The penetrating power of this remarkable genius among all classes at home is not inferior to its diffusive energy abroad. The phrase ‘household book’ has, when applied to the works of Mr. Dickens, a peculiar propriety. There is no contemporary English writer, whose works are read so generally through the whole house, who can give pleasure to the servants as well as to the mistress, to the children as well as to the master. Mr. Thackeray without doubt exercises a more potent and plastic fascination within his sphere, but that sphere is limited. It is restricted to that part of the middle class which gazes inquisitively at the ‘Vanity Fair’ world. The delicate touches of our great satirist have, for such readers, not only the charm of wit, but likewise the interest of valuable information; he tells them of the topics which they want to know. But below this class there is another and far larger, which is incapable of comprehending the idling world, or of appreciating the accuracy of delineations drawn from it,—which would not know the difference between a picture of Grosvenor Square by Mr. Thackeray and the picture of it in a Minerva-Press novel,—which only cares for or knows of its own multifarious, industrial, fig-selling world,—and over these also Mr. Dickens has power. It cannot be amiss to take this opportunity of investigating, even slightly, the causes of so great a popularity. And if, in the course of our article, we may seem to be ready with over-refining criticism, or to be unduly captious with theoretical objections, we hope not to forget that so great and so diffused an influence is a _datum_ for literary investigation,—that books which have been thus _tried_ upon mankind and have thus succeeded, must be books of immense genius,—and that it is our duty as critics to explain, as far as we can, the nature and the limits of that genius, but never for one moment to deny or question its existence.