Excerpt

Excerpt from The Puzzle of Dickens's Last Plot, by Andrew Lang

FORSTER tells us that Dickens, in his later novels, from Bleak House
onwards (1853), “assiduously cultivated” construction, “this essential of
his art.” Some critics may think, that since so many of the best novels
in the world “have no outline, or, if they have an outline, it is a
demned outline,” elaborate construction is not absolutely “essential.”
Really essential are character, “atmosphere,” humour.

But as, in the natural changes of life, and under the strain of restless
and unsatisfied activity, his old buoyancy and unequalled high spirits
deserted Dickens, he certainly wrote no longer in what Scott, speaking of
himself, calls the manner of “hab nab at a venture.” He constructed
elaborate plots, rich in secrets and surprises. He emulated the manner
of Wilkie Collins, or even of Gaboriau, while he combined with some of
the elements of the detective novel, or roman policier, careful study
of character. Except Great Expectations, none of his later tales
rivals in merit his early picaresque stories of the road, such as
Pickwick and Nicholas Nickleby. “Youth will be served;” no sedulous
care could compensate for the exuberance of “the first sprightly
runnings.” In the early books the melodrama of the plot, the secrets of
Ralph Nickleby, of Monk, of Jonas Chuzzlewit, were the least of the
innumerable attractions. But Dickens was more and more drawn towards the
secret that excites curiosity, and to the game of hide and seek with the
reader who tried to anticipate the solution of the secret.

In April, 1869, Dickens, outworn by the strain of his American readings;
of that labour achieved under painful conditions of ominously bad
health—found himself, as Sir Thomas Watson reported, “on the brink of an
attack of paralysis of his left side, and possibly of apoplexy.” He
therefore abandoned a new series of Readings. We think of Scott’s
earlier seizures of a similar kind, after which Peveril, he said,
“smacked of the apoplexy.” But Dickens’s new story of The Mystery of
Edwin Drood, first contemplated in July, 1869, and altered in character
by the emergence of “a very curious and new idea,” early in August, does
not “smack of the apoplexy.” We may think that the mannerisms of Mr.
Honeythunder, the philanthropist, and of Miss Twinkleton, the
schoolmistress, are not in the author’s best vein of humour. “The
Billickin,” on the other hand, the lodging-house keeper, is “in very
gracious fooling:” her unlooked-for sallies in skirmishes with Miss
Twinkleton are rich in mirthful surprises. Mr. Grewgious may be
caricatured too much, but not out of reason; and Dickens, always good at
boys, presents a gamin, in Deputy, who is in not unpleasant contrast
with the pathetic Jo of Bleak House. Opinions may differ as to Edwin
and Rosa, but the more closely one studies Edwin, the better one thinks
of that character. As far as we are allowed to see Helena Landless, the
restraint which she puts on her “tigerish blood” is admirable: she is
very fresh and original. The villain is all that melodrama can desire,
but what we do miss, I think, is the “atmosphere” of a small cathedral
town. Here there is a lack of softness and delicacy of treatment: on the
other hand, the opium den is studied from the life.

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Explanation

Detailed Explanation of Andrew Lang’s Excerpt from The Puzzle of Dickens’s Last Plot

This passage from Andrew Lang’s The Puzzle of Dickens’s Last Plot (1897) analyzes Charles Dickens’s later literary style, particularly his shift toward elaborate plotting in novels like Bleak House (1853) and The Mystery of Edwin Drood (1870, unfinished). Lang, a Scottish writer and critic, examines Dickens’s evolving craft, comparing his early and late works while assessing the strengths and weaknesses of Edwin Drood—Dickens’s final, incomplete novel.

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1. Context & Background

• Andrew Lang (1844–1912) was a prolific critic, folklorist, and biographer who wrote extensively on literature, including studies of Shakespeare, Homer, and Dickens.
• John Forster (1812–1876), Dickens’s close friend and biographer, claimed that from Bleak House onward, Dickens prioritized intricate plot construction—a departure from his earlier, more spontaneous style.
• Dickens’s Later Career (Post-1850s):
  • His early works (The Pickwick Papers, Nicholas Nickleby) were picaresque—episodic, humorous, and character-driven.
  • Later novels (Bleak House, Little Dorrit, Edwin Drood) became more structured, incorporating mystery, secrets, and detective-like elements, influenced by Wilkie Collins (author of The Woman in White) and Émile Gaboriau (a pioneer of detective fiction).
  • Dickens’s health declined in the 1860s due to exhausting public readings, culminating in a near-paralytic stroke in 1869, just as he began Edwin Drood.

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2. Key Themes in the Excerpt

A. The Shift from Spontaneity to Construction

• Early Dickens (Pre-1853):

  • Wrote in a "hab nab at a venture" (Scott’s phrase) style—improvised, exuberant, and full of youthful energy.
  • Strengths: Vivid characters, humor, and atmosphere (e.g., Pickwick’s road trips, Nickleby’s theatrical villains).
  • Plot was secondary—melodramatic twists (e.g., Ralph Nickleby’s secrets) were less important than character and humor.

