Thackeray’s Contrast of the Snob and the Gentleman

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TBACKGRAY13 G G i ^ SHOB AMD Till

(&

*:0FV^t4: V ; \ G ; : AM p,. .■

;

fcy Kellogg v/esley Hunt

A dissertation submitted in partial fulfillment of th©

requirements for the degree of Doctor of Philosophy, in the Department of English, in the Graduate College of the State University of Iowa August, 1942

ProQuest N um ber: 10831763

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is d e p e n d e n t upon the quality of the copy subm itted. In the unlikely e v e n t that the a u thor did not send a c o m p le te m anuscript and there are missing pages, these will be noted. Also, if m aterial had to be rem oved, a n o te will ind ica te the deletion.

uest ProQuest 10831763 Published by ProQuest LLC(2018). C opyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C o d e M icroform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346

H C r

2?he writer wishes to express his appreciation

for the Invaluable aid given by Professor Joseph £• Baker In the direction of this study.

02

C0HTSNT3

Page Chapter I:

Thackeray's Terms and His Theory ..... 4

Chapter II *• Snobbery in the Early Stories .......25 Chapter III:

The Snobbish Society

....... •••53

Chapter IV s The True Gentleman ................. #71 1* In the Eighteenth Century .................72 , 2 . In the nineteenth Century Chapter Vi

.........,.,...82

The Artistic Pattern

1. Poetic Justice

.......

...96

2. Central Conflicts ........................ 99 5• Contrasting Portraits ....................105 4* .Dominant Tone

.....

,109

5# Growing Reliance Upon the Gentleman .....*117 / Notes ..............

125

Bibliography

138

.....

Chapter I THACK&RAY *8 TEHM3 AND HIS THJ30HY In the HIJrofatory Bsmarka” to the Book of Snobs Thackeray said that the term snob had not been in use more than five end twenty years#

He was relying no doubt, upon

his own experience, without benefit of historical dletionarioa and concordances which have enabled Behraehburg to trace 1 , the word back two centuries further* Thackeray’s estimate, made in 1346, would set the date of Inception at 1821# far as we knowa he may have picked it up that early.

So It le

customary, however, to suppose that he learned the term as late as 1829 when he matriculated at Cambridge and helped edit an undergraduate publication called The fnob. His fellow students would have told him th© word was new; at least tho 1824 edition of the dradus ad Cantabri^lam lists it as common Cambridge slang, while the 1803 edition does not list it at all* The Cambridge meaning, however, was distinctly dif­ ferent from that which Thackeray was lator to settle perma­ nently upon the term*

Tho Opaflus ad Cantabr1glam records*

”a term applied Indiscriminately to all who have not the honor of being members of tho university.M^

It Is diffi­

cult to know in all particulars what was tho gownsmen's conception of a townsman, but at least ono cannot mistake tho implication that !tall of us aro superior to all of them, intrinsically, not just educationally*15 Tho term would be used to denote one’s class Inferiors*

Thaokorov13

own fictional characters employ the term this way on a very few occasions*

For example, in The Rayenswing*

Tipklns, the comet, and Baroski, the fashionable music*5 teacher, call Woolsey, the tailor, a snob* Jeames de la Pluch©, capitalist and climber, calls Fitzsimmons, the 4 If the victim he a person of mean condition*

Had Brandon

succeeded...all his friends would have pronounced him, and h© would have considered himself, to he a very lucky, cap­ tivating dog*"

Among these dashing young men of the world

ee&uction is not merely excused; it is honored as a proof of one’s prowess*

Thus the repulsive Lord Ginqbars "cooked

up his little sallow, beardless face Into a grin*..An in­ trigue * as h© called it, was the little creature’s delight; and until th© tim© should arrive when he could have one him­ self, he loved to talk of those of his friends*” liven aside from the particular circumstance that the girl’s welfare is considered of no importance because her© she is so low la degree, Thackeray considered this pride in seduction to be snobbish*

Thus in the Book of Snobs

he becomes suddenly grave after gaily describing th© lies which Waggle fabricates about th© loves he has had.

