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n the foregoing volumes of this series of English Men of Letters, and in other works of a similar nature which have appeared lately as to the Ancient Classics and Foreign Classics, biography has naturally been, if not the leading, at any rate a considerable element. The desire is common to all readers to know not only what a great writer has written, but also of what nature has been the man who has produced such great work. As to all the authors taken in hand before, there has been extant some written record of the man's life. Biographical details have been more or less known to the world, so that, whether of a Cicero, or of a Goethe, or of our own Johnson, there has been a story to tell. Of Thackeray no life has been written; and though they who knew him,—and possibly many who did not,—are conversant with anecdotes of the man, who was one so well known in society as to have created many anecdotes, yet there has been no memoir of his life sufficient to supply the wants of even so small a work as this purports to be. [1/2] For this the reason may simply be told. Thackeray, not long before his death, had had his taste offended by some fulsome biography. Paragraphs, of which the eulogy seemed to have been the produce rather of personal love than of inquiry or judgment, disgusted him, and he begged of his girls that when he should have gone there should nothing of the sort be done with his name.

We can imagine how his mind had worked, how he had declared to himself that, as by those loving hands into which his letters, his notes, his little details,—his literary remains, as such documents used to be called,—might naturally fall, truth of his foibles and of his shortcomings could not be told, so should not his praises be written, or that flattering portrait be limned which biographers are wont to produce. Acting upon these instructions, his daughters,—while there were two living, and since that the one surviving,—have carried out the order which has appeared to them to be sacred. Such being the case, it certainly is not my purpose now to write what may be called a life of Thackeray. In this preliminary chapter I will give such incidents and anecdotes of his life as will tell the reader perhaps all about him that a reader is entitled to ask. I will tell how he became an author, and will say how first he worked and struggled, and then how he worked and prospered, and became a household word in English literature;—how, in this way, he passed through that course of mingled failure and success which, though the literary aspirant may suffer, is probably better both for the writer and for the writings than unclouded early glory. The suffering no doubt is acute, and a touch of melancholy, perhaps of indignation, may be given to words which have been 3" 3[3] written while the heart has been too full of its own wrongs; but this is better than the continued note of triumph which is still heard in the final voices of the spoilt child of literature, even when they are losing their music. Then I will tell how Thackeray died, early indeed, but still having done a good life's work. Something of his manner, something of his appearance I can say, something perhaps of his condition of mind; because for some few years he was known to me. But of the continual intercourse of himself with the world, and of himself with his own works, I can tell little, because no record of his life has been made public.

William Makepeace Thackeray was born at Calcutta, on July 18, 1811. His father was Richmond Thackeray, son of W. M. Thackeray of Hadley, near Barnet, in Middlesex. A relation of his, of the same name, a Rev. Mr. Thackeray, I knew well as rector of Hadley, many years afterwards. Him I believe to have been a second cousin of our Thackeray, but I think they had never met each other. Another cousin was Provost of Kings at Cambridge, fifty years ago, as Cambridge men will remember. Clergymen of the family have been numerous in England during the century, and there was one, a Rev. Elias Thackeray, whom I also knew in my youth, a dignitary, if I remember right, in the diocese of Meath. The Thackerays seem to have affected the Church; but such was not at any period of his life the bias of our novelist's mind.

His father and grandfather were Indian civil servants. His mother was Anne Becher, whose father was also in the Company's service. She married early in India, and was only nineteen when her son was born. She was left [3/4] a widow in 1816, with only one child, and was married a few years afterwards to Major Henry Carmichael Smyth, with whom Thackeray lived on terms of affectionate intercourse till the major died. All who knew William Makepeace remember his mother well, a handsome, spare, gray-haired lady, whom Thackeray treated with a courtly deference as well as constant affection. There was, however, something of discrepancy between them as to matters of religion. Mrs. Carmichael Smyth was disposed to the somewhat austere observance of the evangelical section of the Church. Such, certainly, never became the case with her son. There was disagreement on the subject, and probably unhappiness at intervals, but never, I think, quarrelling. Thackeray's house was his mother's home whenever she pleased it, and the home also of his stepfather.

He was brought a child from India, and was sent early to the Charter House. Of his life and doings there his friend and schoolfellow George Venables writes to me as follows;

"My recollection of him, though fresh enough, does not furnish much material for biography. He came to school young,—a pretty, gentle, and rather timid boy. I think his experience there was not generally pleasant. Though he had afterwards a scholarlike knowledge of Latin, he did not attain distinction in the school; and I should think that the character of the head-master, Dr. Russell, which was vigorous, unsympathetic, and stern, though not severe, was uncongenial to his own. With the boys who knew him, Thackeray was popular; but he had no skill in games, and, I think, no taste for them.... He was already known by his faculty of making verses, [4/5] chiefly parodies. I only remember one line of one parody on a poem of L. E. L.'s, about 'Violets, dark blue violets;' Thackeray's version was 'Cabbages, bright green cabbages,' and we thought it very witty. He took part in a scheme, which came to nothing, for a school magazine, and he wrote verses for it, of which I only remember that they were good of their kind. When I knew him better, in later years, I thought I could recognise the sensitive nature which he had as a boy.... His change of retrospective feeling about his school days was very characteristic. In his earlier books he always spoke of the Charter House as Slaughter House and Smithfield. As he became famous and prosperous his memory softened, and Slaughter House was changed into Grey Friars where Colonel Newcome ended his life."

In February, 1829, when he was not as yet eighteen, Thackeray went up to Trinity College, Cambridge, and was, I think, removed in 1830. It may be presumed, therefore, that his studies there were not very serviceable to him. There are few, if any, records left of his doings at the university,—unless it be the fact that he did there commence the literary work of his life. The line about the cabbages, and the scheme of the school magazine, can hardly be said to have amounted even to a commencement. In 1829 a little periodical was brought out at Cambridge, called The Snob, with an assurance on the title that it was not conducted by members of the university. It is presumed that Thackeray took a hand in editing this. He certainly wrote, and published in the little paper, some burlesque lines on the subject which was given for the Chancellor's prize poem of the year. This was Timbuctoo, and Tennyson was the victor on the occasion. [5/6] There is some good fun in the four first and four last lines of Thackeray's production.

In Africa,—a quarter of the world,—
Men's skins are black; their hair is crisped and curled;
And somewhere there, unknown to public view
A mighty city lies, called Timbuctoo.

I see her tribes the hill of glory mount,
And sell their sugars on their own account;
While round her throne the prostrate nations come,
Sue for her rice, and barter for her rum.

I cannot find in The Snob internal evidence of much literary merit beyond this. But then how many great writers have there been from whose early lucubrations no future literary excellence could be prognosticated?

There is something at any rate in the name of the publication which tells of work that did come. Thackeray's mind was at all times peculiarly exercised with a sense of snobbishness. His appreciation of the vice grew abnormally, so that at last he had a morbid horror of a snob—a morbid fear lest this or the other man should turn snob on his hands. It is probable that the idea was taken from the early Snob at Cambridge, either from his own participation in the work or from his remembrance of it. The Snob lived, I think, but nine weeks, and was followed at an interval, in 1830, by The Gownsman, which lived to the seventeenth number, and at the opening of which Thackeray no doubt had a hand. It professed to be a continuation of The Snob. It contains a dedication to all proctors, which I should not be sorry to attribute to him.

"To all Proctors, past, present, and future—

Whose taste it is our privilege to follow,
Whose virtue it is our duty to imitate,
Whose presence it is our interest to avoid."

There is, however, nothing beyond fancy to induce me to [6/7] believe that Thackeray was the author of the dedication, and I do not know that there is any evidence to show that he was connected with The Snob beyond the writing of Timbuctoo.

In 1830 he left Cambridge, and went to Weimar either in that year or in 1831. Between Weimar and Paris he spent some portion of his earlier years, while his family,—his mother, that is, and his stepfather,—were living in Devonshire. It was then the purport of his life to become an artist, and he studied drawing at Paris, affecting especially Bonnington, the young English artist who had himself painted at Paris and who had died in 1828. He never learned to draw,—perhaps never could have learned. That he was idle, and did not do his best, we may take for granted. He was always idle, and only on some occasions, when the spirit moved him thoroughly, did he do his best even in after life. But with drawing,—or rather without it,—he did wonderfully well even when he did his worst. He did illustrate his own books, and everyone knows how incorrect were his delineations. But as illustrations they were excellent. How often have I wished that characters of my own creating might be sketched as faultily, if with the same appreciation of the intended purpose. Let anyone look at the "plates," as they are called in Vanity Fair, and compare each with the scenes and the characters intended to be displayed, and there see whether the artist,—if we may call him so,—has not managed to convey in the picture the exact feeling which he has described in the text. I have a little sketch of his, in which a cannon-ball is supposed to have just carried off the head of an aide-de-camp,—messenger I had perhaps better say, lest I might affront military feelings,—who is kneeling on the field of battle and delivering a despatch to Marlborough [7/8] on horseback. The graceful ease with which the duke receives the message though the messenger's head be gone, and the soldier-like precision with which the headless hero finishes his last effort of military obedience, may not have been portrayed with well-drawn figures, but no finished illustration ever told its story better. Dickens has informed us that he first met Thackeray in 1835, on which occasion the young artist aspirant, looking no doubt after profitable employment, "proposed to become the illustrator of my earliest book." It is singular that such should have been the first interview between the two great novelists. We may presume that the offer was rejected.

