's clothing or an ass in a lion's skin, he was not using commonplace phrases, he was seeking to remind us that there is in modern sin and folly something as fierce and primitive as a wolf, something as plain and comic as a donkey. And if he ended the first verse of his finest poem with " mataiotes mataioteton," it was not to air his Greek, nor even to rhyme to "treat on," but in order to put once more in a new tongue and see suddenly in a new aspect his everlasting refrain of vanttas vanitatum. I shall not allege of this characteristic any more than of the other that he never carried it to chaotic lengths or indulged it weakly for its own sake ; but its original im- pulse is a perfectly artistic impulse, a genuine condition xxx WILLIAM MAKEPEACE THACKERAY of the kind of book he wishes to write. Mere pedants sneer at well-known tags or old quotations from Greek and Latin. But for Thackeray's purpose the more old a quotation was the better ; and a tag well worn was only a tag well tested. It is one of the simplest and silliest of the modern mistakes to connect the word old with the word stale or the word weary. The oldest thing in the universe is its energy. It was no inconsiderable part of Thackeray's business to proclaim that the oldest thing in the world was its youth. All this, both the intention and the style, has made the task of selection specially difficult. It is indeed really impossible to represent in extracts these peculiar and pervasive graces of Thackeray; the incessant touches of detail or the refrain-like reference to an- tiquity. But there are other qualities of the writer that can be represented in extract. All these generalizations tend of their own nature to over-statement. Thus it is broadly true that Dickens was great in humour, but not great in pathos. But it is by no means true that he was never good in pathos ; the passages about the old man in the Fleet and the death of Mrs. Weller in Pickwick are quite enough to prove that. In the same way- Thackeray was not primarily dramatic; but when at a certain height and heat he could be dramatic, and even (what is even jollier), melodramatic. The return of the liberated Rawdon Crawley to his insulted home is not only a strong spiritual fulfilment, but a very strong stage situation. And the first scene of the Newcomes in the Cave of Harmony, in which the Colonel flings him- self delightedly into the harmless songs and then flings himself furiously out of the room at the first hint of harmful ones ; this is not merely a good piece of gossip or character study ; it is by far the shortest, sharpest, and most theatrical way that the Colonel's character could be summed up at his first entrance on the stage. There is a similar note of real collision and crisis in the quarrel between the younger and elder Osborne which precipitates the marriage. There is a similar note in the admirable comedy combat between Major Pendennis and INTRODUCTION xxxi Captain Costigan (the respectable humbug and the dis- reputable humbug, both with the same senseless good- nature) ; which succeeds in averting a marriage. The extracts that follow are therefore of necessity largely confined to these few crucial passages, but I have en- deavoured to balance them, not by introducing un- dramatic excerpts from the novels (which would have been shapeless and unworkable) but by giving a larger prominence than is usual to those Thackerayan works which were in theory undramatic his essays and occa- sional papers. In one or two of the Roundabout Papers he really justified the roundabout method and showed that it was capable of the same sort of delicate poig- nancy as the style of Charles Lamb. The essay in defence of the mendacity of servants (which I quote) is really as good as Lamb and better, in so far that it suggests not so much the witty helplessness of Elia, but rather a laughing repose, and almost sleepy mirth. In all things his great spirit had the grandeur and the weakness which belonged to the England of his time, an England splendidly secure and free, and yet (perhaps for that reason) provincial and innocent. He had nothing of the doctrinal quality of the French and Germans. He was not one who made up his mind, but one who let his mind make him up. He lay naturally open to all noble influences flowing around him ; but he never bestirred himself to seek those that were not flowing or that flowed in opposite directions. Thus, for instance, he really loved liberty, as only a novelist can love it, a man mainly occupied with the variety and vivacity of men. But he could not see the cause of liberty except where the Victorian English saw it; he could not see it in the cause of Irish liberty (which was exactly like the cause of Polish or Italian liberty, except that it was led by much more religious and responsible men), and he made the Irish characters the object of much innocent and rather lumbering satire. But this was not his mistake, but the mistake of the atmosphere, and he was a sublime emotional Englishman, who lived by atmosphere. He was a great sensitive. The comparison between him xxxii WILLIAM MAKEPEACE THACKERAY and Dickens is commonly as clumsy and unreasonable as a comparison between Wilkie Collins and Charles Reade or Bulwer Lytton and Anthony Trollope. But the comparison really has this element of actuality: that Dickens was above all things creative ; Thackeray was above all thing's receptive. There is no sense in talking about truth in the matter ; both are modes of truth. If you like to put it so, the world imposed on Thackeray and Dickens imposed on the world. But it could be put more truly by saying that Thackeray represents, in that gigantic parody called genius, the spirit of the English- man in repose. This spirit is the idle embodiment of all of us ; by his weaknesses we shall fail and by his enormous sanities we shall endure. WILLIAM MAKEPEACE THACKERAY VANITY FAIR [As an artistic scheme Vanity Fair may be described in more than one outline. Very broadly, of course, it starts with the two typical English girls leaving school, and is the tale of their equally tragic yet startlingly dissimilar fortunes. Amelia Sedley, the gentler and weaker of the two, begins in prosperity, and is, in a sense, betrayed and crushed on her first appearance in real life. She marries a shallow lady-killer named George Osborne, the son of a vulgar and violent plutocrat who had originally owed every- thing to the Sedleys. George Osborne is killed at Waterloo, per- haps the only event which could have retained for him his wife's respect. On the very night before the battle he had solicited the other woman. The other woman, the great Becky Sharp, began penniless and adventurous. She is husband hunting almost in the first scene, but her ultimate worldly success is so dazzling that she must have regarded all her previous failures as so many fortunate escapes. Eventually she marries Captain Rawdon Crawley, the younger son of an aristocratic yet bucolic family. He is dull and dissipated, but her energy and plausibility are such that she drags him behind her into the highest circles of fashionable England. Here she meets the sinister Lord Steyne, who enriches and supports her with mixed admiration and contempt, and in whose company she is found by her husband under circumstances which blast her for ever. Thus Becky Sharp breaks her teeth on something hard and bitter in the heart of a sweetmeat, almost at the same time that Amelia is finding at last something faintly sweet in the smell of crushed leaves and bitter herbs. Amelia marries the shy and clumsy suitor who has always been faithful ; Becky hovers like a vulture over the idiocy and helplessness of the fool whom^she had first sought to entrap. Neither is meant for a happy ending in the high romantic sense ; but there is all the difference between some- thing that is a second best and something that is almost the worst. But there are other schemes of contrast in the tale, besides that between Becky and Amelia. One of them is the very able contrast B 2 WILLIAM MAKEPEACE THACKERAY between the Sedleys and the Osbornes, both middle class, wealthy, and in a manner vulgar, but one insensibly rising' in the world and the other sinking. It is about the declining fortunes of the Sedleys that old Mr. Osborne