A Lesson From a Master

Annamaria on Monday

It has always been my goal to write vividly.  I imagine the inside of the reader's forehead as a movie screen onto which I - too seldom successfully - try to project a moving image of the story I seek to tell. The gods I look to to show me how this might be done are almost always masters of fiction who never in their lives saw a film projected on a screen.  I speak of the authors whose books we call 'the classics."  I read them and read them, wielding mental screwdrivers and wrenches, taking their prose apart, trying to figure out how they do it.

This week my model is the astonishing Charles Dickens.  This afternoon, as I read Chapter 10 of Oliver Twist, I saw the action of Dickens' story so vividly, it became a perfect example of what I wish I could do.  The scene is tumult, moving, speeding, noisy, as irresistible to us as  the chase Dickens describes is to his butcher, his baker, his milkman...

Here it is.  See it - projected on your imagination for yourself:

They were just emerging from a narrow court not far from the open square in Clerkenwell, which is yet called, by some strange perversion of terms, 'The Green': when the Dodger made a sudden stop; and, laying his finger on his lip, drew his companions back again, with the greatest caution and circumspection.

'What's the matter?' demanded Oliver.

'Hush!' replied the Dodger. 'Do you see that old cove at the book-stall?'

'The old gentleman over the way?' said Oliver. 'Yes, I see him.'

'He'll do,' said the Dodger.

'A prime plant,' observed Master Charley Bates.

Oliver looked from one to the other, with the greatest surprise; but he was not permitted to make any inquiries; for the two boys walked stealthily across the road, and slunk close behind the old gentleman towards whom his attention had been directed. Oliver walked a few paces after them; and, not knowing whether to advance or retire, stood looking on in silent amazement.

The old gentleman was a very respectable-looking personage, with a powdered head and gold spectacles. He was dressed in a bottle-green coat with a black velvet collar; wore white trousers; and carried a smart bamboo cane under his arm. He had taken up a book from the stall, and there he stood, reading away, as hard as if he were in his elbow-chair, in his own study. It is very possible that he fancied himself there, indeed; for it was plain, from his abstraction, that he saw not the book-stall, nor the street, nor the boys, nor, in short, anything but the book itself: which he was reading straight through: turning over the leaf when he got to the bottom of a page, beginning at the top line of the next one, and going regularly on, with the greatest interest and eagerness.

What was Oliver's horror and alarm as he stood a few paces off, looking on with his eyelids as wide open as they would possibly go, to see the Dodger plunge his hand into the old gentleman's pocket, and draw from thence a handkerchief! To see him hand the same to Charley Bates; and finally to behold them, both running away round the corner at full speed!

In an instant the whole mystery of the hankerchiefs, and the watches, and the jewels, and the Jew, rushed upon the boy's mind.

He stood, for a moment, with the blood so tingling through all his veins from terror, that he felt as if he were in a burning fire; then, confused and frightened, he took to his heels; and, not knowing what he did, made off as fast as he could lay his feet to the ground.

This was all done in a minute's space. In the very instant when Oliver began to run, the old gentleman, putting his hand to his pocket, and missing his handkerchief, turned sharp round. Seeing the boy scudding away at such a rapid pace, he very naturally concluded him to be the depredator; and shouting 'Stop thief!' with all his might, made off after him, book in hand.

But the old gentleman was not the only person who raised the hue-and-cry. The Dodger and Master Bates, unwilling to attract public attention by running down the open street, had merely retired into the very first doorway round the corner. They no sooner heard the cry, and saw Oliver running, than, guessing exactly how the matter stood, they issued forth with great promptitude; and, shouting 'Stop thief!' too, joined in the pursuit like good citizens.

Although Oliver had been brought up by philosophers, he was not theoretically acquainted with the beautiful axiom that self-preservation is the first law of nature. If he had been, perhaps he would have been prepared for this. Not being prepared, however, it alarmed him the more; so away he went like the wind, with the old gentleman and the two boys roaring and shouting behind him.

'Stop thief! Stop thief!' There is a magic in the sound. The tradesman leaves his counter, and the car-man his waggon; the butcher throws down his tray; the baker his basket; the milkman his pail; the errand-boy his parcels; the school-boy his marbles; the paviour his pickaxe; the child his battledore. Away they run, pell-mell, helter-skelter, slap-dash: tearing, yelling, screaming, knocking down the passengers as they turn the corners, rousing up the dogs, and astonishing the fowls: and streets, squares, and courts, re-echo with the sound.

'Stop thief! Stop thief!' The cry is taken up by a hundred voices, and the crowd accumulate at every turning. Away they fly, splashing through the mud, and rattling along the pavements: up go the windows, out run the people, onward bear the mob, a whole audience desert Punch in the very thickest of the plot, and, joining the rushing throng, swell the shout, and lend fresh vigour to the cry, 'Stop thief! Stop thief!'

'Stop thief! Stop thief!' There is a passion FOR hunting something deeply implanted in the human breast. One wretched breathless child, panting with exhaustion; terror in his looks; agony in his eyes; large drops of perspiration streaming down his face; strains every nerve to make head upon his pursuers; and as they follow on his track, and gain upon him every instant, they hail his decreasing strength with joy. 'Stop thief!' Ay, stop him for God's sake, were it only in mercy!

Stopped at last! A clever blow. He is down upon the pavement; and the crowd eagerly gather round him: each new comer, jostling and struggling with the others to catch a glimpse. 'Stand aside!' 'Give him a little air!' 'Nonsense! he don't deserve it.' 'Where's the gentleman?' 'Here his is, coming down the street.' 'Make room there for the gentleman!' 'Is this the boy, sir!' 'Yes.'

Oliver lay, covered with mud and dust, and bleeding from the mouth, looking wildly round upon the heap of faces that surrounded him, when the old gentleman was officiously dragged and pushed into the circle by the foremost of the pursuers.

'Yes,' said the gentleman, 'I am afraid it is the boy.'

I am within about 5000 words of the end of my WIP.  Disaster after disaster has befallen my poor characters and now their pace is, of necessity in their world, frantic.  I am daunted by the scene above.  I did not intentionally seek it out at this moment.  I know I will never be able to match its perfection.  But at least I will do what I can; with vivid touches, with motion!!  Motion, it seems to be is what is called for.  I am going to spend the next few days as breathless as I can.

(Aside:  I ordinarily look for lots of pictures to breakup and enliven my posts.  Once I turned this offering over to Charles Dickens, I knew that you wouldn't need pictures other than ones his words paint.)