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Updated: April 30, 2025
Thackeray's English Humorists of the last Century. Sir Roger de Coverley. New York: Harpers, 1878. Swift's Tale of a Tub, Gulliver's Travels, Directions to Servants, Polite Conversation, The Great Question Debated, Verses on the Death of Dean Swift. The Poetical Works of Alexander Pope. London: Macmillan & Co., 1869. Pope's example continued potent for fifty years after his death.
Scott's astonishing Waverley series, Thackeray's "Vanity Fair," Boz's own "Nicholas Nickleby," "Oliver Twist," in fact, not one of the whole series save "the immortal 'Pickwick'" has produced anything in the way of books or commentaries. I believe it is really owing to this. Boz was a great admirer of Boswell's equally immortal book. I have heard him speak of it. He attempted parodies of it even.
Here, too, are some fine old brasses to members of a family that has played its part in the nation's history; one member of which family, the duellist Mohun, is a prominent figure in Thackeray's Esmond. The Mohuns, coming from Dunster, settled at Hall House in this parish in the fourteenth century; it was doubtless in connection with them that the church once belonged to a Bridgwater foundation.
He himself described the glamour Thackeray's name possessed for him, inspiring him as he climbed out of the despair that followed the sudden partial deprivation of his sight. The only time he met his master he was too diffident to accept an invitation to be introduced. Thackeray seemed so great. But all that evening he remained as close to him as possible, greedily listening to his words.
Thackeray's Esmond and Meredith's Richard Feveret rubbed covers with Irving's Conquest of Granada and a tattered line of paper-covered novels. Over the sideboard was a framed photograph of the Edinburgh University Football Fifteen, and opposite it a smaller one of Dimsdale himself, clad in the scantiest of garb, as he appeared after winning the half-mile at the Inter-University Handicap.
But I had very little concern then as to that sort of error. I was on a very high esthetic horse, which I could not have conveniently stooped from if I had wished; it was quite enough for me that Thackeray's novels were prodigious works of art, and I acquired merit, at least with myself, for appreciating them so keenly, for liking them so much.
The young writer who attempts to report the phrase and carriage of every-day life, who tries to tell just how he has heard men talk and seen them look, is made to feel guilty of something low and unworthy by people who would like to have him show how Shakespeare's men talked and looked, or Scott's, or Thackeray's, or Balzac's, or Hawthorne's, or Dickens's; he is instructed to idealize his personages, that is, to take the life-likeness out of them, and put the book-likeness into them.
His two books for young folks, "The Last of the Huggermuggers" and "Kobboltozo," ought not to be overlooked, for the illustrations in them are the only remains we have of his rare pencil drawings, as good, if not better, than Thackeray's drawings.
It shows how little Thackeray's fashion of handling a novel allowed for the big dramatic scene, when at length it had to be faced how he neglected it in advance, how he refused it till the last possible moment.
A story is told of Thackeray's visit to Washington, which I distrust only for the reason that my ideas of Sumner's make-up do not assign him the special kind of humor which the story brings out. He was, however, quoted as saying, "Thackeray is one of the most perfect gentlemen I ever knew. I had a striking illustration of that this morning.
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