has his quarrel with his son George. He wishes George to marry Miss Swartz, a West Indian heiress, and to break off the match with the daughter of the decaying Sedley house, a match which he has himself arranged. And the scene in which he makes this attempt is an instance of yet a third study in contrast the contrast between two generations of the worldly bourgeoisie, both intrinsically vulgar, yet not equally coarse ; the father by far the more brutal and the son by far the more selfish ; the selfish man in the right and the brutal man in the wrong.] MR. OSBORNE, SENIOR, AND MR. OSBORNE, JUNIOR (CHAPTER XXI) LOVE may be felt for any young lady endowed with such qualities as Miss Swartz possessed ; and a great dream of ambition entered into old Mr. Osborne's soul, which she was to realize. He encouraged, with the utmost enthusiasm and friendliness, his daughters' amiable at- tachment to the young heiress, and protested that it gave him the sincerest pleasure as a father to see the love of his girls so well disposed. "You won't find," he would say to Miss Rhoda, " that splendour and rank to which you are accustomed at the West End, my dear Miss, at our humble mansion in Russell Square. My daughters are plain, disinterested girls, but their hearts are in the right place, and they've conceived an attachment for you which does them honour I say, which does them honour. I'm a plain, simple, humble British merchant an honest one, as my re- spected friends Hulker and Bullock will vouch, who were the correspondents of your late lamented father. You'll find us a united, simple, happy, and I think I may say respected family a plain table, a plain people, but a warm welcome, my dear Miss Rhoda Rhoda, let me say, for my heart warms to you, it does really. I'm a frank man, and I like you. A glass of champagne! Hicks, champagne to Miss Swartz." VANITY FAIR 3 There is little doubt that old Osborne believed all he said, and that the girls were quite earnest in their pro- testations of affection for Miss Swartz. People in Vanity Fair fasten on to rich folks quite naturally. If the simplest people are disposed to look not a little kindly on great Prosperity (for I defy any member of the British public to say that the notion of Wealth has not some- thing awful and pleasing to him; and you, if you are told that the man next you at dinner has got half a million, not to look at him with a certain interest;) if the simple look benevolently on money, how much more do your old worldlings regard it ! Their affections rush out to meet and welcome money. Their kind sentiments awaken spontaneously towards the interesting possessors of it. I know some respectable people who don't con- sider themselves at liberty to indulge in friendship for any individual who has not a certain competency, or place in society. They give a loose to their feelings on proper occasions. And the proof is, that the major part of the Osborne family, who had not, in fifteen years, been able to get up a hearty regard for Amelia Sedley, became as fond of Miss Swartz in the course of a single evening as the most romantic advocate of friendship at first sight could desire. What a match for George she'd be (the sisters and Miss Wirt agreed), and how much better than that in- significant little Amelia! Such a dashing young fellow as he is, with his good looks, rank, and accomplish- ments, would be the very husband for her. Visions of balls in Portland Place, presentations at Court, and in- troductions to half the peerage, filled the minds of the young ladies ; who talked of nothing but George and his grand acquaintances to their beloved new friend. Old Osborne thought she would be a great match, too, for his son. He should leave the army; he should go into Parliament ; he should cut a figure in the fashion and in the state. His blood boiled with honest British exultation, as he saw the name of Osborne ennobled in the person of his son, and thought that he might be the progenitor of a glorious line of baronets. He worked in 4 WILLIAM MAKEPEACE THACKERAY the City and on 'Change, until he knew everything" relat- ing to the fortune of the heiress, how her money was placed, and where her estates lay. Young Fred Bullock, one of his chief informants, would have liked to make a bid for her himself (it was so the young banker expressed it), only he was booked to Maria Osborne. But not being able to secure her as a wife, the disinterested Fred quite approved of her as a sister-in-law. " Let George cut in directly and win her," was his advice. "Strike while the iron 's hot, you know while she 's fresh to the town : in a few weeks some d fellow from the West End will come in with a title and a rotten rent-roll and cut all us City men out, as Lord Fitzrufus did last year with Miss Grogram, who was actually engaged to Fodder, of Fodder & Brown's. The sooner it is done the better, Mr. Osborne; them's my sentiments," the wag said ; though, when Osborne had left the bank parlour, Mr. Bullock remembered Amelia, and what a pretty girl she was, and how attached to George Osborne ; and he gave up at least ten seconds of his valuable time to regretting the misfortune which had befallen that unlucky young woman. While thus George Osborne's good feelings, and his good friend and genius, Dobbin, were carrying back the truant to Amelia's feet, George's parent and sisters were arranging this splendid match for him, which they never dreamed he would resist. When the elder Osborne gave what he called "a hint," there was no possibility for the most obtuse to mistake his meaning. He called kicking a footman down-stairs, a hint to the latter to leave his service. With his usual frankness and delicacy he told Mrs. Hag- gistoun that he would give her a cheque for five thousand pounds on the day his son was married to her ward; and called that proposal a hint, and considered it a very dexterous piece of diplomacy. He gave George finally such another hint regarding the heiress ; and ordered him to marry her out of hand, as he would have ordered his butler to draw a cork, or his clerk to write a letter. This imperative hint disturbed George a good deal. VANITY FAIR 5 He was in the very first enthusiasm and delight of his second courtship of Amelia, which was inexpressibly sweet to him. The contrast of her manners and appear- ance with those of the heiress, made the idea of a union with the latter appear doubly ludicrous and odious. Carriages and opera-boxes, thought he ; fancy being seen in them by the side of such a mahogany charmer as that ! Add to all, that the junior Osborne was quite as obsti- nate as the Senior : when he wanted a thing, quite as firm in his resolution to get it ; and quite as violent when angered, as his father in his most stern moments. On the first day when his father formally gave him the hint that he was to place his affections at Miss Swartz's feet, George temporized with the old gentle- man. " You should have thought of the matter sooner, sir," he said. " It can't be done now, when we're expect- ing every day to go on foreign service. Wait till my return, if I do return;" and then he represented, that the time when the regiment was daily expecting to quit England, was exceedingly ill-chosen : that the few days or weeks during which they were still to remain at home, must be devoted to business and not to love-making: time enough for that when he came home with his majority; " for, I promise you," said he, with a satisfied air, " that one way or other you shall read the name of George Osborne in the Gazette." The father's reply to this was founded upon the in- formation which he had got in the City : that the West End chaps would infallibly catch hold of the heiress if any delay took place: that if he didn't marry Miss S., he might at least have an engagement in writing, to come into effect when he returned to England; and that a man who could get ten thousand a year by staying at home, was a fool to risk his life abroad. " So that you would have me shown up as a coward, sir, and our name dishonoured for the sake of Miss Swartz's money," George interposed. This remark staggered the old gentleman ; but as he had to reply to it, and as his mind was nevertheless made up, he said, "You will dine here to-morrow, sir, 6 WILLIAM MAKEPEACE THACKERAY and