I cannot say of Bulwer as I have of the other novelists whom I have named that he lived with his characters. He lived with his work, with the doctrines which at the time he wished to preach, thinking always of the effects which he wished to produce; but I do not think he ever knew his own personages,—and therefore neither do we know them. Even Pelham and Eugene Aram are not human beings to us, as are Pickwick, and Colonel Newcombe, and Mrs. Poyser.
In his plots Bulwer has generally been simple, facile, and successful. The reader never feels with him, as he does with Wilkie Collins, that it is all plot, or, as with George Eliot, that there is no plot. The story comes naturally without calling for too much attention, and is thus proof of the completeness of the man’s intellect. His language is clear, good, intelligible English, but it is defaced by mannerism. In all that he did, affectation was his fault.
How shall I speak of my dear old friend Charles Lever, and his rattling, jolly, joyous, swearing Irishmen. Surely never did a sense of vitality come so constantly from a man’s pen, nor from man’s voice, as from his! I knew him well for many years, and whether in sickness or in health, I have never come across him without finding him to be running over with wit and fun. Of all the men I have encountered, he was the surest fund of drollery. I have known many witty men, many who could say good things, many who would sometimes be ready to say them when wanted, though they would sometimes fail;—but he never failed. Rouse him in the middle of the night, and wit would come from him before he was half awake. And yet he never monopolised the talk, was never a bore. He would take no more than his own share of the words spoken, and would yet seem to brighten all that was said during the night. His earlier novels—the later I have not read—are just like his conversation. The fun never flags, and to me, when I read them, they were never tedious. As to character he can hardly be said to have produced it. Corney Delaney, the old manservant, may perhaps be named as an exception.
Lever’s novels will not live long,—even if they may be said to be alive now,—because it is so. What was his manner of working I do not know, but I should think it must have been very quick, and that he never troubled himself on the subject, except when he was seated with a pen in his hand.
Charlotte Bronte was surely a marvellous woman. If it could be right to judge the work of a novelist from one small portion of one novel, and to say of an author that he is to be accounted as strong as he shows himself to be in his strongest morsel of work, I should be inclined to put Miss Bronte very high indeed. I know no interest more thrilling than that which she has been able to throw into the characters of Rochester and the governess, in the second volume of Jane Eyre. She lived with those characters, and felt every fibre of the heart, the longings of the one and the sufferings of the other. And therefore, though the end of the book is weak, and the beginning not very good, I venture to predict that Jane Eyre will be read among English novels when many whose names are now better known shall have been forgotten. Jane Eyre, and Esmond, and Adam Bede will be in the hands of our grandchildren, when Pickwick, and Pelham, and Harry Lorrequer are forgotten; because the men and women depicted are human in their aspirations, human in their sympathies, and human in their actions.
In Vilette, too, and in Shirley, there is to be found human life as natural and as real, though in circumstances not so full of interest as those told in Jane Eyre. The character of Paul in the former of the two is a wonderful study. She must herself have been in love with some Paul when she wrote the book, and have been determined to prove to herself that she was capable of loving one whose exterior circumstances were mean and in every way unprepossessing.
There is no writer of the present day who has so much puzzled me by his eccentricities, impracticabilities, and capabilities as Charles Reade. I look upon him as endowed almost with genius, but as one who has not been gifted by nature with ordinary powers of reasoning. He can see what is grandly noble and admire it with all his heart. He can see, too, what is foully vicious and hate it with equal ardour. But in the common affairs of life he cannot see what is right or wrong; and as he is altogether unwilling to be guided by the opinion of others, he is constantly making mistakes in his literary career, and subjecting himself to reproach which he hardly deserves. He means to be honest. He means to be especially honest,—more honest than other people. He has written a book called The Eighth Commandment on behalf of honesty in literary transactions,—a wonderful work, which has I believe been read by a very few. I never saw a copy except that in my own library, or heard of any one who knew the book. Nevertheless it is a volume that must have taken very great labour, and have been written,—as indeed he declares that it was written,—without the hope of pecuniary reward. He makes an appeal to the British Parliament and British people on behalf of literary honesty, declaring that should he fail—”I shall have to go on blushing for the people I was born among.” And yet of all the writers of my day he has seemed to me to understand literary honesty the least. On one occasion, as he tells us in this book, he bought for a certain sum from a French author the right of using a plot taken from a play,—which he probably might have used without such purchase, and also without infringing any international copyright act. The French author not unnaturally praises him for the transaction, telling him that he is “un vrai gentleman.” The plot was used by Reade in a novel; and a critic discovering the adaptation, made known his discovery to the public. Whereupon the novelist became angry, called his critic a pseudonymuncle, and defended himself by stating the fact of his own purchase. In all this he seems to me to ignore what we all mean when we talk of literary plagiarism and literary honesty. The sin of which the author is accused is not that of taking another man’s property, but of passing off as his own creation that which he does not himself create. When an author puts his name to a book he claims to have written all that there is therein, unless he makes direct signification to the contrary. Some years subsequently there arose another similar question, in which Mr. Reade’s opinion was declared even more plainly, and certainly very much more publicly. In a tale which he wrote he inserted a dialogue which he took from Swift, and took without any acknowledgment. As might have been expected, one of the critics of the day fell foul of him for this barefaced plagiarism. The author, however, defended himself, with much abuse of the critic, by asserting, that whereas Swift had found the jewel he had supplied the setting;—an argument in which there was some little wit, and would have been much excellent truth, had he given the words as belonging to Swift and not to himself.
The novels of a man possessed of so singular a mind must themselves be very strange,—and they are strange. It has generally been his object to write down some abuse with which he has been particularly struck,—the harshness, for instance, with which paupers or lunatics are treated, or the wickedness of certain classes,—and he always, I think, leaves upon his readers an idea of great earnestness of purpose. But he has always left at the same time on my mind so strong a conviction that he has not really understood his subject, that I have ever found myself taking the part of those whom he has accused. So good a heart, and so wrong a head, surely no novelist ever before had combined! In storytelling he has occasionally been almost great. Among his novels I would especially recommend The Cloister and the Hearth. I do not know that in this work, or in any, that he has left a character that will remain; but he has written some of his scenes so brightly that to read them would always be a pleasure.
Of Wilkie Collins it is impossible for a true critic not to speak with admiration, because he has excelled all his contemporaries in a certain most difficult branch of his art; but as it is a branch which I have not myself at all cultivated, it is not unnatural that his work should be very much lost upon me individually. When I sit down to write a novel I do not at all know, and I do not very much care, how it is to end. Wilkie Collins seems so to construct his that he not only, before writing, plans everything on, down to the minutest detail, from the beginning to the end; but then plots it all back again, to see that there is no piece of necessary dovetailing which does not