Besides innumerable minor references, there are certain childish figures in the multitude of the creations of Dickens, which at once rise to mind,—Paul Dombey, Little Nell, Tiny Tim, Oliver Twist, David Copperfield in his earliest days, and the Marchioness. Dickens found out very soon that the power to bring tears into the eyes of people was a surer road to success than even the power to amuse. When he was drawing the figures of children, their tenderness, their weakness, their susceptibility, presented themselves as the material in which he could skillfully work. Then he used the method which had served him so well in his larger portraiture; he seized upon the significant feature and emphasized it until it became the unmistakable mark of the person. Childhood suggests weakness, and weakness is more apparent when there is a foil of mental prematurity; so he invented the hydrocephalic Paul Dombey. It suggests tenderness; he appealed to an unhesitating sympathy and drew for us Little Nell, intensifying her nature by bringing her into contrast and subtle companionship with her imbecile grandfather. It is the defect of Dickens that by such characters he displayed his skill in morbid conceptions. The little old man in Paul Dombey is not without its prototype in real life, but Dickens appears to have produced it as a type of tender childhood, much as one might select a consumptive for an illustration of extreme refinement. Tiny Tim is a farther illustration of this unhealthy love, on Dickens’s part, of that which is affecting through its infirmity. That art is truest which sees children at play or in their mother’s arms, not in hospitals or graveyards. It is the infirmity of humanitarianism and of Dickens, its great exponent, that it regards death as the great fact of life; that it seeks to ward it off as the greatest of evils, and when it comes, hastens to cover it out of sight with flowers. This conception of death is bound up with an overweening sense of the importance of these years of life. There is a nobler way, and literature and art are slowly confessing it, as they devote their strength to that which is eternal in life, not to that which is perishable. Wordsworth’s maiden in We are Seven, with her simple, unhesitating belief in the continuity of life, the imperishability of the person, holds a surer place in literature than Paul Dombey, who makes the ocean with its tides wait for him to die.