ations of genius. Occasionally, under the urge and
surplusage of his comic force, he went too far and made a Quilp:
but the vast majority even of his drolls are as credible as they
are dear.

That he showed inequality as he wrought at the many books which
filled the years between "Pickwick" and the unfinished "Mystery
of Edwin Drood," may also be granted. Also may it be confessed
that within the bounds of one book there are the extremes of
good and bad. It is peculiar to Dickens that often in the very
novel we perchance feel called upon to condemn most, occurs a
scene or character as memorably great as anything he left the
world. Thus, we may regard "Old Curiosity Shop," once so
beloved, as a failure when viewed as a whole; and yet find Dick
Swiveller and the Marchioness at their immortal game as
unforgettable as Mrs. Battle engaged in the same pleasant
employment. Nor because other parts of "Little Dorrit" seem thin
and artificial, would we forego the description of the debtor's
prison. And our belief that the presentation of the labor-capital
problem in "Hard Times" is hasty and shallow, does not
prevent a recognition of the opening sketch of the circus troop
as displaying its author at his happiest of humorous
observation. There are thus always redeeming things in the
stories of this most unequal man of genius. Seven books there
are, novels in form, which are indubitable masterpieces: "Martin
Chuzzlewit," "Dombey and Son," "David Copperfield," "Bleak
House," "A Tale of Two Cities," "Great Expectations" and "Our
Mutual Friend." These, were all the others withdrawn, would give
ample evidence of creative power: they have the largeness,
variety and inventive verve which only are to be found in the
major novelists. Has indeed the same number of equal weight and
quality been given forth by any other English writer?

Another proof that the power of Dickens was not dependent
exclusively upon the comic, is his production of "A Tale of Two
Cities." It is sometimes referred to as uncharacteristic because
it lacks almost entirely his usual gallery of comics: but it is
triumphantly a success in a different field. The author says he
wished for the nonce to make a straight adventure tale with
characters secondary. He did it in a manner which has always
made the romance a favorite, and compels us to include this
dramatic study of the French Revolution among the choicest of
his creations. Its period and scene have never--save by