chapter  34
ANTHONY TROLLOPE, from Thackeray (1879)
Pages 4

The novel with which we are now going to deal I regard as the greatest work that Thackeray did. Though I do not hesitate to compare himself with himself, I will make no comparison between him and others; I therefore abstain from assigning to Esmond any special niche among prose fictions in the English language, but I rank it so high as to justify me in placing him among the small number of the highest class of English novelists. Much as I think of Barry Lyndon and Vanity Fair, I cannot quite say this of them; but, as a chain is not stronger than its weakest link, so is a poet, or a dramatist, or a novelist to be placed in no lower level than that which he has attained by his highest sustained flight. The excellence which has been reached here Thackeray achieved, without doubt, by giving a greater amount of forethought to the work he had before him than had been his wont. When we were young we used to be told, in our house at home, that ‘elbow-grease’ was the one essential necessary to getting a tough piece of work well done. If a mahogany table was to be made to shine, it was elbow-grease that the operation needed. Forethought is the elbow-grease which a novelist,—or poet, or dramatist,—requires. It is not only his plot that has to be turned and re-turned in his mind, not his plot chiefly, but he has to make himself sure of his situations, of his characters, of his effects, so that when the time cornes for hitting the nail he may know where to hit it on the head,—so that he may himself understand the passion, the calmness, the virtues, the vices, the rewards and punishments which he means to explain to others,—so that his proportions shall be correct, and he be saved from the absurdity of devoting two-thirds of his book to the beginning, or two-thirds to the completion of his task. It is from want of this special labour, more frequently than from intellectual deficiency, that the tellers of stories fail so often to hit their nails on the head. To think of a story is much harder work than to write it. The author can sit down with the pen in his hand for a given time, and produce a certain number of words. That is comparatively easy, and if he have a conscience in regard to his task, work will be done regularly. But to think it over as you lie in bed, or

walk about, or sit cosily over your fire, to turn it all in your thoughts, and make the things fit,—that requires elbow-grease of the mind. ‘The arrangement of the words is as though you were walking simply along a road. The arrangement of your story is as though you were carrying a sack of flour while you walked. Fielding had carried his sack of flour before he wrote Tom Jones, and Scott his before he produced Ivanhoe. So had Thackeray done,—a very heavy sack of flour,—in creating Esmond. In Vanity Fair, in Pendennis, and in The Newcomes, there was more of that mere wandering in which no heavy burden was borne. The richness of the author’s mind, the beauty of his language, his imagination and perception of character are all there. For that which was lovely he has shown his love, and for the hateful his hatred; but, nevertheless, they are comparatively idle books. His only work, as far as I can judge them, in which there is no touch of idleness, is Esmond. Barry Lyndon is consecutive, and has the well-sustained purpose of exhibiting a finished rascal; but Barry Lyndon is not quite the same from beginning to end. All his full-fledged novels, except Esmond, contain rather strings of incidents and memoirs of individuals, than a completed story. But Esmond is a whole from beginning to end, with its tale well told, its purpose developed, its moral brought home,—and its nail hit well on the head and driven in.