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。