Parnamoya Grandafoeti Sectory 06
Page 07

What, again, is one to make of Dickens, with his love of private theatricals, his florid waistcoats and watch-chains, his sentimental radicalism, his kindly, convivial, gregarious life? He, again, did his work in a rapture of solitary creation, and seemed to have no taste for discussing his ideas or methods. Then, too, Dickens's later desertion of his work in favour of public readings and money-making is curious to note. He was like Shakespeare in this, that the passion of his later life seemed to be to realise an ideal of bourgeois prosperity. Dickens seems to have regarded his art partly as a means of social reform, and partly as a method of making money. The latter aim is to a great extent accounted for by the miserable and humiliating circumstances of his early life, which bit very deep into him. Yet his art was hardly an end in itself, but something through which he made his way to other aims.

On one occasion a gentleman was returning home from a fatiguing journey, and became very drowsy. He fell asleep, and, strange to say, he also fell from his saddle, but in so easy a manner that the tumble did not rouse him, and lay sleeping on where he alighted. His faithful steed, on being eased of his burden, instead of scampering home as one might have expected, stood by his prostrate master, and kept a strict watch over him. Some laborers at sunrise found him very contentedly snoozing on a heap of stones. They wished to approach the gentleman, that they might awaken him, but every attempt on their part was resolutely opposed by the grinning teeth and ready heels of his determined and faithful guardian. They called out loudly, and the gentleman awoke and was very much surprised at his position, while his faithful horse showed his pleasure by neighing and scraping his feet on the ground. The gentleman then mounted, and they galloped away at great speed, both glad to be able to make up for lost time.

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