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Excerpt from The Lazy Tour of Two Idle Apprentices, by Charles Dickens

IN the autumn month of September, eighteen hundred and fifty-seven,
wherein these presents bear date, two idle apprentices, exhausted by the
long, hot summer, and the long, hot work it had brought with it, ran away
from their employer. They were bound to a highly meritorious lady (named
Literature), of fair credit and repute, though, it must be acknowledged,
not quite so highly esteemed in the City as she might be. This is the
more remarkable, as there is nothing against the respectable lady in that
quarter, but quite the contrary; her family having rendered eminent
service to many famous citizens of London. It may be sufficient to name
Sir William Walworth, Lord Mayor under King Richard II., at the time of
Wat Tyler’s insurrection, and Sir Richard Whittington: which latter
distinguished man and magistrate was doubtless indebted to the lady’s
family for the gift of his celebrated cat. There is also strong reason
to suppose that they rang the Highgate bells for him with their own
hands.

The misguided young men who thus shirked their duty to the mistress from
whom they had received many favours, were actuated by the low idea of
making a perfectly idle trip, in any direction. They had no intention of
going anywhere in particular; they wanted to see nothing, they wanted to
know nothing, they wanted to learn nothing, they wanted to do nothing.
They wanted only to be idle. They took to themselves (after HOGARTH),
the names of Mr. Thomas Idle and Mr. Francis Goodchild; but there was not
a moral pin to choose between them, and they were both idle in the last
degree.

Between Francis and Thomas, however, there was this difference of
character: Goodchild was laboriously idle, and would take upon himself
any amount of pains and labour to assure himself that he was idle; in
short, had no better idea of idleness than that it was useless industry.
Thomas Idle, on the other hand, was an idler of the unmixed Irish or
Neapolitan type; a passive idler, a born-and-bred idler, a consistent
idler, who practised what he would have preached if he had not been too
idle to preach; a one entire and perfect chrysolite of idleness.

Explanation ​

Detailed Explanation of the Excerpt from The Lazy Tour of Two Idle Apprentices by Charles Dickens ​

Context of the Work ​

The Lazy Tour of Two Idle Apprentices (1860) is a semi-autobiographical travelogue co-written by Charles Dickens and his friend Wilkie Collins (though Dickens was the primary author). The work chronicles a leisurely journey the two men took through northern England in 1857, escaping the pressures of their literary careers. The excerpt introduces the two protagonists—Thomas Idle and Francis Goodchild—who serve as fictionalized versions of Dickens and Collins, respectively. The piece blends humor, satire, and self-deprecation while exploring themes of idleness, escapism, and the burdens of artistic labor.

Themes in the Excerpt ​

  1. Idleness as Rebellion and Escape

    • The opening lines establish that the two apprentices (Dickens and Collins) have "ran away from their employer"—a personified Literature, described as a "highly meritorious lady." This framing humorously positions writing as a form of labor (almost servitude) from which they seek temporary freedom.
    • Their escape is not motivated by ambition or curiosity but by a desire for pure idleness: "They wanted to see nothing, they wanted to know nothing, they wanted to learn nothing, they wanted to do nothing." This exaggeration underscores their exhaustion and the absurdity of their rebellion against productivity.

  2. The Paradox of the "Idle" Artist

    • The excerpt satirizes the myth of the lazy artist. While the two men claim to seek idleness, their very act of writing about their idleness undermines the claim—revealing that even "idleness" is a performance, especially for professional writers.
    • Dickens, known for his prolific output, often wrote about the pressures of creativity (e.g., in David Copperfield’s autobiographical passages). Here, he mocks the idea that artists can ever truly escape their work.

  3. Satire of Social and Literary Expectations

    • The personification of Literature as a neglected "lady" critiques how society undervalues art despite its historical contributions (e.g., references to Sir Richard Whittington and his cat, a folktale figure associated with London’s merchant class).
    • The mention of Wat Tyler’s insurrection (a 14th-century peasants' revolt) subtly ties idleness to class rebellion—though here, the "rebellion" is frivolous, not political.

  4. The Two Faces of Idleness

    • The contrast between Francis Goodchild and Thomas Idle explores different philosophies of laziness:
      • Goodchild is "laboriously idle"—he works hard at being idle, suggesting a neurotic or performative approach to relaxation (perhaps mirroring Collins’ meticulous nature).
      • Idle is a "passive idler," embodying a pure, almost artistic form of laziness. His idleness is so thorough that he wouldn’t even "preach" it—implying a Zen-like detachment. The comparison to Irish or Neapolitan idlers reflects 19th-century stereotypes of Southern European and Irish cultures as inherently leisurely (a trope Dickens employs humorously, if problematically).

