Chapter 20

Great Expectations, which was written in the afternoon of Dickens's life and fame, has a quality of serene irony and even sadness, which puts it quite alone among his other works. At no time could Dickens possibly be called cynical, he had too much vitality; but relatively to the other books this book is cynical; but it has the soft and gentle cynicism of old age, not the hard cynicism of youth. To be a young cynic is to be a young brute; but Dickens, who had been so perfectly romantic and sentimental in his youth, could afford to admit this touch of doubt into the mixed experience of his middle age. At no time could any books by Dickens have been called Thackerayan. Both of the two men were too great for that. But relatively to the other Dickensian productions this book may be called Thackerayan. It is a study in human weakness and the slow human surrender. It describes how easily a free lad of fresh and decent instincts can be made to care more for rank and pride and the degrees of our stratified society than for old affection and for honour. It is an extra chapter to The Book of Snobs.

The best way of stating the change which this book marks in Dickens can be put in one phrase. In this book for the first time the hero disappears. The hero had descended to Dickens by a long line which begins with the gods, nay, perhaps if one may say so, which begins with God. First comes Deity and then the image of Deity; first comes the god and then the demi-god, the Hercules who labours and conquers before he receives his heavenly crown. That idea, with continual mystery and modification, has continued behind all romantic tales; the demi-god became the hero of paganism; the hero of paganism became the knight-errant of Christianity; the knight-errant who wandered and was foiled before he triumphed became the hero of the later prose romance, the romance in which the hero had to fight a duel with the villain but always survived, in which the hero drove desperate horses through the night in order to rescue the heroine, but always rescued her.

This heroic modern hero, this demi-god in a top-hat, may be said to reach his supreme moment and typical example about the time when Dickens was writing that thundering and thrilling and highly unlikely scene in Nicholas Nickleby, the scene where Nicholas hopelessly denounces the atrocious Gride in his hour of grinning triumph, and a thud upon the floor above tells them that the heroine's tyrannical father has died just in time to set her free. That is the apotheosis of the pure heroic as Dickens found it, and as Dickens in some sense continued it. It may be that it does not appear with quite so much unmistakable Youth, beauty, valour, and virtue as it does in Nicholas Nickleby. Walter Gay is a simpler and more careless hero, but when he is doing any of the business of the story he is purely heroic. Kit Nubbles is a humbler hero, but he is a hero; when he is good he is very good. Even David