The Atlantic Monthly, Volume 08, No. 47, September, 1861

Two of the chapters of this work will be recognized by readers of the "Atlantic" as having first appeared in its pages,—a chapter upon the Progress and Present Condition of the Electric Telegraph in the various countries of the world, and a description of the Electrical Influence of the Aurora Borealis upon the Working of the Telegraph. These, with a curiously interesting chapter upon the Various Applications of the Telegraph, and an amusing miscellaneous chapter showing that the Telegraph has a literature of its own, complete the chief popular elements of the volume. The remainder is devoted mainly to a technical treatise on the proper method of constructing telegraphic lines, perfecting insulation, etc. In an Appendix we have a more careful consideration of Galvanism, and a more detailed examination of the qualities and capacities of the various batteries.

As is becoming in any, and especially in an American, treatise upon this great subject, Mr. Prescott devotes some space to a detailed account of the labors of Professor Morse, which have led to his being regarded as the father of our American system of telegraphing. In a chapter entitled "Early Discoveries in Electro-Dynamics," he publishes for the first time some interesting facts elicited during the trial, in the Supreme Court of the United States, of the suit of the Morse patentees against the House Company for alleged infringement of patent. In this chapter we have a résumé of the evidence before the Court, and an abstract of the decision of Judge Woodbury. This leads clearly to the conclusion, that, although Professor Morse had no claims to any merit of actual invention, yet he had the purely mechanical merit of having gone beyond all his compeers in the application of discoveries and inventions already made, and that he was the first to contrive and set in operation a thoroughly effective instrument.

Mr. Prescott has produced a very readable and useful book. It has been thoroughly and appropriately illustrated, and is a very elegant specimen of the typographer's art.

Great Expectations. By CHARLES DICKENS. Philadelphia: T.B. Peterson & Brothers. 8vo.

The very title of this book indicates the confidence of conscious genius. In a new aspirant for public favor, such a title might have been a good device to attract attention; but the most famous novelist of the day, watched by jealous rivals and critics, could hardly have selected it, had he not inwardly felt the capacity to meet all the expectations he raised. We have read it, as we have read all Mr. Dickens's previous works, as it appeared in instalments, and can testify to the felicity with which expectation was excited and prolonged, and to the series of surprises which accompanied the unfolding of the plot of the story. In no other of his romances has the author succeeded so perfectly in at once stimulating and baffling the curiosity of his readers. He stirred the dullest minds to guess the secret of his mystery; but, so far as we have learned, the guesses of his most intelligent readers have been almost as wide of the mark as those of the least apprehensive. It has been all the more provoking to the former class, that each surprise was the result of art, and not of trick; for a rapid review of previous chapters has shown that the materials of a strictly logical development of the story were freely given. Even after the first, second, third, and even fourth of these surprises gave their pleasing electric shocks to intelligent curiosity, the dénouement was still hidden, though confidentially foretold. The plot of the romance is therefore universally admitted to be the best that Dickens has ever invented. Its leading events are, as we read the story consecutively, artistically necessary, yet, at the same time, the processes are artistically concealed. We follow the movement of a logic of passion and character, the real premises of which we detect only when we are startled by the conclusions.

The plot of "Great Expectations" is also noticeable as indicating, better than any of his previous stories, the individuality of Dickens's genius. Everybody must have discerned in the action of his mind two diverging tendencies, which, in this novel, are harmonized. He possesses a singularly wide, clear, and minute power of accurate observation, both of things and of persons; but his observation, keen and true to actualities as it independently is, is not a dominant faculty, and is opposed or controlled by the strong tendency of his disposition to pathetic or humorous idealization. Perhaps in "The Old Curiosity Shop" these qualities are best seen in their struggle and divergence, and the result is a magnificent juxtaposition of romantic tenderness, melodramatic improbabilities, and broad farce. The humorous characterization is joyously exaggerated into caricature,—the serious characterization into romantic unreality, Richard Swiveller and Little Nell refuse to combine. There is abundant evidence of genius both in the humorous and the pathetic parts, but the artistic impression is one of anarchy rather than unity.

