The Craft of Fiction - Percy Lubbock (great books for teens .txt) 📗

more, a summary of Becky's course of action, a long look at her conditions, a participation in her gathering difficulties—that is the nature and the task of these chapters, that is what Thackeray proceeds to give us.

He sets about it with a beautiful ease of assurance. From his height he looks forth, takes in the effect with his sweeping vision, possesses himself of the gradation of its tone; then, stooping nearer, he seizes the detail that renders it. But the sense of the broad survey is first in his thought. When he reflects upon Becky's life in London and all that came of her attempt to establish herself there, he is soon assailed by a score of definite recollections, tell-tale incidents, scraps of talk that show how things were going with her; but these, it would seem, arise by the way, they spring up in his mind as he reviews the past. They illustrate what he has to say, and he takes advantage of them. He brushes past them, however, without much delaying or particularizing; a hint, a moment, a glance suffices for the contribution that some event or colloquy is to make to the picture. Note, for example, how unceremoniously, again and again, and with how little thought of disposing a deliberate scene, he drifts into his account of something that Becky said or did; she begins to talk, you find there is some one else in the room, you find they are in a certain room at a certain hour; definition emerges unawares in a brooding memory. Briefly, to all appearance quite casually, the little incident shows itself and vanishes; there is a pause to watch and listen, and then the stream sets forward again, by so much enriched and reinforced. Or in a heightened mood, as in the picture of the midnight flurry and alarm of the great desolate house, when old Pitt Crawley is suddenly struck down, still it is as though Thackeray circled about the thought of the time and place, offering swift and piercing glimpses of it, giving no continuous and dramatic display of a constituted scene.

That foreshortening and generalizing, that fusion of detail, that subordination of the instance and the occasion to the broad effect, are the elements of the pictorial art in which Thackeray is so great a master. So long as it is a matter of sketching a train of life in broad free strokes, the poise and swing of his style are beyond praise. And its perfection is all the more notable that it stands in such contrast with the curious drop and uncertainty of his skill, so soon as there is something more, something different to be done. For Becky's dubious adventure has its climax, it tends towards a conclusion, and the final scene cannot be recalled and summarized in his indirect, reminiscential manner. It must be placed immediately before us, the collapse of Becky's plotting and scheming must be enacted in full view, if it is to have its proper emphasis and rightly round off her career. Hitherto we have been listening to Thackeray, on the whole, while he talked about Becky—talked with such extraordinary brilliance that he evoked her in all her ways and made us see her with his eyes; but now it is time to see her with our own, his lively interpretation of her will serve no longer. Does Becky fail in the end? After all that we have heard of her struggle it has become the great question, and the force of the answer will be impaired if it is not given with the best possible warrant. The best possible, better even than Thackeray's wonderful account of her, will be the plain and immediate performance of the answer, its embodiment in a scene that shall pass directly in front of us. The method that was not demanded by the preceding phases of the tale is here absolutely prescribed. Becky, Rawdon, Steyne, must now take the matter into their own hands and show themselves without any other intervention. Hitherto, practically throughout, they have been the creatures of Thackeray's thought, they have been openly and confessedly the figures of his vision. Now they must come forward, declare themselves, and be seen for what they are.

And accordingly they do come forward and are seen in a famous passage. Rawdon makes his unexpected return home from prison, and Becky's unfortunate disaster overtakes her, so to say, in our very presence. Perhaps I may seem to exaggerate the change of method which I note at this point; but does it not appear to any one, glancing back at his recollection of the book, that this particular scene is defined and relieved and lighted differently, somehow, from the stream of impressions in which it is set? A space is cleared for it, the stage is swept. This is now no retrospective vision, shared with Thackeray; it is a piece of present action with which we are confronted. It is strictly dramatic, and I suppose it is good drama of its kind. But there is more to be said of it than this—more to be said, even when it has been admitted to be drama of rather a high-pitched, theatrical strain. The foot-lights, it is probably agreed, seem suddenly to flare before Becky and Rawdon, after the clear daylight that reigned in Thackeray's description of them; they appear upon the scene, as they should, but it must be owned that the scene has an artificial look, by comparison with the flowing spontaneity of all that has gone before. And this it is exactly that shows how and where Thackeray's skill betrays him. He is not (like Dickens) naturally inclined to the theatre, the melodramatic has no fatal attraction for him; so that if he is theatrical here, it is not because he inevitably would be, given his chance. It is rather because he must, at all costs, make this climax of his story conclusively tell; and in order to do so he is forced to use devices of some crudity—for him they are crude—because his climax, his scène à faire, has been insufficiently prepared for. Becky, Rawdon, Steyne, in all this matter that has been leading up to the scene, have scarcely before been rendered in these immediate terms; and now that they appear on their own account they can only make a sure and pronounced effect by perceptibly forcing their note. A little too much is expected of them, and they must make an unnatural effort to meet it.

