American essays -- 19th century; Literature -- History and criticism
The casual incidents of life, the trivial possibilities of every day,
are treated by Dickens with extraordinary humor and skill; witness David
Copperfield’s journey to Dover, and Oliver Twist’s first introduction to
Fagin’s den. But his great situations are apt to be theatrical rather
than dramatic. It is not often that he reaches the sombre strength and
passion of that memorable scene where the convict reveals to Pip the
secret of his mysterious wealth. I do not know whether a great many
people read Bulwer’s novels nowadays. They belong to a past generation,
which perhaps was luckier than the present. But I do know that the rescue
of Glaucus from the arena was an epoch in my childhood, and the cry of
joy that rings from Nydia’s lips rang in my heart for years. I have an
inexpressible tenderness now for _The Last Days of Pompeii_, because of
the passionate suspense with which I read it when I was a little girl,
and the supreme gasp of relief with which I hailed the arrival of Sallust
and Calenus, while the lion crouches trembling in his cage. It is not
easy to criticise a book linked with such vivid memories, and perhaps
it is the association with early pleasures which gilds for many of us
the beguiling pages of romance. “We are all homesick, in the dark days
and black towns, for the land of blue skies and brave adventures in
forests, and in lonely inns, on the battle-field, in the prison, on the
desert isle.” It is useless, and worse than useless, to dispute over the
respective schools of fiction, instead of gladly enjoying that which we
like best; and there are different kinds of enjoyment for different kinds
of work. For my part, the good novel of character is the novel I can
always pick up; but the good novel of incident is the novel I can never
lay down.
THE END
FOOTNOTES
[1] “The Pilgrims of the Sun.”
[2] Translated by Sir Theodore Martin.
[3] Translation of Mr. Andrew Lang.
[4] Translation of Lilla Cabot Perry.
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