In "Great Expectations," on the contrary, Dickens seems to have attained the mastery of powers which formerly more or less mastered him. He has fairly discovered that he cannot, like Thackeray, narrate a story as if he were a mere looker-on, a mere "knowing" observer of what he describes and represents; and he has therefore taken observation simply as the basis of his plot and his characterization. As we read "Vanity Fair" and "The Newcomes," we are impressed with the actuality of the persons and incidents. There is an absence both of directing ideas and disturbing idealizations. Everything drifts to its end, as in real life. In "Great Expectations" there is shown a power of external observation finer and deeper even than Thackeray's; and yet, owing to the presence of other qualities, the general impression is not one of objective reality. The author palpably uses his observations as materials for his creative faculties to work upon; he does not record, but invents; and he produces something which is natural only under conditions prescribed by his own mind. He shapes, disposes, penetrates, colors, and contrives everything, and the whole action, is a series of events which could have occurred only in his own brain, and which it is difficult to conceive of as actually "happening." And yet in none of his other works does he evince a shrewder insight into real life, and a clearer perception and knowledge of what is called "the world." The book is, indeed, an artistic creation, and not a mere succession of humorous and pathetic scenes, and demonstrates that Dickens is now in the prime, and not in the decline of his great powers.

The characters of the novel also show how deeply it has been meditated; for, though none of them may excite the personal interest which clings to Sam Weller or little Dombey, they are better fitted to each other and to the story in which they appear than is usual with Dickens. They all combine to produce that unity of impression which the work leaves on the mind. Individually they will rank among the most original of the author's creations. Magwitch and Joe Gargery, Jaggers and Wemmick, Pip and Herbert, Wopsle, Pumblechook, and "the Aged," Miss Havisham, Estella, and Biddy, are personages which the most assiduous readers of Dickens must pronounce positive additions to the characters his rich and various genius had already created.

Pip, the hero, from whose mind the whole representation takes its form and color, is admirably delineated throughout. Weak, dreamy, amiable, apprehensive, aspiring, inefficient, the subject and the victim of "Great Expectations," his individuality is, as it were, diffused through the whole narrative. Joe is a noble character, with a heart too great for his powers of expression to utter in words, but whose patience, fortitude, tenderness, and beneficence shine lucidly through his confused and mangled English. Magwitch, the "warmint" who "grew up took up," whose memory extended only to that period of his childhood when he was "a-thieving turnips for his living" down in Essex, but in whom a life of crime had only intensified the feeling of gratitude for the one kind action of which he was the object, is hardly equalled in grotesque grandeur by anything which Dickens has previously done. The character is not only powerful in itself, but it furnishes pregnant and original hints to all philosophical investigators into the phenomena of crime. In this wonderful creation Dickens follows the maxim of the great master of characterization, and seeks "the soul of goodness in things evil."

The style of the romance is rigorously close to things. The author is so engrossed with the objects before his mind, is so thoroughly in earnest, that he has fewer of those humorous caprices of expression in which formerly he was wont to wanton. Some of the old hilarity and play of fancy is gone, but we hardly miss it in our admiration of the effects produced by his almost stern devotion to the main idea of his work. There are passages of description and narrative in which we are hardly conscious of the words, in our clear apprehension of the objects and incidents they convey. The quotable epithets and phrases are less numerous than in "Dombey & Son" and "David Copperfield"; but the scenes and events impressed on the imagination are perhaps greater in number and more vivid in representation. The poetical element of the writer's genius, his modification of the forms, hues, and sounds of Nature by viewing them through the medium of an imagined mind, is especially prominent throughout the descriptions with which the work abounds. Nature is not only described, but individualized and humanized.