In 1832, Thackeray came of age, and inherited his fortune,—as to which various stories have been told. It seems to have amounted to about five hundred a year, and to have passed through his hands in a year or two, interest and principal. It has been told of him that it was all taken away from him at cards, but such was not the truth. Some went in an Indian bank in which he invested it. A portion was lost at cards. But with some of it,—the larger part as I think,—he endeavoured, in concert with his stepfather, to float a newspaper, which failed. There seem to have been two newspapers in which he was so concerned, The National Standard and The Constitutional. On the latter he was engaged with his stepfather, and in carrying that on he lost the last of his money. The National Standard had been running for some weeks when Thackeray joined it, and lost his money in it. It ran only for little more than twelve months, and then, the money having gone, the periodical came to an end. I know no road to fortune more tempting to a young man, or one that with more certainty leads to ruin. Thackeray, who in a way more or [8/9] less correct, often refers in his writings, if not to the incidents, at any rate to the remembrances of his own life, tells us much of the story of this newspaper in Lovel the Widower. "They are welcome," says the bachelor, "to make merry at my charges in respect of a certain bargain which I made on coming to London, and in which, had I been Moses Primrose purchasing green spectacles, I could scarcely have been more taken in. My Jenkinson was an old college acquaintance, whom I was idiot enough to imagine a respectable man. The fellow had a very smooth tongue and sleek sanctified exterior. He was rather a popular preacher, and used to cry a good deal in the pulpit. He and a queer wine merchant and bill discounter, Sherrick by name, had somehow got possession of that neat little literary paper, The Museum, which perhaps you remember, and this eligible literary property my friend Honeyman, with his wheedling tongue, induced me to purchase." Here is the history of Thackeray's money, told by himself plainly enough, but with no intention on his part of narrating an incident in his own life to the public. But the drollery of the circumstances, his own mingled folly and young ambition, struck him as being worth narration, and the more forcibly as he remembered all the ins and outs of his own reflections at the time,—how he had meant to enchant the world, and make his fortune. There was literary capital in it of which he could make use after so many years. Then he tells us of this ambition, and of the folly of it; and at the same time puts forward the excuses to be made for it. "I daresay I gave myself airs as editor of that confounded Museum, and proposed to educate the public taste, to diffuse morality and sound literature throughout the nation, and to pocket a liberal salary in return for my services. I daresay I printed my own sonnets, my own [9/10] tragedy, my own verses.... I daresay I wrote satirical articles.... I daresay I made a gaby of myself to the world. Pray, my good friend, hast thou never done likewise? If thou hast never been a fool, be sure thou wilt never be a wise man." Thackeray was quite aware of his early weaknesses, and in the maturity of life knew well that he had not been precociously wise. He delighted so to tell his friends, and he delighted also to tell the public, not meaning that any but an inner circle should know that he was speaking of himself. But the story now is plain to all who can read.1

It was thus that he lost his money; and then, not having prospered very well with his drawing lessons in Paris or elsewhere, he was fain to take up literature as a profession. It is a business which has its allurements. It requires no capital, no special education, no training, and may be taken up at any time without a moment's delay. If a man can command a table, a chair, pen, paper, and ink, he can commence his trade as literary man. It is thus that aspirants generally do commence it. A man may or may not have another employment to back him, or means of his own; or,—as was the case with Thackeray, when, after his first misadventure, he had to look about him for the means of living,—he may have nothing but his intellect and his friends. But the idea comes to the man that as he has the pen and ink, [10/11] and time on his hand, why should he not write and make money?

It is an idea that comes to very many men and women, old as well as young,—to many thousands who at last are crushed by it, of whom the world knows nothing. A man can make the attempt though he has not a coat fit to go out into the street with; or a woman, though she be almost in rags. There is no apprenticeship wanted. Indeed there is no room for such apprenticeship. It is an art which no one teaches; there is no professor who, in a dozen lessons, even pretends to show the aspirant how to write a book or an article. If you would be a watchmaker, you must learn; or a lawyer, a cook, or even a housemaid. Before you can clean a horse you must go into the stable, and begin at the beginning. Even the cab-driving tiro must sit for awhile on the box, and learn something of the streets, before he can ply for a fare. But the literary beginner rushes at once at the top rung of his ladder;—as though a youth, having made up his mind to be a clergyman, should demand, without preliminary steps, to be appointed Bishop of London. That he should be able to read and write is presumed, and that only. So much may be presumed of everyone, and nothing more is wanted.

In truth nothing more is wanted,—except those inner lights as to which, so many men live and die without having learned whether they possess them or not. Practice, industry, study of literature, cultivation of taste, and the rest, will of course lend their aid, will probably be necessary before high excellence is attained. But the instances are not to seek,—are at the fingers of us all,—in which the first uninstructed effort has succeeded. A boy, almost, or perhaps an old woman, has sat down [11/12] and the book has come, and the world has read it, and the booksellers have been civil and have written their cheques. When all trades, all professions, all seats at offices, all employments at which a crust can be earned, are so crowded that a young man knows not where to look for the means of livelihood, is there not an attraction in this which to the self-confident must be almost invincible? The booksellers are courteous and write their cheques, but that is not half the whole? Monstrari digito! That is obtained. The happy aspirant is written of in newspapers, or, perhaps, better still, he writes of others. When the barrister of forty-five has hardly got a name beyond Chancery Lane, this glorious young scribe, with the first down on his lips, has printed his novel and been talked about.

The temptation is irresistible, and thousands fall into it. How is a man to know that he is not the lucky one or the gifted one? There is the table and there the pen and ink. Among the unfortunate he who fails altogether and from the first start is not the most unfortunate. A short period of life is wasted, and a sharp pang is endured. Then the disappointed one is relegated to the condition of life which he would otherwise have filled a little earlier. He has been wounded, but not killed, or even maimed. But he who has a little success, who succeeds in earning a few halcyon, but, ah! so dangerous guineas, is drawn into a trade from which he will hardly escape till he be driven from it, if he come out alive, by sheer hunger. He hangs on till the guineas become crowns and shillings,—till some sad record of his life, made when he applies for charity, declares that he has worked hard for the last year or two and has earned less than a policeman in the streets or a porter at a railway. It is to that that he is [12/13] brought by applying himself to a business which requires only a table and chair, with pen, ink, and paper! It is to that which he is brought by venturing to believe that he has been gifted with powers of imagination, creation, and expression.

The young man who makes the attempt knows that he must run the chance. He is well aware that nine must fail where one will make his running good. So much as that does reach his ears, and recommends itself to his common sense. But why should it not be he as well as another? There is always some lucky one winning the prize. And this prize when it has been won is so well worth the winning! He can endure starvation,—so he tells himself,—as well as another. He will try. But yet he knows that he has but one chance out of ten in his favour, and it is only in his happier moments that he flatters himself that that remains to him. Then there falls upon him,—in the midst of that labour which for its success especially requires that a man's heart shall be light, and that he be always at his best,—doubt and despair. If there be no chance, of what use is his labour?

Were it not better done as others use,
To sport with Amaryllis in the shade,

and amuse himself after that fashion? Thus the very industry which alone could give him a chance is discarded. It is so that the young man feels who, with some slight belief in himself and with many doubts, sits down to commence the literary labour by which he hopes to live.

So it was, no doubt, with Thackeray. Such were his hopes and his fears;—with a resolution of which we can well understand that it should have waned at times, of earning his bread, if he did not make his fortune, in the [13/14] world of literature. One has not to look far for evidence of the condition I have described,—that it was so, Amaryllis and all. How or when he made his very first attempt in London, I have not learned; but he had not probably spent his money without forming "press" acquaintances, and had thus found an aperture for the thin end of the wedge. He wrote for The Constitutional, of which he was part proprietor, beginning his work for that paper as a correspondent from Paris. For a while he was connected with The Times newspaper, though his work there did not I think amount to much. His first regular employment was on Fraser's Magazine, when Mr. Fraser's shop was in Regent Street, when Oliver Yorke was the presumed editor, and among contributors, Carlyle was one of the most notable. I imagine that the battle of life was difficult enough with him even after he had become one of the leading props of that magazine. All that he wrote was not taken, and all that was taken was not approved. In 1837-38, the History of Samuel Titmarsh and the Great Hoggarty Diamond appeared in the magazine. The Great Hoggarty Diamond is now known to all readers of Thackeray's works. It is not my purpose to speak specially of it here, except to assert that it has been thought to be a great success. When it was being brought out, the author told a friend of his,—and of mine,—that it was not much thought of at Fraser's, and that he had been called upon to shorten it. That is an incident disagreeable in its nature to any literary gentleman, and likely to be specially so when he knows that his provision of bread, certainly of improved bread and butter, is at stake. The man who thus darkens his literary brow with the frown of disapproval, has at his disposal all the loaves and all the fishes that are going. If the writer be [14/15] successful, there will come a time when he will be above such frowns; but, when that opinion went forth, Thackeray had not yet made his footing good, and the notice to him respecting it must have been very bitter. It was in writing this Hoggarty Diamond that Thackeray first invented the name of Michael Angelo Titmarsh. Samuel Titmarsh was the writer, whereas Michael Angelo was an intending illustrator. Thackeray's nose had been broken in a school fight, while he was quite a little boy, by another little boy, at the Charter House; and there was probably some association intended to be jocose with the name of the great artist, whose nose was broken by his fellow-student Torrigiano, and who, as it happened, died exactly three centuries before Thackeray.

I can understand all the disquietude of his heart when that warning, as to the too great length of his story, was given to him. He was not a man capable of feeling at any time quite assured in his position, and when that occurred he was very far from assurance. I think that at no time did he doubt the sufficiency of his own mental qualification for the work he had taken in hand; but he doubted all else. He doubted the appreciation of the world; he doubted his fitness for turning his intellect to valuable account; he doubted his physical capacity,—dreading his own lack of industry; he doubted his luck; he doubted the continual absence of some of those misfortunes on which the works of literary men are shipwrecked. Though he was aware of his own power, he always, to the last, was afraid that his own deficiencies should be too strong against him. It was his nature to be idle,—to put off his work,—and then to be angry with himself for putting it off. Ginger was hot in the mouth with him, and all the allurements of the world were strong [15/16] upon him. To find on Monday morning an excuse why he should not on Monday do Monday's work was, at the time, an inexpressible relief to him, but had become deep regret,—almost a remorse,—before the Monday was over. To such a one it was not given to believe in himself with that sturdy rock-bound foundation which we see to have belonged to some men from the earliest struggles of their career. To him, then, must have come an inexpressible pang when he was told that his story must be curtailed.

Who else would have told such a story of himself to the first acquaintance he chanced to meet? Of Thackeray it might be predicted that he certainly would do so. No little wound of the kind ever came to him but what he disclosed it at once. "They have only bought so many of my new book." "Have you seen the abuse of my last number?" "What am I to turn my hand to? They are getting tired of my novels." "They don't read it," he said to me of Esmond. "So you don't mean to publish my work?" he said once to a publisher in an open company. Other men keep their little troubles to themselves. I have heard even of authors who have declared how all the publishers were running after their books; I have heard some discourse freely of their fourth and fifth editions; I have known an author to boast of his thousands sold in this country, and his tens of thousands in America; but I never heard anyone else declare that no one would read his chef-d'œuvre, and that the world was becoming tired of him. It was he who said, when he was fifty, that a man past fifty should never write a novel.

