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till a series of stories ending with Dombey and Son put his finances on a secure basis. Then he returned to London, wrote more novels, The Price of and saved a fortune for his descendants, who promptly Popularity spent it. Evidently it was a family trait. More and more he lived on his nerves, grew imperious, exacting, till he separated from his wife and made wreck of domestic happiness. The self-esteem of which he made comedy in his novels was for him a tragedy. Also he resumed the public read

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ings, with their false glory and nervous wear and tear, which finally brought him to the grave.

He died, worn out by his own exertions, in 1870. He had steadily refused titles. and decorations, but a grateful nation laid his body to rest in the Poets' Corner at Westminster Abbey. It is doubtful whether he would have accepted this honor, which was forced upon him, for he had declared proudly that by his works alone he would live in the memory of his countrymen.

DICKENS'S BIRTHPLACE, LANDPORT, PORTSEA

Works of Dickens. In the early stories of Dickens is a promise of all the rest. His first work was called Sketches by Boz, and "Boz" was invented by some little girl (was it in The Vicar of Wakefield?) who could not say "Moses"; also it was a pet name for a small brother of Dickens. There was, therefore, something childlike in this first title, and childhood was to enter very largely into the novelist's work. He could hardly finish a story without bringing a child into it; not an ordinary child, to make us smile,

but a wistful or pathetic child whose sorrows, since we cannot help them, are apt to make our hearts ache.

Element

Dickens is charged with exaggerating the woes of his children, and the charge is true; but he had a very human reason The Pathetic for his method. In the first place, the pathetic quality of his children is due to this simple fact, that they bear the burden and the care of age. And burdens which men or women accept for themselves without complaint seem all wrong, and are wrong, when laid upon a child's innocent shoulders. Again, Dickens sought to show us our error in thinking, as most grown-ups do, that childish troubles are of small account. So they are, to us; but to the child they are desperately real. Later in life we learn that troubles are not permanent, and so give them their proper place; but in childhood a trouble is the whole world; and a very hopeless world it is while it lasts. Dickens knew and loved children, as he knew the public whom he made to cry with his Little Nell and Tiny Tim; and he had discovered that tears are the key to many a heart at which reason knocks in vain.

Pickwickian

Humor

The second work, Pickwick, written in a harum-scarum way, is even more typical of Dickens in its spirit of fun and laughter. He had been engaged, as we have noted, to furnish a text for some comic drawings, thus reversing the usual order of illustration. The pictures were intended to poke fun at a club of sportsmen; and Dickens, who knew nothing of sport, bravely set out with Mr. Winkle on his rookshooting. Then, while the story was appearing in monthly numbers, the illustrator committed suicide; Dickens was left with Mr. Pickwick on his hands, and that innocent old gentleman promptly ran away with the author. Not being in the least adventurous, Mr. Pickwick was precisely the person for whom adventures were lying in wait; but with his chivalrous heart within him, and Sam Weller on guard outside, he was not to be trifled with by cabman or constable. So these two took to the open road, and to the inns where punch, gcod

cheer and the unexpected were awaiting them. Never was such another book! It is not a novel; it is a medley of fun and drollery resulting from high animal spirits.

The Motive of Horror

In his next novel, Oliver Twist, the author makes a new departure by using the motive of horror. One of his heroes is an unfortunate child, but when our sympathies for the little fellow are stretched to the point of tears, Dickens turns over a page and relieves us by Pickwickian laughter. Also he has his usual medley of picturesque characters and incidents, but the shadow of Fagin is over them all. One cannot go into any house in the book, and lock the door and draw the shades, without feeling that somewhere in the outer darkness this horrible creature is prowling. The horror which Fagin inspires is never morbid; for Dickens with his healthy spirit could not err in this direction. It is a boyish, melodramatic horror, such as immature minds seek in "movies," dime novels, secret societies, detective stories and "thrillers" at the circus.

In the fourth work, Nicholas Nickleby, Dickens shows that he is nearing the limit of his invention so far as plot is concerned. In this novel he seems to rest a bit by writing an oldfashioned romance, with its hero and villain and moral ending. But if you study this or any subsequent work of Dickens, you are apt to find the four elements already noted; namely, an unfortunate child, humorous interludes, a grotesque or horrible creature who serves as a foil to virtue or innocence, and a medley of characters good or bad that might be transferred without change to any other story. The most interesting thing about Dickens's men and women is that they are human enough to make themselves at home anywhere.

What to Read. Whether one wants to study the method of Dickens or to enjoy his works, there is hardly a better plan for the beginner than to read in succession Pickwick, Oliver Twist and Nicholas Nickleby, which are as the seed plot out of which all his stories. For the rest, the reader must follow his own

grow

fancy. If one must choose a single work, perhaps Copperfield is the most typical. "Of all my books," said Dickens, "I like this the best; like many parents I have my favorite child, and his name is David Copperfield." Some of the heroines of this book are rather stagey, but the Peggotys, Betsy Trotwood, Mrs. Gummidge, the Micawbers, - all these are unrivaled.

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YARD OF REINDEER INN, DANBURY

The scene of the races, in Old Curiosity Shop

"There is no writing against such power," said Thackeray, who was himself writing Pendennis while Dickens was at work on his masterpiece.

Tale of
Two Cities

Opinion is divided on the matter of A Tale of Two Cities. Some critics regard it as the finest of Dickens's work, revealing as it does his powers of description and of character-drawing without his usual exaggeration. Other critics, who regard the exaggeration of Dickens as his most characteristic quality, see in Two Cities only an evidence of his weakening power. It has perhaps this advantage over

other works of the author, that of them we remember only the extraordinary scenes or characters, while the entire story of Two Cities remains with us as a finished and impressive thing. But there is also this disadvantage, that the story ends and is done with, while Pickwick goes on forever. We may lose sight of the heroes, but we have the conviction, as Chesterton says, that they are still on the road of adventure, that Mr. Pickwick is somewhere drinking punch or making a speech, and that Sam Weller may step out from behind the next stable and ask with a droll wink what we are up to now.

It is hardly necessary to add that our reading of Dickens must not end until we are familiar with some of his Yuletide stories, in which he gladly followed the lead of Washington Irving. The best of all his short stories is A Christmas Carol, which one must read but not criticize. At best it is a farce, but a glorious, care-lifting, heart-warming farce. Would there were more of the same kind!

A Criticism of Dickens. The first quality of Dickens is his extravagant humor. This was due to the fact that he was alive, so thoroughly, consciously alive that his vitality overflowed like a spring. Here, in a word, is the secret of that bubbling spirit of prodigality which occasions the criticism that Dickens produced not characters but caricatures.

His Ex

The criticism is true; but it proclaims the strength of the novelist rather than his weakness. Indeed, it is in the very exaggeration of Dickens that his astonishing creaaggeration tive power is most clearly manifest. There is something primal, stupendous, in his grotesque characters which reminds us of the uncouth monsters that nature created in her sportive moods. Some readers, meeting with Bunsby, are reminded of a walrus; and who ever saw a walrus without thinking of the creature as nature's Bunsby? So with Quilp, Toots, Squeers, Pumblechook; so with giraffes, baboons, dodoes, dromedaries, all are freaks from the æsthetic viewpoint, but think of the overflowing energy implied in creating them!

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