Contents：
SomeThoughtsofaReaderofTennysonDickensasaManofLettersSwinburne’sLyricalPoetryCharlotteandEmilyBronteCharmianTheCenturyofModerationSOMETHOUGHTSOFAREADEROFTENNYSON
FiftyyearsafterTennyson’sbirthhewassalutedagreatpoetbythatunanimousacclamationwhichincludesmereclamour。Fiftyfurtheryears，andhiscentenarywasmarkedbyanewdetraction。Itissometimesdifficulttodistinguishtheobscurebutnotunmajesticlawofchangefromthesorrycustomofreaction。Changehastesnotandrestsnot，reactionbeatstoandfro，flickeringaboutthemovingmindoftheworld。Reaction——thepaltryprecipitancyofthemultitude——ratherthanthenoveltyofchange，hasbroughtaboutafermentandcorruptionofopiniononTennyson’spoetry。Itmaybesaidthatopinionisthesamenowasitwasinthemiddleofthenineteenthcentury——thesame，butturned。Allthatwasnotworthhavingofadmirationthenhassouredintodetractionnow。Itisofnomoresignificance，acrid，thanitwas，sweet。Whattheherdingofopiniongaveyesterdayitisabletotakeawayto-day，thatandnomore。
Butbesidesthecommonfavour-disfavouroftheday，thereisthetendencyofeducatedopinion，oncedisposedtoacceptthewholeofTennyson’spoetryasthoughhecouldnotbe\"partedfromhimself，\"
andnowdisposedtorejectthewhole，onthesameplea。Butifevertherewasapoetwhoneededtobethus\"parted\"——thewordishisown——itishewhowrotebothnarrowlyforhistimeandliberallyforalltime，andwho——thisisthemoreimportantcharacterofhispoetry——hadbothastyleandamanner：amasterlystyle，amagicalstyle，atoodaintymanner，nearlyatrick；anoblelandscapeandinitfiguressomethingready-made。Heisasubjectforouralternativesoffeeling，nay，ourconflicts，asishardlyanotherpoet。Wemaydeeplyadmireandwonder，and，inanotherlineorhemistich，growindifferentorslightlyaverse。Heshedstheluminoussunsofdreamsuponmen&womenwhowoulddowellwithfootlights；waterstheirwaywithrushingstreamsofParadiseandcataractsfromvisionaryhills；lapsthemindivinedarkness；leadsthemintothosetouchinglandscapes，\"thelovelythatarenotbeloved；\"longgreyfields，coolsombresummers，andmeadowsthrongedwithunnoticeableflowers；speedshiscarpetknight——oristhathardlyajustnameforonewhosesword\"smites\"sowell？——uponacarpetofauthenticwildflowers；pusheshisrovers，incostume，fromoffblossomingshores，onthekeelsofoldromance。Thestyleandthemanner，Ihavesaid，runsidebyside。Ifwemaytakeonepoet’stooviolentphrase，andconsiderpoetstobe\"damnedtopoetry，\"why，then，Tennysoniscondemnedbyacoupleofsentences，\"torunconcurrently。\"Wehavethestyleandthemannerlockedtogetherattimesinasinglestanza，lockedandyetnotmingled。
ThereshouldbenodangerforthemorejudiciousreaderlestimpatienceatthepeculiarTennysontrickshouldinvolvethegreatTennysonstyleinasweepofprotest。Yetthedangerhasinfactprovedrealwithinthepresentandrecentyears，andseemsabouttothreatenstillmoreamongthelessjudicious。Butitwillnotlongprevail。Thevigorouslittlenationofloversofpoetry，aliveonebyonewithinthevaguemultitudeofthenationofEngland，cannotremainfinallyinsensibletowhatisatoncemajesticandmagicalinTennyson。Forthosearenotqualitiestheyneglectintheirothermasters。How，valuingsinglenessofheartinthesixteenthcentury，splendourintheseventeenth，composureintheeighteenth；how，withaspiritualearforthenote——commonlycalledCeltic，albeititisthemostEnglishthingintheworld——thewildwoodnoteoftheremotersong；how，withtheeducatedsenseofstyle，theliberalsenseofease；how，inaword，fosteringLettersandlovingNature，shallthatchoicenationwithinEnglandlongdisregardthesevirtuesinthenineteenth-centurymaster？Howdisregardhim，formorethanthefewyearsofreaction，fortheinsignificantreasonsofhisbygonetaste，hisinsipidcourtliness，hisprettiness，orwhatnot？