And yet, as I have said, he was from an early age fully conscious of his own ability. That he was so is to be [16/17] seen in the handling of many of his early works,—in Barry Lyndon, for instance, and the Memoirs of Mr. C. James Yellowplush. The sound is too certain for doubt of that kind. But he had not then, nor did he ever achieve that assurance of public favour which makes a man confident that his work will be successful. During the years of which we are now speaking Thackeray was a literary Bohemian in this sense,—that he never regarded his own status as certain. While performing much of the best of his life's work he was not sure of his market, not certain of his readers, his publishers, or his price; nor was he certain of himself.

It is impossible not to form some contrast between him and Dickens as to this period of his life,—a comparison not as to their literary merits, but literary position. Dickens was one year his junior in age, and at this time, viz. 1837-38, had reached almost the zenith of his reputation. Pickwick had been published, and Oliver Twist and Nicholas Nickleby were being published. All the world was talking about the young author who was assuming his position with a confidence in his own powers which was fully justified both by his present and future success. It was manifest that he could make, not only his own fortune, but that of his publishers, and that he was a literary hero bound to be worshipped by all literary grades of men, down to the "devils" of the printing-office. At that time, Thackeray, the older man, was still doubting, still hesitating, still struggling. Everyone then had accepted the name of Charles Dickens. That of William Thackeray was hardly known beyond the circle of those who are careful to make themselves acquainted with such matters. It was then the custom, more generally than it is at present, to [17/18] maintain anonymous writing in magazines. Now, if anything of special merit be brought out, the name of the author, if not published, is known. It was much less so at the period in question; and as the world of readers began to be acquainted with Jeames Yellowplush, Catherine Hayes, and other heroes and heroines, the names of the author had to be inquired for. I remember myself, when I was already well acquainted with the immortal Jeames, asking who was the writer. The works of Charles Dickens were at that time as well known to be his, and as widely read in England, as those almost of Shakespeare.

It will be said of course that this came from the earlier popularity of Dickens. That is of course; but why should it have been so? They had begun to make their effort much at the same time; and if there was any advantage in point of position as they commenced, it was with Thackeray. It might be said that the genius of the one was brighter than that of the other, or, at any rate, that it was more precocious. But after-judgment has, I think, not declared either of the suggestions to be true. I will make no comparison between two such rivals, who were so distinctly different from each, and each of whom, within so very short a period, has come to stand on a pedestal so high,—the two exalted to so equal a vocation. And if Dickens showed the best of his power early in life, so did Thackeray the best of his intellect. In no display of mental force did he rise above Barry Lyndon. I hardly know how the teller of a narrative shall hope to mount in simply intellectual faculty above the effort there made. In what then was the difference? Why was Dickens already a great man when Thackeray was still a literary Bohemian? [18/19]

The answer is to be found not in the extent or in the nature of the genius of either man, but in the condition of mind,—which indeed may be read plainly in their works by those who have eyes to see. The one was steadfast, industrious, full of purpose, never doubting of himself, always putting his best foot foremost and standing firmly on it when he got it there; with no inward trepidation, with no moments in which he was half inclined to think that this race was not for his winning, this goal not to be reached by his struggles. The sympathy of friends was good to him, but he could have done without it. The good opinion which he had of himself was never shaken by adverse criticism; and the criticism on the other side, by which it was exalted, came from the enumeration of the number of copies sold. He was a firm reliant man, very little prone to change, who, when he had discovered the nature of his own talent, knew how to do the very best with it.

It may almost be said that Thackeray was the very opposite of this. Unsteadfast, idle, changeable of purpose, aware of his own intellect but not trusting it, no man ever failed more generally than he to put his best foot foremost. Full as his works are of pathos, full of humour, full of love and charity, tending, as they always do, to truth and honour and manly worth and womanly modesty, excelling, as they seem to me to do, most other written precepts that I know, they always seem to lack something that might have been there. There is a touch of vagueness which indicates that his pen was not firm while he was using it. He seems to me to have been dreaming ever of some high flight, and then to have told himself, with a half-broken heart, that it was beyond his power to soar up into those bright regions. I can fancy [19/20] as the sheets went from him every day he told himself, in regard to every sheet, that it was a failure. Dickens was quite sure of his sheets.

"I have got to make it shorter!" Then he would put his hands in his pockets, and stretch himself, and straighten the lines of his face, over which a smile would come, as though this intimation from his editor were the best joke in the world; and he would walk away, with his heart bleeding, and every nerve in an agony. There are none of us who want to have much of his work shortened now.

In 1837 Thackeray married Isabella, daughter of Colonel Matthew Shawe, and from this union there came three daughters, Anne, Jane, and Harriet. The name of the eldest, now Mrs. Richmond Ritchie, who has followed so closely in her father's steps, is a household word to the world of novel readers; the second died as a child; the younger lived to marry Leslie Stephen, who is too well known for me to say more than that he wrote, the other day, the little volume on Dr. Johnson in this series; but she, too, has now followed her father. Of Thackeray's married life what need be said shall be contained in a very few words. It was grievously unhappy; but the misery of it came from God, and was in no wise due to human fault. She became ill, and her mind failed her. There was a period during which he would not believe that her illness was more than illness, and then he clung to her and waited on her with an assiduity of affection which only made his task the more painful to him. At last it became evident that she should live in the companionship of some one with whom her life might be altogether quiet, and she has since been domiciled with a lady with whom she has been happy. Thus she was, [20/21] after but a few years of married life, taken away from him, and he became as it were a widower till the end of his days.

At this period, and indeed for some years after his marriage, his chief literary dependence was on Fraser's Magazine. He wrote also at this time in the New Monthly Magazine. In 1840 he brought out his Paris Sketch Book, as to which he tells us by a notice printed with the first edition, that half of the sketches had already been published in various periodicals. Here he used the name Michael Angelo Titmarsh, as he did also with the Journey from Cornhill to Cairo. Dickens had called himself Boz, and clung to the name with persistency as long as the public would permit it. Thackeray's affection for assumed names was more intermittent, though I doubt whether he used his own name altogether till it appeared on the title-page of Vanity Fair. About this time began his connection with Punch, in which much of his best work appeared. Looking back at our old friend as he used to come out from week to week at this time, we can hardly boast that we used to recognise how good the literary pabulum was that was then given for our consumption. We have to admit that the ordinary reader, as the ordinary picture-seer, requires to be guided by a name. We are moved to absolute admiration by a Raphael or a Hobbema, but hardly till we have learned the name of the painter, or, at any rate, the manner of his painting. I am not sure that all lovers of poetry would recognise a Lycidas coming from some hitherto unknown Milton. Gradually the good picture or the fine poem makes its way into the minds of a slowly discerning public. Punch, no doubt, became very popular, owing, perhaps, more to Leech, its artist, than to any other single person. Gradually the world [21/22] of readers began to know that there was a speciality of humour to be found in its pages,—fun and sense, satire and good humour, compressed together in small literary morsels as the nature of its columns required. Gradually the name of Thackeray as one of the band of brethren was buzzed about, and gradually became known as that of the chief of the literary brothers. But during the years in which he did much for Punch, say from 1843 to 1853, he was still struggling to make good his footing in literature. They knew him well in the Punch office, and no doubt the amount and regularity of the cheques from Messrs. Bradbury and Evans, the then and still owners of that happy periodical, made him aware that he had found for himself a satisfactory career. In "a good day for himself, the journal, and the world, Thackeray found Punch." This was said by his old friend Shirley Brooks, who himself lived to be editor of the paper and died in harness, and was said most truly. Punch was more congenial to him, and no doubt more generous, than Fraser. There was still something of the literary Bohemian about him, but not as it had been before. He was still unfixed, looking out for some higher career, not altogether satisfied to be no more than one of an anonymous band of brothers, even though the brothers were the brothers of Punch. We can only imagine what were his thoughts as to himself and that other man, who was then known as the great novelist of the day,—of a rivalry with whom he was certainly conscious. Punch was very much to him, but was not quite enough. That must have been very clear to himself as he meditated the beginning of Vanity Fair.

Of the contributions to the periodical, the best known now are The Snob Papers and The Ballads of Policeman X. But they were very numerous. Of Thackeray [22/23] as a poet, or maker of verses, I will say a few words in a chapter which will be devoted to his own so-called ballads. Here it seems only necessary to remark that there was not apparently any time in his career at which he began to think seriously of appearing before the public as a poet. Such was the intention early in their career with many of our best known prose writers, with Milton, and Goldsmith, and Samuel Johnson, with Scott, Macaulay, and more lately with Matthew Arnold; writers of verse and prose who ultimately prevailed some in one direction, and others in the other. Milton and Goldsmith have been known best as poets, Johnson and Macaulay as writers of prose. But with all of them there has been a distinct effort in each art. Thackeray seems to have tumbled into versification by accident; writing it as amateurs do, a little now and again for his own delectation, and to catch the taste of partial friends. The reader feels that Thackeray would not have begun to print his verses unless the opportunity of doing so had been brought in his way by his doings in prose. And yet he had begun to write verses when he was very young;—at Cambridge, as we have seen, when he contributed more to the fame of Timbuctoo than I think even Tennyson has done,—and in his early years at Paris. Here again, though he must have felt the strength of his own mingled humour and pathos, he always struck with an uncertain note till he had gathered strength and confidence by popularity. Good as they generally were, his verses were accidents, written not as a writer writes who claims to be a poet, but as though they might have been the relaxation of a doctor or a barrister.

And so they were. When Thackeray first settled himself in London, to make his living among the magazines and newspapers, I do not imagine that he counted much [23/24] on his poetic powers. He describes it all in his own dialogue between the pen and the album.

"Since he," says the pen, speaking of its master, Thackeray:

Since he my faithful service did engage,
To follow him through his queer pilgrimage
I've drawn and written many a line and page.

Caricatures I scribbled have, and rhymes,
And dinner-cards, and picture pantomimes,
And many little children's books at times.

