countenance worn habitually by Mrs. Rudge, still they will not be able to satisfy the mind of the reader. He will surely be disappointed. The skilful intimation of horror held out by the artist, produces an effect which will deprive his conclusion of all. These intimations—these dark hints of some uncertain—evil are often rhetorically praised as effective—but are only justly so praised where there is no dénouement whatever—where the reader's imagination is left to clear up the mystery for itself—and this is not the design of Mr. Dickens."
And, in fact, our author was not long in seeing his precipitancy. He had placed himself in a dilemma from which even his high genius could not extricate him. He at once shifts the main interest—and in truth we do not see what better he could have done. The reader's attention becomes absorbed in the riots, and he fails to observe that what should have been the true catastrophe of the novel, is exceedingly feeble and ineffective.
A few cursory remarks:—Mr. Dickens fails peculiarly in pure narration. See, for example, page 296, where the connexion of Hugh and Chester is detailed by Varden. See also in "The Curiosity Shop," where, when the result is fully known, so many words are occupied in explaining the relationship of the brothers.
The effect of the present narrative might have been materially increased by confining the action within the limits of London. The "Notre Dame" of Hugo affords a fine example of the force which can be gained by concentration, or unity of place. The unity of time