ItisnodishonourtoTennyson，foritisadishonourtooureducation，todisparageapoetwhowrotebutthetwo——hadhewrittennomoreoftheirkind——linesof\"ThePassingofArthur，\"ofwhich，beforeIquotethem，Iwillpermitmyselfthepersonalremembranceofagreatcontemporaryauthor’sopinion。Mr。Meredith，speakingtomeofthehigh-watermarkofEnglishstyleinpoetryandprose，citedthoselinesastopmostinpoetry：-
Ononesidelaytheocean，andononeLayagreatwater，andthemoonwasfull。
Hereisnotaintofmanner，noprettypostureorhabit，butthesimplicityofpoetryandthesimplicityofNature，somethingontheyondersideofimagery。ItistobenotedthatthisnoblepassageisfromTennyson’sgenerallyweakestkindofwork——blankverse；andshouldthusbeasignthatthelaxityofsomanypartsofthe\"Idylls\"andotherblankversepoemswasaquiteunnecessaryfault。
LaxthisformofpoetryundoubtedlyiswithTennyson。Hisblankverseisoftentooeasy；itcannotbesaidtofly，fortheparadoxicalreasonthatithasnoweight；itslipsby，withouthaltingortrippingindeed，butalsowithoutthefrictionofthemovementofvitality。Thisquality，whichissoneartoafault，thisqualityofease，hascometobedisregardedinourday。ThatHoraceWalpoleoverpraisedthisvirtueisnotgoodreasonthatweshouldholditforavice。Yetwedomorethanundervalueit；andseveralofourauthors，inproseandpoetry，seemtofindmuchmeritinthemanifestdifficulty；theywillnothaveakeytoturn，thoughcloselyandtightly，inoiledwards；letthereluctantironcatchandgrind，ortheywouldevenprefertopickyouthelock。
Butthoughwemaythinkittimethatthequalityonceover-prizedshouldberestoredtoamoreproportionatehonour，ourgreatpoetTennysonshowsusthatofallmeritseaseis，unexpectedlyenough，themostdangerous。Itisnotonly，withhim，thatthewardsareoiled，itisalsothatthekeyturnsloosely。Thisistrueofmuchofthebeautiful\"Idylls，\"butnotoftheirbestpassages，norofsuchmagnificentheroicverseasthatofthecloseof\"AVisionofSin，\"orof\"Lucretius。\"Astothequestionofease，wecannothaveabettermaximthanCoventryPatmore’ssayingthatpoetry\"shouldconfess，butnotsufferfrom，itsdifficulties。\"Andwecouldhardlyfindamorecuriousexampleofthepresentloveofversethatnotonlyconfessesbutbragsofdifficulties，andnotonlysuffersfromthembutcriesoutunderthesuffering，andshowsusthegrimaceofthepainofit，thanIhavelighteduponinthecriticalarticleofarecentquarterly。Reviewingthebookofa\"poet\"whomanifestlyhasaninsuperabledifficultyinhackinghisworkintoten-syllableblocks，andkeepingatthesametimeanyshowofrespectforthenationalgrammar，thecriticgravelyinviteshisreaderto\"note\"thephrase\"neathcliffs\"（apparentlyfor\"beneaththecliffs\"）as\"characteristic。\"Shallthereaderindeed\"note\"
suchamatter？Trulyhehasotherthingstodo。Thisisbytheway。Tennysonisalwaysanartist，andthefinishofhisworkisoneoftheprincipalnotesofhisversification。Howthisfinishcomportswiththeexcessiveeaseofhisprosodyremainshisownpeculiarsecret。Ease，inhim，doesnotmeanthathehasanyunhandsomeslovenlyways。Onthecontrary，heresemblesratherthewarriorwiththepouncetbox。Itisthemanof\"neathcliffs\"whowillnotbeatthetroubleofmakingaplaceforsomuchasadefinitearticle。TennysoncertainlyWORKED，andtheexceedingeaseofhisblankversecomesperhapsofthislittleparadox——thathemakessomewhattoomuchshowofthehidingofhisart。
Inthefirstplacethepoetwiththegreatwelcomestyleandthelittleunwelcomemanner，Tennysonis，inthesecondplace，themodernpoetwhowithstoodFrance。（Thatis，ofcourse，modernFrance——FrancesincetheRenaissance。FrommedievalProvencethereisnotanEnglishpoetwhodoesnotowninheritance。）ItwassometimeaboutthedateoftheRestorationthatmodernFrancebegantobemodishinEngland。AruffleattheCourtofCharles，acoupletintheearofPope，atourdephrasefromMme。deSevignemuchtothetasteofWalpole，laterthegoodexampleofFrenchpainting——
richinterestpaidfortheloanofourConstable’sinitiative——laterstillascatteringofFrenchtaste，Frenchcriticalbusiness，overalltheshallowplacesofourliterature——thesehaveallbeenphasesofanationalvanityofours，aneagerandanxiousflutteringorjostlingtobeforemostandFrench。MatthewArnold’sessayoncriticismfosteredthisanxiety，andyetIfindinthisworkofhisalackofeasyFrenchknowledge，suchashismisunderstandingofthewordbrutalite，whichmeansnomore，orlittlemore，thanroughness。
