onger than that England of the eighteenth century: here it is
sufficient to say that he represents the return of Cobbett in this vital
sense; that he is proud of being the ordinary man. No one can understand
the thousand caricatures by Dickens who does not understand that he is
comparing them all with his own common sense. Dickens, in the bulk,
liked the things that Cobbett had liked; what is perhaps more to the
point, he hated the things that Cobbett had hated; the Tudors, the
lawyers, the leisurely oppression of the poor. Cobbett's fine fighting
journalism had been what is nowadays called "personal," that is, it
supposed human beings to be human. But Cobbett was also personal in the
less satisfactory sense; he could only multiply monsters who were
exaggerations of his enemies or exaggerations of himself. Dickens was
personal in a more godlike sense; he could multiply persons. He could
create all the farce and tragedy of his age over again, with creatures
unborn to sin and creatures unborn to suffer. That which had not been
achieved by the fierce facts of Cobbett, the burning dreams of Carlyle,
the white-hot proofs of Newman, was really or very nearly achieved by a
crowd of impossible people. In the centre stood that citadel of atheist
industrialism: and if indeed it has ever been taken, it was taken by the
rush of that unreal army.

CHAPTER II

THE GREAT VICTORIAN NOVELISTS

The Victorian novel was a thing entirely Victorian; quite unique and
suited to a sort of cosiness in that country and that age. But the novel
itself, though not merely Victorian, is mainly modern. No clear-headed
person wastes his time over definitions, except where he thinks his own
definition would probably be in dispute. I merely say, therefore, that
when I say "novel," I mean a fictitious narrative (almost invariably,
but not necessarily, in prose) of which the essential is that the story
is not told for the sake of its naked pointedness as an anecdote, or for
the sake of the irrelevant landscapes and visions that can be caught up
in it, but for the sake of some study of the difference between human
beings. There are several things that make this mode of art unique. One
of the most conspicuous is that it is the art in which the conquests of
woman are quite beyond controversy. The proposition that Victorian women
have done well in politics and philosophy is not necessarily an untrue
proposition; but it is a partisan proposition. I nev