"There

are people, Mr. Waggle, who do these things in earnest, and hold a good rank in the world too*

But the a© are not sub­

jects for ridicule, and though certainly Bnobs, are scoun­ drel s likewise.

Their cases go up to a higher Court."

Besides the rogue and. dupe, and the shabby genteel stories, Thackeray hit upon a third type of story, between the years 1840 and 1846, which enabled him to attack snob­ bery in a still different way. Both the types previously discussed retrieve their readers from snobbery, if they can be said actually to do so, by repulsion.

Ho reader

would want to be like those characters, or want to suffer their deserved but severe punishment.

The characters in

the third group of stories, however, are not entirely un­ attractive.

In each story we are given first a brief por­

trait of a happy middle olass man or family; then suddenly a stroke of fortune makes them wealthy; the long middle sec­ tion of the story shows how they try hut fail to establish themselves among the aristocrats; finally at th© end, through no ©special fault of their own, they are plunged Into bank­ ruptcy and debtor’s prison, from which some faithful friend extricates them.

In each story It is plain to th© reader

and also to th© characters themselves that they were worse off among the aristocrats.

Let no one suffer from snobbish

ambition. The earliest In this group, Cox’s Diary (1840), is rather broad farce, the sort of thing which our modern comic strip can do Justice.

A barber’s family suddenly inherits

money, and Mrs. Cox, who wants them to live up to their new position, sets about acquiring th© conventional snobbish distinctions: opera.

a town house, a country home, a box at the

They give balls, they hunt, they hold a medieval

tournament; Oox gambles, th© eon is put In a fashionable school, th® mother encourages a Baron to marry her daughter; they travel abroad.

Finally, the rightful heir to their for­

tune Is found, and when they land In prison Cox begins to point the moral to M s wife by saying, "See, my love, w© have been gentlefolks for exactly a year, and a pretty life we have had of It.” failures,

Then for a whole page he lists their

His wife sees th© folly of her vanity, and re­

pents, and Cox finds himself gayer now In the Fleet than

he has been for the last year.

They establish themselves

again in their original mode of life, appreciating its good things as they had not done before. That moral provides whatever logical unity there Is among the otherwise episodic chapters, and the very sim­ plicity of structure makes more obvious Thackeray’s inten­ tion to attack snobbery.

But the logic Is superficial.

The only trouble with hunting seems to be that Gox gets tossed into the branches of a tree and left dangling.

The

trouble with opera is that Cox falls through a trap door. The trouble with attempting a marriage of convenience Is that the man may not really be a Baron. The events in the latest of th© stories of this type bear out more convincingly the argument they are ex­ pected to prove.

The structure of the Diary of Jeames de

la Pluche* Esq., (1845-6) is closely similar to that of Pox’s Diary: a lucky footman becomes fabulously rich on railroad speculations begun with a borrowed twenty pounds.

He prompt­

ly finds himself at the peak of fashion, fawned on by those beneath him and sought after by his equals. He is an In­ teresting character, and well-chosen to illuminate the snobbery of others and himself.

He employs tutors, and

studies most assiduously th© varied accomplishments of the gentleman, (he reads Pelham six times and expects to read it four times more) yet, even so, the synthetic culture Is often detected#

Sometimes Jeames impishly lets the wind

out of pompous snobs5^* sometimes he Is honestly hurt by their affronts. His character is undeniably tainted by his

prosperity, yet at bottom he Is not a snob.

He refuses to

deny his grandmother, even though that washer-woman drinks gin for breakfast.

His heart la true to the servant girl

he loved in his earlier days, though he tells her candidly, "If you’d been Lady Hangelina, my dear gal...I would have married you: me,

and why don’t I?