My instance is a small one, no doubt, to be pressed so far; in lingering over these shades of treatment a critic, it may be thought, loses sight of the book itself. But I am not trying, of course, to criticize Vanity Fair; I am looking for certain details of method, and the small instance is surely illuminating. It shows how little Thackeray's fashion of handling a novel allowed for the big dramatic scene, when at length it had to be faced—how he neglected it in advance, how he refused it till the last possible moment. It is as though he never quite trusted his men and women when he had to place things entirely in their care, standing aside to let them act; he wanted to intervene continually, he hesitated to leave them alone save for a brief and belated half-hour. It was perverse of him, because the men and women would have acquitted themselves so strikingly with a better chance; he gave them life and vigour enough for much more independence than they ever enjoyed. The culmination of Becky's adventure offered a clear opening for full dramatic effect, if he had chosen to take advantage of it. He had steadily piled up his impression, carefully brought all the sense of the situation to converge upon a single point; everything was ready for the great scene of Becky's triumph in the face of the world, one memorable night of a party at Gaunt House. It is incredible that he should let the opportunity slip. There was a chance of a straight, unhampered view of the whole meaning of his matter; nothing was needed but to allow the scene to show itself, fairly and squarely. All its force would have been lent to the disaster that follows; the dismay, the disillusion, the snarl of anger and defiance, all would have been made beforehand. By so much would the effect of the impending scene, the scene of catastrophe, have been strengthened. There would have been no necessity for the sudden heightening of the pitch, the thickening of the colour, the incongruous and theatrical tone.

Yet the chance is missed, the triumphal evening passes in a confused haze that leaves the situation exactly where it was before. The episode is only a repetition of the kind of thing that has happened already. There are echoes of festive sound and a rumour of Becky's brilliance; but the significant look that the actual facts might have worn and must have betrayed, the look that by this time Thackeray has so fully instructed his reader to catch—this is not disclosed after all. There is still nothing here but Thackeray's amusing, irrepressible conversation about the scene; he cannot make up his mind to clear a space before it and give the situation the free field it cries out for. And if it is asked what kind of clarity I mean, I need only recall another page, close by, which shows it perfectly. Becky had made an earlier appearance at Gaunt House; she had dined there, near the beginning of her social career, and had found herself in a difficulty; there came a moment when she had to face the frigid hostility of the noble ladies of the party, alone with them in the drawing-room, and her assurance failed. In the little scene that ensues the charming veil of Thackeray's talk is suddenly raised; there is Becky seated at the piano, Lady Steyne listening in a dream of old memories, the other women chattering at a distance, when the jarring doors are thrown open and the men return. It is all over in half a page, but in that glimpse the story is lifted forward dramatically; ocular proof, as it were, is added to Thackeray's account of Becky's doubtful and delicate position. As a matter of curiosity I mention the one moment in the later episode, the evening of those strangely ineffective charades at Gaunt House, which appears to me to open the same kind of rift in the haze; it is a single glimpse of Steyne, applauding Becky's triumph. He is immediately there, an actor in the show, alive and expressive, but he is alone; none of the others so emerges, even Becky is only a luminous spot in the dimness. As for the relation of the three, Steyne, Becky, and her husband, which is on the point of becoming so important, there is nothing to be seen of it.

Right and left in the novels of Thackeray one may gather instances of the same kind—the piercing and momentary shaft of direct vision, the big scene approached and then refused. It is easy to find another in Vanity Fair. Who but Thackeray could have borne to use the famous matter of the Waterloo ball, a wonderful gift for a novelist to find in his path, only to waste it, to dissipate its effect, to get no real contribution from it after all? In the queer, haphazard, polyglot interlude that precedes it Thackeray is, of course, entirely at home; there it is a question of the picture-making he delights in, the large impression of things in general, the evocation of daily life; Brussels in its talkative suspense, waiting for the sound of the guns, feeding on rumour, comes crowding into the chapter. And then the great