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Moreover, although he was a man of reserved manners, there was an exceptionally tender, sympathetic heart behind this impenetrable exterior, and it may be suspected that he relieved many instances of actual distress, which could not be brought within the government regulations. He may have suffered like the ghost in Dickens's "Haunted Man," on account of those whom he could not assist.
He wrings the heart; but, happily, his books have improved the conditions of children, not only in public asylums, factories, and courts, but also in schools and homes. Dickens's chief faults arise from an excess of sensibility and humor. His soft heart and romantic spirit lead him to exaggerate.
The young writer who attempts to report the phrase and carriage of every-day life, who tries to tell just how he has heard men talk and seen them look, is made to feel guilty of something low and unworthy by people who would like to have him show how Shakespeare's men talked and looked, or Scott's, or Thackeray's, or Balzac's, or Hawthorne's, or Dickens's; he is instructed to idealize his personages, that is, to take the life-likeness out of them, and put the book-likeness into them.
The story, however, on its appearance in monthly parts, the first of which was published in January 1856, and the completed work in 1857, was enormously successful, beating, in Dickens's own words, "'Bleak House' out of the field." Popular with the public, it has never won the critics. I. The Father of the Marshalsea
Without much feeling, a man is likely to be narrow and unyielding. Gradgrind, in Dickens's Hard Times, is a shining example of this type.
It perhaps even seemed to me more Cruikshank's than Dickens's; it was a thing of such vividly terrible images, and all marked with that peculiarity of Cruikshank that the offered flowers or goodnesses, the scenes and figures intended to comfort and cheer, present themselves under his hand as but more subtly sinister, or more suggestively queer, than the frank badnesses and horrors.
Raphael painted a dozen or more pictures on the same subject, but they are all original, interesting and valuable, because Raphael painted them. If it were not for the odd characters and variety of incident in Dickens's novels they would hardly be worth reading.
I am not referring to Dickens's swift triumph, to his resounding fame and high prosperity; these things are cheery to read about, especially when shown in a light so human, with the accompaniment of so much geniality and mirth. No; the pages which invigorated me are those where we see Dickens at work, alone at his writing-table, absorbed in the task of the story-teller.
The general impression produced by Dickens's work is the same as that produced by miraculous visions; it is the destruction of time. Thomas Aquinas said that there was no time in the sight of God; however this may be, there was no time in the sight of Dickens. As a general rule Dickens can be read in any order; not only in any order of books, but even in any order of chapters.
Here we have the beginning of that delightful fashion of Dickens's, which he later carried to such perfection, of associating human feelings and associations with the animal creation, and also inanimate objects.
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