The broad flood under Thames bridges spoke to him in the very tones of 'the master.' He breathed Guppy's London particular, the wind was the black easter that pierced the diaphragm of Scrooge's clerk.
'We bookish people have our connotations for the life we do not live. In time I came to see London with my own eyes, but how much better when I saw it with those of Dickens!'
Tired and discouraged, badly nourished, badly housed—working under conditions little favourable to play of the fancy or intentness of the mind—then was the time, Gissing found, to take down Forster and read—read about Charles Dickens.
'Merely as the narrative of a wonderfully active, zealous, and successful life, this book scarce has its equal; almost any reader must find it exhilarating; but to me it yielded such special sustenance as in those days I could not have found elsewhere, and lacking which I should, perhaps, have failed by the way. I am not referring to Dickens's swift triumph, to his resounding fame and high prosperity; these things are cheery to read about, especially when shown in a light so human, with the accompaniment of so much geniality and mirth. No; the pages which invigorated me are those where we see Dickens at work, alone at his writing-table, absorbed in the task of the story-teller. Constantly he makes known to Forster how his story is getting on, speaks in detail of difficulties, rejoices over spells of happy labour; and what splendid sincerity in it all! If this work of his was not worth doing, why, nothing was. A troublesome letter has arrived by the morning's post and threatens to spoil the day; but he takes a few turns up and down the room, shakes off the worry, and sits down to write for hours and hours. He is at the sea-side, his desk at a sunny bay window overlooking the shore, and there all the morning he writes with gusto, ever and again bursting into laughter at his own thoughts.'7
The influence of Dickens clearly predominated when Gissing wrote his next novel and first really notable and artistic book, Thyrza.8 The figure which irradiates this story is evidently designed in the school of Dickens: it might almost be a pastel after some more highly finished work by Daudet. But Daudet is a more relentless observer than Gissing, and to find a parallel to this particular effect I think we must go back a little farther to the heroic age of the grisette and the tearful Manchon de Francine of Henri Murger. Thyrza, at any rate, is a most exquisite picture in half-tones of grey and purple of a little Madonna of the slums; she is in reality the belle fleur d'un fumier of which he speaks in the epigraph of the Nether World. The fumier in question is Lambeth Walk, of which we have a Saturday night scene, worthy of the author of L'Assommoir and Le Ventre de Paris in his most perceptive mood. In this inferno, amongst the pungent odours, musty smells and 'acrid exhalations from the shops where fried fish and potatoes hissed in boiling grease,' blossomed a pure white lily, as radiant amid mean surroundings as Gemma in the poor Frankfort confectioner's shop of Turgenev's Eaux Printanières. The pale and rather languid charm of her face and figure are sufficiently portrayed without any set description. What could be more delicate than the intimation of the foregone 'good-night' between the sisters, or the scene of Lyddy plaiting Thyrza's hair? The delineation of the upper middle class culture by which this exquisite flower of maidenhood is first caressed and transplanted, then slighted and left to wither, is not so satisfactory. Of the upper middle class, indeed, at that time, Gissing had very few means of observation. But this defect, common to all his early novels, is more than compensated by the intensely pathetic figure of Gilbert Grail, the tender-souled, book-worshipping factory hand raised for a moment to the prospect of intellectual life and then hurled down by the caprice of circumstance to the unrelenting round of manual toil at the soap and candle factory. Dickens would have given a touch of the grotesque to Grail's gentle but ungainly character; but at the end he would infallibly have rewarded him as Tom Pinch and Dominie Sampson were rewarded. Not so George Gissing. His sympathy is fully as real as that of Dickens. But his fidelity to fact is greater. Of the Christmas charity prescribed by Dickens, and of the untainted pathos to which he too rarely attained, there is an abundance in Thyrza. But what amazes the chronological student of Gissing's work is the magnificent quality of some of the writing, a quality of which he had as yet given no very definite promise. Take the following passage, for example:—
'A street organ began to play in front of a public-house close by. Grail drew near; there were children forming a dance, and he stood to watch them.
Do you know that music of the obscure ways, to which children dance? Not if you have only heard it ground to your ears' affliction beneath your windows in the square. To hear it aright you must stand in the darkness of such a by-street as this, and for the moment be at one with those who dwell around, in the blear-eyed houses, in the dim burrows of poverty, in the unmapped haunts of the semi-human. Then you will know the significance of that vulgar clanging of melody; a pathos of which you did not dream will touch you, and therein the secret of hidden London will be half revealed. The life of men who toil without hope, yet with the hunger of an unshaped desire; of women in whom the sweetness of their sex is perishing under labour and misery; the laugh, the song of the girl who strives to enjoy her year or two of youthful vigour, knowing the darkness of the years to come; the careless defiance of the youth who feels his blood and revolts against the lot which would tame it; all that is purely human in these darkened multitudes speaks to you as you listen. It is the half-conscious striving of a nature which knows not what it would attain, which deforms a true thought by gross expression, which clutches at the beautiful and soils it with foul hands.
The children were dirty and ragged, several of them barefooted, nearly all bare-headed, but they danced with noisy merriment. One there was, a little girl, on crutches; incapable of taking a partner, she stumped round and round, circling upon the pavement, till giddiness came upon her and she had to fall back and lean against the wall, laughing aloud at her weakness. Gilbert stepped up to her, and put a penny into her hand; then, before she had recovered from her surprise, passed onwards.'—(p. 111.)
This superb piece of imaginative prose, of which Shorthouse himself might have been proud,9 is recalled by an answering note in Ryecroft, in which he says, 'I owe many a page to the street-organs.'
And, where the pathos has to be distilled from dialogue, I doubt if the author of Jack himself could have written anything more restrainedly touching or in a finer taste than this:—
'Laughing with kindly mirth, the old man drew on his woollen gloves and took up his hat and the violin-bag. Then he offered to say good-bye.
"But you're forgetting your top-coat, grandad," said Lydia.
"I didn't come in it, my dear."
"What's that, then? I'm sure we don't wear such things."
She pointed to a chair, on which Thyrza had just artfully spread the gift. Mr. Boddy looked in a puzzled way; had he really come in his coat and forgotten it? He drew nearer.
"That's no coat o' mine, Lyddy," he said.
Thyrza broke into a laugh.
"Why, whose is it, then?" she exclaimed. "Don't play tricks, grandad; put it on at once!"
"Now come, come; you're keeping Mary waiting," said Lydia, catching up the coat and holding it ready.
Then Mr. Boddy understood. He looked from Lydia to Thyrza with dimmed eyes.
"I've a good mind never to speak to either of you again," he said in a tremulous voice. "As if you hadn't need enough of your money! Lyddy,
Lyddy! And you're as had, Thyrza, a grownup woman like you; you ought to teach your sister better. Why, there; it's