I've writ the foolish fancy of his brain;
The aimless jest that, striking, hath caused pain;
The idle word that he'd wish back again.

I've helped him to pen many a line for bread.

It was thus he thought of his work. There had been caricatures, and rhymes, and many little children's books; and then the lines written for his bread, which, except that they were written for Punch, were hardly undertaken with a more serious purpose. In all of it there was ample seriousness, had he known it himself. What a tale of the restlessness, of the ambition, of the glory, of the misfortunes of a great country is given in the ballads of Peter the French drummer! Of that brain so full of fancy the pen had lightly written all the fancies. He did not know it when he was doing so, but with that word, fancy, he has described exactly the gift with which his brain was specially endowed. If a writer be accurate, or sonorous, or witty, or simply pathetic, he may, I think, gauge his own powers. He may do so after experience with something of certainty. But fancy is a gift which the owner of it cannot measure, and the power of which, when he is using it, he cannot himself understand. [24/25] There is the same lambent flame flickering over everything he did, even the dinner-cards and the picture pantomimes. He did not in the least know what he put into those things. So it was with his verses. It was only by degrees, when he was told of it by others, that he found that they too were of infinite value to him in his profession.

The Irish Sketch Book came out in 1843, in which he used, but only half used, the name of Michael Angelo Titmarsh. He dedicates it to Charles Lever, and in signing the dedication gave his own name. "Laying aside," he says, "for a moment the travelling title of Mr. Titmarsh, let me acknowledge these favours in my own name, and subscribe myself, &c. &c., W. M. Thackeray." So he gradually fell into the declaration of his own identity. In 1844 he made his journey to Turkey and Egypt,—From Cornhill to Grand Cairo, as he called it, still using the old nom de plume, but again signing the dedication with his own name. It was now made to the captain of the vessel in which he encountered that famous white squall, in describing which he has shown the wonderful power he had over words.

In 1846 was commenced, in numbers, the novel which first made his name well known to the world. This was Vanity Fair, a work to which it is evident that he devoted all his mind. Up to this time his writings had consisted of short contributions, chiefly of sketches, each intended to stand by itself in the periodical to which it was sent. Barry Lyndon had hitherto been the longest; but that and Catherine Hayes, and the Hoggarty Diamond, though stories continued through various numbers, had not as yet reached the dignity,—or at any rate the length,—of a three-volume novel. But of [25/26] late novels had grown to be much longer than those of the old well-known measure. Dickens had stretched his to nearly double the length, and had published them in twenty numbers. The attempt had caught the public taste and had been pre-eminently successful. The nature of the tale as originated by him was altogether unlike that to which the readers of modern novels had been used. No plot, with an arranged catastrophe or dénoûment, was necessary. Some untying of the various knots of the narrative no doubt were expedient, but these were of the simplest kind, done with the view of giving an end to that which might otherwise be endless. The adventures of a Pickwick or a Nicholas Nickleby required very little of a plot, and this mode of telling a story, which might be continued on through any number of pages, as long as the characters were interesting, met with approval. Thackeray, who had never depended much on his plot in the shorter tales which he had hitherto told, determined to adopt the same form in his first great work, but with these changes;—That as the central character with Dickens had always been made beautiful with unnatural virtue,—for who was ever so unselfish as Pickwick, so manly and modest as Nicholas, or so good a boy as Oliver?—so should his centre of interest be in every respect abnormally bad.

As to Thackeray's reason for this,—or rather as to that condition of mind which brought about this result,—I will say something in a final chapter, in which I will endeavour to describe the nature and effect of his work generally. Here it will be necessary only to declare that, such was the choice he now made of a subject in his first attempt to rise out of a world of small literary contributions, into the more assured position of the author of a work of importance. We are aware that the monthly nurses of [26/27] periodical literature did not at first smile on the effort. The proprietors of magazines did not see their way to undertake Vanity Fair, and the publishers are said to have generally looked shy upon it. At last it was brought out in numbers,—twenty-four numbers instead of twenty, as with those by Dickens,—under the guardian hands of Messrs. Bradbury and Evans. This was completed in 1848, and then it was that, at the age of thirty-seven, Thackeray first achieved for himself a name and reputation through the country. Before this he had been known at Fraser's and at the Punch office. He was known at the Garrick Club, and had become individually popular among literary men in London. He had made many fast friends, and had been, as it were, found out by persons of distinction. But Jones, and Smith, and Robinson, in Liverpool, Manchester, and Birmingham, did not know him as they knew Dickens, Carlyle, Tennyson, and Macaulay,—not as they knew Landseer, or Stanfield, or Turner; not as they knew Macready, Charles Kean, or Miss Faucit. In that year, 1848, his name became common in the memoirs of the time. On the 5th of June I find him dining with Macready, to meet Sir J. Wilson, Panizzi, Landseer, and others. A few days afterwards Macready dined with him. "Dined with Thackeray, met the Gordons, Kenyons, Procters, Reeve, Villiers, Evans, Stansfeld, and saw Mrs. Sartoris and S. C. Dance, White, H. Goldsmid, in the evening." Again; "Dined with Forster, having called and taken up Brookfield, met Rintoul, Kenyon, Procter, Kinglake, Alfred Tennyson, Thackeray." Macready was very accurate in jotting down the names of those he entertained, who entertained him, or were entertained with him. Vanity Fair was coming out, and Thackeray had become one of the personages in literary society. [27/28] In the January number of 1848 the Edinburgh Review had an article on Thackeray's works generally as they were then known. It purports to combine the Irish Sketch Book, the Journey from Cornhill to Grand Cairo, and Vanity Fair as far as it had then gone; but it does in truth deal chiefly with the literary merits of the latter. I will quote a passage from the article, as proving in regard to Thackeray's work an opinion which was well founded, and as telling the story of his life as far as it was then known;

"Full many a valuable truth," says the reviewer, "has been sent undulating through the air by men who have lived and died unknown. At this moment the rising generation are supplied with the best of their mental aliment by writers whose names are a dead letter to the mass; and among the most remarkable of these is Michael Angelo Titmarsh, alias William Makepeace Thackeray, author of the Irish Sketch Book, of A Journey from Cornhill to Grand Cairo, of Jeames's Diary, of The Snob Papers in Punch, of Vanity Fair, etc. etc.

"Mr. Thackeray is now about thirty-seven years of age, of a good family, and originally intended for the bar. He kept seven or eight terms at Cambridge, but left the university without taking a degree, with the view of becoming an artist; and we well remember, ten or twelve years ago, finding him day after day engaged in copying pictures in the Louvre, in order to qualify himself for his intended profession. It may be doubted, however, whether any degree of assiduity would have enabled him to excel in the money-making branches, for his talent was altogether of the Hogarth kind, and was principally remarkable in the pen-and-ink sketches of character and situation, which he dashed off for the [28/29] amusement of his friends. At the end of two or three years of desultory application he gave up the notion of becoming a painter, and took to literature. He set up and edited with marked ability a weekly journal, on the plan of The Athenæum and Literary Gazette, but was unable to compete successfully with such long-established rivals. He then became a regular man of letters,—that is, he wrote for respectable magazines and newspapers, until the attention attracted to his contributions in Fraser's Magazine and Punch emboldened him to start on his own account, and risk an independent publication." Then follows a eulogistic and, as I think, a correct criticism on the book as far as it had gone. There are a few remarks perhaps a little less eulogistic as to some of his minor writings, The Snob Papers in particular; and at the end there is a statement with which I think we shall all now agree; "A writer with such a pen and pencil as Mr. Thackeray's is an acquisition of real and high value in our literature."

The reviewer has done his work in a tone friendly to the author, whom he knew,2 —as indeed it may be said that this little book will be written with the same feeling,—but the public has already recognised the truth of the review generally. There can be no doubt that Thackeray, though he had hitherto been but a contributor of anonymous pieces to periodicals,—to what is generally considered as merely the ephemeral literature of the month,—had already become effective on the tastes and morals of readers. Affectation of finery; the vulgarity which apes good breeding but never approaches it; [29/30] dishonest gambling, whether with dice or with railway shares; and that low taste for literary excitement which is gratified by mysterious murders and Old Bailey executions had already received condign punishment from Yellowplush, Titmarsh, Fitzboodle, and Ikey Solomon. Under all those names Thackeray had plied his trade as a satirist. Though the truths, as the reviewer said, had been merely sent undulating through the air, they had already become effective.

Thackeray had now become a personage,—one of the recognised stars of the literary heaven of the day. It was an honour to know him; and we may well believe that the givers of dinners were proud to have him among their guests. He had opened his oyster,—with his pen, an achievement which he cannot be said to have accomplished until Vanity Fair had come out. In inquiring about him from those who survive him, and knew him well in those days, I always hear the same account. "If I could only tell you the impromptu lines which fell from him!" "If I had only kept the drawings from his pen, which used to be chucked about as though they were worth nothing!" "If I could only remember the drolleries!" Had they been kept, there might now be many volumes of these sketches, as to which the reviewer says that their talent was "altogether of the Hogarth kind." Could there be any kind more valuable? Like Hogarth, he could always make his picture tell his story; though, unlike Hogarth, he had not learned to draw. I have had sent to me for my inspection an album of drawings and letters, which, in the course of twenty years, from 1829 to 1849, were despatched from Thackeray to his old friend Edward Fitzgerald. Looking at the wit displayed in the drawings, I feel [30/31] inclined to say that had he persisted he would have been a second Hogarth. There is a series of ballet scenes, in which "Flore et Zephyr" are the two chief performers, which for expression and drollery exceed anything that I know of the kind. The set in this book are lithographs, which were published, but I do not remember to have seen them elsewhere. There are still among us many who knew him well;—Edward Fitzgerald and George Venables, James Spedding and Kinglake, Mrs. Procter,—the widow of Barry Cornwall, who loved him well,—and Monckton Milnes, as he used to be, whose touching lines written just after Thackeray's death will close this volume, Frederick Pollock and Frank Fladgate, John Blackwood and William Russell,—and they all tell the same story. Though he so rarely talked, as good talkers do, and was averse to sit down to work, there were always falling from his mouth and pen those little pearls. Among the friends who had been kindest and dearest to him in the days of his strugglings he once mentioned three to me,—Matthew Higgins, or Jacob Omnium as he was more popularly called; William Stirling, who became Sir William Maxwell; and Russell Sturgis, who is now the senior partner in the great house of Barings. Alas, only the last of these three is left among us! Thackeray was a man of no great power of conversation. I doubt whether he ever shone in what is called general society. He was not a man to be valuable at a dinner-table as a good talker. It was when there were but two or three together that he was happy himself and made others happy; and then it would rather be from some special piece of drollery that the joy of the moment would come, than from the discussion of ordinary topics. After so many years his old friends remember the fag-ends of the doggerel lines which used to drop from him without any [31/32] effort on all occasions of jollity. And though he could be very sad,—laden with melancholy, as I think must have been the case with him always,—the feeling of fun would quickly come to him, and the queer rhymes would be poured out as plentifully as the sketches were made. Here is a contribution which I find hanging in the memory of an old friend, the serious nature of whose literary labours would certainly have driven such lines from his mind, had they not at the time caught fast hold of him:

