at which Lord Lytton presided, he sailed for Boston 9 Nov. 1867, landing on the 19th.

Americans had lost some of their provincial sensibility, and were only anxious to show that old resentments were forgotten. Dickens first read in Boston on 2 Dec.; thence he went to New York; he read afterwards at Philadelphia, Baltimore, Washington, again at Philadelphia, Syracuse, Rochester, Buffalo, Springfield, Portland, New Bedford, and finally at Boston and New York again. He received a public dinner at New York (18 April), and reached England in the first week of May 1868. He made nearly 20,000l. in America, but at a heavy cost in health. He was constantly on the verge of a break down. He naturally complimented Americans, not only for their generous hospitality, but for the many social improvements since his previous visits, though politically he saw little to admire. He promised that no future edition of his 'Notes' or 'Chuzzlewit' should be issued without a mention of the improvements which had taken place in America, or in his state of mind. As a kind of thank-offering, he had a copy of the 'Old Curiosity Shop' printed in raised letters, and presented it to an American asylum for the blind.

Unfortunately Dickens was induced upon his return to give a final series of readings in England. He was to receive 8,000l. for a hundred readings. They began in October 1868. Dickens had preferred as a novelty a reading of the murder in 'Oliver Twist.' He had thought of this as early as 1863, but it was 'so horrible' that he was then 'afraid to try it in public' (Letters, ii. 200). The performance was regarded by Forster as in itself 'illegitimate,' and Forster's protest led to a 'painful correspondence.' In any case, it involved an excitement and a degree of physical labour which told severely upon his declining strength. He was to give weekly readings in London alternately with readings in the country. In February 1869 he was forced to suspend his work under medical advice. After a few days' rest he began again, in spite of remonstrances from his friends and family. At last he broke down at Preston. On 23 April Sir Thomas Watson held a consultation with Mr. Beard, and found that he had been 'on the brink of an attack of paralysis of his left side, and possibly of apoplexy,' due to overwork, worry, and excite

ment. He was ordered to give up his readings, though after some improvement Sir Thomas consented to twelve readings without railway travelling, which Dickens was anxious to give as some compensation to Messrs. Chappell for their disappointment. In the same autumn he began 'Edwin Drood.' He was to receive 7,500l. for twenty-five thousand copies, and fifty thousand were sold during his life. It 'very, very far outstripped every one of its predecessors' (J. T. FIELDS, p. 246). He passed the year at Gadshill, leaving it occasionally to attend a few meetings, and working at his book. His last readings were given at St. James's Hall from January to March. On 1 March he took a final leave of his hearers in a few graceful words. In April appeared the first number of 'Edwin Drood.' In the same month he appeared for the last time in public, taking the chair at the newsvendors' dinner, and replying for 'literature' at the dinner of the Royal Academy (30 April), when he spoke feelingly of the death of his old friend Maclise. He was at work upon his novel at Gadshill in June, and showed unusual fatigue. On 8 June he was working in the 'châlet' which had been presented to him in 1859 by Fechter, and put up as a study in his garden. He came into the house about six o'clock, and, after a few words to his sister-in-law, fell to the ground. There was an effusion on the brain; he never spoke again, and died at ten minutes past six on 9 June 1870. He was buried with all possible simplicity in Westminster Abbey 14 June following.

Dickens had ten children by his wife: Charles, born 1837; Mary, born 1838; Kate, born 1839, afterwards married to Charles Allston Collins [q. v.], and now Mrs. Perugini; Walter Landor, born 1841, died 12 Dec. 1863 (see above); Francis Jeffrey, born 1843; Alfred Tennyson, born 1845, settled in Australia; Sydney Smith Haldemand, born 1847, in the navy, buried at sea 2 May 1867; Henry Fielding, born 1849; Dora Annie, born 1850, died 14 April 1851; and Edward Bulwer Lytton, born 1852, settled in Australia.

Dickens's appearance is familiar by innumerable photographs. Among portraits may be mentioned (1) by Maclise in 1839 (engraved as frontispiece to 'Nicholas Nickleby'), original in possession of Sir Alfred Jodrell of Bayfield, Norfolk; (2) pen

