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Updated: June 16, 2025
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.
A man who does not laugh outright is a dullard, and has no heart; even the old dandy of sixty must have laughed at his own wondrous grotesque image, as they say Louis Philippe did, who saw all the caricatures that were made of himself. And there are some of Cruikshank's designs which have the blessed faculty of creating laughter as often as you see them.
'All right, sings the guard. . . . and off we start as briskly as if the morning were all right as well as the coach." One of Cruikshank's pictures illustrates the above scene in the booking office, and in it one of the figures represents Dickens himself as he appeared at the period. Dotted about on the walls are bills in which the name of the hotel is very conspicuous.
We are thus carried at once into the supernatural, and here we find Cruikshank reigning supreme. He has invented in his time a little comic pandemonium, peopled with the most droll, good-natured fiends possible. We have before us Chamisso's "Peter Schlemihl," with Cruikshank's designs translated into German, and gaining nothing by the change.
It was an exhibition deprecated to infant innocence I judge; unless indeed my remembrance of enjoying it only on the terms of fitful snatches in another, though a kindred, house is due mainly to the existence there of George Cruikshank's splendid form of the work, of which our own foreground was clear.
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