MatthewArnold，bytheway，knewsolittleoftheFrenchcharacterastobealtogetherignorantofFrenchprovincialism，Frenchpracticalsense，andFrench\"convenience。\"\"Convenience\"ishisdearestwordofcontempt，\"practicalsense\"hisnextdearest，andhethrowsthemascoreoftimesintheteethoftheEnglish。Strangeistheironyofthetruth。Forhebestowsthosewitheringwordsonthenationthathasthefiftyreligions，andattributes\"ideas\"——astheantithesisof\"convenience\"and\"practicalsense\"——tothenationthathasthefiftysauces。Andnotforamomentdoeshesuspecthimselfofthisblunder，somanifestastobedisconcertingtohisreader。OneseemstohearanincurablyEnglishaccentinallthis，whichindeedisreported，byhisacquaintance，ofMatthewArnold’sactualspeakingofFrench。Itiscertainthathehasnottheinterestoffamiliaritywiththelanguage，butonlytheinterestofstrangeness。Now，whilewemeettheeffectoftheFrenchcoatinourseventeenthcentury，oftheFrenchlightverseinourearliereighteenthcentury，andofFrenchphilosophyinourlater，oftheFrenchrevolutioninourWordsworth，oftheFrenchpaintinginournineteenth-centurystudios，ofFrenchfiction——andthedregsarestillrunning——inourlibraries，ofFrenchpoetryinourSwinburne，ofFrenchcriticisminourArnold，TennysonshowstheeffectofnothingFrenchwhatever。NottheElizabethans，notShakespeare，notJeremyTaylor，notMilton，notShelleywere（intheirart，notintheirmatter）moreinsularintheirtime。France，bytheway，hasmorethanappreciatedthehomageofTennyson’scontemporaries；
VictorHugoavers，inLesMiserables，thatourpeopleimitatehispeopleinallthings，andinparticularherousesinusadelightedlaughterofsurprisebyassertingthattheLondonstreet-boyimitatestheParisianstreet-boy。Thereis，infact，somethingofastreet-boyinsomeofourlatemoreliterarymimicries。
Weareapttojudgeapoettooexclusivelybyhisimagery。Tennysonishardlyagreatmasterofimagery。Hehasmoreimaginationthanimagery。Heseesthething，withsoluminousamind’seye，thatitissufficienttohim；heneedsnottoseeitmorebeautifullybyasimilitude。\"Aclear-walledcity\"isenough；\"meadows\"areenough——
indeedTennysonreignsforeveroverallmeadows；\"thehappybirdsthatchangetheirsky\"；\"BrightPhosphor，fresherforthenight\"；
\"Twilightandeveningbell\"；\"thestillnessofthecentralsea\"；
\"thatfriendofminewholivesinGod\"；\"thesolitarymorning\"；
\"Fourgreywallsandfourgreytowers\"；\"Watchedbyweepingqueens\"；
theseareenough，illustrious，andneedingnotillustration。
IfwedonotseeTennysontobethelonely，thefirst，theONEthatheis，thisisbecauseofthethrongofhisfollowing，thoughanumberthatareofthatthronghardlyknow，orelsewoulddeny，theirflocking。Butheaddedtoourliteraturenotonlyinthewayofcumulation，butbytheadventofhissinglegenius。Heisoneofthefewfountain-headpoetsoftheworld。Thenewlandscapewhichwashis——thelovelyunbeloved——is，itneedhardlybesaid，thematterofhispoetryandnotitsinspiration。Itmayhaveseemedtosomereadersthatitisthenovelty，inpoetry，ofthishomelyunscenicscenery——thisLincolnshirequality——thataccountsforTennyson’sfreshnessofvision。Butitisnotso。Tennysonisfreshalsoinscenicscenery；heisfreshwiththethingsthatothershaveoutworn；mountains，desertislands，castles，elves，whatyouwillthatisconventional。Wherearetheremoredivinelypoeticlinesthanthose，whichwillneverbeweariedwithquotation，beginning，\"Asplendourfalls\"？Whatcastlewallshavestoodinsuchalightofoldromance，whereinallpoetryisthereasoundwilderthanthatofthosefaint\"hornsofelfland\"？Hereistheremoteness，thebeyond，thelightdelirium，notofdiseasebutofmorerapturousanddelicatehealth，theclosersecretofpoetry。