Because my dooty prevents

I’m a martyr to dooty”. Still a third story, Samuel Titmrsh and the Great

Kog&art.v Diamond, may be grouped with these two, if w© rely on Thackeray’s amusing Interpretation of It in Mr. Brown’s Letters to His Henhew. The wise old fogy has been discours­ ing against living beyond one’s means. This point, I thought, was rather well illus­ trated th© other day, In an otherwise silly and sentimental book which I looked over at th© Olub, called the ’’Foggarty Diamond” (or some such vulgar name). Somebody gives the hero, who is a poor fellow, a diamond pin: he is obliged to buy a new stock to set off th© diamond,* then a new waistcoat, to cor­ respond with the stock, then a new coat, be­ cause the old on© Is too shabby for the rest of his attire; — finally the poor devil Is ruined by th© diamond, ornament, which he is forced to sell. The Ho&gartv Diamond does contain the thread of exaggeration which Mr. Brown magnifies still more, but except for that thread it reveals a firm grasp of character not found else­ where until Thackeray’s later great novels. Thirteenth clerk though he is, Titmarsh is taller in spirit than the upper class snobs In whose circle he moves. He possesses an independence and courage which they cannot afford. Though I am but a poor fellow, and hear people cry out how vulgar it Is to eat pease with a

knife, or ask three times for cheese, and such like points of ceremony, there’s something, I think, much more vulgar than all this, and that Is, Insolence to one’s Inferiors. I hate the chap that uses it, as X scorn him of humblerank that affects to he of the fashion. It is an honest speech, and in a most unassuming way he gives a Secretary of state a lesson in manners. There is no denying that Tit is pleased with his prosperity hut he la not permanently hurt by it. As he re­ counts his story h© admits his folly with a quiet frankness which makes us confident that his recovery Is complete. He is notably faithful to his humble friend, Gus, as no snob would be, and the fact that his fellow clerks enjoy his prosperity with him, instead of deriding it, Is a compliment both to them and to him.

He refuses to b©

bullied by either his employer or his termagant aunt.

Even

after his bankruptcy, when he Is told that a man who has had great success with women finds his wife a citadel of virtue, he declares to th© bearer of the tidings, ”1 am a gentleman, though a poor one, and will murder th© first man who does her wrong.M Finally we see his full stature, when, upon discovering that his employer, a Secretary of State, has secured him a political appointment only be­ cause of an infatuation for th© blameless Mrs. Titmarsh, he says to th© Secretary’s brother-in-law, I have learned in the past few years what it is to make friends with th© mammon of unrighteous­ ness; and that out of such friendships no good comes in th© ©nd to honest men. It shall never bo said that Sam Titmarsh got a place because a great man was in love with his wife; and were the situation ten times as valuable, I should blush ©very time I entered the office-doors in thinking

of th© base means by which my fortune was made,.. I am willing to work* I can easily get a clerk­ ship with the assistance of my friends; and with that and my wife1s income, we can manage honestly to face the world* In the course of events he, like Cox and Jeames, has passed from comparative poverty to affluence to real poverty, and has learned his lesson.

Partly from the example of his wife,

11who was bred a lady and ought to have servants herself11 yet gladly became one when necessary, he has learned to devaluate class position, and regards th© disappearance of the diamond as a proof and promise of better luck.

They accept poverty

without the evasive pretension of shabby genteel people. When Titmarsh's creator permits him to call him­ self a gentleman, the term is used as it almost never is used in these early stories*

Elsewhere, as in th© Book of

Bnobs. Thackeray satirizes the common conception of th© 11gentleman" and th© "genteel1*, and uses th© terms ironically. For the snob1s ideal 1© compounded of Idleness, ostentatious expenditure, an air of insolent superiority, and other traits scarcely more commendable. But while Thackeray pro­ vides no authority for saying that TItmarsh was intended for a true gentleman, the thirteenth clerk does approach that later happy creation more closely than anyone until Dobbin. Besides these three types of stories, each con­ structed to deplore the snob, Thackeray wrote other tales whose action and them© turn upon th© same concept.