every day Miss Swartz comes, you will be here to pay your respects to her. If you want for money, call upon Mr. Chopper." Thus a new obstacle was in George's way, to interfere with his plans regarding Amelia ; and about which he and Dobbin had more than one confidential consultation. His friend's opinion re- specting the line of conduct which he ought to pursue, we know already. And as for Osborne, when he was once bent on a thing, a fresh obstacle or two only rendered him the more resolute. The dark object of the conspiracy into which the chiefs of the Osborne family had entered, was quite ignorant of all their plans regarding her (which, strange to say, her friend and chaperon did not divulge), and, taking all the young ladies' flattery for genuine sentiment, and being, as we have before had occasion to show, of a very warm and impetuous nature, responded to their affection with quite a tropical ardour. And if the truth may be told, I daresay that she too had some selfish attraction in the Russell Square house; and in a word, thought George Osborne a very nice young man. His whiskers had made an impression upon her, on the very first night she beheld them at the ball at Messrs. Hulkers; and, as we know, she was not the first woman who had been charmed by them. George had an air at once swaggering and melancholy, languid and fierce. He looked like a man who had passions, secrets, and private harrowing griefs and adventures. His voice was rich and deep. He would say it was a warm evening, or ask his partner to take an ice, with a tone as sad and confidential as if he were breaking her mother's death to her, or preluding a declaration of love. He trampled over all the young bucks of his father's circle, and was the hero among those third-rate men. Some few sneered at him and hated him. Some, like Dobbin, fanatically admired him. And his whiskers had begun to do their work, and to curl themselves round the affections of Miss Swartz. Whenever there was a chance of meeting him in VANITY FAIR 7 Russell Square, that simple and good-natured young woman was quite in a flurry to see her dear Miss Osbornes. She went to great expenses in new gowns, and bracelets, and bonnets, and in prodigious feathers. She adorned her person with her utmost skill to please the Conqueror, and exhibited all her simple accomplish- ments to win his favour. The girls would ask her, with the greatest gravity, for a little music, and she would sing her three songs and play her two little pieces as often as ever they asked, and with an always increasing pleasure to herself. During these delectable entertain- ments, Miss Wirt and the chaperon sat by, and conned over the peerage, and talked about the nobility. The day after George had his hint from his father, and a short time before the hour of dinner, he was lolling upon a sofa in the drawing-room in a very be- coming and perfectly natural attitude of melancholy. He had been, at his father's request, to Mr. Chopper in the City (the old gentleman, though he gave great sums to his son, would never specify any fixed allowance for him, and rewarded him only as he was in the humour). He had then been to pass three hours with Amelia, his dear little Amelia, at Fulham; and he came home to find his sisters spread in starched muslin in the drawing- room, the dowagers cackling in the background, and honest Swartz in her favourite amber-coloured satin, with turquoise bracelets, countless rings, flowers, feathers, and all sorts of tags and gimcracks, about as elegantly decorated as a she chimney-sweep on May- day. The girls, after vain attempts to engage him in con- versation, talked about fashions and the last drawing- room until he was perfectly sick of their chatter. He contrasted their behaviour with little Emmy's their shrill voices with her tender ringing tones; their atti- tudes and their elbows and their starch, with her humble soft movements and modest graces. Poor Swartz was seated in a place where Emmy had been accustomed to sit. Her bejewelled hands lay sprawling in her amber satin lap. Her tags and ear-rings twinkled, and her big 8 WILLIAM MAKEPEACE THACKERAY eyes rolled about. She was doing nothing with perfect contentment, and thinking herself charming. Anything so becoming as the satin the sisters had never seen. "Dammy," George said to a confidential friend, " she looked like a China doll, which has nothing to do all day but to grin and wag its head. By Jove, Will, it was all I could do to prevent myself from throwing the sofa-cushion at her." He restrained that exhibition of sentiment, however. The sisters began to play the Battle of Prague. " Stop that d thing," George howled out in a fury from the sofa. " It makes me mad. You play us some- think, Miss Swartz, do. Sing something, anything but the Battle of Prague." " Shall I sing Blue- Eyed Mary, or the air from the Cabinet? " Miss Swartz asked. " That sweet thing from the Cabinet," the sisters said. "We've had that," replied the misanthrope on the sofa. " I can sing Fluvy du Tajy," Swartz said, in a meek voice, " if I had the words." It was the last of the worthy young woman's collection. "O, Fleuve du Tage," Miss Maria cried; " we have the song," and went off to fetch the book in which it was. Now it happened that this song, then in the height of the fashion, had been given to the young ladies by a young friend of theirs, whose name was on the title, and Miss Swartz, having concluded the ditty with George's applause (for he remembered that it was a favourite of Amelia's), was hoping for an encore perhaps, and fiddling with the leaves of the music, when her eye fell upon the title, and she saw Amelia Sedley written in the corner. " Lor'! " cried Miss Swartz, spinning swiftly round on the music-stool, "is it my Amelia? Amelia that was at Miss P. 's at Hammersmith? I know it is. It's her, and Tell me about her where is she? " Don't mention her," Miss Maria Osborne said hastily. "Her family has disgraced itself. Her father VANITY FAIR 9 cheated papa, and as for her, she is never to be men- tioned here." This was Miss Maria's return for George's rudeness about the Battle of Prague. "Are you a friend of Amelia's?" George said, bouncing up. " God bless you for it, Miss Swartz. Don't believe what the girls say. She's not to blame at any rate. She 's the best " " You know you're not to speak about her, George," cried Jane. " Papa forbids it." " Who 's to prevent me? " George cried out. " I will speak of her. I say she 's the best, the kindest, the gentlest, the sweetest girl in England ; and that, bank- rupt or no, my sisters are not fit to hold candles to her. If you like her, go and see her, Miss Swartz ; she wants friends now; and I say, God bless everybody who be- friends her. Anybody who speaks kindly of her is my friend ; anybody who speaks against her is my enemy. Thank you, Miss Swartz; " and he went up and wrung her hand. "George! George!" one of the sisters cried im- ploringly. " I say," George said fiercely, " I thank everybody who loves Amelia Sed " He stopped. Old Osborne was in the room with a face livid with rage, and eyes like hot coals. Though George had stopped in his sentence, yet, his blood being up, he was not to be cowed by all the generations of Osborne ; rallying ^instantly, he replied to the bullying look of his father, with another so in- dicative of resolution and defiance, that the elder man quailed in his turn, and looked away. He felt that the tussle was coming. " Mrs. Haggistoun, let me take you down to dinner," he said. " Give your arm to Miss Swartz, George," and they marched. " Miss Swartz, I love Amelia, and we've been en- gaged almost all our lives," Osborne said to his partner; and during all the dinner, George rattled on with a volubility which surprised himself, and made his father doubly nervous for the fight which was to take place as soon as the ladies were gone. io WILLIAM MAKEPEACE THACKERAY The difference between the pair was, that while the father was violent and a bully, the son had thrice the nerve and courage of the parent, and could not merely make an attack, but resist it; and finding that the moment was now come when the contest between him and his father was to be decided, he took his dinner with perfect coolness and appetite before the engage- ment began. Old