no artist can help finding hints everywhere for his own peculiar art. In a word, he created a laughable Pogram for the same reason that he created a laughable Pecksniff; and that was only because no other creature could have created them.
It is often said that we learn to love the characters in romances as if they were characters in real life. I wish we could sometimes love the characters in real life as we love the characters in romances. There are a great many human souls whom we should accept more kindly, and even appreciate more clearly, if we simply thought of them as people in a story. Martin Chuzzlewit is itself indeed an unsatisfactory and even unfortunate example; for it is, among its author's other works, a rather unusually harsh and hostile story. I do not suggest that we should feel towards an American friend that exact shade or tint of tenderness that we feel towards Mr. Hannibal Chollop. Our enjoyment of the foreigner should rather resemble our enjoyment of Pickwick than our enjoyment of Pecksniff. But there is this amount of appropriateness even in the particular example; that Dickens did show in both countries how men can be made amusing to each other. So far the point is not that he made fun of America, but that he got fun out of America. And, as I have already pointed out, he applied exactly the same method of selection and exaggeration to England. In the other English stories, written in a more amiable mood, he applied it in a more amiable manner; but he could apply it to an American too, when he was writing in that mood and manner. We can see it in the witty and withering criticism delivered by the Yankee traveller in the musty refreshment room of Mugby Junction;
