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“Mariolatry”: Dickens's Cult of the Virgin Mary

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“Mariolatry”: Dickens's Cult of the Virgin Mary Dickens and“ Mariolatry”: Dickens’s Cult of the Virgin Mary Matsuto SOWA＊ “How far can an author tell a truth without seeing it himself?” (Chesterton 277) “The truth emerges in Dickens in a dialectical way by attraction and repulsion.” (Cribb, Review of The Letters 96) Introduction Dickens’s doctrinal or ideological allegiances—his religious faith and intellectual belief—are difficult questions to deal with. In his centenary tributes to Dickens’s achievements in 1970, Angus Wilson observed: “Above all, he was a devout and practising Christian, however much sectarians of all denominations raised and still raise their eyebrows at his kind of Christianity” (7). Yet, reviewing Dennis Walder’s Dickens and Religion (1981), T. J. Cribb said: Dickens went to church and said his prayers but did not believe in priests, Churches, or even the Bible, as theology; he did not believe in ritual, original sin, or salvation by conversion; he rejected missionaries, public prayer, distribution of tracts, and most religious instruction, ＊ 金城学院大学文学部教授 ① ― 97 ― 金城学院大学キリスト教文化研究所紀要 there is no evidence that he believed in hell and he is elusive about resurrection. So in what sense is he a Christian, or even religious? (Cribb, Review of Dickens 403) Certainly, one can find suggestions of Dickens’s irreverence in a letter to L. W. Morey, where he writes: because many forms of religion lead to what is practically Diabolical irreligion, I would not therefore abolish all forms of religion. Neither because the attraction of the two sexes, one towards another, occasions crime and degradation very often, am I prepared to enlist in a Crusade for the separation of the two sexes henceforth. (12 July, 1867; Letters, XI, 396) The relationship of Dickens to religion is a topic that has now become commonplace in Dickens criticism. In this context, Dickens’s opposition to Roman Catholicism is, according to Dennis Walder, “a familiar fact” (11), and he has been represented as a writer who preached against the Roman Catholic Church. In his letter to Miss Burdett Coutts, he calls “the Roman Catholic religion—that curse upon the world” (22 Aug. 1851; Letters, VI, 466). Alessandro Vescovi states emphatically: “Dickens despised the Roman Catholic machinery as much as he disliked Puseyism. He found Roman Catholics rather superstitious than pious and associated their religion with disorder and Papist schemes” (155-56). Therefore, many may be surprised to know that Dickens was a devotee of “Mariolatry.” In this essay I challenge the commonsense assumption about Dickens’s view of Catholicism. I am not trying to invent a Roman or Anglo Catholic Dickens, but it seems quite reasonable to credit Dickens with his own highly individual brand of Catholicism. At the very least, a reevaluation of his ideas on Catholicism is absolutely necessary, as the following case of retraction illustrates. In 1977, Robert Newsom remarked in passing that Dickens’s dream of Mary ― 98 ― ② Dickens and“ Mariolatry”: Dickens’s Cult of the Virgin Mary Hogarth in Genoa reflects “horror and hatred” (123) of Catholicism. This has been a puzzling remark, since, as we shall see, it does not reflect the facts of the case. Predictably, in his new study Charles Dickens Revisited in 2000, Newsom, retracting his previous statement, observes that Dickens in fact became “kinder to what we might call the mystical side of religion” (95) and concludes: There is a fascinating study yet to be done on Dickens’s profound ambivalence about Roman Catholicism. It is a theme that runs through his mourning for Mary Hogarth and OCS, BR of course, and BH (where Chancery carries much of the medieval baggage that popularly—i.e., in bigoted English Protestant opinion—attaches to Catholicism). (199) Newsom’s change of mind is comparable to F. R. Leavis’s recantation of his views on Dickens, widely known among Dickens scholars. Dr. Leavis recanted his theses in The Great Tradition (1948) in favour of those in Dickens the Novelist (1970). Dickens’s emotional stance towards Marian devotion is more complex than has been realized and calls for further exploration. Analysis of Dickens’s texts reveal further complexities, and even their plain meaning strikingly contradicts his well-documented aversion to Roman Catholicism. I argue that Dickens was a man who preached Protestantism while some of his imagination remained on the side of the Roman Catholic Church. To put it another way, Dickens was a Catholic writer at a subliminal level, yet he could not come to an understanding of his own faith. 