The International Monthly, Volume 3, No. 4, July, 1851Various
History
The International Monthly, Volume 3, No. 4, July, 1851
Various
Art, Modern -- 19th century -- Periodicals; Literature, Modern -- 19th century -- Periodicals; Science -- History -- Periodicals
naming them without the affectation of radicalism. In Mr. Dickens, of
course, we have the same perfect taste and propriety; but in him the
result appears to arise, if we may so express ourselves, rather from the
keen and feminine sensibility of a fine genius, whose instinct is always
for the pure and beautiful, than from the self-possession of a mind
correct under any circumstances by discipline and sure habit. Where Mr.
Dickens is not exerting himself, that is, in passages of mere equable
narrative or description, where there is nothing to move or excite him,
his style, as we have already said, seems to us more careless and
languid than that of Mr. Thackeray; sometimes, indeed, a whole page is
only redeemed from weakness by those little touches of wit, and those
humorous turns of conception which he knows so well how to sprinkle over
it. It is due to Mr. Dickens to state, however, that in this respect his
"Copperfield" is one of his most pleasing productions, and a decided
improvement on its predecessor "Dombey." Not only is the spirit of the
book more gentle and mellow, but the style is more continuous and
careful, with fewer of those recurring tricks of expression, the dread
remnants of former felicities, which constituted what was called his
mannerism. Nor must we omit to remark also, that in passages where
higher feeling is called into play, Mr. Dickens's style always rises
into greater purity and vigor, the weakness and the superfluity
disappearing before the concentrating force of passion, and the language
often pouring itself forth in a clear and flowing song. This, in fact,
is according to the nature of the luxuriant or poetical genius, which
never expresses itself in its best or most concise manner unless the
mood be high as well as the meaning clear,--for maintaining the
excellence of the style of a terse and highly reflective writer, such as
Thackeray, on the other hand, the presence of a clear meaning is at all
times sufficient, though, of course, here also the pitch and melody will
depend on the mood....
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