The

first of these, so early as 1840, deals with two politi­ cal factions whose enmity began when Miss Hicks jilted

42

lawyer Scully in order to marry Sir George Gorgon on whose family estate her brewer father held numerous mortgages. From that moment Scully hates all aristocrats, and as a liberal Parliamentary opponent finally wins one of the baronet's two remunerative seats*

Their opposition draws

to a focus at th© Oldborough ball where Lady Gorgon, the brewer* s daughter, puts on such airs that her husband, who in hi® heart is equally contemptuous of his constituency, commands that she be less offensive, while Scully makes political capital of an ostentatious humility*^

Thackeray*s

emphasis In this first third of The Bedford Row Conspiracy is upon the equal though opposite snobbery of the two fac­ tions, high and lowj he takes a shot also at any snobbery in th© reader.

8

The story then takes a new turn.

The simple, easy,

good-natured young hero, John Perkins, expects to receive, through an uncle’s influence, a political appointment to a sinecure, whose income would enable him to marry Hiss Lucy Gorgon*

But two obstacles are raised to the marriages

Sir George Gorgon refuses to permit his niece to marry a man whose birth makes him tta low adventurer" 5 he Intends her for a baronet’s son*

Furthermore, Scully persuades

Perkins that the integrity of the Reform party would be violated by his acceptance of such a political plum* The solution of the difficulty is engineered by Perkins' uncle, Josiah Crampton, whose own political interest coincides with the nephew’s romantic desires.

The skillful

old worldling buys out the objections of both bcully and

Gorgon and discredits the integrity of the Reform II. P. in Perkins’ eyes. sense snobbish:

The bribes which the two take are in a the liberal sells out when some of the

lower aristocracy show him favors at their dinners; the conservative baronet sells out for the promise of a peerage. In spit© of all Its exposure of hypocrisy and baseness, the Bedford Row Conspiracy —

perhaps because it

is modelled on a French story by Charles d© Bernard — is more cynical .in th© force which triumphs than Is th© Hoggartv Diamond and the later great novels.

For Perkins

is taught to acquiesce In the ways of th© world to such an extent that he accepts the political plum*

The cause of

absolute Integrity Is discredited with the discrediting of Scully.

In th© HQR«&rt_v Diamond Thackeray Is careful to

make plain that religion may not be discredited merely be­ cause Brough professes it hypocritically.

Th© triumphant

personage in the Bedford Row Conspiracy Is an old worldling whose long experience with corruptible men has convinced him that all men have their price:

"The great common end of

party Is to buy your opponents — the great statesman buys them for nothing."

In Vanity Fair. Bteyne is felled because

of his similarly cynical view about Rawdon.

In Pendennia»

Henry Esmond. The Hewcomes. and The Virginians, th© innocent young protagonist is advised by an elder worldly relative, but in each instance the Incorruptible youth revolts against the elder’s advice, and is honored for his rebellion.

I do

not wish to exaggerate this point, but it does not seem that by 1840 Thackeray had manipulated his good and bad

forces with such thorough success as he did hy the next year, When the Hoggart.v Diamond appeared. As In the Hoa&arty Diamond, the protagonist in The Havenswlng (1543) is an admirably faithful, sensible, and generous member of the lower middle class#

He is a tailor

named woolsoy• At first V/oolsey is contrasted with another tradesman named Eglantine, a perfumer who happens to be a gullible snob#

The two are rivals for the hand of an hotel­

keeper^ daughter, handsome, vigorous, good-natured, and Intelligent though uneducated#

But both rivals are cut out

by a seedy dandy named v/alker, to whom Eglantine 1ms bragged that th© girl possessed 3000 1# We already know his sorts Indeterminate age; calls himself Captain; Intimate with lords; no visible means of support, though actually he Is a private agent for money-lenders; afflicted with, though indifferent to, periodic bankruptcy; son of a clergyman who died in deb­ tor’s prison* girl:

W© ar© told what attraction h© held for th©

,fseeing a real gentleman, such as Mr# Walker, with

whom she had had her first Interview, she felt more and more th© want of refinement in M r other declared admirers”, and sh© dreams, ’’Oh, X do love a gentleman dearly.” Of course, when the two are married, Walker, like Deuceac© and Stubbs, discovers how treacherously magnified was th© report of th© girl’s wealth, but he accepts willing­ ly a tenth of th© sum he had expected, and on that 500 1# sets up a fashionable house with handsome plate; he sports a phaeton and two ponies, keeps a couple of smart maids and a groom foot-boy, Ha neat, unpretending, gentlemanlike

establishment". Pie finances it by paying for nothing* Before long it becomes clear that "she was the wife of a swindling parvenu gentleman."