1 . Dickens and His Anti-Catholic Age In A Christmas Carol (1853) there is a curious passage. It takes place in the scene where the Ghost of Christmas Present takes Scrooge to a market, and shows ③ ― 99 ― 金城学院大学キリスト教文化研究所紀要 him the hustle and bustle of the town on Christmas morning: There were ruddy, brown-faced, broad-girthed Spanish Onions, shining in the fatness of their growth like Spanish Friars; and winking from their shelves in wanton slyness at the girls as they went by, and glanced demurely at the hung-up mistletoe. (41; Stave III) Here, Dickens uses his singular imagination to revivify the commonplace into the strange. Readers are forced to see the transformation of ordinary Spanish onions into prurient, lascivious and virile Spanish friars. Yet, there is something more we should note in the passage. Denis G. Paz argues: When Dickens saw an onion, he did not just see an onion; he saw a swarthy Franciscan friar from the Mediterranean world, overweight from gluttony, lusting for sex with passing women. The difference between ordinary people and creative artists is that when we see an onion, we see an onion, but when they see an onion, they also see something far different and perhaps even new and wonderful. Yet although the power of their imaginations determines that they will transform the things of their world, it is the cultural context of the day that determines which images they use. The fear and loathing of Roman Catholicism was a major part of the nineteenth-century cultural context. (1) The gist of Professor Paz’s argument is that even Dickens’s creative imagination was susceptible to the prejudice and stereotyping of the day, which both Dickens and his readers shared as both a deeply rooted and a deeply contested set of theological expectations in nineteenth-century culture. The spirit of the age was anti-Catholic. Part of the reason lies in Britain’s anti-Catholic history and national theology, as is evident in Dickens’s patriotic narrative of English history, A Child’s History of England, serialized in his weekly magazine Household Words (25 Jan. 1851–10 Dec. 1853) and covering the days ― 100 ― ④ Dickens and“ Mariolatry”: Dickens’s Cult of the Virgin Mary of the “Papal Aggression” Crisis of 1850–1851. Considering Dickens’s virulent anti-Roman Catholic bias, so apparent in his writings, it would be insupportable to suggest that he was pro-Catholic. However, the reality is not so straightforward as his anti-Catholic statements would suggest. In Barnaby Rudge (1841), Dickens’s fifth novel, he presents a historical narrative depicting mob-violence against the backdrop of the anti-Catholic rioting of 1780. This novel also reflects the militant anti-Catholicism of the mid-Victorian period. Yet, Dickens was capable of seeing Protestantism and Catholicism rather fairly. While he describes a growing anti-Catholic furor, with cries of “No Popery,” he regards the Gordon Riots—a Protestant religious uprising in London in 1780 aimed against the Papist Act of 1778—as a relevant example of rabid intolerance. The truth is, as G. K. Chesterton has put it, “anything like religious extravagance, whether Protestant or Catholic, moved him to an extravagance of satire” (163). In Dickens one finds a perpetual conflict between opposing frames of reference: Protestantism and Catholicism. As is typical of Dickens, in the words of Timothy Cribb, “The truth emerges in Dickens in a dialectical way by attraction and repulsion” (Cribb, Review of The Letters 96). Here, we need to remember Dickens’s locus classicus: Dickens’s imagination was strongly driven by a process John Forster described as the “attraction of repulsion” (Forster II, 14). In Dickens’s fascination, contrary forces are simultaneously at work: attraction and repulsion. In other words, Dickens’s dialectical imagination is capable of oscillating between two ways of seeing things. About Roman Catholicism Dickens felt a profound ambivalence. It is true that Dickens attacked the perniciousness of Roman Catholicism in Picture from Italy (1846), but he was attracted by some aspects of Roman Catholicism, i.e., Marian devotion, that is, the pious veneration of the Virgin Mary. However, one cannot find any systematic references to Marian devotion in Dickens’s oeuvre, ⑤ ― 101 ― 金城学院大学キリスト教文化研究所紀要 for he rarely approached a question philosophically, and his multifarious and unsystematic thought was not of the kind which fit neatly into self-conscious categories. One can say nevertheless that Marian devotion was the one of the most striking features Dickens found in Roman Catholicism. Dickens’s fascination with Mary originated in his traumatic childhood when he was cut off from his family, then developed through his excessive admiration for Mary Hogarth, and expressed itself through ongoing communications with her. In short, Dickens’s cult of the Virgin Mary was triggered by Dickens’s idolatrous worship of Mary Hogarth, and profoundly influenced his depiction of female characters. What, then, is the substance of his cult of Mary? 2 . Dickens’s Cult of Mary Hogarth Dickens’s “Mariolatry” started in good earnest with the sudden death of Mary Scott Hogarth (1820-37), his beloved sister-in-law [Fig. 1]. On 7 May 1837, at the early age of seventeen, in Dickens’s own words, “she died in my arms, and the very last words she whispered were of me.” Dickens confessed: “I solemnly believe that so perfect creature never breathed.
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