Osborne, on the contrary, was nerv- ous, and drank much. He floundered in his conversa- tion with the ladies, his neighbours; George's coolness only rendering him more angry. It made him half mad to see the calm way in which George, flapping his napkin, and with a swaggering bow, opened the door for the ladies to leave the room ; and filling himself a glass of wine, smacked it, and looked his father full in the face, as if to say, " Gentleman of the Guard, fire first." The old man also took a supply of ammunition, but his decanter clinked against the glass as he tried to fill it. After giving a great heave, and with a purple choking face, he then began. " How dare you, sir, mention that person's name before Miss Swartz to-day, in my drawing- room? I ask you, sir, how dare you do it? " "Stop, sir," says George, "don't say dare, sir. Dare isn't a word to be used to a Captain in the British Army." " I shall say what I like to my son, sir. I can cut him off with a shilling if I like. I can make him a beggar if I like. I -will say what I like," the elder said. " I'm a gentleman though I am your son, sir," George answered haughtily. "Any communications which you have to make to me, or any orders which you may please to give, I beg may be couched in that kind of language which I am accustomed to hear." Whenever the lad assumed his haughty manner, it always created either great awe or great irritation in the parent. Old Osborne stood in secret terror of his son as a better gentleman than himself; and perhaps my readers may have remarked in their experience ot this Vanity Fair of ours, that there is no character VANITY FAIR u which a low-minded man so much mistrusts, as that of a gentleman. " My father didn't give me the education you have had, nor the advantages you have had, nor the money you have had. If I had kept the company some folks have had through my means, perhaps my son wouldn't have any reason to brag, sir, of his superiority and West End airs (these words were uttered in the elder Osborne's most sarcastic tones). But it wasn't considered the part of a gentleman in my time, for a man to insult his father. If I'd done any such thing, mine would have kicked me down-stairs, sir." " I never insulted you, sir. I said I begged you to remember your son was a gentleman as well as yourself. I know very well that you give me plenty of money," said George (fingering a bundle of notes which he had got in the morning from Mr. Chopper). " You tell it me often enough, sir. There 's no fear of my for- getting it." "I wish you'd remember other things as well, sir," the sire answered. " I wish you'd remember that in this house so long as you choose to honour it with your company p , Captain I'm the master, and that name, and that that that you that I say " "That what, sir?" George asked, with scarcely a sneer, filling another glass of claret. " !" burst out his father with a screaming oath "that the name of those Sedleys never be mentioned here, sir not one of the whole damned lot of 'em, sir." " It wasn't I, sir, that introduced Miss Sedley's name. It was my sisters who spoke ill of her to Miss Swartz ; and by Jove I'll defend her wherever I go. Nobody shall speak lightly of that name in my presence. Our family has done her quite enough injury already, I think, and may leave off reviling her now she 's down. I'll shoot any man but you who says a word against her." " Go on, sir, go on," the old gentleman said, his eyes starting out of his head. "Go on about what, sir? about the way in which we've treated that angel of a girl? Who told me to love 12 WILLIAM MAKEPEACE THACKERAY her? It was your doing. I might have chosen elsewhere, and looked higher, perhaps, than your society: but I obeyed you. And now that her heart 's mine you give me orders to fling it away, and punish her, kill her per- haps for the faults of other people. It 's a shame, by Heavens," said George, working himself up into passion and enthusiasm as he proceeded, "to play at fast and loose with a young girl's affections and with such an angel as that one so superior to the people amongst whom she lived, that she might have excited envy, only she was so good and gentle, that it 's a wonder anybody dared to hate her. If I desert her, sir, do you suppose she forgets me? " "I ain't going to have any of this dam sentimental nonsense and humbug here, sir," the father cried out. " There shall be no beggar-marriages in my family. If you choose to fling away eight thousand a-year, which you may have for the asking, you may do it: but by Jove you take your pack and walk out of this house, sir. Will you do as I tell you, once for all, sir, or will you not?" "Marry that mulatto woman?" George said, pulling up his shirt-collars. " I don't like the colour, sir. Ask the black that sweeps opposite Fleet Market, sir. I'm not going to marry a Hottentot Venus." Mr. Osborne pulled frantically at the cord by which he was accustomed to summon the butler when he wanted wine and, almost black in the face, ordered that func- tionary to call a coach for Captain Osborne. " I've done it," said George, coming into the Slaugh- ters' an hour afterwards, looking very pale. " What, my boy? " says Dobbin. George told what had passed between his father and himself. "I'll marry her to-morrow," he said with an oath. " I love her more every day, Dobbin." VANITY FAIR 13 THE FALL OF BECKY SHARP (CHAPTER LIII) [Becky Sharp, as Mrs. Rawdon Crawley, has reached the height of social splendour and triumph. The Prince Regent has applauded her amateur acting, and the great Lord Stey ne continues to patronize both her husband and herself. Her husband, in spite of these ex- ternal successes, still has outstanding debts; and as he leaves Lord Steyne's house he is seized abruptly by bailiffs and carried off to spend the night in a sponging-house. He sends a message to his wife, but she replies with every appearance of pathos that she is ill and can do nothing. Rawdon Crawley's brother, Sir Pitt Crawley, however, has married a woman of prompt and instinct- ive goodness, and it is to her that Rawdon next appeals. The result is the tragic scene that ends the great adventuress's married life.] FRIEND RAWDON drove on then to Mr. Moss's mansion in Cursitor Street, and was duly inducted into that dismal place of hospitality. Morning was breaking over the cheerful house-tops of Chancery Lane as the rattling cab woke up the echoes there. A little pink-eyed Jew- boy, with a head as ruddy as the rising morn, let the party into the house, and Rawdon was welcomed to the ground-floor apartments by Mr. Moss, his travelling companion and host, who cheerfully asked him if he would like a glass of something warm after his drive. The Colonel was not so depressed as some mortals would be, who, quitting a palace and a placens uxor, find themselves barred into a sponging-house, for if the truth must be told, he had been a lodger at Mr. Moss's estab- lishment once or twice before. We have not thought it necessary in the previous course of this narrative to men- tion these trivial little domestic incidents : but the reader may be assured that they can't unfrequently occur in the life of a man who lives on nothing a-year. Upon his first visit to Mr. Moss, the Colonel, then a bachelor, had been liberated by the generosity of his aunt; on the second mishap, little Becky, with the greatest spirit and kindness, had borrowed a sum of I 4 WILLIAM MAKEPEACE THACKERAY money from Lord Southdown, and had coaxed her hus- band's creditor (who was her shawl, velvet-gown, lace pocket-handkerchief, trinket, and gimcrack purveyor, indeed) to take a portion of the sum claimed, and Raw- don's promissory note for the remainder: so on both these occasions the capture and release had been con- ducted with the utmost gallantry on all sides, and Moss and the Colonel were therefore on the very best of terms. "You'll find your old bed, Colonel, and everything comfortable," that gentleman said, "as I may honestly say. You may be pretty sure it 's kep' aired, and by the best of company, too. It was slep' in the night afore last by the Honourable Capting Famish, of the Fiftieth Dragoons, whose Mar took him out, after a fortnight, jest to punish him, she said. But, Law bless you, I promise you, he punished my champagne, and