ThismostEnglishofmodernpoetshasbeentauntedwithhismeregardens。Heloved，indeed，the\"lazylilies，\"oftheexquisitegardenof\"TheGardener’sDaughter，\"buthebetookhisecstaticEnglishspiritalsofarafieldandoverseas；tothewinterplacesofhisfamiliarnightingale：-
WhenfirsttheliquidnotebelovedofmenComesflyingovermanyawindywave；
tothelotus-eaters’shore；totheoutlandlandscapesof\"ThePalaceofArt\"——the\"clear-walledcitybythesea，\"the\"pillaredtown，\"
the\"full-fedriver\"；tothe\"pencilledvalleys\"ofMonteRosa；tothe\"valeinIda\"；tothattremendousuplandinthe\"VisionofSin\"：-
AtlastIheardavoiceupontheslopeCrytothesummit，Isthereanyhope？
Towhichananswerpealedfromthathighland，Butinatonguenomancouldunderstand。
TheCleopatraof\"TheDreamofFairWomen\"isbutaready-madeCleopatra，butwhenintheshadesofherforestsheremembersthesunoftheworld，sheleavesthepageofTennyson’spoorestmannerandbecomesonewithShakespeare’squeen：-
WedranktheLibyansuntosleep。
Nay，thereisneverapassageofmannerbutagreatpassageofstylerebukesourdislikeandrecallsourheartagain。Thedramas，lessthanthelyrics，andevenlessthanthe\"Idylls，\"arematterforthetrueTennysonian。Theiractionis，atitsliveliestrathervivaciousthanvital，andthesentiment，whetherin\"Becket\"orin\"Harold，\"isnotonlymodern，itisfixedwithinTennyson’sownpeculiarscoreorsoofyears。Butthathemighthaveanswered，indrama，toastrongerstimulus，asharperspur，thanhistimeadministered，maybeguessedfromafewpassagesof\"QueenMary，\"
andfromthedramaticterrorofthearrowin\"Harold。\"Thelinehasappearedinpropheticfragmentsinearlierscenes，andatthemomentofdoomitistheoutcryofunquestionabletragedy：-
Sanguelac——Sanguelac——thearrow——thearrow！——Away！
Tennysonisalsoaneminentlyall-intelligiblepoet。Thosewhomhepuzzlesorconfoundsmustbeaflockwithanincalculableliabilitytogowideofanyroad——\"downallmannerofstreets，\"asthedesperatedrovercriesintheanecdote。Butwhatarestreets，howevervarious，tothewaysoferrorthatagreatflockwilltakeinopencountry——minutely，individuallywrong，makingmistakesuponhardlyperceptibleoccasions，ornone——\"minutefortuitousvariationsinanypossibledirection，\"asusedtobesaidinexpositionoftheDarwiniantheory？Avastoutlyingpublic，likethatofTennyson，maymakeyouasmanyblundersasithasheads；buttheaccurateclearpoetprovedhismeaningtoallaccurateperceptions。Wherehehesitates，hisisthesincerepauseofprocessanduncertainty。IthasbeensaidthatTennyson，midwaybetweenthestudentofmaterialscienceandthemystic，wroteandthoughtaccordingtoanagethatwavered，withhim，betweenthetwominds，andthatmenhavenowtakenonewayortheother。Isthisindeedtrue，andaremensodividedandsosure？Orhavetheynotratheralreadyturned，innumbers，backtotheparting，ormeeting，ofeternalroads？Thereligiousquestionthatarisesuponexperienceofdeathhasneverbeenaskedwithmoresincerityandattentionthanbyhim。If\"InMemoriam\"representsthemindofyesterdayitrepresentsnolessthemindofto-morrow。Itistruethatpessimismandinsurrectionintheirignoblerforms——nay，intheignoblestformofafashion——have，orhadbutyesterday，thecontrolofthepopularpen。Trivialpessimismortrivialoptimism，itmatterslittlewhichprevails。
Forthosewhofollowtheonehabitto-daywouldhavefollowedtheotherinapastgeneration。Fleetingastheyare，itcannotbewithintheircompetencetoneglectorrejectthephilosophyof\"InMemoriam。\"Tothedaintystanzasofthatpoem，itistrue，nogreatstruggleofreasoningwastobecommitted，norwouldanysuchdisputebejudiciouslyentrustedtotherhymesofasongofsorrow。
Tennysonhereproposes，ratherthancloseswith，theultimatequestionofourdestiny。Theconflict，forwhichheproveshimselfstrongenough，isinthatmagnificentpoemofathinker，\"Lucretius。\"Butsofaras\"InMemoriam\"attempts，weighs，falters，andconfides，itistruetotheexperienceofhumananguishandintellect。
