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 installments, 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 intellectual 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 denouement 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 possess 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 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 of both 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 the story in which they appear than is usual with Dickens. They all combine to produce the 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 has 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 of 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 his 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 judgements of those who find a still meaner delight in willfully 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.