Walker is cast into debtor’s

prison, and there it is that his niggling selfishness is exposed*

He fails utterly to appreciate th© generosity of

his wife and upbraids her for his own ill fortune*

From

this point on, Walker is increasingly discredited, and Woolsey, the tailor, becomes Mrs* Walker* s staunch bene­ factor*

Thackeray tells us what ©valuation to put upon

th® tailor whom "gentlemen" scorned.

"Vulgar as he was, I

declare, for my part, that X have a greater respect for Mr* Woolsey than for any single nobleman or gentleman men­ tioned in this true history".

Finally, through Woolsey's

efforts, Mrs* Walker’s voice is sufficiently cultivated and publicized that sh© promises to become a famous and wealthy singer* Walker gets out of prison; she makes her debuts yet at the celebration dinner when she intimates gratefully how much she owes to Woolsey, Mr* Walker looked very grave, and hinted to her that she must not, in her position, en­ courage the attentions of persons in that rank of life. "X shall pay", said he proud­ ly, "every farthing that is owing to Mr. Wool­ sey, and shall employ him for the future. But you understand, my love, that one cannot at one’s own table receive one’s own tailor*" Bhe continues to earn a large income which he spends "as a gentleman should":

giving neat dinners, gambling, main­

taining a couple of mistresses*

"As a gentleman, Mr* 'Walker

still refuses to see the tailor, though he lias never repaid

46 a farthing of the money he threatened to refund/’ In a postscript we learn that Walker finally drank himself to death In America, and that the tailor came into his just reward# Several of the briefer narratives, no longer than episodes, are also attacks upon snobbery.

In Hr. and Mrs.

Frank Berry (1843) the hostess receives her husband’s schoolboy chum most coldly so long as she thinks he Is of low degree, but when she learns he is connected with the aristocracy she fairly smothers him, as Mrs* Ponto does In the Book of Dnobs. with references and questions regarding his and her own genteel connections*

Dennis Ha&gartv’s Wife

(1843) depicts two of Thackeray’s coldest, meanest, dullest, most self-righteous nIrish Snobs”.

Thackeray1s method of narration always involves an occasional turning aside from th© thoughts and movements of his actors while he revolves In his mind Ideas and feel­ ings that have general application* Involves an inverse methodi

His non-fiction writing

the speculative, ruminating

discourse Is illustrated at appropriate points by parti­ cular actions and his thoughts about people he has observed. Th© Ingredients are the same In his fiction and non-fictions only the proportion Is reversed* In his early essays we find social observations and comments upon snobbery that closely parallel the ideas in his stories before the Book of Snobs. Thus in The Se­ cond Funeral of Napoleon (1840) he writes of that revolu­ tionary and his follower's:

4? Ventrebleu. Madam, what need have they of coats-of-arms and coronet s, and wretched imi­ tations of old exploded aristocratic gewgaws that they had flung out of the country*•*a score of years before? What business, for­ sooth, had they to be meddling with gentility and aping its way, who had courage, merit, daring, gonius sometimes, and a pride of their own to support, if proud they were inclined to be? Thackeray will not say that a republic is better than an aristocracy, or the reverse, but he does deplore Napoleon’s acting like a parvenu. He founded a great, glorious, strong potent republic, able to cope with the best aristo­ cracies in the world, and perhaps to beat them all; he converts his republic into a monarchy, and surrounds his monarchy with what he calls aristocratic institutions; and you know what becomes of him* "On dome French