Literary Devices and Stylistic Features ​

  1. Personification & Allegory

    • Literature as a "meritorious lady" transforms an abstract concept into a neglected employer, blending humor with a critique of how society treats art.
    • The apprenticeship metaphor frames writing as a trade, emphasizing the labor behind creativity—a recurring theme in Dickens’ works (e.g., Great Expectations’ Pip as an "apprentice" to life).

  2. Irony & Hyperbole

    • The exaggerated list of negations ("they wanted to see nothing, know nothing, learn nothing") is hyperbolic, emphasizing their deliberate rejection of purpose.
    • The claim that they took the trip "in any direction" with "no intention of going anywhere in particular" mocks the Romantic ideal of the purposeful journey (e.g., Wordsworth’s walks), replacing it with aimless wandering.

  3. Characterization Through Contrast

    • The dichotomy between Goodchild and Idle serves as a comic device:
      • Goodchild’s "useless industry" is oxymoronic—he treats idleness as a job, revealing his inability to truly relax.
      • Idle’s "perfect chrysolite of idleness" (a chrysolite being a precious gem) elevates his laziness to an art form, almost a spiritual state. The gem metaphor suggests purity and rarity in his brand of idleness.

  4. Allusion & Historical References

    • Sir Richard Whittington and his cat (from the folktale Dick Whittington and His Cat) reinforce the idea of Literature’s unseen influence—even a legendary figure’s success is tied to her "family."
    • Wat Tyler’s insurrection (1381) subtly links idleness to class struggle, though the comparison is ironic—unlike Tyler’s rebels, these "apprentices" are rebelling against work itself, not oppression.

  5. Tone: Playful Satire with Self-Deprecation

    • Dickens’ tone is lighthearted but sharp, poking fun at:
      • Himself and Collins ("two idle apprentices").
      • The Romantic cult of the artist (by portraying creativity as drudgery).
      • Victorian work ethic (by glorifying laziness).

Significance of the Passage ​

  1. Metafictional Commentary on Writing

    • The excerpt is self-aware: Dickens and Collins, as professional writers, are writing about not writing, highlighting the inescapability of their craft.
    • It reflects Dickens’ ambivalence about fame—he was both a celebrated author and a man exhausted by public expectations (a theme in his later, darker works like The Mystery of Edwin Drood).

  2. Critique of Industrial Capitalism

    • The apprenticeship model mirrors the exploitative labor systems of the Industrial Revolution. By framing Literature as an employer, Dickens subtly comments on how artists are both revered and undervalued.
    • The desire for idleness can be read as a rejection of capitalist productivity, though Dickens frames it as a temporary, privileged escape rather than a serious protest.

  3. Exploration of Male Friendship & Collaboration

    • The dynamic between Goodchild and Idle reflects the real-life friendship between Dickens and Collins, who often collaborated (e.g., on The Frozen Deep).
    • Their shared idleness becomes a bond, suggesting that leasure is a form of intimacy—a rare moment of repose for two overworked men.

  4. Humor as a Coping Mechanism

    • The exaggerated, absurdist humor ("a perfect chrysolite of idleness") serves as a defense mechanism against the pressures of their careers.
    • Dickens, who suffered from depression and overwork, often used comedy to diffuse personal strain (e.g., The Pickwick Papers’ jovial tone amidst his early struggles).

Conclusion: Why This Passage Matters ​

This excerpt is more than just a whimsical introduction—it’s a satirical meditation on art, labor, and escape. By framing their journey as a rebellion against Literature itself, Dickens and Collins:

  • Expose the paradox of the "idle" artist (who must work even to describe idleness).
  • Critique societal expectations of productivity and the undervaluing of creative work.
  • Reveal the human need for rest, even (or especially) for those whose "work" is imagination.

The passage’s playful tone belies a deeper melancholy—the realization that true idleness is impossible for those whose minds are always at work. In this sense, The Lazy Tour is not just a travelogue but a confession of the burdens of genius, wrapped in the guise of a comic adventure.

Final Thought: Dickens, the master of social realism, here turns his pen inward, using humor and irony to explore the exhaustion of creation. The excerpt reminds us that even the greatest artists are, at times, just "idle apprentices" trying to steal a moment’s peace from the relentless mistress of their craft.