Isayintellectadvisedly。NotforhimsuchblundersofthoughtasColeridge’sin\"TheAncientMariner\"orWordsworth’sin\"HartleapWell。\"Coleridgenamesthesun，moon，andstarsaswhen，inadream，thesleepingimaginationisthreatenedwithsomesignificantillness。Weseetheminhisgreatpoemasapparitions。Coleridge’ssensesareinfinitelyandtranscendentlyspiritual。Butacandidreadermustbepermittedtothinkthemerestorysilly。Thewedding-guestmightrisethemorrowmornasadderbutheassuredlydidnotriseawiserman。
AsforWordsworth，themostbeautifulstanzasof\"HartleapWell\"arefatallyrebukedbythetruthsofNature。Heshowsustheruinsofanaspenwood，ablightedhollow，adrearyplace，forlornbecauseaninnocentstag，hunted，hadtherebrokenhisheartinaleapfromtherocksabove；grasswouldnotgrowthere。
ThisbeastnotunobservedbyNaturefell，Hisdeathwasmournedbysympathydivine。
Andthesignsofthatsympathyarecruellyassertedbythepoettobethesewoodlandruins——cruelly，becausethedailysightoftheworldblossomingovertheagoniesofbeastandbirdismadelesstolerabletousbysuchafiction。
TheBeingthatisinthecloudsandair……
MaintainsadeepandreverentialcareFortheunoffendingcreaturewhomHeloves。
Thepoetoffersusasaproofofthat\"reverentialcare，\"thevisiblealterationofNatureatthesceneofsuffering——analterationwehavetodispensewitheverydaywepassinthewoods。
WearetemptedtoaskwhetherWordsworthhimselfbelievedinasympathyheasksus——onsuchgrounds！——tobelievein？Didhethinkhisfaithtobeworthyofnomorethanafictitioussignandafalseproof？
NowhereinthewholeofTennyson’sthoughtistheresuchanattackuponourreasonandourheart。HeismoreseriousthanthesolemnWordsworth。
INMEMORIAM，withallelsethatTennysonwrote，tutors，withhereandthereasubtleword，thisnature-lovingnationtoperceiveland，light，sky，andocean，asheperceived。Tothiswereturn，uponthiswedwell。Hehasbeentous，firstly，thepoetoftwogeniuses——asmallandanimmense；secondly，themodernpoetwhoansweredinthenegativethatmostsignificantmodernquestion，FrenchornotFrench？Buthewas，beforetheoutsetofallourstudyofhim，ofallourloveofhim，thepoetoflandscape，andthisheismoredearlythanpencandescribehim。Thiseternalcharacterofhisiskeenintheversethatiswingedtomeetahomewardshipwithher\"dewydecks，\"andinthesuddenislandlandscape，Thecloversod，Thattakesthesunshineandtherains，OrwherethekneelinghamletdrainsThechaliceofthegrapesofGod。
Itispoignantinthegarden-night：-
Abreezebegantotrembleo’erThelargeleavesofthesycamore，……
Andgatheringfreshlieroverhead，Rockedthefull-foliagedelm，andswungTheheavy-foldedrose，andflungTheliliestoandfro，andsaid\"Thedawn，thedawn，\"anddiedaway。
Hisaretheexaltedsensesthatsensualpoetsknownothingof。I
thinkthesenseofhearingaswellasthesenseofsight，hasneverbeenmoregreatlyexaltedthanbyTennyson：-
Asfrombeyondthelimitoftheworld，Likethelastechobornofagreatcry。
Astothisgarden-charactersomuchdecriedIconfessthatthe\"lawn\"doesnotgenerallydelightme，thewordnorthething。ButinTennyson’spagethewordiswonderful，asthoughithadneverbeendull：\"Themountainlawnwasdewy-dark。\"Itisnotthathebringsthemountainstoonearorrankstheminhisownpeculiargarden-plot，butthatthewordwithdraws，withdrawstosummits，withdrawsintodreams；thelawnisaloft，alone，andaswildasancientsnow。Itisthesamewithmanyanotherwordorphrasechanged，bypassingintohisvocabulary，intosomethingrichandstrange。HisownespeciallyistheMarchmonth——his\"roaringmoon。\"