Fashionable Novels** in the

Faria Sketch Book (1840) is partly an attack upon the plea­ sures of the highborn and upon the novels which enthusiasti­ cally record their adultery, their search for tittHating sensations to rouse their Jaded appetites, their agreement, for th© sale© of a lark, to ”b© everything that Is low.” The essay studies particularly the life of a student, ”the prince mauvais su.lets”* whose absorbing occupations were ”dlssipation and gallantry...and politics”* Revolutionary though he was, ”age, sense, and a little government pay..*has re­ duced him to be a pompous, quiet, loyal supporter of the Juste milieu.” Fitsboodle1s Professions (1842) is a covert attack upon the aristocratic tradition which held that only certain occupations were fit for a gentleman*

"Put out of your

head th© idea that this or that profession is unworthy of you.” Fitzboodl© argues that ”all such trades as can be rendered decent the aristocracy has adopted one by one*

At

first they followed the profession of anas, flouting all others as unworthy, and thinking it ungehtlemanlike to know how to read or write*

They did not go into the church

in very early days, till the money to be got from the church was strong enough to tempt them.”

Since then they have con­

descended to go to the bar, and now some can be found in th© trades*

Peaceful and commercial enterprises must be found

during a peaceful and commercial age.

The two new pro­

fessions advocated for the gentleman are those of the auc­ tioneer and the dinner-master. have an office.

It will not be vulgar to

“To be a bagman is to be humble, but not

of necessity vulgar*

Pomposity is vulgar, to ape a higher

rank than your own is vulgar.” On his 1842 tour of Ireland Thackeray was pri­ marily a spectator.

But, he records in The Irish Sketch

Book, when, at a dinner, he heard a nobleman tell how de­ lightful It was to see ”on proper occasions...the landlord mixing with his tenantry; and to look around him at a scene like this, and see the condescension with which the gentry mingled with th© farmers,” he hissed the speaker and hoped that others In the audience would Join him.

But not one

of the “hereditary bondsmen” would participate in th© com­ pliment#

"If he thinks he condescends by doing his duty

and mixing with men as good as himself, th© fault lies with the latter.

Why are they so ready to go down on their knees

49

to my lord?

A man oan*t help 1condescending1 to another

who will persist in kissing his shoestrings*”

It is not

accurate to say, as Whibley does,^ that Thackeray blames the kings of this world for the adulation heaped upon them by fools#

The opposite Is more nearly true, as we shall

see in discussing the gentleman, whose refusal to cringe has already been observed in 3am Titmarsh. In Killarney he finds more gentlemen than in any other place he ever saw, gentlemen of high and low ranks, that is to say, men shrewd and delicate of perception, observant of society, entering into the feelings of others, and anxious to set them at ease or to gratify them; of course exaggerating their professions of kindness and In so far insincere; but the very exaggeration seems to be a proof of a kindly nature, and I wish in England we were a little more complimentary* ** A vulgar man in England displays hie character of snob by as« sumlng as much as he can for himself, swaggering and showing off In his coarse, dull, stupid way* 'I am a gentleman, and pay my way* *•* I have not heard a sentence1*3 near so vulgar from any man In Ireland* The sketch book passage gives a second example of the Msnob”: this one brags of the great men he knowsrather than the money he spends*

Th© simple Irish are inclined to

mistake, in th© English, this HInsolent bearing for heroic superiority*”

That idea is expanded into half a chapter

in the Book of 3nobs. Hear the Devilrs Causeway, In a most lonely wild spot Thackeray finds a genteel prig.

She Is a landlady who

apologizes to her sol© boarder because Ha plain servantwoman was about to bring in th© dinner, the waiter being absent on leave*”

That inhuman adherence to ceremony

Thackeray deplores* and as yits'boodl© says, 5ll« for Thackeray's definition. Chapter V «• THE ARTISTIC PATTERN 1* Oomhlll to Cairo» 111* Also, footnote to Barry Lyn­ don, xvii, on poetic justice. 2. The Newcomes. X, xxxviii 3* The Virginians* II, v