had a party 'ere every night reg'lar tip-top swells, down from the Clubs and the West End Capting Ragg, the Hon- ourable Deuceace, who lives in the Temple, and some fellers as knows a good glass of wine, I warrant you. I've got a Doctor of Diwinity up-stairs, five gents in the Coffee-room, and Mrs. Moss has a tably-dy-hoty at half- past five, and a little cards or music afterwards, when we shall be most happy to see you." " I'll ring when I want anything," said Rawdon, and went quietly to his bed-room. He was an old soldier, we have said, and not to be disturbed by any little shocks of fate. A weaker man would have sent off a letter to his wife on the instant of his capture. " But what is the use of disturbing her night's rest?" thought Rawdon. " She won't know whether I am in my room or not. It will be time enough to write to her when she has had her sleep out, and I have had mine. It 's only a hundred-and-seventy, and the deuce is in it if we can't raise that." And so, thinking about little Rawdon (whom he would not have know that he was in such a queer place), the Colonel turned into the bed lately occupied by Captain Famish, and fell asleep. It was ten o'clock when he woke up, and the ruddy-headed youth brought him, with conscious pride, a fine silver dressing-case, VANITY FAIR 15 wherewith he might perform the operation of shaving. Indeed Mr. Moss's house, though somewhat dirty, was splendid throughout. There were dirty trays, and wine- coolers en permanence on the sideboard, huge dirty gilt cornices, with dingy yellow satin hangings to the barred windows which looked into Cursitor Street vast and dirty gilt picture-frames surrounding pieces sporting and sacred, all of which works were by the greatest masters ; and fetched the greatest prices, too, in the bill transactions, in the course of which they were sold and bought over and over again. The Colonel's breakfast was served to him in the same dingy and gorgeous plated ware. Miss Moss, a dark-eyed maid in curl-papers, appeared with the teapot, and smiling, asked the Colonel how he had slep'? and she brought him in the Morning Post, with the names of all the great people who had figured at Lord Steyne's entertainment the night before. It contained a brilliant account of the festivities, and of the beautiful and accomplished Mrs. Rawdon Crawley's admirable personifications. After a lively chat with this lady (who sat on the edge of the breakfast-table in an easy attitude, displaying the drapery of her stocking and an ex-white satin shoe, which was down at heel), Colonel Crawley called for pens and ink, and paper; and being asked how many sheets, chose one which was brought to him between Miss Moss's own finger and thumb. Many a sheet had that dark-eyed damsel brought in ; many a poor fellow had scrawled and blotted hurried lines of entreaty, and paced up and down that awful room until his messenger brought back the reply. Poor men always use mess- engers instead of the post. Who has not had their letters, with the wafers wet, and the announcement that a person is waiting in the hall? Now on the score of his application, Rawdon had not many misgivings. DEAR BECKY (Rawdon wrote) / hope you slept well. Don't be frightened if I don't bring you in your coffy. Last night as I was coming home smoaking, I met with an accadent. I was nabbed by Moss of 16 WILLIAM MAKEPEACE THACKERAY Cursitor Street from whose gilt and splendid parler I write this the same that had me this time two years. Miss Moss brought in my tea she is grown very fat, and, as usual, had her slackens down at heal. It's Nathan's business a hundred-and-fifty with costs, hundred-and-seventy. Please send me my desk and some cloths I'm in pumps and a white tye (something like Miss M.'s stockings) I've seventy in it. And as soon as you get this drive to Nathan's offer him seventy-five down, and ask him to renew say I'll take wine we may as well have some dinner sherry ; but not picturs, they're too dear. If he won't stand it. Take my ticker and such of your things as you can spare, and send them to Balls we must, of coarse, have the sum to-night. It won't do to let it stand over, as to- morrow's Sunday ; the beds here are not very clean, and there may be other things out against me I'm glad it an't Rawdon's Saturday for coming home. God bless you. Yours in haste, R. C. P.S. Make haste and come." This letter, sealed with a wafer, was dispatched by one of the messengers who are always hanging about Mr. Moss's establishment; and Rawdon, having seen him depart, went out in the court-yard, and smoked his cigar with a tolerably easy mind in spite of the bars overhead; for Mr. Moss's court-yard is railed in like a cage, lest the gentlemen who are boarding with him should take a fancy to escape from his hospitality. Three hours, he calculated, would be the utmost time required, before Becky should arrive and open his prison doors : and he passed these pretty cheerfully in smoking, in reading the paper, and in the coffee-room with an acquaintance, Captain Walker, who happened to be there, and with whom he cut for sixpences for some hours, with pretty equal luck on either side. But the day passed away and no messenger returned, no Becky. Mr. Moss's tably-dy-hoty was served at the appointed hour of half-past five, when such of the gentlemen lodging in the house as could afford to pay for the banquet, came and partook of it in the splendid front parlour before described, and with which Mr. VANITY FAIR 17 Crawley's temporary lodging communicated, when Miss M. (Miss Hem, as her papa called her), appeared without the curl-papers of the morning, and Mrs. M. did the honours of a prime boiled leg of mutton and turnips, of which the Colonel ate with a very faint appetite, Asked whether he would " stand " a bottle of champagne for the company, he consented, and the ladies drank to his 'ealth, and Mr. Moss, in the most polite manner, " looked towards him." In the midst of this repast, however, the door-bell was heard, young Moss of the ruddy hair rose up with the keys and answered the summons, and coming back, told the Colonel that the messenger had returned with a bag, a desk, and a letter, which he gave him. "No cera- mony, Colonel, I beg," said Mrs. Moss with a wave of her hand, and he opened the letter rather tremulously. It was a beautiful letter, highly scented, on a pink paper, and with a light green seal : MON PAUVRE CHER PETIT (Mrs. Crawley wrote) I could not sleep one -wink for thinking of what had become of my odious old monstre: and only got to rest in the morning after sending for Mr. Blench (for I was in a fever), who gave me a composing draught and left orders with Fifine that I should be disturbed on no account. So that my poor old man's messenger, who had bien mauvaise mine, Fifine says, and sentoit le genievre, remained in the hall for some hours waiting my bell. You may fancy my state when I read your poor dear old ill-spelt letter. Ill as I was, I instantly called for the carriage, and as soon as I was dressed (though I couldn't drink a drop of chocolate I assure you I couldn't without my monstre to bring it to me), I drove venire a terre to Nathan's. I saw him I wept I cried I fell at his odious knees. Nothing would mollify the horrid man. He would have all the money, he said, or keep my poor monstre in prison. I drove home with the intention of paying that triste visite ches man oncle (when every trinket I have should be at your disposal, though they would .not fetch a hundred pounds, for some, you know, are with ce cher oncle already), and found Milor there with the Bulgarian old sheep- faced monstre who had come to compliment me upon last night's performances. Paddington came in, too, drawling and lisping and twiddling his hair; so did Champignac, and his C i8 WILLIAM MAKEPEACE THACKERAY chef everybody withfoison of compliments and pretty speeches plaguing poor me, who longed to be rid of them, and was thinking every moment of the time of mon pauvre prisonnier. When they were gone, I went down on my knees to Milor; told him we were going to pawn everything, and begged and prayed him to give me two hundred pounds. He pish'd and psha'd in a fury told me not to be such a fool as to pawn and said he would see whether he could lend me the money. At last he went