plenty of honest explosive fun, there is no later book of Dickens's like "Great Expectations." Miss Havisham, too, in her mouldy bridal splendour, is really impressive; not like Ralph Nickleby and Monk in "Oliver Twist"--a book of which the plot remains to me a mystery. {128} Pip and Pumblechook and Mr. Wopsle and Jo are all immortal, and cause laughter inextinguishable. The rarity of this book, by the way, in its first edition--the usual library three volumes--is rather difficult to explain. One very seldom sees it come into the market, and then it is highly priced. I have mentioned more than once the obscurity of Dickens's plots. This difficulty may be accounted for in a very flattering manner. Where do we lose ourselves? Not in the bare high-road, but among lanes, between hedges hung with roses, blackberries, morning glories, where all about us is so full of pleasure that our attention is distracted and we miss our way. Now, in Dickens--in "Oliver Twist," in "Martin Chuzzlewit," in "Nicholas Nickleby"--there is, as in the lanes, so much to divert and beguile, that we cease to care very much where the road leads--a road so full of happy marvels. The dark, plotting villains--like the tramp who frightened Sir Walter Scott so terribly, as he came from Miss Baillie's at Hampstead--peer out from behind the hedges now and then. But we are too much amused by the light hearts that go all the way, by the Dodger and Crummles and Mrs. Gamp, to care much for what Ralph, and Monk, and Jonas Chuzzlewit are plotting. It may not be that the plot is so confused, but that we are too much diverted to care for the plot, for the incredible machinations of Uriah Heap, to choose another example. Mr. Micawber cleared these up; but it is Mr. Micawber that hinders us from heeding them. This, at least, is a not unfriendly explanation. Yet I cannot but believe that, though Dickens took great pains with his plots, he was not a great plotter. He was not, any more than Thackeray, a story-teller first and foremost. We can hold in our minds every thread of Mr. Wilkie Collins' web, or of M. Fortune du Boisgobey's, or of M. Gaboriau's--all great weavers of intrigues. But Dickens goes about darkening his intrigue, giving it an extra knot, an extra twist, hinting here, ominously laughing there, till we get mystified and bored, and give ourselves up to the fun of the humours, indifferent to the destinies of villains and victims. Look at "Edwin Drood." A constant war about the plot rages in the magazines. I believe, for one, that Edwin Drood was resuscitated; but it gives me no pleasure. He was too uninteresting. Dickens's hints, nods, mutterings, forebodings, do not at all impress one like that deepening and darkening of the awful omens in "The Bride of Lammermoor." Here Scott--unconsciously, no doubt--used the very manner of Homer in the Odyssey, and nowhere was his genius more Homeric. That was romance.