The second definite matter in the Dickens connection is the Smike of Miss Weston--whose praenomen I frivolously forget (though I fear it was Lizzie,) but who was afterwards Mrs. E. L. Davenport and then, sequently to some public strife or chatter, Mrs. Charles Matthews--in a version of Nicholas Nickleby that gracelessly managed to be all tearful melodrama, long-lost foundlings, wicked Ralph Nicklebys and scowling Arthur Grides, with other baffled villains, and scarcely at all Crummleses and Kenwigses, much less Squeerses; though there must have been something of Dotheboys Hall for the proper tragedy of Smike and for the broad Yorkshire effect, a precious theatrical value, of John Brodie. The ineffaceability was the anguish, to my tender sense, of Nicholas's starved and tattered and fawning and whining protege; in face of my sharp retention of which through all the years who shall deny the immense authority of the theatre, or that the stage is the mightiest of modern engines? Such at least was to be the force of the Dickens imprint, however applied, in the soft clay of our generation; it was to resist so serenely the wash of the waves of time. To be brought up thus against the author of it, or to speak at all of the dawn of one's early consciousness of it and of his presence and power, is to begin to tread ground at once sacred and boundless, the associations of which, looming large, warn us off even while they hold. He did too much for us surely ever to leave us free--free of judgment, free of reaction, even should we care to be, which heaven forbid: he laid his hand on us in a way to undermine as in no other case the power of detached appraisement. We react against other productions of the general kind without "liking" them the less, but we somehow liked Dickens the more for having forfeited half the claim to appreciation. That process belongs to the fact that criticism, roundabout him, is somehow futile and tasteless. His own taste is easily impugned, but he entered so early into the blood and bone of our intelligence that it always remained better than the taste of overhauling him. When I take him up to-day and find myself holding off, I simply stop: not holding off, that is, but holding on, and from the very fear to do so; which sounds, I recognise, like perusal, like renewal, of the scantest. I don't renew, I wouldn't renew for the world; wouldn't, that is, with one's treasure so hoarded in the dusty chamber of youth, let in the intellectual air. Happy the house of life in which such chambers still hold out, even with the draught of the intellect whistling through the passages. We were practically contemporary, contemporary with the issues, the fluttering monthly numbers--that was the point; it made for us a good fortune, constituted for us in itself romance, on which nothing, to the end, succeeds in laying its hands.