away, promising that he would send it me in the morning: when I will bring it to my poor old monster with a kiss from his affectionate BECKY. I am writing in bed. Oh I have such a headache and such a heartache ! When Rawdon read over this letter, he turned so red and looked so savage, that the company at the table- d'hote easily perceived that bad news had reached him. All his suspicions, which he had been trying to banish, returned upon him. She could not even go out and sell her trinkets to free him. She couldj laugh and talk about compliments paid to her, whilst he was in prison. Who had put him there? Wenham had walked with him. Was there . . . He could hardly bear to think of what he suspected. Leaving the room hurriedly, he ran into his own opened his desk, wrote two hurried lines, which he directed to Sir Pitt or Lady Crawley, and bade the messenger carry them at once to Gaunt Street, bidding him to take a cab, and promising him a guinea if he was back in an hour. In the note he besought his dear brother and sister, for the sake of God ; for the sake of his dear child and his honour; to come to him and relieve him from his difficulty. He was in prison: he wanted a hundred pounds to set him free he entreated them to come to him. He went back to the dining-room after dispatching his messenger, and called for more wine. He laughed and talked with a strange boisterousness, as the people thought. Sometimes he laughed madly at his own fears, and went on drinking for an hour; listening all the VANITY FAIR 19 while for the carriage which was to bring his fate back. At the expiration of that time, wheels were heard whirling up to the gate the young Janitor went out with his gate-keys. It was a lady whom he let in at the bailiffs door. "Colonel Crawley," she said, trembling very much. He, with a knowing look, locked the outer door upon her then unlocked and opened the inner one, and call- ing out, " Colonel, you're wanted," led her into the back parlour, which he occupied. Rawdon came in from the dining-parlour where all those people were carousing, into his back room ; a flare of coarse light following him into the apartment where the lady stood, still very nervous. " It is I, Rawdon," she said, in a timid voice, which she strove to render cheerful. "It is Jane." Rawdon was quite overcome by that kind voice and presence. He ran up to her caught her in his arms gasped out some inarticulate words of thanks, and fairly sobbed on her shoulder. She did not know the cause of his emotion. The bills of Mr. Moss were quickly settled, perhaps to the disappointment of that gentleman, who had counted on having the Colonel as his guest over Sunday at least; and Jane, with beaming smiles and happiness in her eyes, carried away Rawdon from the bailiff's house, and they went homewards in the cab in which she had hastened to his release. " Pitt was gone to a parliamentary dinner," she said, when Rawdon's note came, "and so, dear Rawdon, I I came myself;" and she put her kind hand in his. Perhaps it was well for Rawdon Crawley that Pitt was away at that dinner. Rawdon thanked his sister a hundred times, and with an ardour of gratitude which touched and almost alarmed that soft-hearted woman. "Oh," said he, in his rude, artless way, "you you don't know how I'm changed since I've known you and and little Rawdy. I I'd like to change somehow. You see I want I want to be " He did not finish the sentence, but she could 20 WILLIAM MAKEPEACE THACKERAY interpret it. And that night after he left her, and as she sate by her own little boy's bed, she prayed humbly for that poor wayworn sinner. Rawdon left her and walked home rapidly. It was nine o'clock at night. He ran across the streets, and the great squares of Vanity Fair, and at length came up breathless opposite his own house. He started back and fell against the railings, trembling as he looked up. The drawing-room windows were blazing with light. She had said that she was in bed and ill. He stood there for some time, the light from the rooms on his pale face. He took out his door-key and let himself into the house. He could hear laughter in the upper rooms. He was in the ball-dress in which he had been captured the night before. He went silently up the stairs; leaning against the banisters at the stair-head. Nobody was stirring in the house besides all the servants had been sent away. Rawdon heard laughter within laughter and singing. Becky was singing a snatch of the song of the night before: a hoarse voice shouted "Brava! Brava! " it was Lord Steyne's. Rawdon opened the door and went in. A little table with a dinner was laid out and wine and plate. Steyne was hanging over the sofa on which Becky sat. The wretched woman was in a brilliant full toilette, her arms and all her fingers sparkling with bracelets and rings ; and the brilliants on her breast which Steyne had given her. He had her hand in his, and was bowing over it to kiss it, when Becky started up with a faint scream as she caught sight of Rawdon's white face. At the next instant she tried a smile, a horrid smile, as if to welcome her husband: and Steyne rose up, grinding his teeth, pale, and with fury in his looks. He, too, attempted a laugh and came forward hold- ing out his hand. "What, come back! How d'ye do, Crawley?" he said, the nerves of his mouth twitching as he tried to grin at the intruder. There was that in Rawdon's face which caused Becky to fling herself before him. " I am innocent, Rawdon," VANITY FAIR 21 she said; " before God, I am innocent." She clung hold of his coat, of his hands ; her own were all covered with serpents, and rings, and baubles. " I am innocent. Say I am innocent," she said to Lord Steyne. He thought a trap had been laid for him, and was as furious with the wife as with the husband. " You inno- cent! Damn you," he screamed out. "You innocent! Why every trinket you have on your body is paid for by me. I have given you thousands of pounds which this fellow has spent, and for which he has sold you. Inno- cent, by ! You're as innocent as your mother, the ballet-girl, and your husband the bully. Don't think to frighten me as you have done others. Make way, sir, and let me pass;" and Lord Steyne seized up his hat, and, with flame in his eyes, and looking his enemy fiercely in the face, marched upon him, never for a moment doubting that the other would give way. But Rawdon Crawley springing out, seized him by the neck-cloth, until Steyne, almost strangled, writhed, and bent under his arm. " You lie, you dog! " said Rawdon. " You lie, you coward and villain ! " And he struck the Peer twice over the face with his open hand, and flung him bleeding to the ground. It was all done before Rebecca could interpose. She stood there trembling be- fore him. She admired her husband, strong, brave, and victorious. " Come here," he said. She came up at once. "Take off those things." She began, trembling, pulling the jewels from her arms, and the rings from her shaking fingers, and held them all in a heap, quivering, and looking up at him. "Throw them down," he said, and she dropped them. He tore the diamond ornament out of her breast, and flung it at Lord Steyne. It cut him on his bald forehead. Steyne wore the scar to his dying day. " Come up-stairs," Rawdon said to his wife. " Don't kill me, Rawdon," she said. He laughed savagely. " I want to see if that man lies about the money as he has about me. Has he given you any? " " No," said Rebecca, " that is " 22 WILLIAM MAKEPEACE THACKERAY "Give me your keys," Rawdon answered, and they went out together. Rebecca gave him all the keys but one : and she was in hopes that he would not have remarked the absence of that. It belonged to the little desk which Amelia had given her in early days, and which she kept in a secret place. But Rawdon flung open boxes and wardrobes, throwing the multifarious trumpery of their contents here and there, and at last he found the desk. The woman was forced to open it. It contained papers, love- letters many years old all sorts of small trinkets and woman's memoranda. And it contained a pocket-book with bank-notes. Some of these were dated ten years back, too, and one was quite a fresh one a note for a thousand pounds which Lord Steyne had given her. " Did he give you this? " Rawdon said. "Yes," Rebecca