CHAPTER I.

Previous

Voyage from India—Touching at St. Helena—School days at the Charterhouse—Early Reminiscences—Sketches in School Books—Boyish Scribblings—Favourite Fictions—Youthful Caricatures—Souvenirs of the Play.

View of Life as seen through the Charterhouse Gates

The fondness of Thackeray for lingering amidst the scenes of a boy's daily life in a public grammar school, has generally been attributed to his early education at the Charterhouse, that celebrated monastic-looking establishment in the neighbourhood of Smithfield, which he scarcely disguised from his readers as the original of the familiar 'Greyfriars' of his works of fiction. Most of our novelists have given us in various forms their school reminiscences; but none have produced them so frequently, or dwelt upon them with such manifest bias towards the subject, as the author of 'Vanity Fair,' 'The Newcomes,' and 'The Adventures of Philip.' It is pleasing to think that this habit, which Thackeray was well aware had been frequently censured by his critics as carried to excess, was, like his partiality for the times of Queen Anne and the Georges, in some degree due to the traditional reverence of his family for the memory of their great-grandfather, Dr. Thomas Thackeray, the well-remembered head-master of Harrow.

An Exile

A Sentry

Sketches of Indian life and Anglo-Indians generally are abundantly interspersed through Mr. Thackeray's writings, but he left India too early to have profited much by Indian experiences. He is said, however, to have retained so strong an impression of the scene of his early childhood, as to have wished in later life to revisit it, and recall such things as were still remembered by him. In his seventh year he was sent to England, and when the ship touched at St. Helena, he was taken up to have a glimpse of Bowood, and there saw that great Captain at whose name the rulers of the earth had so often trembled. It is remarkable that in his little account of the second funeral of Napoleon, which he witnessed in Paris in 1840, no allusion to this fact appears; but he himself has described it in one of his latest works—the lectures on 'The Four Georges,' first delivered in the United States in 1855-56, and afterwards described by the AthenÆum as 'an airy, humorous, and brilliant picture of English life and manners, produced by honest reading out of many books, and lighted with the glow of individual sympathy and intellect.'

A highly respectable Member of Society

A Master of Arts

We fancy that Thackeray was placed under the protection of his grandfather, William Makepeace Thackeray, who had settled with a good fortune, the fruit of his industry in India, at Hadley, near Chipping Barnet, a little village, in the churchyard of which lies buried the once-read Mrs. Chapone, the authoress of the 'Letters on the Improvement of the Mind,' the correspondent of Richardson, and the intimate friend of the learned Mrs. Carter and other blue-stocking ladies of that time.

A Man of Letters

In the course of time—we believe in his twelfth year—Thackeray was sent to the Charterhouse School, and remained there as a boarder in the house of Mr. Penny. He appears in the Charterhouse records for the year 1822 as a boy on the tenth form. In the next year we find him promoted to the seventh form; in 1824 to the fifth; and in 1828, when he had become a day-boy, or one residing with his friends, we find him in the honourable positions of a first-form boy and one of the monitors of the school. He was, however, never chosen as one of the orators, or those who speak the oration on the Founder's Day, nor does he appear among the writers of the Charterhouse odes, which have been collected and printed from time to time in a small volume. We need feel no surprise that Thackeray's ambition did not lead him to seek this sort of distinction; like most keen humorists, he preferred exercising his powers of satire in burlesquing these somewhat trite compositions to contributing seriously to swell their numbers. Prize poems ever yielded the novelist a delightful field for his sarcasms.

Early efforts at Drawing

While pursuing his studies at 'Smiffle,' as the Carthusians were pleased to style 'Greyfriars,' Thackeray gave abundant evidences of the gifts that were in him. He scribbled juvenile verses, towards the close of his school days, displaying taste for the healthy sarcasm which afterwards became one of his distinctive qualities, at the expense of the prosaic compositions set down as school verses. In one of his class books, 'Thucydides,' with his autograph, 'Charter House, 1827,' are scribbled two verses in which the tender passion is treated somewhat realistically:—

Love 's like a mutton chop,

Soon it grows cold;

All its attractions hop

Ere it grows old.

Love 's like the cholic sure,

Both painful to endure;

Brandy 's for both a cure,

So I've been told.

When for some fair the swain

Burns with desire,

In Hymen's fatal chain

Eager to try her,

He weds as soon as he can,

And jumps—unhappy man—

Out of the frying pan

Into the fire.

As to the humorist's pencil, even throughout these early days, it must have been an unfailing source of delight, not only to the owner but to the companions of his form. 'Draw us some pictures,' the boys would say; and straightway down popped a caricature of a master on slate or exercise paper. Then school books were brought into requisition, and the fly-leaves were adorned with whimsical travesties of the subjects of their contents. AbbÉ BarthÉlemy's 'Travels of Anacharsis the Younger' suggested the figure of a wandering minstrel, with battered hat and dislocated flageolet, piping his way through the world in the dejected fashion in which those forlorn pilgrims might have presented themselves to the charitable dwellers in Charterhouse Square; while Anacharsis, Junior, habited in classic guise, was sent (pictorially) tramping the high road from Scythia to Athens, with stick and bundle over his back, a wallet at his side, sporting a family umbrella of the defunct 'gingham' species as a staff, and furnished with lace-up hob-nailed boots of the shape, size, and weight popularly approved by navvies.

'A Gingham'

Then Ainsworth's Latin Dictionary was turned into a sketch book, and supplemented with studies of head-masters, early conceptions of Roman warriors, primitive Carthusians indulging disrespectful gestures, known as 'sights,' at the rears of respectable governors, and boys of the neighbouring 'blue coat' foundation, their costume completed with the addition of a fool's or dunce's long-eared cap.

