The first section of this book is a love-story very largely conventional. It is not a piece from a historical novel at all; the slight references to history and the picturesqueness of background and costume are not in themselves sufficient to give this story of homely private life the character of historical fiction. Nothing that happens is calculated to make a particular age of the past betray itself; there is no chord that awakens a response from History. Nothing but the slight element of colour and picturesqueness exists to prevent this from being a story of any century; and at the most there is only the suggestion of an indefinable Past such as is so attractive to the shallow romantic novelist. In the middle of the book, however, as if by an afterthought the reader is introduced to that uprising of the people which is known as the Gordon Riots. In the fervour of describing the riotous mass-movement Dickens seems to forget his original plot and to lose sight of his principal characters. The story loses itself in a vivid sketch of the Gordon Riots, and the original problems of the book are only solved in a perfunctory way at the close. The reader who has made himself interested in the homely affairs of the Willets and Vardons is irritated to find that these are pushed on one side, and that the whole novel takes a swerve in a different direction. And yet the bareness of the historical setting of the first section of the book, and the lack of all suggestion of a political background or of any complication of individual issues by larger political events, sets out in more effective contrast the later theme of the novel, that irresistible sweep of a great mob-action rushing like a blight over any corner of life that lies in its path. If the Gordon Riots come like a flood into _Barnaby Rudge_, playing havoc with the fortunes of the story and swallowing up everything they meet, it is what they do in real life. If the reader loses sight of the men and women in whose fate he has become interested, and if all that he can catch is an occasional glimpse of them, lost or helpless in a crowded surging stream of life, it is what would have happened to them if the flood had carried them away in actual existence. The very faults of _Barnaby Rudge_ as a piece of construction, its irritating weaknesses as a story, are calculated to intensify the effect that a historian of some popular upheaval must always try to obtain--the effect of a sweeping, ravaging flood that surges over the peaceful lives of individuals and swallows up men and their homes and their little aims and concerns, and leaves a devastated track behind.