answered. " I'll send it to him to-day," Rawdon said (for day had dawned again, and many hours had passed in this search), "and I will pay Briggs, who was kind to the boy, and some of the debts. You will let me know where I shall send the rest to you. You might have spared me a hundred pounds, Becky, out of all this I have always shared with you." " I am innocent," said Becky. And he left her with- out another word. What were her thoughts when he left her? She re- mained for hours after he was gone, the sunshine pour- ing into the room, and Rebecca sitting alone on the bed's edge. The drawers were all opened and their con- tents scattered about, dresses and feathers, scarfs and trinkets, a heap of tumbled vanities lying in a wreck. Her hair was falling over her shoulders; her gown was torn where Rawdon had wrenched the brilliants out of it. She heard him go down-stairs a few minutes after he left her, and the door slamming and closing on him. She knew he would never come back. He was gone for ever. Would he kill himself? she thought not until after he had met Lord Steyne. She thought of her long VANITY FAIR 23 past life, and all the dismal incidents of it. Ah, how dreary it seemed, how miserable, lonely and profitless ! Should she take laudanum, and end it, too have done with all hopes, schemes, debts, and triumphs! The French maid found her in this position sitting in the midst of her miserable ruins with clasped hands and dry eyes. The woman was her accomplice, and in Steyne's pay. " Mon Dieu, Madame, what has hap- pened?" she asked. What had happened? Was she guilty or not? She said not ; but who could tell what was truth which came from those lips ; or if that corrupt heart was in this case pure? All her lies and her schemes, all her selfishness and her wiles, all her wit and genius had come to this bankruptcy. The woman closed the curtains, and with some entreaty and show of kindness, persuaded her mistress to lie down on the bed. Then she went below and gathered up the trinkets which had been lying on the floor since Rebecca dropped them there at her hus- band's orders, and Lord Steyne went away. THE LAST MEETING OF BECKY AND AMELIA (FROM CHAPTER LXVII) [Amelia Osborne, now a widow of long standing with a son to whom all her emotions are tied, has more than once refused Major Dobbin, the old and almost dumb admirer, who had given her her husband, and can only haltingly propose to replace him. In the course of her humble efforts to live she visits a German Spa, where she finds herself face to face with the admirable and equivocal figure that had once been her closest friend. Rebecca Crawley is there, Rebecca after the catastrophe, after the jewels have been torn from her arms and the success from her cynicism, still full of audacity, but no longer of hope. In this strange and sinister last glimpse of her she does a good action ; the scene is one of the simplest and strongest in Thackeray, and it must speak for itself.] AMELIA had been made aware of some of these move- ments. The correspondence between George and his 24 WILLIAM MAKEPEACE THACKERAY guardian had not ceased by any means: William had even written once or twice to her since his departure, but in a manner so unconstrainedly cold, that the poor woman felt now in her turn that she had lost her power over him, and that, as he had said, he was free. He had left her, and she was wretched. The memory of his almost countless services, and lofty and affectionate regard, now presented itself to her, and rebuked her day and night. She brooded over those recollections accord- ing to her wont ; saw the purity and beauty of the affec- tion with which she had trifled, and reproached herself for having flung away such a treasure. It was gone indeed. William had spent it all out. He loved her no more, he thought, as he had loved her. He never could again. That sort of regard, which he had proffered to her for so many faithful years, can't be flung down and shattered, and mended so as to show no scars. The little heedless tyrant had so destroyed it. No, William thought again and again, " It was myself I de- luded, and persisted in cajoling; had she been worthy of the love I gave her, she would have returned it long ago. It was a fond mistake. Isn't the whole course of life made up of such? and suppose I had won her, should I not have been disenchanted the day after my victory? Why pine, or be ashamed of my defeat?" The more he thought of this long passage of his life, the more clearly he saw his deception. " I'll go into harness again," he said, "and do my duty in that state of life in which it has pleased Heaven to place me. I will see that the buttons of the recruits are properly bright, and that the sergeants make no mistakes in their accounts. I will dine at mess, and listen to the Scotch surgeon telling his stories. When I am old and broken, I will go on half-pay, and my old sisters shall scold me. I have ' geliebt und gelebet ' as the girl in Wallenstein says. I am done. Pay the bills, and get me a cigar; find out what there is at the play to-night, Francis ; to-morrow we cross by the ' Batavier.' " He made the above speech, whereof Francis only heard the last two lines, pacing up and down the Boompjes at Rotterdam. The ' Batavier ' VANITY FAIR 25 was lying in the basin. He could see the place on the quarter-deck, where he and Emmy had sat on the happy voyage out. What had that little Mrs. Crawley to say to him? Psha! to-morrow we will put to sea, and return to England, home, and duty! After June all the little Court Society of Pumpernickel used to separate, according to the German plan, and make for a hundred watering-places, where they drank at the wells ; rode upon donkeys ; gambled at the redoutes, if they had money and a mind ; rushed with hundreds of their kind, to gormandise at the tables-d 'hote ; and idled away the summer. The English diplomatists went off to Toplitz and Kissingen, their French rivals shut up their chancellerie and whisked away to their darling Boulevard de Gand. The Transparent reigning family took, too, to the waters, or retired to their hunting-lodges. Every- body went away having any pretensions to politeness, and, of course, with them, Doctor von Glauber, the Court Doctor, and his Baroness. The seasons for the baths were the most productive periods of the Doctor's practice he united business with pleasure, and his chief place of resort was Ostend, which is much frequented by Germans, and where the Doctor treated himself and his spouse to what he called a " dib " in the sea. His interesting patient, Jos, was a regular milch-cow to the Doctor, and he easily persuaded the Civilian, both for his own health's sake and that of his charming sister, which was really very much shattered, to pass the summer at that hideous seaport town. Emmy did not care where she went much. Georgy jumped at the idea of a move. As for Becky, she came as a matter of course in the fourth place inside of the fine barouche Mr. Jos had bought; the two domestics being on the box in front. She might have some misgivings about the friends whom she should meet at Ostend, and who might be likely to tell ugly stories but, bah ! she was strong enough to hold her own. She had cast such an anchor in Jos now as would require a strong storm to shake. That incident of the picture had finished him. 26 WILLIAM MAKEPEACE THACKERAY Becky took down her elephant, and put it into the little box which she had had from Amelia ever so many years ago. Emmy also came off with her Lares, her two pictures, and the party, finally, were lodged in an ex- ceedingly dear and uncomfortable house at Ostend. There Amelia began to take baths, and get what good she could from them, and though scores of people of Becky's acquaintance passed her and cut her, yet Mrs. Osborne, who walked about with her, and who knew nobody, was not aware of the treatment experienced by the friend whom she had chosen so judiciously as a companion ; indeed, Becky never thought fit to tell her what was passing under her innocent eyes. Some of Mrs. Rawdon Crawley's acquaintances, how- ever, acknowledged her readily enough, perhaps more readily than she would have desired. Among these were Major Loder (unattached), and Captain Rook (late of the Rifles), who might be seen any day on