In _Little Dorrit_ we have the old profuseness of characters; in the first half nearly one hundred, and in the second half there are practically no new characters at all. Mr. Tinkler, the valet to Mr. Dorrit, and Mr. Eustace, the classical tourist, can hardly be counted. In chapter xxi., ‘The History of a Self-Tormentor,’ we have Charlotte Dawes, the false friend, who vanishes instantly, and counts for nothing. Thus, I think, we may say, taking the three long books of Dickens’s later period, that in each it was his manner to introduce no new characters of the least import in the second half of his books. But it may be worth while to glance at his practice in the shorter tales, _A Tale of Two Cities_ and _Great Expectations_. ‘A TALE OF TWO CITIES’ In the second half of this fine book there are practically no new characters that I can trace. The epithet can hardly be applied to the President of the trial at the Conciergerie. ‘GREAT EXPECTATIONS’ It is now agreed that one of Dickens’s most perfect books is _Great Expectations_. It is known also that Dickens complied with a suggestion of Lord Lytton’s, which modified the plot—not seriously nor disagreeably. Here again in the second part we have very few fresh characters. We have the Colonel in Newgate introduced to Mr. Wemmick, but he is ‘sure to be assassinated on Monday.’ Let us not forget Miss Skiffins, a good sort of fellow, with a high regard both for Wemmick and the Aged. There is the retrospective Provis, but the characters introduced belong to the past. Finally, in chapter xlvi., we have a pleasant glimpse of the Barley family and of Mrs. Whymple, the best of housewives, and the motherly friend of Clara and Herbert. It is she who fosters and regulates with equal kindness and discretion their mutual love. ‘It was understood that nothing of a tender nature could possibly be confided to Old Barley, by reason of his being totally unequal to the consideration of any subject more psychological than Gout, Rum, and Purser’s Stores.’ These are all the books of which I have made a close personal examination. I believe that the general result will be the same in all save two or three exceptional works, such as _Barnaby Rudge_. Whether he consciously acted on the principle that no new characters should be introduced after half the story was told, it is impossible to say. It seems certain, however, that he acted upon it. WILKIE COLLINS ‘AHEAD OF ALL THE FIELD’