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ut what may thus be gained in variety is lost in raciness, breadth, and effect. The peculiar classes forced into existence by the hotbed of a great city, and owing a part of their gusto to town usage, may be narrow enough if compared with general nature, but they are broader than the singularities whom Mr. Dickens copies or invents as representatives of genteel country life, or human nature in general. In the mere style there is frequently an improvement--less effort and greater ease, with occasional touches of the felicity of Goldsmith; but we should have thought the work was likely to be less popular than many of the previous tales of Mr. Dickens, as well as rather more open to unfavorable criticism. Any prose fiction that is to take rank in the first class, must have what in epic poetry is called a fable,--some lesson of life embodied in a story that combines the utile and the dulce. This fable should not only please the reader by its succession of coherent events, and by the variety of its persons and fortunes, but should touch by appeals to the common kinship of humanity, and teach worldly conduct of ethical lessons by particular incidents, as well as by the general development. And when this end is attained, whether by design or instinct, technical rules are readily forgotten; even the great rule of unity of action can be dispensed with. It does not appear that Mr. Dickens has the critical training necessary to feel the importance of this principle, or a knowledge of life sufficiently deep and extensive to enable him to embody it unconsciously, as a well-chosen story will always compel an author to do. So far as _David Copperfield_ appears designed with any other object than as a vehicle for writing a number of sketches, it would seem intended to trace the London career of an inexperienced young man, with infirmity of purpose, a dangerous friend, and no very experienced advisers. Any purpose of this kind is only prosecuted by snatches; "the theme" is constantly deserted, and matters are introduced that have no connection with the hero further than his being present at them, or their occurring to his acquaintance. In fact, from the time that David Copperfield emerges from boyhood, the interest in _his_ adventures ceases, beyond that
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