In the romantic little town of Highbury
My father kept a circulatin' library;
He followed in his youth that man immortal, who
Conquered the Frenchmen on the plains of Waterloo.
Mamma was an inhabitant of Drogheda,
Very good she was to darn and to embroider.
In the famous island of Jamaica,
For thirty years I've been a sugar-baker;
And here I sit, the Muses' 'appy vot'ry,
A cultivatin' every kind of po'try,

There may, perhaps, have been a mistake in a line, but the poem has been handed down with fair correctness over a period of forty years. He was always versifying. He once owed me five pounds seventeen shillings and sixpence, his share of a dinner bill at Richmond. He sent me a cheque for the amount in rhyme, giving the proper financial document on the second half of a sheet of note paper. I gave the poem away as an autograph, and now forget the lines. This was all trifling, the reader will say. No doubt. Thackeray was always trifling, and yet always serious. In attempting to understand his character it is necessary for you to bear within your own mind the idea that he was always, within his own bosom, encountering melancholy with buffoonery, and meanness with satire. The very spirit of burlesque dwelt within him,—a spirit which [32/33] does not see the grand the less because of the travesties which it is always engendering.

In his youthful,—all but boyish,—days in London, he delighted to "put himself up" at the Bedford, in Covent Garden. Then in his early married days he lived in Albion Street, and from thence went to Great Coram Street, till his household there was broken up by his wife's illness. He afterwards took lodgings in St. James's Chambers, and then a house in Young Street, Kensington.

No. 36 Onslow Square by F. Hopkinson Smith. 1913. Not in original edition. [Click on image to enlarge it.]

Here he lived from 1847, when he was achieving his great triumph with Vanity Fair, down to 1853, when he removed to a house which he bought in Onslow Square. In Young Street there had come to lodge opposite to him an Irish gentleman, who, on the part of his injured country, felt very angry with Thackeray. The Irish Sketch Book had not been complimentary, nor were the descriptions which Thackeray had given generally of Irishmen; and there was extant an absurd idea that in his abominable heroine Catherine Hayes he had alluded to Miss Catherine Hayes the Irish singer. Word was taken to Thackeray that this Irishman intended to come across the street and avenge his country on the calumniator's person. Thackeray immediately called upon the gentleman, and it is said that the visit was pleasant to both parties. There certainly was no blood shed.

He had now succeeded,—in 1848,—in making for himself a standing as a man of letters, and an income. What was the extent of his income I have no means of saying; nor is it a subject on which, as I think, inquiry should be made. But he was not satisfied with his position. He felt it to be precarious, and he was always thinking of what he owed to his two girls. That arbitrium popularis auræ on which he depended for his daily bread was not [33/34] regarded by him with the confidence which it deserved. He did not probably know how firm was the hold he had obtained of the public ear. At any rate he was anxious, and endeavoured to secure for himself a permanent income in the public service. He had become by this time acquainted, probably intimate, with the Marquis of Clanricarde, who was then Postmaster-General. In 1848 there fell a vacancy in the situation of Assistant-Secretary at the General Post Office, and Lord Clanricarde either offered it to him or promised to give it to him. The Postmaster-General had the disposal of the place,—but was not altogether free from control in the matter. When he made known his purpose at the Post Office, he was met by an assurance from the officer next under him that the thing could not be done. The services were wanted of a man who had had experience in the Post Office; and, moreover, it was necessary that the feelings of other gentlemen should be consulted. Men who have been serving in an office many years do not like to see even a man of genius put over their heads. In fact, the office would have been up in arms at such an injustice. Lord Clanricarde, who in a matter of patronage was not scrupulous, was still a good-natured man and amenable. He attempted to befriend his friend till he found that it was impossible, and then, with the best grace in the world, accepted the official nominee that was offered to him.

It may be said that had Thackeray succeeded in that attempt he would surely have ruined himself. No man can be fit for the management and performance of special work who has learned nothing of it before his thirty-seventh year; and no man could have been less so than Thackeray. There are men who, though they be not fit, are disposed to learn their lesson and make themselves as [34/35] fit as possible. Such cannot be said to have been the case with this man. For the special duties which he would have been called upon to perform, consisting to a great extent of the maintenance of discipline over a large body of men, training is required, and the service would have suffered for awhile under any untried elderly tiro. Another man might have put himself into harness. Thackeray never would have done so. The details of his work after the first month would have been inexpressibly wearisome to him. To have gone into the city, and to have remained there every day from eleven till five, would have been all but impossible to him. He would not have done it. And then he would have been tormented by the feeling that he was taking the pay and not doing the work. There is a belief current, not confined to a few, that a man may be a Government Secretary with a generous salary, and have nothing to do. The idea is something that remains to us from the old days of sinecures. If there be now remaining places so pleasant, or gentlemen so happy, I do not know them. Thackeray's notion of his future duties was probably very vague. He would have repudiated the notion that he was looking for a sinecure, but no doubt considered that the duties would be easy and light. It is not too much to assert, that he who could drop his pearls as I have said above, throwing them wide cast without an effort, would have found his work as Assistant-Secretary at the General Post Office to be altogether too much for him. And then it was no doubt his intention to join literature with the Civil Service. He had been taught to regard the Civil Service as easy, and had counted upon himself as able to add it to his novels, and his work with his Punch brethren, and to his contributions generally to the literature of the day. He might have done so, could [35/36] he have risen at five, and have sat at his private desk for three hours before he began his official routine at the public one. A capability for grinding, an aptitude for continuous task work, a disposition to sit in one's chair as though fixed to it by cobbler's wax, will enable a man in the prime of life to go through the tedium of a second day's work every day; but of all men Thackeray was the last to bear the wearisome perseverance of such a life. Some more or less continuous attendance at his office he must have given, and with it would have gone Punch and the novels, the ballads, the burlesques, the essays, the lectures, and the monthly papers full of mingled satire and tenderness, which have left to us that Thackeray which we could so ill afford to lose out of the literature of the nineteenth century. And there would have remained to the Civil Service the memory of a disgraceful job.

He did not, however, give up the idea of the Civil Service. In a letter to his American friend, Mr. Reed, dated 8th November, 1854, he says; "The secretaryship of our Legation at Washington was vacant the other day, and I instantly asked for it; but in the very kindest letter Lord Clarendon showed how the petition was impossible. First, the place was given away. Next, it would not be fair to appoint out of the service. But the first was an excellent reason;—not a doubt of it." The validity of the second was probably not so apparent to him as it is to one who has himself waited long for promotion. "So if ever I come," he continues, "as I hope and trust to do this time next year, it must be in my own coat, and not the Queen's." Certainly in his own coat, and not in the Queen's, must Thackeray do anything by which he could mend his fortune or make his reputation. There never was a man less fit for the Queen's coat. [36/37]

Nevertheless he held strong ideas that much was due by the Queen's ministers to men of letters, and no doubt had his feelings of slighted merit, because no part of the debt due was paid to him. In 1850 he wrote a letter to The Morning Chronicle, which has since been republished, in which he alludes to certain opinions which had been put forth in The Examiner. "I don't see," he says, "why men of letters should not very cheerfully coincide with Mr. Examiner in accepting all the honours, places, and prizes which they can get. The amount of such as will be awarded to them will not, we may be pretty sure, impoverish the country much; and if it is the custom of the State to reward by money, or titles of honour, or stars and garters of any sort, individuals who do the country service,—and if individuals are gratified at having 'Sir' or 'My lord' appended to their names, or stars and ribbons hooked on to their coats and waistcoats, as men most undoubtedly are, and as their wives, families, and relations are,—there can be no reason why men of letters should not have the chance, as well as men of the robe or the sword; or why, if honour and money are good for one profession, they should not be good for another. No man in other callings thinks himself degraded by receiving a reward from his Government; nor, surely, need the literary man be more squeamish about pensions, and ribbons, and titles, than the ambassador, or general, or judge. Every European state but ours rewards its men of letters. The American Government gives them their full share of its small patronage; and if Americans, why not Englishmen?"

In this a great subject is discussed which would be too long for these pages; but I think that there now exists a feeling that literature can herself, for herself, produce a rank as effective as any that a Queen's minister [37/38] can bestow. Surely it would be a repainting of the lily, an adding a flavour to the rose, a gilding of refined gold to create to-morrow a Lord Viscount Tennyson, a Baron Carlyle, or a Right Honourable Sir Robert Browning. And as for pay and pension, the less the better of it for any profession, unless so far as it may be payment made for work done. Then the higher the payment the better, in literature as in all other trades. It may be doubted even whether a special rank of its own be good for literature, such as that which is achieved by the happy possessors of the forty chairs of the Academy in France. Even though they had an angel to make the choice,—which they have not,—that angel would do more harm to the excluded than good to the selected.

