In his preface to the present volume, Mr. Dickens seems to feel the necessity for an apology in regard to certain portions of his commencement, without seeing clearly what apology he should make, or for what precise thing he should apologize. He makes an effort to get over the difficulty, by saying something about its never being "his intention to have the members of 'Master Humphrey's Clock' active agents in the stories they relate," and about his "picturing to himself the various sensations of his hearers-thinking how Jack Redburn might incline to poor Kit- how the deaf gentleman would have his favorite and Mr. Miles his," amp;c. amp;c.- but we are quite sure that all this is as pure a fiction as "The Curiosity Shop?" itself. Our author is deceived. Occupied with little Nell and her grandfather, he had forgotten the very existence of his interlocutors until he found himself, at the end of his book, under the disagreeable necessity of saying a word or two concerning them, by way of winding them up. The simple truth is that, either for one of the two reasons at which we have already hinted, or else because the work was begun in a hurry, Mr. Dickens did not precisely know his own plans when he penned the five or six first chapters of the "Clock."
The wish to preserve a certain degree of unity between various narratives naturally unconnected, is a more obvious and a better reason for employing interlocutors. But such unity as may be thus had is scarcely worth having. It may, in some feeble measure, satisfy the judgment by a sense of completeness; but it seldom produces a pleasant effect; and if the speakers are made to take part in their own stories (as has been the Case here) they become injurious by creating confusion. Thus, in "The Curiosity Shop," we feel displeased to find Master Humphrey commencing the tale in the first person, dropping this for the third, and concluding by introducing himself as the "single gentleman" who figures in the story. In spite of all the subsequent explanation we are forced to look upon him as two. All is confusion, and what makes it worse, is that Master Humphrey is painted as a lean and sober personage, while his second self is a fat, bluff and boisterous old bachelor.
Yet the species of connexion in question, besides preserving the unity desired, may be made, if well managed, a source of consistent and agreeable interest. It has been so made by Thomas Moore- the most skilful literary artist of his day- perhaps of any day- a man who stands in the singular and really wonderful predicament of being undervalued on account of the profusion with which he has scattered about him his good things. The brilliancies on any one page of Lalla Roohk would have sufficed to establish that very reputation which has been in a great measure self-dimmed by the galazied lustre of the entire book. It seems that the horrid laws of political economy cannot be evaded even by the inspired, and that a perfect versification, a vigorous style, and a never-tiring fancy, may, like the water we drink and die without, yet despise, be so plentifully set forth as to be absolutely of no value at all.
By far the greater portion of the volume now published, is occupied with the tale of "The Old Curiosity Shop," narrated by Master Humphrey himself. The other stories are brief. The "Giant Chronicles" is the title of what appears to be meant for a series within a series, and we think this design doubly objectionable. The narrative of "The Bowyer," as well as of "John Podgers," is not altogether worthy of Mr. Dickens. They were probably sent to press to supply a demand for copy, while he was occupied with the "Curiosity Shop." But the "Confession Found in a Prison in the Time of Charles the Second" is a paper of remarkable power, truly original in conception, and worked out with great ability.
The story of "The Curiosity Shop" is very simple. Two brothers of England, warmly attached to each other, love the same lady, without each other's knowledge. The younger at length discovers the elder's secret, and, sacrificing himself to fraternal affection, quits the country and resides for many years in a foreign land, where he amasses great wealth. Meantime his brother marries the lady, who soon dies, leaving an infant daughter- her perfect resemblance. In the widower's heart the mother lives again through the child. This latter grows up, marries unhappily, has a son and a daughter, loses her husband, and dies herself shortly afterward. The grandfather takes the orphans to his home. The boy spurns his protection, falls into bad courses, and becomes an outcast. The girl- in whom a third time lives the object of the old man's early choice- dwells with him alone, and is loved by him with a most doting affection. He has now become poor, and at length is reduced to keeping a shop for antiquities and curiosities. Finally, through his dread of involving the child in want, his mind becomes weakened. He thinks to redeem his fortune by gambling, borrows money for this purpose of a dwarf, who, at length, discovering the true state of the old man's affairs, seizes his furniture and turns him out of doors. The girl and himself set out, without farther object than to relieve themselves of the sight of the hated city, upon a weary pilgrimage, whose events form the basis or body of the tale. In fine, just as a peaceful retirement is secured for them, the child, wasted with fatigue and anxiety, dies. The grandfather, through grief, immediately follows her to the tomb. The younger brother, meantime, has received information of the old man's poverty, hastens to England, and arrives only in time to be at the closing scene of the tragedy.
This plot is the best which could have been constructed for the main object of the narrative. This object is the depicting of a fervent and dreamy love for the child on the part of the grandfather- such a love as would induce devotion to himself on the part of the orphan. We have thus the conception of a childhood, educated in utter ignorance of the world, filled with an affection which has been, through its brief existence, the sole source of its pleasures, and which has no part in the passion of a more mature youth for an object of its own age- we have the idea of this childhood, full of ardent hopes, leading by the hand, forth from the heated and wearying city, into the green fields, to seek for bread, the decrepid imbecility of a doting and confiding old age, whose stern knowledge of man, and of the world it leaves behind, is now merged in the sole consciousness of receiving love and protection from that weakness it has loved and protected.
This conception is indeed most beautiful. It is simply and severely grand. The more fully we survey it the more thoroughly we are convinced of the lofty character of that genius which gave it birth. That in its present simplicity of form, however, it was first entertained by Mr. Dickens, may well be doubted. That it was not, we are assured by the title which the tale bears. When in its commencement he called it "The Old Curiosity Shop," his design was far different from what we see it in its completion. It is evident that had he now to name the story he would not so term it; for the shop itself is a thing of an altogether collateral interest, and is spoken of merely in the beginning. This is only one among a hundred instances of the disadvantage under which the periodical novelist labors. When his work is done, he never fails to observe a thousand defects which he might have remedied, and a thousand alterations, in regard to the book as a whole, which might be made to its manifest improvement.
But of the conception of this story deserves praise, its execution is beyond all- and here the subject naturally leads us from the generalization which is the proper province of the critic, into details among which it is scarcely fitting that he should venture.