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Confidentially foretold. The plot of the romance is therefore
universally admitted to be the best that Dickens has ever invented. Its
leading events are, as we read the story consecutively, artistically
necessary, yet, at the same time, the processes are artistically
concealed. We follow the movement of a logic of passion and character,
the real premises of which we detect only when we are startled by the
conclusions. The plot of "Great Expectations" is also noticeable as
indicating, better than any of his previous stories, the individuality
of Dickens's genius. Everybody must have discerned in the action of his
mind two diverging tendencies, which, in this novel, are harmonized. He
possesses a singularly wide, clear, and minute power of accurate
observation, both of things and of persons; but his observation, keen
and true to actualities as it independently is, is not a dominant
faculty, and is opposed or controlled by the strong tendency of his
disposition to pathetic or humorous idealization. Perhaps in "The Old
Curiosity Shop" these qualities are best seen in their struggle and
divergence, and the result is a magnificent juxtaposition of romantic
tenderness, melodramatic improbabilities, and broad farce. The humorous
characterization is joyously exaggerated into caricature,--the serious
characterization into romantic unreality, Richard Swiveller and Little
Nell refuse to combine. There is abundant evidence of genius both in the
humorous and the pathetic parts, but the artistic impression is one of
anarchy rather than unity. In "Great Expectations," on the contrary,
Dickens seems to have attained the mastery of powers which formerly more
or less mastered him. He has fairly discovered that he cannot, like
Thackeray, narrate a story as if he were a mere looker-on, a mere
"knowing" observer of what he describes and represents; and he has
therefore taken observation simply as the basis of his plot and his
characterization. As we read "Vanity Fair" and "The Newcomes," we are
impressed with the actuality of the persons and incidents. There is an
absence both of directing ideas and disturbing idealizations. Everything
drifts to its end, as in real life. In "Grea
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