Fantastic designs, even when marked by the early graphic talent which Thackeray's rudest scribblings display, are apt to entail unpleasant consequences when discovered in school-books, and greater attractions were held out by works of fiction.

In a state of suspense

Pages of knight-errantry were the things for inspiration: Quixote, Orlando Furioso, Valentine and Orson, the Seven Champions, Cyrus the Grand (and interminable), mystic and chivalrous legends, quite forgotten in our generation, but which, in Thackeray's boyhood, were considered fascinating reading;—quaint romances, Italian, Spanish, and Persian tales, familiar enough in those days, and oft referred to, with accents of tender regret, in the reminiscences of the great novelist. What charms did the 'Arabian Nights' hold out for his kindling imagination,—how frequently were its heroes and its episodes brought in to supply some apt allusion in his later writings! It seems that Thackeray's pencil never tired of his favourite stories in the 'Thousand and One Nights,' precious to him for preserving ever green the impressions of boyhood. How numerous his unpublished designs from these tales, those who treasure his numberless and diversified sketches can alone tell. We see the thrilling episode of 'Ali Baba' perched among the branches, while the robbers bear their spoil to the mysterious cave, repeated with unvarying interest, and each time with some fresh point of humour to give value to the slight tracings.

Fancy sketch
A worthy Cit
A Grey Friar

Blueskin

'Make us some faces,' his school-companions would cry. 'Whom will you have? name your friends,' says the young artist. Perhaps one young rogue, with a schoolboy's taste for personalities, will cry, 'Old Buggins;' and the junior Buggins blushes and fidgets as the ideal presentment of his progenitor is rapidly dashed off and held up to the appreciation of a circle of rapturous critics. 'Now,' says the wounded youngster, glad to retaliate, 'you remember old Figgins' pater when he brought Old Figs back and forgot to tip—draw him!' and a faithful portraiture of that economic civic ornament is produced from recollection.

The gallery of family portraits is doubtless successfully exhausted, and each of the boys who love books, calls for a different favourite of fiction, or the designer exercises his budding fancy in summoning monks, Turks, ogres, bandits, highwaymen, and other heroes, traditional or imaginary, from that wonderful well of his, which, in after years, was to pour out so frankly from its rich reservoirs for the recreation, and improvement too, of an audience more numerous, but perhaps less enthusiastic, than that which surrounded him at Greyfriars.

Virtue triumphant

Early Recreations—Marbles

Holidays came, and with them the chance of visiting the theatres. Think of the plays in fashion between 1820 and '30; what juvenile rejoicings over the moral drama, over the wicked earl unmasked in the last Act, the persecuted maiden triumphant, and virtue's defenders rewarded. Recall the pieces in vogue in those early days, to which the novelist refers with constant pleasure; how does he write of nautical melodramas, of 'Black Ey'd Seusan,' and such simply constructed pieces as he has parodied in the pages of 'Punch:' such as Theodore Hook is described hitting off on the piano after dinner. Think of Sadler's Wells, and the real water, turned on from the New River adjacent. Remember Astley's, and its gallant stud of horses. How faded are all these glories in our time, yet they were gorgeous subjects for young Thackeray's hand to work out; and we can well conceive eager little Cistercians, in miniature black gowns and breeches, revelling over the splendid pictures, perhaps made more glorious with the colour box. How many of these scraps have been treasured to this day, and are now gone with the holders, heaven knows where?

Then there was 'Shakespeare,' always a favourite with 'Titmarsh.' Think of the obsolete, conventional trappings in which the characters of the great playwright were then condemned to strut about to the perfect satisfaction of the audience, before theatrical 'costume' became a fine art! And then there were Braham, and Incledon, and the jovial rollicking tuneful 'Beggar's Opera.' Behold the swaggering Macheath, reckless in good fortune, and consistently light-hearted up to his premature exit.

The Captain

'Since laws were made for ev'ry degree,

To curb vice in others, as well as me,

I wonder we han't better company

Upon Tyburn tree!

But gold from law can take out the sting:

And if rich men like us were to swing,

'Twould thin the land, such numbers to string

Upon Tyburn tree!'


'The charge is prepar'd, the Lawyers are met;

The Judges all rang'd (a terrible show!)

I go undismay'd—for death is a debt,

A debt on demand,—so take what I owe.

Then, farewell, my love—dear charmers, adieu;

Contented I die—'tis the better for you;

Here ends all dispute the rest of our lives,

For this way at once I please all my wives.'

In his 'English Humorists of the Eighteenth Century,' our author does not forget to pay his honest tribute to Gay, some of whose verses we have just quoted.

'At the tree I shall suffer with pleasure,

At the tree I shall suffer with pleasure,

Let me go where I will,

In all kinds of ill,

I shall find no such Furies as these are.'

Thackeray's predilections for the stage survived the first flush of enthusiasm, and, like most of his pleasures, flourished vigorously almost throughout his career.

It may be fresh in the recollections of most of his admirers how in 1848 he describes, in his great work, Vanity Fair, a visit to Drury Lane Theatre—the vivid colouring of which picture outshines his entire gallery of theatrical sketches.

The stout figure and slightly Mosaic cast of countenance of Braham will be recognised opposite, gorgeous in stage trappings, as he appeared in the opera of the 'Lion of Judah;' Thackeray also dedicated to him another portrait, with a copy of mock laudatory verses, in the 'National Standard,' to which engaging production some allusion will be found under the notice of the author's earlier contributions to periodical literature.

Mr. Braham

Speculation

Quixote

A formidable foe

A Roman sentry

A Spanish Don

Rouge et Noir

                                                                                                                                                                                                                                                                                                           

Clyx.com


Top of Page
Top of Page