4. Lecture on Hogarth* Smollett and Fielding 3* It Is an invariable maxim of Thackeray's that a man who can love a woman (or a child), or a woman who can love a man, has some — and usually much — good in him# No snob can love another person? every gentle person can and does. So Warrington, Bows and Thackeray — while not saying they wish Pen had married the Fotherlngay (II, xill) — agree his wanting to marry her was commendable, especially by comparison with a possible marriage of convenience. "I like a man...who shows that he can have a great unreasonable attachment for a woman." (II, xix). Also, I, vi» II, vii, xi. The best marriage, Thackeray decides in Mr. Brown’s essay On Love. Marriage* Men and Women. is mad© between equals & rank...... 6* Arthur provides our most complete exposition of the snob's philosophy, in chapter 23, volume two• Were he less capable of seeing the implications of his choice, he would be less Illuminating as a protagonist* As it is, he shows by what sophistry a man of good impulses may b© corrupted into snobbery. 7, Pag© 40 of this study. 6# Vanity Fair. II, xvi 9. 511 solemnly vow, own, and confess, that I want a good husband. Whore’s th© harm of one? My face is my for­ tune. Who’ll come? — buy, buy, buyJ...I am for your betters, Colonel, for your bettersi do you hear that? You might do If you had an estate and wore younger. •• But you have not money enough to keep a cat deoently..• Henry Esmond III, ill

1 -rrr

10. Tho Bewcomea. I, xxiv 11• Ibid.. II, viii 12. Pondennis, II, xix On a Lady in an Opera-Box (185C) plays with the idea of th© consiernation wiilch would follow among snobs who judge by exteriors, if th© common person they snub should suddenly remove a disguise and show himself to be a merry prince testing his subjects. 14. Similar situations appear commonly In the early stories where a person connected with the aristocracy is at first thought by some snob to b© a man of low degree. Hr, and Mrs. Frank Berry, for instance. 15* "This is wb&t he has asked for ©very day and hour for eighteen years. This is what he pined after# Her© It is — the summit# th® end — the last page of the third volume# Good-by Colonel — God bless you# honest William* — Farewell, dear Amelia — Grow green again, tender little parasite, round the rugged old oak to which you cling*11 (Final chapter) 16. Quoted by Baker, History of the English Novel, viii, 256 17. "’dorldllness1 In modem, or at least in Victorian, language does not really refer to the values of this world (hoc aaeculum) as contrasted with the values of eternitys It merely contrasts, inside a single world, what is considered baser — as avarice, persoml am­ bition, and the like — with what is considered nobler, as conjugal love, learning, public service. But when Andreas (Capellanus) talks of the bonua in saeculo he means what h© says. He means the really” good things, in a human sense, as contrasted with the really bad thingsi courage and courtesy and generosity, as against baseness* But, rising like a sheer cliff above and behind this human© or secular scale of values, he has another which is not to be reconciled with it, another by whose standard there is very little to choose between th© ’worldly' good and th© 'worldly' bod." Lewis, The Allegory of Love, pp.41-2. The question would be whether Thackeray meant vain in Andreas Capellanus1 sense, or In the "Victorian" sense. 18# Dodds calls Haggarty "an earlier Dobbin". 19. Vanity Fair. XI, xii 20. Henry Bsmond. Ill, x 21. Th© Virginians. I, xxxv

Op.Git., p,64

BXBLIOCmiMSf Addison, Joseph, and teele, Richard. Tho Cleverly ?aneya. od* by Ci. 3* Utootieater#

Now York, 1904,

Aristotle. Michamclioan ,:..;thlaa* transl. by ?• n* Peters. London, 1920. Bagehot* baiter* "Bfcem© and TSmokemy" to & bfrMie^. Vol. zx* LYeryjaaii’s Library# ^Jaker, bmest A*

Vd1* r a *

Hew York# 1929, Baker* Joseph &, WA Uebeae for Nineteenth Century Biudlcs** to ,&nflqy« Winter 1040-41. •B&ter* Joseph

a.

"Disraeli11 to l M j E a L M J & M 2 i £ Princeton University proas, 1 9 ^ ^ ml

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