Pendennis, Esmond, and The Newcomes followed Vanity Fair,—not very quickly indeed, always at an interval of two years,—in 1850, 1852, and 1854. As I purpose to devote a separate short chapter, or part of a chapter, to each of these, I need say nothing here of their special merits or demerits. Esmond was brought out as a whole. The others appeared in numbers. "He lisped in numbers, for the numbers came." It is a mode of pronunciation in literature by no means very articulate, but easy of production and lucrative. But though easy it is seductive, and leads to idleness. An author by means of it can raise money and reputation on his book before he has written it, and when the pang of parturition is over in regard to one part, he feels himself entitled to a period of ease because the amount required for the next division will occupy him only half the month. This to Thackeray was so alluring that the entirety of the final half was not always given to the task. His self-reproaches and bemoanings when sometimes the day for reappearing would come [38/39] terribly nigh, while yet the necessary amount of copy was far from being ready, were often very ludicrous and very sad;—ludicrous because he never told of his distress without adding to it something of ridicule which was irresistible, and sad because those who loved him best were aware that physical suffering had already fallen upon him, and that he was deterred by illness from the exercise of continuous energy. I myself did not know him till after the time now in question. My acquaintance with him was quite late in his life. But he has told me something of it, and I have heard from those who lived with him how continual were his sufferings. In 1854, he says in one of his letters to Mr. Reed,—the only private letters of his which I know to have been published; "I am to-day just out of bed after another, about the dozenth, severe fit of spasms which I have had this year. My book would have been written but for them." His work was always going on, but though not fuller of matter,—that would have been almost impossible,—would have been better in manner had he been delayed neither by suffering nor by that palsying of the energies which suffering produces.

This ought to have been the happiest period of his life, and should have been very happy. He had become fairly easy in his circumstances. He had succeeded in his work, and had made for himself a great name. He was fond of popularity, and especially anxious to be loved by a small circle of friends. These good things he had thoroughly achieved. Immediately after the publication of Vanity Fair he stood high among the literary heroes of his country, and had endeared himself especially to a special knot of friends. His face and figure, his six feet four in height, with his flowing hair, already nearly gray, [39/40] and his broken nose, his broad forehead and ample chest, encountered everywhere either love or respect; and his daughters to him were all the world,—the bairns of whom he says, at the end of the White Squall ballad;

I thought, as day was breaking,
My little girls were waking,
And smiling, and making
A prayer at home for me.

Nothing could have been more tender or endearing than his relations with his children. But still there was a skeleton in his cupboard,—or rather two skeletons. His home had been broken up by his wife's malady, and his own health was shattered. When he was writing Pendennis, in 1849, he had a severe fever, and then those spasms came, of which four or five years afterwards he wrote to Mr. Reed. His home, as a home should be, was never restored to him,—or his health. Just at that period of life at which a man generally makes a happy exchange in taking his wife's drawing-room in lieu of the smoking-room of his club, and assumes those domestic ways of living which are becoming and pleasant for matured years, that drawing-room and those domestic ways were closed against him. The children were then no more than babies, as far as society was concerned,—things to kiss and play with, and make a home happy if they could only have had their mother with them. I have no doubt there were those who thought that Thackeray was very jolly under his adversity. Jolly he was. It was the manner of the man to be so,—if that continual playfulness which was natural to him, lying over a melancholy which was as continual, be compatible with jollity. He laughed, and ate, and drank, and threw his pearls about with miraculous profusion. But I fancy that he was far [40/41] from happy. I remember once, when I was young, receiving advice as to the manner in which I had better spend my evenings; I was told that I ought to go home, drink tea, and read good books. It was excellent advice, but I found that the reading of good books in solitude was not an occupation congenial to me. It was so, I take it, with Thackeray. He did not like his lonely drawing-room, and went back to his life among the clubs by no means with contentment.

In 1853, Thackeray having then his own two girls to provide for, added a third to his family, and adopted Amy Crowe, the daughter of an old friend, and sister of the well-known artist now among us. How it came to pass that she wanted a home, or that this special home suited her, it would be unnecessary here to tell even if I knew. But that he did give a home to this young lady, making her in all respects the same as another daughter, should be told of him. He was a man who liked to broaden his back for the support of others, and to make himself easy under such burdens. In 1862, she married a Thackeray cousin, a young officer with the Victoria Cross, Edward Thackeray, and went out to India,—where she died.

In 1854, the year in which The Newcomes came out, Thackeray had broken his close alliance with Punch. In December of that year there appeared from his pen an article in The Quarterly on John Leech's Pictures of Life and Character. It is a rambling discourse on picture-illustration in general, full of interest, but hardly good as a criticism,—a portion of literary work for which he was not specially fitted. In it he tells us how Richard Doyle, the artist, had given up his work for Punch, not having been able, as a Roman Catholic, to endure the skits which, at [41/42] that time, were appearing in one number after another against what was then called Papal aggression. The reviewer,—Thackeray himself,—then tells us of the secession of himself from the board of brethren. "Another member of Mr. Punch's cabinet, the biographer of Jeames, the author of The Snob Papers, resigned his functions, on account of Mr. Punch's assaults upon the present Emperor of the French nation, whose anger Jeames thought it was unpatriotic to arouse." How hard it must be for Cabinets to agree! This man or that is sure to have some pet conviction of his own, and the better the man the stronger the conviction! Then the reviewer went on in favour of the artist of whom he was specially speaking, making a comparison which must at the time have been odious enough to some of the brethren. "There can be no blinking the fact that in Mr. Punch's Cabinet John Leech is the right-hand man. Fancy a number of Punch without Leech's pictures! What would you give for it?" Then he breaks out into strong admiration of that one friend,—perhaps with a little disregard as to the feelings of other friends.3 This Critical Review, if it may properly be so called,—at any rate it is so named as now published,—is to be found in our author's collected works, in the same volume with Catherine. It is there preceded by another, from The Westminster Review, written fourteen years earlier, on [42/43] The Genius of Cruikshank. This contains a descriptive catalogue of Cruikshank's works up to that period, and is interesting from the piquant style in which it is written. I fancy that these two are the only efforts of the kind which he made,—and in both he dealt with the two great caricaturists of his time, he himself being, in the imaginative part of a caricaturist's work, equal in power to either of them.

We now come to a phase of Thackeray's life in which he achieved a remarkable success, attributable rather to his fame as a writer than to any particular excellence in the art which he then exercised. He took upon himself the functions of a lecturer, being moved to do so by a hope that he might thus provide a sum of money for the future sustenance of his children. No doubt he had been advised to this course, though I do not know from whom specially the advice may have come. Dickens had already considered the subject, but had not yet consented to read in public for money on his own account. John Forster, writing of the year 1846, says of Dickens and the then only thought-of exercise of a new profession; "I continued to oppose, for reasons to be stated in their place, that which he had set his heart upon too strongly to abandon, and which I still can wish he had preferred to surrender with all that seemed to be its enormous gain." And again he says, speaking of a proposition which had been made to Dickens from the town of Bradford; "At first this was entertained, but was abandoned, with some reluctance, upon the argument that to become publicly a reader must alter, without improving, his position publicly as a writer, and that it was a change to be justified only when the higher calling should have failed of the old success." The meaning of this was that the money to be made [43/44] would be sweet, but that the descent to a profession which was considered to be lower than that of literature itself would carry with it something that was bitter. It was as though one who had sat on the woolsack as Lord Chancellor should raise the question whether for the sake of the income attached to it, he might, without disgrace, occupy a seat on a lower bench; as though an architect should consider with himself the propriety of making his fortune as a contractor; or the head of a college lower his dignity, while he increased his finances, by taking pupils. When such discussions arise, money generally carries the day,—and should do so. When convinced that money may be earned without disgrace, we ought to allow money to carry the day. When we talk of sordid gain and filthy lucre, we are generally hypocrites. If gains be sordid and lucre filthy, where is the priest, the lawyer, the doctor, or the man of literature, who does not wish for dirty hands? An income, and the power of putting by something for old age, something for those who are to come after, is the wholesome and acknowledged desire of all professional men. Thackeray having children, and being gifted with no power of making his money go very far, was anxious enough on the subject. We may say now, that had he confined himself to his pen, he would not have wanted while he lived, but would have left but little behind him. That he was anxious we have seen, by his attempts to subsidise his literary gains by a Government office. I cannot but think that had he undertaken public duties for which he was ill qualified, and received a salary which he could hardly have earned, he would have done less for his fame than by reading to the public. Whether he did that well or ill, he did it well enough for the money. The people who heard him, and [44/45] who paid for their seats, were satisfied with their bargain,—as they were also in the case of Dickens; and I venture to say that in becoming publicly a reader, neither did Dickens or Thackeray "alter his position as a writer," and "that it was a change to be justified," though the success of the old calling had in no degree waned. What Thackeray did enabled him to leave a comfortable income for his children, and one earned honestly, with the full approval of the world around him.

Having saturated his mind with the literature of Queen Anne's time,—not probably in the first instance as a preparation for Esmond, but in such a way as to induce him to create an Esmond,—he took the authors whom he knew so well as the subject for his first series of lectures. He wrote The English Humourists of the Eighteenth Century in 1851, while he must have been at work on Esmond, and first delivered the course at Willis's Rooms in that year. He afterwards went with these through many of our provincial towns, and then carried them to the United States, where he delivered them to large audiences in the winter of 1852 and 1853. Some few words as to the merits of the composition I will endeavour to say in another place. I myself never heard him lecture, and can therefore give no opinion of the performance. That which I have heard from others has been very various. It is, I think, certain that he had none of those wonderful gifts of elocution which made it a pleasure to listen to Dickens, whatever he read or whatever he said; nor had he that power of application by using which his rival taught himself with accuracy the exact effect to be given to every word. The rendering of a piece by Dickens was composed as an oratorio is composed, and was then studied by heart as music is studied. [45/46] And the piece was all given by memory, without any looking at the notes or words. There was nothing of this with Thackeray. But the thing read was in itself of great interest to educated people. The words were given clearly, with sufficient intonation for easy understanding, so that they who were willing to hear something from him felt on hearing that they had received full value for their money. At any rate, the lectures were successful. The money was made,—and was kept.

