The Complete Works of Edgar Allan Poe - Edgar Allan Poe [1124]
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 connection 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 Dâme” of Hugo affords a fine example of the force which can be gained by concentration, or unity of place. The unity of time is also sadly neglected, to no purpose, in “Barnaby Rudge.” That Rudge should so long and so deeply feel the sting of conscience is inconsistent with his brutality. On page 15 the interval elapsing between the murder and Rudge’s return, is variously stated at twenty-two and twenty-four years. It may be asked why the inmates of The Warren failed to hear the alarm-bell which was heard by Solomon Daisy. The idea of persecution by being tracked, as by bloodhounds, from one spot of quietude to another is a favorite one with Mr. Dickens. Its effect cannot be denied. The stain upon Barnaby’s wrist, caused by fright in the mother at so late a period of gestation as one day before mature parturition, is shockingly at war with all medical experience. When Rudge, escaped from prison, unshackled, with money at command, is in agony at his wife’s refusal to perjure herself for his salvation — is it not queer that he should demand any other salvation than lay in his heels?
Some of the conclusions of chapters — see pages 40 and 100 — seem to have been written for the mere purpose of illustrating tail-pieces.
The leading idiosyncrasy of Mr. Dickens’ remarkable humor, is to be found in his translating the language of gesture, or action, or tone. For example —
The cronies nodded to each other, and Mr. Parkes remarked in an under tone, shaking his head meanwhile, as who should say ` let no man contradict me, for I won’t believe him,’ that Willet was in amazing force to-night.
The riots form a series of vivid pictures never surpassed. At page 17, the road between London and the Maypole is described as a horribly rough and dangerous, and at page 97, as an uncommonly smooth and convenient one. At page 116, how comes Chester in possession of the key of Mrs. Rudge’s vacated house?
Mr. Dickens’ English is usually pure. His most remarkable error is that of employing the adverb “directly” in the sense of “as soon as.” For example — “Directly he arrived, Rudge said, &c.” Bulwer is uniformly guilty of the same blunder.
It is observable that so original a stylist as our author should occasionally lapse into a gross imitation of what, itself, is a gross imitation. We mean the manner of Lamb — a manner based in the Latin construction. For example —
In summer time its pumps suggest to thirsty idlers springs cooler and more sparkling and deeper than other