ing to its own dignity, and expressing itself by its own creations.
The sketch of America left by Charles Dickens is generally regarded as something which is either to be used as a taunt or covered with an apology. Doubtless it was unduly critical, even of the America of that day; yet curiously enough it may well be the text for a true reconciliation at the present day. It is true that in this, as in other things, the Dickensian exaggeration is itself exaggerated. It is also true that, while it is over-emphasised, it is not allowed for. Dickens tended too much to describe the United States as a vast lunatic asylum; but partly because he had a natural inspiration and imagination suited to the description of lunatic asylums. As it was his finest poetic fancy that created a lunatic over the garden wall, so it was his fancy that created a lunatic over the western sea. To read some of the complaints, one would fancy that Dickens had deliberately invented a low and farcical America to be a contrast to his high and exalted England. It is suggested that he showed America as full of rowdy bullies like Hannibal Chollop, or ridiculous windbags like Elijah Pogram, while England was full of refined and sincere spirits like Jonas Chuzzlewit, Chevy Slime, Montague Tigg, and Mr. Pecksniff. If Martin Chuzzlewit makes America a lunatic asylum, what in the world does it make England? We can only say a criminal lunatic asylum. The truth is, of course, that Dickens so described them because he had a genius for that sort of description; for the making of almost maniacal grotesques of the same type as Quilp or Fagin. He made these Americans absurd because he was an artist in absurdity; and
