view. The convict, smothered in mud and with his chain trailing from his leg, suddenly starts up among the tombs, grabs the child, turns him upside down and robs his pockets. Then he begins terrorising him into bringing food and a file:
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...he held me by the arms in an upright position on the top of the stone, and went on in these fearful terms:
"You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it, and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and your liver shall be tore out, roasted and ate. Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am keeping that young man from harming of you at the present moment, with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?"
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Here Dickens has simply yielded to temptation. To begin with, no starving and hunted man would speak in the least like that. Moreover, although the speech shows a remarkable knowledge of the way in which a child's mind works, its actual words are quite out of tune with what is to follow. It turns Magwitch into a sort of pantomime wicked uncle, or, if one sees him through the child's eyes, into an appalling monster. Later in the book he is to be represented as neither, and his exaggerated gratitude, on which the plot turns, is to be incredible because of just this speech. As usual, Dickens's imagination has overwhelmed him. The picturesque details were too good to be left out. Even with characters who are more of a piece than Magwitch he is liable to be tripped up by some seductive phrase. Mr. Murdstone, for instance, is in the habit of ending David Copperfield's lessons every morning with a dreadful sum in arithmetic. "If I go into a cheese-monger's shop, and buy five thousand double-Gloucester cheeses at fourpence halfpenny each, present payment," it always begins. Once again the typical Dickens detail, the double-Gloucester cheeses. But it is far too human a touch for Murdstone; he would have made it five thousand cashboxes. Every time this note is struck, the unity of the novel suffers. Not that it matters very much, because Dickens is obviously a writer whose parts are greater than his wholes. He is all fragments, all detailsârotten architecture, but wonderful gargoylesâand never better than when he is building up some character who will later on be forced to act inconsistently.
Of course it is not usual to urge against Dickens that he makes his characters behave inconsistently. Generally he is accused of doing just the opposite. His characters are supposed to be mere "types," each crudely representing some single trait and fitted with a kind of label by which you recognise him. Dickens is "only a caricaturist"âthat is the usual accusation, and it does him both more and less than justice. To begin with, he did not think of himself as a caricaturist, and was constantly setting into action characters who ought to have been purely static. Squeers, Micawber, Miss Mowcher, * Wegg, Skimpole, Pecksniff and many others are finally involved in "plots" where they are out of place and where they behave quite incredibly. They start off as magic-lantern slides and they end by getting mixed up in a
Â
...he held me by the arms in an upright position on the top of the stone, and went on in these fearful terms:
"You bring me, to-morrow morning early, that file and them wittles. You bring the lot to me, at that old Battery over yonder. You do it, and you never dare to say a word or dare to make a sign concerning your having seen such a person as me, or any person sumever, and you shall be let to live. You fail, or you go from my words in any partickler, no matter how small it is, and your heart and your liver shall be tore out, roasted and ate. Now, I ain't alone, as you may think I am. There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver. It is in wain for a boy to attempt to hide himself from that young man. A boy may lock his door, may be warm in bed, may tuck himself up, may draw the clothes over his head, may think himself comfortable and safe, but that young man will softly creep and creep his way to him and tear him open. I am keeping that young man from harming of you at the present moment, with great difficulty. I find it wery hard to hold that young man off of your inside. Now, what do you say?"
Â
Here Dickens has simply yielded to temptation. To begin with, no starving and hunted man would speak in the least like that. Moreover, although the speech shows a remarkable knowledge of the way in which a child's mind works, its actual words are quite out of tune with what is to follow. It turns Magwitch into a sort of pantomime wicked uncle, or, if one sees him through the child's eyes, into an appalling monster. Later in the book he is to be represented as neither, and his exaggerated gratitude, on which the plot turns, is to be incredible because of just this speech. As usual, Dickens's imagination has overwhelmed him. The picturesque details were too good to be left out. Even with characters who are more of a piece than Magwitch he is liable to be tripped up by some seductive phrase. Mr. Murdstone, for instance, is in the habit of ending David Copperfield's lessons every morning with a dreadful sum in arithmetic. "If I go into a cheese-monger's shop, and buy five thousand double-Gloucester cheeses at fourpence halfpenny each, present payment," it always begins. Once again the typical Dickens detail, the double-Gloucester cheeses. But it is far too human a touch for Murdstone; he would have made it five thousand cashboxes. Every time this note is struck, the unity of the novel suffers. Not that it matters very much, because Dickens is obviously a writer whose parts are greater than his wholes. He is all fragments, all detailsârotten architecture, but wonderful gargoylesâand never better than when he is building up some character who will later on be forced to act inconsistently.
Of course it is not usual to urge against Dickens that he makes his characters behave inconsistently. Generally he is accused of doing just the opposite. His characters are supposed to be mere "types," each crudely representing some single trait and fitted with a kind of label by which you recognise him. Dickens is "only a caricaturist"âthat is the usual accusation, and it does him both more and less than justice. To begin with, he did not think of himself as a caricaturist, and was constantly setting into action characters who ought to have been purely static. Squeers, Micawber, Miss Mowcher, * Wegg, Skimpole, Pecksniff and many others are finally involved in "plots" where they are out of place and where they behave quite incredibly. They start off as magic-lantern slides and they end by getting mixed up in a
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