Altogether we take great joy in recording our conviction that "Great Expectations" is a masterpiece. We have never sympathized in the mean delight which some critics seem to experience in detecting the signs which subtly indicate the decay of power in creative intellects. We sympathize still less in the stupid and ungenerous judgments of those who find a still meaner delight in wilfully asserting that the last book of a popular writer is unworthy of the genius which produced his first. In our opinion, "Great Expectations" is a work which proves that we may expect from Dickens a series of romances far exceeding in power and artistic skill the productions which have already given him such a preeminence among the novelists of the age.

Tom Brown at Oxford: A Sequel to School-Days at Rugby. By the Author of "School-Days at Rugby," "Scouring of the White Horse," etc. Boston: Ticknor & Fields. 2 vols. 16mo.

Thomas Hughes, the author of these volumes, does not, on a superficial examination, seem to deserve the wide reputation he has obtained. We hunt his books in vain for any of those obvious peculiarities of style, thought, and character which commonly distinguish a man from his fellows. He does not possess striking wit, or humor, or imagination, or power of expression. In every quality, good or bad, calculated to create "a sensation," he is remarkably deficient. Yet everybody reads him with interest, and experiences for him a feeling of personal affection and esteem. An unobtrusive, yet evident nobility of character, a sound, large, "round-about" common-sense, a warm sympathy with English and human kind, a practical grasp of human life as it is lived by ordinary people, and an unmistakable sincerity and earnestness of purpose animate everything he writes. His "School-Days at Rugby" delighted men as well as boys by the freshness, geniality, and truthfulness with which it represented boyish experiences; and the Tom Brown who, in that book, gained so many friends wherever the English tongue is spoken, parts with none of his power to interest and charm in this record of his collegiate life. Mr. Hughes has the true, wholesome English love of home, the English delight in rude physical sports, the English hatred of hypocrisy and cant, the English fidelity to facts, the English disbelief in all piety and morality which are not grounded in manliness. The present work is full of illustrations of these healthy qualities of his nature, and they are all intimately connected with an elevated, yet eminently sagacious spirit of Christian philanthropy. Tom Brown at Oxford, as well as Tom Brown at Rugby, will, so far as he exerts any influence, exert one for good. He has a plentiful lack of those impossible virtues which disgust boys and young men with the models set up as examples for them to emulate in books deliberately moral and religious; but he none the less shows how a manly and Christian character can be attained by methods which are all the more influential by departing from the common mechanical contrivances for fashioning lusty youths into consumptive saints, incompetent to do the work of the Lord in this world, however they may fare in the next. Mr. Hughes can hardly be called a disciple of "Muscular Christianity," except so far as muscle is necessary to give full efficiency to mind; but he feels all the contempt possible to such a tolerant nature for that spurious piety which kills the body in order to give a sickly appearance of life to the soul.

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1

October, 1859. No. XXIV.

2

We do not attribute the spirit of Dr. Ingleby's book to any inherent malignity or deliberately malicious purpose of its author, but rather to that relentless partisanship which this folio seems to have excited among the British critics. So we regard his reference to "almighty smash" and "catawampously chawed up" as specimens of the language used in America, and his disparagement of the English in vogue here, less as a manifestation of a desire to misrepresent, or even a willingness to sneer, than as an amusing exhibition of utter ignorance. In what part of America and from what lips did Dr. Ingleby ever hear these phrases? We have never heard them; and in a somewhat varied experience of American life have never been in any society, however humble, in which they would not excite laughter, if not astonishment, —astonishment even greater than that with which Americans of average cultivation would read such phrases as these in a goodly octavo published by a Doctor of the Laws of Cambridge University. "And one ground upon which the hypothesis of Hamlet's insanity has been built is 'swagged.'" (Complete View, p. 82.) "The interests of literature jeopardized, but not compromised." (Ib. p. 10.) "The rest of Mr. Collier's remarks on the H.S. letter relates," etc. (Ib. p. 260.) "In the middle of this volume has been foisted." (Ib. p. 261.) We shall not say that this is British English; but we willingly confess that it is not American English. Such writing would not be tolerated in the leading columns of any newspaper of reputation in this country; it might creep in among the work of the second or third rate reporters.