Hisisthespiritofthedawningmonthofflowersandstorms；thegolden，softnamesofdaffodilandcrocusarecaughtbythegaleasyouspeaktheminhisverse，inafinedisproportionwiththeenergyandgloom。Hiswasanewapprehensionofnature，anincreaseinthenumber，andnotonlyinthesum，ofournationalapprehensionsofpoetryinnature。UnawareofaseparateangelofmodernpoetryishewhoisinsensibletotheTennysonnote——thenewnotethatwereaffirmevenwiththenotesofVaughan，Traherne，Wordsworth，Coleridge，Blakewellinourears——theTennysonnoteofsplendour，all-distinct。Heshowedtheperpetuallytransfiguredlandscapeintransfiguringwords。Heisthecaptainofourdreams。OthershavelightedacandleinEngland，helitasun。Throughhimourdailysuns，andalsothebackwardandhistoricsunslongsinceset，whichhedidnotsing，aremagnified；andhebestowsuponusanexaltedretrospection。ThroughhimNapoleon’ssunofAusterlitzrises，forus，withamorebrilliantmenaceuponarmsandtheplain；throughhimFielding’s\"mostmelancholysun\"lightsthedyingmantothesetting-forthonthatlastvoyageofhiswithsuchanimmortalgleam，denyinghope，aswouldnothavelighted，forus，thememoryofthatseawardmorning，hadourpoetrynotundergonetheillumination，thetranscendentvision，ofTennyson’sgenius。
Emersonknewthatthepoetspeaksadequatelythenonlywhenhespeaks\"alittlewildly，orwiththeflowerofthemind。\"Tennyson，theclearest-headedofpoets，isourwildpoet；wild，notwithstandingthatlittlefopperyweknowofinhim——thatwalkingdelicately，likeAgag；wild，notwithstandingthework，theease，theneatness，thefinish；notwithstandingtheassertionofmanlinesswhich，inasserting，somewhatmissesthatmark；awilderpoetthantherough，thanthesensual，thanthedefiant，thantheaccuser，thanthedenouncer。Wildflowersarehis——greatpoet——wildwinds，wildlights，wildheart，wildeyes！
DICKENSASAMANOFLETTERS
Itwassaidformanyyears，untilthereversalthatnowbefallsthesayingsofmanyyearshadhappenedtothisalso，thatThackeraywastheunkindsatiristandDickensthekindhumourist。ThetruthseemstobethatDickensimaginedmoreevilpeoplethandidThackeray，butthathehadaneagerfaithingoodones。Nothingplaceshimsoentirelyoutofdateashistrustinhumansanctity，hisloveofit，hishopeforit，hisleapatit。Hesawitinawoman’sfacefirstmet，anddrewittohimselfinaman’shandfirstgrasped。Helookedkeenlyforit。Andifheassociatedminordegreesofgoodnesswithanykindoffollyormentalineptitude，hedidnotsorelatesanctity；thoughhegaveit，forcompanion，ignorance；andjoinedthetwo，inJoeGargery，mosttenderly。Wemightparaphrase，inregardtothesetwogreatauthors，Dr。Johnson’sfamoussentence：
\"Marriagehasmanypains，butcelibacyhasnojoys。\"Dickenshasmanyscoundrels，butThackerayhasnosaints。HelenPendennisisnotholy，forsheisunjustandcruel；Ameliaisnotholy，forsheisanegoistinlove；LadyCastlewoodisnotholy，forshetooiscruel；andevenLadyJaneisnotholy，forsheisjealous；norisColonelNewcomeholy，forheishaughty；norDobbin，forheturnswithatauntuponaplainsister；norEsmond，forhesquandershisbestyearsinloveforamaterialbeauty；andthesearethebestofhisgoodpeople。Andreadershavebeentaughttopraisetheworkofhimwhomakesnoneperfect；onedoesnotmeetperfectpeopleintrainsoratdinner，andthisseemedgoodcausethatthenovelistshouldbepraisedforhismoderation；itseemedtoimitatetheusualmeasureandmoderationofnature。
ButCharlesDickensclosedwithadivinepurposedivinelydifferent。
Heconsentedtothecounselsofperfection。AndthushemadeJoeGargery，notamanonemighteasilyfindinaforge；andEstherSummerson，notagirlonemayeasilymeetatadance；andLittleDorrit，whodoesnotcometodoaday’ssewing；notthatthemanandthewomenareinconceivable，butthattheyareunfortunatelyimprobable。Theyarecreaturescreatedthroughacreatingmindthatworkeditssixdaysfortheloveofgood，andneverresteduntiltheseventh，thefinalSabbath。Butgrantingthattheyarethecounterpart，theheavenlyside，ofcaricature，thisisnottocondemnthem。Sincewhenhascaricatureceasedtobeanartgoodforman——anhonestgamebetweenhimandnature？Itisatenableopinionthatfrankcaricatureisabetterincidentofartthanthemereexaggerationwhichisthemoremodernpractice。Thewordsmeanthesamethingintheirorigin——anoverloading。But，aswenowgenerallydelimitthewords，theydiffer。Caricature，whenithasthegrotesqueinspiration，makesforlaughter，andwhenithasthecelestial，makesforadmiration；ineithercasethereisagoodunderstandingbetweentheauthorandthereader，orbetweenthedraughtsmanandthespectator。Weneednot，forexample，supposethatIbsensatinaroomsurroundedbyarepeatingpatternofhishairandwhiskersonthewallpaper，butitmakesusmostexceedinglymirthfulandjoyoustoseehimthusseatedinMr。MaxBeerbohm’sdrawing；andperhapsnogirleverwentthroughlifewithoutharbouringathoughtofself，butitisverygoodforusalltoknowthatsuchagirlwasthoughtofbyDickens，thathelovedhisthought，andthatsheisultimatelytobetraced，throughDickens，toGod。