He came from his first trip to America to his new house in Onslow Square, and then published The Newcomes. This, too, was one of his great works, as to which I shall have to speak hereafter. Then, having enjoyed his success in the first attempt to lecture, he prepared a second series. He never essayed the kind of reading which with Dickens became so wonderfully popular. Dickens recited portions from his well-known works. Thackeray wrote his lectures expressly for the purpose. They have since been added to his other literature, but they were prepared as lectures. The second series were The Four Georges. In a lucrative point of view they were even more successful than the first, the sum of money realised in the United States having been considerable. In England they were less popular, even if better attended, the subject chosen having been distasteful to many. There arose the question whether too much freedom had not been taken with an office which, though it be no longer considered to be founded on divine right, is still as sacred as can be anything that is human. If there is to remain among us a sovereign, that sovereign, even though divested of political power, should be endowed with all that personal respect can give. If we wish ourselves to be high, we should treat [46/47] that which is over us as high. And this should not depend altogether on personal character, though we know,—as we have reason to know,—how much may be added to the firmness of the feeling by personal merit. The respect of which we speak should, in the strongest degree, be a possession of the immediate occupant, and will naturally become dim,—or perhaps be exaggerated,—in regard to the past, as history or fable may tell of them. No one need hesitate to speak his mind of King John, let him be ever so strong a stickler for the privileges of majesty. But there are degrees of distance, and the throne of which we wish to preserve the dignity seems to be assailed when unmeasured evil is said of one who has sat there within our own memory. There would seem to each of us to be a personal affront were a departed relative delineated with all those faults by which we must own that even our near relatives have been made imperfect. It is a general conviction as to this which so frequently turns the biography of those recently dead into mere eulogy. The fictitious charity which is enjoined by the de mortuis nil nisi bonum banishes truth. The feeling of which I speak almost leads me at this moment to put down my pen. And, if so much be due to all subjects, is less due to a sovereign?

Considerations such as these diminished, I think, the popularity of Thackeray's second series of lectures; or, rather, not their popularity, but the estimation in which they were held. On this head he defended himself more than once very gallantly, and had a great deal to say on his side of the question. "Suppose, for example, in America,—in Philadelphia or in New York,—that I had spoken about George IV. in terms of praise and affected reverence, do you believe they would have hailed his name with cheers, or have heard it with anything of [47/48] respect?" And again; "We degrade our own honour and the sovereign's by unduly and unjustly praising him; and the mere slaverer and flatterer is one who comes forward, as it were, with flash notes, and pays with false coin his tribute to Cæsar. I don't disguise that I feel somehow on my trial here for loyalty,—for honest English feeling." This was said by Thackeray at a dinner at Edinburgh, in 1857, and shows how the matter rested on his mind. Thackeray's loyalty was no doubt true enough, but was mixed with but little of reverence. He was one who revered modesty and innocence rather than power, against which he had in the bottom of his heart something of republican tendency. His leaning was no doubt of the more manly kind. But in what he said at Edinburgh he hardly hit the nail on the head. No one had suggested that he should have said good things of a king which he did not believe to be true. The question was whether it may not be well sometimes for us to hold our tongues. An American literary man, here in England, would not lecture on the morals of Hamilton, on the manners of General Jackson, on the general amenities of President Johnson.

In 1857 Thackeray stood for Oxford, in the liberal interest, in opposition to Mr. Cardwell. He had been induced to do this by his old friend Charles Neate, who himself twice sat for Oxford, and died now not many months since. He polled 1,017 votes, against 1,070 by Mr. Cardwell; and was thus again saved by his good fortune from attempting to fill a situation in which he would not have shone. There are, no doubt, many to whom a seat in Parliament comes almost as the birthright of a well-born and well-to-do English gentleman. They go there with no more idea of shining than they do when [48/49] they are elected to a first-class club;—hardly with more idea of being useful. It is the thing to do, and the House of Commons is the place where a man ought to be—for a certain number of hours. Such men neither succeed nor fail, for nothing is expected of them. From such a one as Thackeray something would have been expected, which would not have been forthcoming. He was too desultory for regular work,—full of thought, but too vague for practical questions. He could not have endured to sit for two or three hours at a time with his hat over his eyes, pretending to listen, as is the duty of a good legislator. He was a man intolerant of tedium, and in the best of his time impatient of slow work. Nor, though his liberal feelings were very strong, were his political convictions definite or accurate. He was a man who mentally drank in much, feeding his fancy hourly with what he saw, what he heard, what he read, and then pouring it all out with an immense power of amplification. But it would have been impossible for him to study and bring home to himself the various points of a complicated bill with a hundred and fifty clauses. In becoming a man of letters, and taking that branch of letters which fell to him, he obtained the special place that was fitted for him. He was a round peg in a round hole. There was no other hole which he would have fitted nearly so well. But he had his moment of political ambition, like others,—and paid a thousand pounds for his attempt.

In 1857 the first number of The Virginians appeared, and the last,—the twenty-fourth,—in October, 1859. This novel, as all my readers are aware, is a continuance of Esmond, and will be spoken of in its proper place. He was then forty-eight years old, very gray, with much of [49/50] age upon him, which had come from suffering,—age shown by dislike of activity and by an old man's way of thinking about many things,—speaking as though the world were all behind him instead of before; but still with a stalwart outward bearing, very erect in his gait, and a countenance peculiarly expressive and capable of much dignity. I speak of his personal appearance at this time, because it was then only that I became acquainted with him. In 1859 he undertook the last great work of his life, the editorship of The Cornhill Magazine, a periodical set on foot by Mr. George Smith, of the house of Smith and Elder, with an amount of energy greater than has generally been bestowed upon such enterprises. It will be well remembered still how much The Cornhill Magazine was talked about and thought of before it first appeared, and how much of that thinking and talking was due to the fact that Mr. Thackeray was to edit it. Macmillan's, I think, was the first of the shilling magazines, having preceded The Cornhill by a month, and it would ill become me, who have been a humble servant to each of them, to give to either any preference. But it must be acknowledged that a great deal was expected from The Cornhill, and I think it will be confessed that it was the general opinion that a great deal was given by it. Thackeray had become big enough to give a special éclat to any literary exploit to which he attached himself. Since the days of The Constitutional he had fought his way up the ladder and knew how to take his stand there with an assurance of success. When it became known to the world of readers that a new magazine was to appear under Thackeray's editorship, the world of readers was quite sure that there would be a large sale. Of the first number over one hundred and ten 51" 51[51] thousand were sold, and of the second and third over one hundred thousand. It is in the nature of such things that the sale should fall off when the novelty is over. People believe that a new delight has come, a new joy for ever, and then find that the joy is not quite so perfect or enduring as they had expected. But the commencement of such enterprises may be taken as a measure of what will follow. The magazine, either by Thackeray's name or by its intrinsic merits,—probably by both,—achieved a great success. My acquaintance with him grew from my having been one of his staff from the first.

About two months before the opening day I wrote to him suggesting that he should accept from me a series of four short stories on which I was engaged. I got back a long letter in which he said nothing about my short stories, but asking whether I could go to work at once and let him have a long novel, so that it might begin with the first number. At the same time I heard from the publisher, who suggested some interesting little details as to honorarium. The little details were very interesting, but absolutely no time was allowed to me. It was required that the first portion of my book should be in the printer's hands within a month. Now it was my theory,—and ever since this occurrence has been my practice,—to see the end of my own work before the public should see the commencement.4 If I did this thing I must not only abandon my theory, but instantly contrive a story, or [51/52] begin to write it before it was contrived. That was what I did, urged by the interesting nature of the details. A novelist cannot always at the spur of the moment make his plot and create his characters who shall, with an arranged sequence of events, live with a certain degree of eventful decorum, through that portion of their lives which is to be portrayed. I hesitated, but allowed myself to be allured to what I felt to be wrong, much dreading the event. How seldom is it that theories stand the wear and tear of practice! I will not say that the story which came was good, but it was received with greater favour than any I had written before or have written since. I think that almost anything would have been then accepted coming under Thackeray's editorship.

I was astonished that work should be required in such haste, knowing that much preparation had been made, and that the service of almost any English novelist might have been obtained if asked for in due time. It was my readiness that was needed, rather than any other gift! The riddle was read to me after a time. Thackeray had himself intended to begin with one of his own great novels, but had put it off till it was too late. Lovel the Widower was commenced at the same time with my own story, but Lovel the Widower was not substantial enough to appear as the principal joint at the banquet. Though your guests will undoubtedly dine off the little delicacies you provide for them, there must be a heavy saddle of mutton among the viands prepared. I was the saddle of mutton, Thackeray having omitted to get his joint down to the fire in time enough. My fitness lay in my capacity for quick roasting.

It may be interesting to give a list of the contributors to the first number. My novel called Framley Parsonage [52/53] came first. At this banquet the saddle of mutton was served before the delicacies. Then there was a paper by Sir John Bowring on The Chinese and Outer Barbarians. The commencing number of Lovel the Widower followed. George Lewes came next with his first chapters of Studies in Animal Life. Then there was Father Prout's Inauguration Ode, dedicated to the author of Vanity Fair,—which should have led the way. I need hardly say that Father Prout was the Rev. F. Mahony. Then followed Our Volunteers, by Sir John Burgoyne; A Man of Letters of the Last Generation, by Thornton Hunt; The Search for Sir John Franklin, from a private journal of an officer of the Fox, now Sir Allen Young; and The First Morning of 1860, by Mrs. Archer Clive. The number was concluded by the first of those Roundabout Papers by Thackeray himself, which became so delightful a portion of the literature of The Cornhill Magazine.

It would be out of my power, and hardly interesting, to give an entire list of those who wrote for The Cornhill under Thackeray's editorial direction. But I may name a few, to show how strong was the support which he received. Those who contributed to the first number I have named. Among those who followed were Alfred Tennyson, Jacob Omnium, Lord Houghton, William Russell, Mrs. Beecher Stowe, Mrs. Browning, Robert Bell, George Augustus Sala, Mrs. Gaskell, James Hinton, Mary Howitt, John Kaye, Charles Lever, Frederick Locker, Laurence Oliphant, John Ruskin, Fitzjames Stephen, T. A. Trollope, Henry Thompson, Herman Merivale, Adelaide Proctor, Matthew Arnold, the present Lord Lytton, and Miss Thackeray, now Mrs. Ritchie. Thackeray continued the editorship for two years and four months, namely, up to April, 1862; but, as all readers will remember, he continued to write for it till he [53/54] died, the day before Christmas Day, in 1863. His last contribution was, I think, a paper written for and published in the November number, called, "Strange to say on Club Paper," in which he vindicated Lord Clyde from the accusation of having taken the club stationery home with him. It was not a great subject, for no one could or did believe that the Field-Marshal had been guilty of any meanness; but the handling of it has made it interesting, and his indignation has made it beautiful.