3

Notes and Emendations, p. vii.

4

This volume is universally spoken of as the Perkins folio by the British critics. But we preserve the designation under which it is so widely known in America.

5

An Inquiry, etc., pp. 86-89. See also Ingleby's Complete View, etc., pp. 279-288. Both Mr. Hamilton and Dr. Ingleby give fac-similes of this important postscript.

6

See Dyce's Strictures, etc., pp. 2, 22, 28, 35, 51, 54, 56, 57, 58, 70, 123, 127, 146, 168, 192, 203, 204.

7

Such hasty examinations as those which it must have received at the Society of Antiquaries and the Shakespeare Society, where Mr. Collier took it, are of little importance.

8

See, for instance, "I have been told, but I do not believe it, that Sir F. Madden and his colleagues were irritated by this piece of supposed neglect; and that they also took it ill that I presented the Perkins folio to the kindest, most condescending, and most liberal of noblemen, instead of giving it to their institution." (Reply, p. 11.) And see the same pamphlet and Mr. Collier's letters, passim.

9

This is finally admitted even by Mr. Collier's supporters. The Edinburgh Reviewer says,—"But then the mysterious pencil-marks! They are there, most undoubtedly, and in very great numbers too. The natural surprise that they were not earlier detected is somewhat diminished on inspection. Some say they have 'come out' more in the course of years; whether this is possible we know not. But even now they are hard to discover, until the eye has become used to the search. But when it has,—especially with the use of a glass at first,—they become perceptible enough, words, ticks, points, and all."

10

In Coriolanus, Act v. sc. 2, (p. 55, col. 2, of the C. folio,) "struggles or instead noise,"—plainly a memorandum for a stage-direction in regard to the impending fracas between Menenius and the Guard.

11

Having at hand some of Mr. Collier's own writing in pencil, we are dependent as to this point, in regard to the pencillings in the folio, only upon the accuracy of the fac-similes published by Mr. Hamilton and Dr. Ingleby, which correspond in character, though made by different fac-similists.

12

See Putnam's Magazine, October, 1853, and Shakespeare's Scholar, 1854, p. 74.

13

See the London Athenaeum of January 8th, 1853:—"We cannot hesitate to infer that there must have been something more than mere conjecture,—some authority from which they were derived…. The consideration of the nine omitted lines stirs up Mr. Collier to a little greater boldness on the question of authority; but, after all, we do not think he goes the full length which the facts would warrant."

Compare this with the following extracts from the same journal of July 9th, 1859;—"The folio never had any ascertained external authority. All the warrant it has ever brought to reasonable critics is internal." "If anybody, in the heat of argument, ever claimed for them [the MS. readings] a right of acceptance beyond the emendations of Theobald, Malone, Dyce, and Singer, (that is, a right not justified by their obvious utility or beauty,) such a claim must have been untenable, by whomsoever urged."

14

The Shakespeare Fabrications, p. 45.

15

See the fac-simile in Dr. Ingleby's Complete View. p. 262.

16

A Review, etc., p. 60.

17

We could point out numerous other similar failures and errors in the publications in which Mr. Collier is attacked; but we cannot spare time or space for these petty side-issues.

18

A Review, etc., pp. 6, 7.

19

A Complete View, p. 114.

20

Ib. p. 250.

21

Ib. p. 293.

22

Ib. p. 256.

23

Ib. p. 271.

24

Complete View, p. 309.

25

Inquiry, p. 23.

26

Lowndes mentions no other edition than that of 1652; and Mr. Bohn in his new edition of the Bibliographer has merely repeated the original in this respect. But if Lowndes had seen only the edition of 1652, he might have found in it evidence of the date of the publication of the book. It is dedicated to "Sir Francis Bacon Knight, his Ma'ties Attorney Generall"; and as Bacon was made Attorney General in 1613 and Lord Keeper in 1617, the book must have been published between those dates; and one of the plates, the 18th, is dated "Anno 1615," and another, the 24th, "1616."