Butexaggerationestablishesnogoodunderstandingbetweenthereaderandtheauthor。Itisasolemnappealtoourcredulity，andwearerighttoresentit。Itistheviolenceofaweaklinghand——
theworstmannerofviolence。Exaggerationisconspicuousinthenewerpoetry，andissofar，therefore，successful，conspicuousnessbeingitsaim。ButitwasalsotheviceofSwinburne，andwasthebadexamplehesettothegenerationthatthoughthistuningstobethefinest\"music。\"Forinstance，inanearlypoemheintendstotellushowamanwholovedawomanwelcomedthesentencethatcondemnedhimtodrownwithher，bound，hisimpassionedbreastagainsthers，abhorring。Hemighthaveconvincedusofthatwelcomebyonephraseoftheprofoundexactitudeofgenius。Buthemakeshismancryoutforthegreatestblissandthegreatestimaginableglorytobebestoweduponthejudgewhopronouncesthesentence。
Andthisismerelyexaggeration。Onetakespleasureinrebukingthefalseecstasybyawordthusprimandprosaic。Thepoetintendedtoimposeuponus，andhefails；we\"withdrawourattention，\"asDr。
Johnsondidwhentheconversationbecamefoolish。Intruthwedomore，forweresentexaggerationifwecareforourEnglishlanguage。Forexaggerationwritesrelaxed，andnotelastic，wordsandverses；anditispossiblethatthelanguagesufferssomething，atleasttemporarily——duringthelifeofacoupleofgenerations，letussay——fromthelossofelasticityandreboundbroughtaboutbysuchstrain。Moreover，exaggerationhasalwaystooutdoitselfprogressively。ThereshouldhavebeenaDurdlestotellthisSwinburnethatthehabitofexaggerating，likethatofboasting，\"growsuponyou。\"
Itmaybeaddedthatlaterpoetryshowsusaninstanceofexaggerationintheworkofthatmajorpoet，Mr。LascellesAbercrombie。Hisviolenceandvehemence，hisextremity，aregenerallysignsnotofweaknessbutofpower；andyetoncehereachesabreaking-pointthatpowershouldneverknow。ThisiswherehisJudithholdsherselftobesosmirchedanddegradedbytheprofferofareverentlove（shebeingdevotedtooneonly，adeadmanwhohadherheart）thatthenceforthnobarislefttoherentireself-sacrificetotheloathedenemyHolofernes。Tothis，too，theprimrebukeisthejustone，awordforthemouthofgovernesses：
\"Mydear，youexaggerate。\"
Itmaybebrieflysaidthatexaggerationtakesforgrantedsomedegreeofimbecilityinthereader，whereascaricaturetakesforgrantedahighdegreeofintelligence。Dickensappealstoourintelligenceinallhiscaricature，whetherheavenly，asinJoeGargery，orimpish，asinMrs。Micawber。Theword\"caricature\"thatisusedathousandtimestoreproachhimisthewordthatdoeshimsingularhonour。
IfImaydefinemyowndevotiontoDickens，itmaybestatedaschiefly，thoughnotwholly，admirationofhishumour，hisdramatictragedy，andhiswatchfulnessoverinanimatethingsandlandscape。
Passagesofhisbooksthatarerangedotherwisethanunderthosecharactersoftenleavemeoutoftherangeoftheirappealorelsedefinitelyoffendme。Andthisisnotforthecustomaryreason——
thatDickenscouldnotdrawagentleman，thatDickenscouldnotdrawalady。Itmatterslittlewhetherhecouldornot。Butasafacthediddrawagentleman，anddrewhimexcellentlywell，inCousinFeenix，asMr。Chestertonhasdecided。Thequestionoftheladywemaywaive；ifitisdifficulttoproveanegative，itisdifficultalsotopresentone；andtothemaking，orproducing，orliberating，ordetaching，orexalting，ofthecharacterofaladythereentermanynegatives；andDickenswasanobviousandapositiveman。