The magazine was a great success, but justice compels me to say that Thackeray was not a good editor. As he would have been an indifferent civil servant, an indifferent member of Parliament, so was he perfunctory as an editor. It has sometimes been thought well to select a popular literary man as an editor; first, because his name will attract, and then with an idea that he who can write well himself will be a competent judge of the writings of others. The first may sell a magazine, but will hardly make it good; and the second will not avail much, unless the editor so situated be patient enough to read what is sent to him. Of a magazine editor it is required that he should be patient, scrupulous, judicious, but above all things hard-hearted. I think it may be doubted whether Thackeray did bring himself to read the basketfuls of manuscripts with which he was deluged, but he probably did, sooner or later, read the touching little private notes by which they were accompanied,—the heartrending appeals, in which he was told that if this or the other little article could be accepted and paid for, a starving family might be saved from starvation for a month. He tells us how he felt on receiving such letters in one of his Roundabout Papers, which he calls "Thorns in the cushion." "How am I to know," he says—"though to be sure I [54/55] begin to know now,—as I take the letters off the tray, which of those envelopes contains a real bona fide letter, and which a thorn? One of the best invitations this year I mistook for a thorn letter, and kept it without opening." Then he gives the sample of a thorn letter. It is from a governess with a poem, and with a prayer for insertion and payment. "We have known better days, sir. I have a sick and widowed mother to maintain, and little brothers and sisters who look to me." He could not stand this, and the money would be sent, out of his own pocket, though the poem might be—postponed, till happily it should be lost.

From such material a good editor could not be made. Nor, in truth, do I think that he did much of the editorial work. I had once made an arrangement, not with Thackeray, but with the proprietors, as to some little story. The story was sent back to me by Thackeray—rejected. Virginibus puerisque! That was the gist of his objection. There was a project in a gentleman's mind,—as told in my story,—to run away with a married woman! Thackeray's letter was very kind, very regretful,—full of apology for such treatment to such a contributor. But—Virginibus puerisque! I was quite sure that Thackeray had not taken the trouble to read the story himself. Some moral deputy had read it, and disapproving, no doubt properly, of the little project to which I have alluded, had incited the editor to use his authority. That Thackeray had suffered when he wrote it was easy to see, fearing that he was giving pain to one he would fain have pleased. I wrote him a long letter in return, as full of drollery as I knew how to make it. In four or five days there came a reply in the same spirit,—boiling over with fun. He had kept my letter by him, not [55/56] daring to open it,—as he says that he did with that eligible invitation. At last he had given it to one of his girls to examine,—to see whether the thorn would be too sharp, whether I had turned upon him with reproaches. A man so susceptible, so prone to work by fits and starts, so unmethodical, could not have been a good editor.

In 1862 he went into the new house which he had built for himself at Palace Green. I remember well, while this was still being built, how his friends used to discuss his imprudence in building it. Though he had done well with himself, and had made and was making a large income, was he entitled to live in a house the rent of which could not be counted at less than from five hundred to six hundred pounds a year? Before he had been there two years, he solved the question by dying,—when the house was sold for two thousand pounds more than it had cost. He himself, in speaking of his project, was wont to declare that he was laying out his money in the best way he could for the interest of his children;—and it turned out that he was right.

In 1863 he died in the house which he had built, and at the period of his death was writing a new novel in numbers, called Denis Duval. In The Cornhill, The Adventures of Philip had appeared. This new enterprise was destined for commencement on 1st January, 1864, and, though the writer was gone, it kept its promise, as far as it went. Three numbers, and what might probably have been intended for half of a fourth, appeared. It may be seen, therefore, that he by no means held to my theory, that the author should see the end of his work before the public sees the commencement. But neither did Dickens or Mrs. Gaskell, both of whom died with stories not completed, which, when they died, were in the [56/57] course of publication. All the evidence goes against the necessity of such precaution. Nevertheless, were I giving advice to a tiro in novel writing, I should recommend it.

With the last chapter of Denis Duval was published in the magazine a set of notes on the book, taken for the most part from Thackeray's own papers, and showing how much collateral work he had given to the fabrication of his novel. No doubt in preparing other tales, especially Esmond, a very large amount of such collateral labour was found necessary. He was a man who did very much of such work, delighting to deal in little historical incidents. They will be found in almost everything that he did, and I do not know that he was ever accused of gross mistakes. But I doubt whether on that account he should be called a laborious man. He could go down to Winchelsea, when writing about the little town, to see in which way the streets lay, and to provide himself with what we call local colouring. He could jot down the suggestions, as they came to his mind, of his future story. There was an irregularity in such work which was to his taste. His very notes would be delightful to read, partaking of the nature of pearls when prepared only for his own use. But he could not bring himself to sit at his desk and do an allotted task day after day. He accomplished what must be considered as quite a sufficient life's work. He had about twenty-five years for the purpose, and that which he has left is an ample produce for the time. Nevertheless he was a man of fits and starts, who, not having been in his early years drilled to method, never achieved it in his career.

He died on the day before Christmas Day, as has been said above, very suddenly, in his bed, early in the morning, in the fifty-third year of his life. To those who [57/58] saw him about in the world there seemed to be no reason why he should not continue his career for the next twenty years. But those who knew him were so well aware of his constant sufferings, that, though they expected no sudden catastrophe, they were hardly surprised when it came. His death was probably caused by those spasms of which he had complained ten years before, in his letter to Mr. Reed. On the last day but one of the year, a crowd of sorrowing friends stood over his grave as he was laid to rest in Kensal Green; and, as quickly afterwards as it could be executed, a bust to his memory was put up in Westminster Abbey. It is a fine work of art, by Marochetti; but, as a likeness, is, I think, less effective than that which was modelled, and then given to the Garrick Club, by Durham, and has lately been put into marble, and now stands in the upper vestibule of the club. Neither of them, in my opinion, give so accurate an idea of the man as a statuette in bronze, by Boehm, of which two or three copies were made. One of them is in my possession. It has been alleged, in reference to this, that there is something of a caricature in the lengthiness of the figure, in the two hands thrust into the trousers pockets, and in the protrusion of the chin. But this feeling has originated in the general idea that any face, or any figure, not made by the artist more beautiful or more graceful than the original is an injustice. The face must be smoother, the pose of the body must be more dignified, the proportions more perfect, than in the person represented, or satisfaction is not felt. Mr. Boehm has certainly not flattered, but, as far as my eye can judge, he has given the figure of the man exactly as he used to stand before us. I have a portrait of him in crayon, by Samuel Lawrence, as like, but hardly as natural. [58/59]

A little before his death Thackeray told me that he had then succeeded in replacing the fortune which he had lost as a young man. He had, in fact, done better, for he left an income of seven hundred and fifty pounds behind him.

It has been said of Thackeray that he was a cynic. This has been said so generally, that the charge against him has become proverbial. This, stated barely, leaves one of two impressions on the mind, or perhaps the two together,—that this cynicism was natural to his character and came out in his life, or that it is the characteristic of his writings. Of the nature of his writings generally, I will speak in the last chapter of this little book. As to his personal character as a cynic, I must find room to quote the following first stanzas of the little poem which appeared to his memory in Punch, from the pen of Shirley Brooks;

He was a cynic! By his life all wrought
Of generous acts, mild words, and gentle ways;
His heart wide open to all kindly thought,
His hand so quick to give, his tongue to praise!

He was a cynic! You might read it writ
In that broad brow, crowned with its silver hair;
In those blue eyes, with childlike candour lit,
In that sweet smile his lips were wont to wear!

He was a cynic! By the love that clung
About him from his children, friends, and kin;
By the sharp pain light pen and gossip tongue
Wrought in him, chafing the soft heart within!

The spirit and nature of the man have been caught here with absolute truth. A public man should of course be judged from his public work. If he wrote as a cynic,—a point which I will not discuss here,—it may be [59/60] fair that he who is to be known as a writer should be so called. But, as a man, I protest that it would be hard to find an individual farther removed from the character. Over and outside his fancy, which was the gift which made him so remarkable,—a certain feminine softness was the most remarkable trait about him. To give some immediate pleasure was the great delight of his life,—a sovereign to a schoolboy, gloves to a girl, a dinner to a man, a compliment to a woman. His charity was overflowing. His generosity excessive. I heard once a story of woe from a man who was the dear friend of both of us. The gentleman wanted a large sum of money instantly,—something under two thousand pounds,—had no natural friends who could provide it, but must go utterly to the wall without it. Pondering over this sad condition of things just revealed to me, I met Thackeray between the two mounted heroes at the Horse Guards, and told him the story. "Do you mean to say that I am to find two thousand pounds?" he said, angrily, with some expletives. I explained that I had not even suggested the doing of anything,—only that we might discuss the matter. Then there came over his face a peculiar smile, and a wink in his eye, and he whispered his suggestion, as though half ashamed of his meanness. "I'll go half," he said, "if anybody will do the rest." And he did go half, at a day or two's notice, though the gentleman was no more than simply a friend. I am glad to be able to add that the money was quickly repaid. I could tell various stories of the same kind, only that I lack space, and that they, if simply added one to the other, would lack interest.

He was no cynic, but he was a satirist, and could now and then be a satirist in conversation, hitting very hard when he did hit. When he was in America he met [60/61] at dinner a literary gentleman of high character, middle-aged, and most dignified deportment. The gentleman was one whose character and acquirements stood very high,—deservedly so,—but who, in society, had that air of wrapping his toga around him, which adds, or is supposed to add, many cubits to a man's height. But he had a broken nose. At dinner he talked much of the tender passion, and did so in a manner which stirred up Thackeray's feeling of the ridiculous. "What has the world come to," said Thackeray out loud to the table, "when two broken-nosed old fogies like you and me sit talking about love to each other!" The gentleman was astounded, and could only sit wrapping his toga in silent dismay for the rest of the evening. Thackeray then, as at other similar times, had no idea of giving pain, but when he saw a foible he put his foot upon it, and tried to stamp it out.

Such is my idea of the man whom many call a cynic, but whom I regard as one of the most soft-hearted of human beings, sweet as Charity itself, who went about the world dropping pearls, doing good, and never wilfully inflicting a wound.

What Prelate deems thy grave his loss?
What Halifax erects thy tomb?

But, may be, he,—who so could draw
The hidden great,—the humble wise,
Yielding with them to God's good law,
Makes the Pantheon where he lies.

Last modified 8 August 2014