Source: Gutenberg.org
I have long remembered an English professor, Emily Sullivan, elaborating on the distinction between pathos and tragedy. Pathos, she said, is merely sad. Pathos has no meaning. Pathos has none of the edifying characteristics of tragedy, such as a character’s downfall because of a fatal flaw.
If at that time I had read The Old Curiosity Shop, I think I would have asked her if the novel’s pathos made it a bad novel. I think she would have had to say yes, and I think I would have agreed.
Clearly Oscar Wilde would have agreed, too. He famously said that one would have to have a heart of stone not to laugh at the ending. I’m paraphrasing Wilde so as not to have a spoiler, in case you don’t know how The Old Curiosity Shop ends.
I love Charles Dickens, and thus it is hard to find that I hated The Old Curiosity Shop (1841) in much the same way I hated Thomas Hardy’s Tess of the d’Urbervilles (1891), and for the same reason — endings that combine cruelty and pathos with no redeeming meaning. That sets up an interesting discussion about whether the ending of Wuthering Heights (1847) is mere pathos. I would argue that for some mysterious reason Wuthering Heights rises above mere pathos, as though Catherine and Heathcliff were ghosts all along. But that’s a discussion that could go on for an hour or two, over a bottle or two of ale.
Still, I admire 19th Century readers, even though they loved The Old Curiosity Shop. They were patient, and they were smart. But their lives were harder than ours, so maybe it was easier for them to go along with stories in which bad things happen to good people. Here I should add that the villains in The Old Curiosity Shop all got their just deserts.
One sometimes hears people defending bad stories by saying, “But that’s the way life is.”
I detest that argument. Stories are stories precisely because they don’t have to be — shouldn’t be — like life. And any writer who gives heros and heroines anything other than their heart’s desire, and villains anything other than their just deserts, needs a good hard talking to. Therein is the key to tragedy. Tragic heroes fail to get their heart’s desire, because of a fatal flaw. That we understand and accept. But Nell Trent and Tess Durbeyfield did not have fatal flaws.