EstherSummersonisalady，butsheissomuchbesidesthatherladyhooddoesnotdetachitselffromhersainthoodandherangelhood，soastobeconspicuous——if，indeed，conspicuousnessmaybeproperlypredicatedofthequalityofalady。Itisaconventionalsayingthatsainthoodandangelhoodincludethequalityofalady，butthatsayingisnottrue；aladyhasagreatnumberofnegativesallherown，andalsosomethingspositivethatarenotatallincludedingoodness。Howeverthismaybe——anditisnotimportant——Dickens，thegenialDickens，makessavagesportofwomen。
SuchacompanyofenviousdamesanddamselscannotbefoundamongthepersonsofthesatiristThackeray。KateNickleby’sbeautybringsuponheratfirstsighttheenmityofherworkshopcompanions；intheinnocentpagesof\"Pickwick\"theauntisjealousoftheniece，andthenieceretortsbywoundingthevanityoftheauntaskeenlyasshemay；andsoforththroughearlybooksandlate。Hetakesforgrantedthatthewomen，oldandyoung，whoarenothisheroines，wagethiswarwithinthesex，beingdisappointedbydefectofnatureandfortune。Dickensismasterofwit，humour，andderision；anditmustbeconfessedthathisderisionisabundant，andiscastuponanartificiallyexposedandhelplesspeople；thatis，he，aman，deridesthewomenwhomisswhatamandeclaredtobetheir\"wholeexistence。\"
TheadvicewhichM。RodinreceivedinhisyouthfromConstant——
\"Learntoseetheotherside；neverlookatformsonlyinextent；
learntoseethemalwaysinrelief\"——isthecontraryofthecounselproperforareaderofDickens。Thatcounselshouldbe，\"Donotinsistuponseeingtheimmortalfiguresofcomedy’intheround。’
Youaretobesatisfiedwiththeirfacevalue，thefaceoftwodimensions。ItisnotnecessarythatyoushouldseizeMr。Pecksnifffrombeyond，andgraspthewholemanandhisdestinies。\"Thehypocriteisafiguredreadfulandtragic，ashapeofhorror；andMr。Pecksniffisahypocrite，andabrightimageofheart-easingcomedy。Forcomicfictioncannotexistwithoutsomesuchparadox。
Withoutit，wherewouldourlaughbeinresponsetothegenerousgeniuswhichgivesusMr。Pecksniff’sparenthesistothementionofsirens（\"Pagan，Iregrettosay\"）；andthesceneinwhichMr。
Pecksniff，afterastormydomesticscenewithin，goesasitwereaccidentallytothedoortoadmittherichkinsmanhewishestopropitiate？\"ThenMr。Pecksniff，gentlywarblingarusticstave，putonhisgardenhat，seizedaspade，andopenedthestreetdoor，asifhethoughthehad，fromhisvineyard，heardamodestrap，butwasnotquitecertain。\"Thevisitorhadthunderedatthedoorwhileoutcriesoffamilystrifehadbeenrisinginthehouse。\"’Itisanancientpursuit，gardening。Primitive，mydearsir；for，ifIamnotmistaken，Adamwasthefirstofthecalling。MyEve，Igrievetosay，isnomore，sir；but’（andherehepointedtohisspade，andshookhishead，asifhewerenotcheerfulwithoutaneffort）’butI
doalittlebitofAdamstill。’Hehadbythistimegotthemintothebestparlour，wheretheportraitbySpillerandthebustbySpokerwere。\"Andagain，Mr。Pecksniff，hospitableatthesuppertable：\"’This，’hesaid，inallusiontotheparty，notthewine，’isaMinglingthatrepaysoneformuchdisappointmentandvexation。
Letusbemerry。’Herehetookacaptain’sbiscuit。’Itisapoorheartthatneverrejoices；andourheartsarenotpoor。No！’Withsuchstimulantstomerrimentdidhebeguilethetimeanddothehonoursofthetable。\"Moreoveritisamournfulthingandaninexplicable，thatamanshouldbeasmadasMr。Dick。NonethelessisitahappythingforanyreadertowatchMr。DickwhileDavidexplainshisdifficultytoTraddles。Mr。Dickwastobeemployedincopying，butKingCharlestheFirstcouldnotbekeptoutofthemanuscripts；\"Mr。DickinthemeantimelookingverydeferentiallyandseriouslyatTraddles，andsuckinghisthumb。\"
Andtheamoursofthegentlemaningaiterswhothrewthevegetable-
marrowsoverthegardenwall。Mr。F。’saunt，again！AndAugustusModdle，ourownModdle，whomagreatFrenchcriticmostjustlyandaccuratelybroodedover。\"Augustus，thegloomymaniac，\"saysTaine，\"makesusshudder。\"Agoodmedicaldiagnosis。LonglivethelogicalFrenchintellect！
Truly，Humourtalksinhisownlanguage，nay，hisowndialect，whereasPassionandPityspeaktheuniversaltongue。