There is no perfect joy without love. Therefore love-poetry is the best. But the highest of all love-poetry is that which celebrates, with the Psalms, that Love which is and was My Father and my Brother and my God. THE GOOD ENCHANTMENT OF CHARLES DICKENS I There are four kinds of novels. First, those that are easy to read and hard to remember: the well-told tales of no consequence, the cream-puffs of perishable fiction. Second, those that are hard to read and hard to remember: the purpose-novels which are tedious sermons in disguise, and the love-tales in which there is no one with whom it is possible to fall in love. Third, those that are hard to read and easy to remember: the books with a crust of perverse style or faulty construction through which the reader must break in order to get at the rich and vital meaning. Fourth, those that are easy to read and easy to remember: the novels in which stories worth telling are well-told, and characters worth observing are vividly painted, and life is interpreted to the imagination in enduring forms of literary art. These are the best-sellers which do not go out of print—everybody’s books. In this fourth class healthy-minded people and unprejudiced critics put the novels of Charles Dickens. For millions of readers they have fulfilled what Dr. Johnson called the purpose of good books, to teach us to enjoy life or help us to endure it. They have awakened laughter and tears. They have enlarged and enriched existence by revealing the hidden veins of humour and pathos beneath the surface of the every-day world, and by giving “the freedom of the city” to those poor prisoners who had thought of it only as the dwelling-place of so many hundred thousand inhabitants and no real persons. What a city it was that Dickens opened to us! London, of course, in outward form and semblance,—the London of the early Victorian epoch, with its reeking Seven Dials close to its perfumed Piccadilly, with its grimy river-front and its musty Inns of Court and its mildly rural suburbs, with its rollicking taverns and its deadly solemn residential squares and its gloomy debtors’ prisons and its gaily insanitary markets, with all its consecrated conventions and unsuspected hilarities,—vast, portentous, formal, merry, childish, inexplicable, a wilderness of human homes and haunts, ever thrilling with sincerest passion, mirth, and pain,—London it was, as the eye saw it in those days, and as the curious traveller may still retrace some of its vanishing landmarks and fading features.