the Dyke, smok- ing and staring at the women, and who speedily got an introduction to the hospitable board and select circle of Mr. Joseph Sedley. In fact, they would take no denial; they burst into the house whether Becky was at home or not, walked into Mrs. Osborne's drawing-room, which they perfumed with their coats and mustachios, called Jos "Old Buck," and invaded his dinner-table, and laughed and drank for long hours there. " What can they mean? " asked Georgy, who did not like these gentlemen. " I heard the Major say to Mrs. Crawley yesterday, ' No, no, Becky, you shan't keep the old buck to yourself. We must have the bones in, or, dammy, I'll split.' What could the Major mean, Mamma." "Major! don't call him Major!" Emmy said. "I'm sure I can't tell what he meant." His presence and that of his friends inspired the little lady with intolerable terror and aversion. They paid her tipsy compliments ; they leered at her over the dinner-table. And the Captain made her advances that filled her with sickening dismay, nor would she ever see him unless she had George by her side. VANITY FAIR 27 Rebecca, to do her justice, never would let either of these men remain alone with Amelia ; the Major was dis- engaged too, and swore he would be the winner of her. A couple of ruffians were fighting for this innocent creature, gambling for her at her own table ; and though she was not aware of the rascals' designs upon her, yet she felt a horror and uneasiness in their presence, and longed to fly. She besought, she entreated Jos to go. Not he. He was slow of movement, tied to his Doctor, and perhaps to some other leading-strings. At least Becky was not anxious to go to England. At last she took a great resolution made the great plunge. She wrote off a letter to a friend whom she had on the other side of the water; a letter about which she did not speak a word to anybody, which she carried her- self to the post under her shawl, nor was any remark made about it ; only that she looked very much flushed and agitated when Georgy met her; and she kissed him and hung over him a great deal that night. She did not come out of her room after her return from her walk. Becky thought it was Major Loder and the Captain who frightened her. " She mustn't stop here," Becky reasoned with herself. " She must go away, the silly little fool. She is still whimpering after that gaby of a husband dead (and served right!) these fifteen years. She shan't marry either of these men. It's too bad of Loder. No; she shall marry the bamboo-cane, I'll settle it this very night." So Becky took a cup of tea to Amelia in her private apartment, and found that lady in the company of her miniatures, and in a most melancholy and nervous con- dition. She laid down the cup of tea. "Thank you," said Amelia. " Listen to me, Amelia," said Becky, marching up and down the room before the other, and surveying her with a sort of contemptuous kindness. " I want to talk to you. You must go away from here and from the im- pertinences of these men. I won't have you harassed by 28 WILLIAM MAKEPEACE THACKERAY them : and they will insult you if you stay. I tell you they are rascals; men fit to send to the hulks. Never mind how I know them. I know everybody. Jos can't protect you, he is too weak, and wants a protector him- self. You are no more fit to live in the world than a baby in arms. You must marry, or you and your precious boy will go to ruin. You must have a husband, you fool ; and one of the best gentlemen I ever saw was offered you a hundred times, and you have rejected him, you silly, heartless, ungrateful little creature." " I tried I tried my best, indeed I did, Rebecca," said Amelia, deprecatingly, "but I couldn't forget ;" and she finished the sentence by looking up at the portrait. "Couldn't forget him!" cried out Becky; "that selfish humbug, that low-bred cockney dandy, that padded booby, who had neither wit, nor manners, nor heart, and was no more to be compared to your friend with the bamboo cane than you are to Queen Elizabeth. Why, the man was weary of you, and would have jilted you, but that Dobbin forced him to keep his word. He owned it to me. He never cared for you. He used to sneer about you to me, time after time ; and made love to me the week after he married you." "It's false! It's false! Rebecca," cried out Amelia, starting up. " Look there, you fool," Becky said, still with provok- ing good-humour ; and taking a little paper out of her belt, she opened it and flung it into Emmy's lap. "You know his hand-writing. He wrote that to me wanted me to run away with him gave it me under your nose, the day before he was shot and served him right ! " Becky repeated. Emmy did not hear her; she was looking at the letter. It was that which George had put into the bouquet and given to Becky on the night of the Duke of Richmond's ball. It was as she said: the foolish young man had asked her to fly. Emmy's head sank down, and for almost the last time in which she shall be called upon to weep in this history, VANITY FAIR 29 she commenced that work. Her head fell to her bosom, and her hands went up to her eyes; and there for a while, she gave way to her emotions, as Becky stood on and regarded her. Who shall analyse those tears, and say whether they were sweet or bitter? Was she most grieved, because the idol of her life was tumbled down and shivered at her feet, or indignant that her love had been so despised, or glad because the barrier was removed which modesty had placed between her and a new, a real affection? "There is nothing to forbid me now," she thought. " I may love him with all my heart now. Oh, I will, I will, if he will but let me, and forgive me." I believe it was this feeling rushed over all the others which agitated that gentle little bosom. Indeed she did not cry so much as Becky expected the other soothed and kissed her a rare mark of sympathy with Mrs. Becky. She treated Emmy like a child, and patted her head. "And now let us get pen and ink, and write to him to come this minute," she said. " I I wrote to him this morning," Emmy said, blush- ing exceedingly. Becky screamed with laughter " Un biglietto^ she sang out with Rosina, " eccolo qua!" the whole house echoed with her shrill singing. Two mornings after this little scene, although the day was rainy and gusty, and Amelia had had an exceed- ingly wakeful night, listening to the wind roaring, and pitying all travellers by land and by water, yet she got up early, and insisted upon taking a walk on the Dyke with Georgy; and there she paced as the rain beat into her face, and she looked out westward across the dark sea-line, and over the swollen billows which came tumbling and frothing to the shore. Neither spoke much, except now and then, when the boy said a few words to his timid companion, indicative of sympathy and protection. " I hope he won't cross in such weather," Emmy said. ' ' I bet ten to one he does, " the boy answered. ' ' Look, 30 WILLIAM MAKEPEACE THACKERAY mother, there 's the smoke of the steamer." It was that signal, sure enough. But though the steamer was under weigh, he might not be on board : he might not have got the letter ; he might not choose to come. A hundred fears poured one over the other into the little heart, as fast as the waves on to the dyke. The boat followed the smoke into sight. Georgy had a dandy telescope, and got the vessel under view in the most skilful manner. And he made appropriate nautical comments upon the manner of the approach of the steamer as she came nearer and nearer, dipping and rising in the water. The signal of an English steamer in sight went fluttering up to the mast on the pier. I daresay Mrs. Amelia's heart was in a similar flutter. Emmy tried to look through the telescope over George's shoulder, but she could make nothing of it She only saw a black eclipse bobbing up and down before her eyes. George took the glass again and raked the vessel. " How she does pitch! " he said. " There goes a wave slap over her bows. There 's only two people on deck besides the steersman. There 's a man laying down, and a chap in a cloak with a Hooray! It's Dob, by jingo!" He clapped-to the telescope and flung his arms round his mother. As for that lady, let us say what she did in the words of a favourite poet Scucpvo'ev yE\a