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inasmuch as it shows a “stooping to conquer” — inasmuch as it shows that the author has dealt largely, if not altogether, in matters which are susceptible of appreciation by the mass of mankind — by uneducated thought, by uncultivated taste, by unrefined and unguided passion. So long as the world retains its present point of civilization, so long will it be almost an axiom that no extensively popular book, in the right appli-cation of the term, can be a work of high merit, as regards those particulars of the work which are popular. A book may be readily sold, may be universally read, for the sake of some half or two-thirds of its matter, which half or two-thirds may be susceptible of popular appreciation, while the one-half or one-third remaining may be the delight of the high-est intellect and genius, and absolute caviare to the rabble. And just as

Omne tulit punctum qui miscuit utile dulci,

so will the writer of fiction, who looks most sagaciously to his own interest, combine all votes by intermingling with his loftier efforts such amount of less ethereal matter as will give general currency to his composition. And here we shall be pardoned for quoting some ­observations of the English artist, H. Howard. Speaking of imitation, he says:

The pleasure which results from it, even when employed upon the most ordinary materials, will always render that property of our art the most attractive with the majority, because it may be enjoyed with the least mental exertion. All men are in some degree judges of it. The cobbler in his own line may criticise Apelles; and popular opinions are never to be wholly disregarded concerning that which is addressed to the public — who, to a certain extent, are generally right; although as the language of the refined can never be intelligible to the uneducated, so the higher styles of art can never be acceptable to the multitude. In proportion as a work rises in the scale of intellect, it must necessarily become limited in the number of its admirers. For this reason the judicious artist, even in his loftiest efforts, will endeavor to introduce some of those qualities which are interesting to all, as a passport for those of a more intellectual character.

And these remarks upon painting — remarks which are mere truisms in themselves — embody nearly the whole rationale of the topic now under discussion. It may be added, however, that the skill with which the author addresses the lower taste of the populace, is often a source of pleasure, because of admiration, to a taste higher and more refined, and may be made a point of comment and of commendation by the critic.

In our review, last month, of “Barnaby Rudge,” we were prevented, through want of space, from showing how Mr. Dickens had so well succeeded in uniting all suffrages. What we have just said, however, will suffice upon this point. While he has appealed, in innumerable regards, to the most exalted intellect, he has meanwhile invariably touched a certain string whose vibrations are omni-prevalent. We allude to his powers of imitation — that species of imitation to which Mr. Howard has reference — the faithful depicting of what is called still-life, and particularly of character in humble condition. It is his close observation and imitation of nature here which have rendered him popular, while his higher qualities, with the ingenuity evinced in addressing the general taste, have secured him the good word of the informed and intellectual.

But this is an important point upon which we desire to be distinctly understood. We wish here to record our positive dissent (be that dissent worth what it may) from a very usual opinion — the opinion that Mr. Dickens has done justice to his own genius — that any man ever failed to do grievous wrong to his own genius — in appealing to the popular judgment at all. As a matter ­of pecuniary policy alone, is any such appeal defensible. But we speak, of course, in relation to fame — in regard to that

—— spur which the true spirit doth raise

To scorn delight and live laborious days.

That a perfume should