• Later Dickens (Post-1853):

  • Deliberate plotting became central—secrets, surprises, and detective-like intrigue (e.g., Bleak House’s legal mysteries, Edwin Drood’s disappearance).
  • Influence of sensation fiction (Collins, Gaboriau) led to more suspense-driven narratives.
  • Trade-off: Some critics (like Lang) argue that construction came at the expense of spontaneity—the "first sprightly runnings" of youth couldn’t be replicated.

B. The Decline of "Atmosphere" in Edwin Drood

• Early novels excelled in immersive settings (e.g., London’s fog in Bleak House, the Yorkshire moors in Nicholas Nickleby).
• In Edwin Drood, Lang notes a deficiency:
  • The cathedral town (Cloisterham) lacks the softness and delicacy of Dickens’s best settings.
  • Exception: The opium den (inspired by real-life visits to London’s East End) is vivid and realistic, showing Dickens’s observational skill remained sharp.

C. Character Assessment in Edwin Drood

Lang evaluates the novel’s characters with mixed praise:

• Strengths:
  • Helena Landless – A fresh, original figure, restraining her "tigerish blood" (suggesting repressed passion or violence).
  • The Billickin (Mrs. Billickin) – A comic gem, with unexpected wit in her clashes with Miss Twinkleton.
  • Deputy (the gamin) – A street-smart boy, contrasting with the tragic Jo (Bleak House).
  • Edwin Drood – Underrated; closer study reveals depth.
• Weaknesses:
  • Mr. Honeythunder (philanthropist) & Miss Twinkleton (schoolmistress) – Overdone mannerisms, not Dickens’s best humor.
  • Mr. Grewgious – Caricatured but not unreasonable.
  • Neville Landless (Helena’s brother) & John Jasper (the villain) – Melodramatic but effective in their roles.

D. The "Curious and New Idea" in Edwin Drood

• Dickens revised his initial plan in August 1869, introducing a major twist (likely involving opium, disguise, or murder).
• Speculation: Many believe John Jasper (the choirmaster) is the villain, possibly killing Edwin in a drug-fueled rage (or faking his death).
• Significance: The unfinished nature of the novel has led to centuries of debate—was Jasper a murderer? Was Edwin alive? Dickens’s death left it a literary puzzle.

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3. Literary Devices & Stylistic Observations

Device/Technique	Example in the Excerpt	Effect
Juxtaposition	Early vs. late Dickens (spontaneity vs. construction)	Highlights evolution in style and critical debate over what makes a novel "essential."
Allusion	References to Scott’s "hab nab at a venture" and "apoplexy"	Draws parallels between Dickens and Sir Walter Scott, another novelist whose later works suffered from health issues.
Irony	"Demned outline" (misspelled for emphasis)	Mocks critics who dismiss plotting as unnecessary, while acknowledging its role in Dickens’s later work.
Metaphor	"The first sprightly runnings" (youthful energy)	Evokes natural vitality lost in later, more calculated writing.
Contrast	Opium den (realistic) vs. cathedral town (lacking atmosphere)	Shows selective strength in Dickens’s late descriptive power.
Hyperbole	"All that melodrama can desire" (about the villain)	Emphasizes Jasper’s exaggerated villainy, fitting Dickens’s theatrical style.

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4. Significance of the Passage

1. Dickens’s Artistic Evolution:

   • Lang argues that plot became more important as Dickens aged, but not always at the expense of quality.
   • The unfinished Edwin Drood remains a test case—would it have matched his early masterpieces?

2. The Role of Health in Creativity:

   • Dickens’s physical decline (stroke risk in 1869) raises questions about how illness affects art.
   • Unlike Scott (whose Peveril "smacked of apoplexy"), Edwin Drood doesn’t show obvious decline, suggesting Dickens’s mind remained sharp.

3. The Detective Novel’s Influence:

   • Dickens’s later works blend social realism with mystery, foreshadowing modern crime fiction.
   • Edwin Drood’s opium den and disappearance reflect Victorian anxieties about drugs, deception, and urban decay.

4. Critical Debate on "Essential" Novel Elements:

   • Lang challenges Forster’s claim that construction is "essential."
   • Instead, he prioritizes character, atmosphere, and humor—elements that made Dickens’s early works timeless.

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5. Closing Analysis: Why Does This Matter?

Lang’s excerpt is not just literary criticism—it’s a meditation on artistic aging, genre shifts, and the unfinished legacy of a master novelist. By comparing Dickens’s early spontaneity with his later precision, Lang invites readers to consider:

• Can an artist’s later works surpass their youthful genius?
• Is plot more important than atmosphere?
• How does an unfinished work shape an author’s reputation?

Edwin Drood remains one of literature’s great "what ifs", and Lang’s analysis helps us appreciate both its flaws and its tantalizing potential.

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Final Thought:

Dickens’s last novel is a puzzle in more ways than one—not just because of its unsolved mystery, but because it forces us to ask: Was Dickens still at his best, or had the "first sprightly runnings" of his youth faded forever? Lang’s answer? A bit of both.