cil drawing by Maclise in 1842 (with his wife and sister); (3) oil-painting by E. M. Ward in 1854 (in possession of Mrs. Ward); (4) oil-painting by Ary Scheffer in 1856 (in National Portrait Gallery); (5) oil-painting by W. P. Frith in 1859 (in Forster collection at South Kensington). Dickens was frequently compared in later life to a bronzed sea captain. In early portraits he has a dandified appearance, and was always a little over-dressed. He possessed a wiry frame, implying enormous nervous energy rather than muscular strength, and was most active in his habits, though not really robust. He seems to have overtaxed his strength by his passion for walking. All who knew him, from Carlyle downwards, speak of his many fine qualities: his generosity, sincerity, and kindliness. He was intensely fond of his children (see Mrs. Dickens's interesting account in Cornhill Magazine, January 1880); he loved dogs, and had a fancy for keeping large and eventually savage mastiffs and St. Bernards; and he was kind even to contributors. His weaknesses are sufficiently obvious, and are reflected in his writings. If literary fame could be safely measured by popularity with the half-educated, Dickens must claim the highest position among English novelists. It is said, apparently on authority (Mr. Mowbray Morris in Fortnightly Review for December 1882) that 4,239,000 volumes of his works had been sold in England in the twelve years after his death. The criticism of more severe critics chiefly consists in the assertion that his merits are such as suit the half-educated. They admit his fun to be irresistible; his pathos, they say, though it shows boundless vivacity, implies little real depth or tenderness of feeling; and his amazing powers of observation were out of proportion to his powers of reflection. The social and political views, which he constantly inculcates, imply a deliberate preference of spontaneous instinct to genuine reasoned conviction; his style is clear, vigorous, and often felicitous, but mannered and more forcible than delicate; he writes too clearly for readers who cannot take a joke till it has been well hammered into their heads; his vivid perception of external oddities passes into something like hallucination; and in his later books the constant strain to produce effects only legitimate when spontaneous becomes painful. His books are therefore inimitable caricatures of contemporary 'humours'

rather than the masterpieces of a great observer of human nature. The decision between these and more eulogistic opinions must be left to a future edition of this dictionary.

6

Dickens's works are: 1. Sketches by Boz, illustrative of Everyday Life and Everyday People,' 2 vols. 1835, 2nd series, 1 vol. December 1836, illustrated by Cruikshank (from the 'Monthly Magazine,' the 'Morning' and 'Evening Chronicle,' 'Bell's Life in London,' and the 'Library of Fiction'). 2. 'Sunday under Three Heads: as it is; as Sabbath-bills would make it; as it might be. By Timothy Sparks,' illustrated by H. K. Browne, June 1836. 3. "The Strange Gentleman,' a comic burletta in two parts 1837 (produced 29 Sept. 1836 at the St. James's Theatre). 4. 'The Village Coquettes,' a comic opera in two parts, December 1836 (songs separately in 1837). 5. 'Is she his Wife? or Something Singular;' a comic burletta acted at St. James's Theatre, 6 March 1837, printed at Boston, 1877. 6. Posthumous Papers of the Pickwick Club,' November 1837 (originally in monthly numbers from April 1836 to November 1837), illustrated by Seymour, Bass, and H. K. Browne. 7. 'Mudfog Papers,' in 'Bentley's Miscellany' (1837-9); reprinted in 1880. 8. 'Memoirs of Joseph Grimaldi; edited by Boz,' 2 vols. 1838. 9. 'Oliver Twist; or the Parish Boy's Progress,' 2 vols. October 1838 (in 'Bentley's Miscellany,' January 1837 to March 1839), illustrated by Cruikshank. 10. 'Sketches of Young Gentlemen,' illustrated by H. K. Browne, 1838. II. 'Life and Adventures of Nicholas Nicklebly,' October 1839 (in monthly numbers April 1838 to October 1839). 12. 'Sketches of Young Couples, with an Urgent Remonstrance to the Gentlemen of England (being bachelors or widowers) at the present alarming Crisis,' 1840, illustrated by H. K. Browne. 13. 'Master Humphrey's Clock,' in eighty-eight weekly numbers, from 4 April 1840 to 27 Nov. 1841, first volume published September 1840; second volume published March 1841; third November 1841; illustrated by George Cattermole and H. K. Browne (‘Old Curiosity Shop' from vol. i. 37 to vol. ii. 223; 'Barnaby Rudge' from vol. ii. 229 to vol. iii. 420). 14. "The Pic-Nic Papers,' by various hands, edited by Charles Dickens, who wrote the preface and the first story, 'The Lamplighter' (the farce on which the story was founded was printed in 1879), 3 vols. 1841 (Dickens had noth

ing to do with the third volume, Letters, ii. 91). 15. 'American Notes for General Circulation,' 2 vols. 1842. 16. 'A Christmas Carol in Prose; being a Ghost Story of Christmas,' illustrated by Leech, 1843. 17. 'The Life and Adventures of Martin Chuzzlewit,' illustrated by H. K. Browne, July 1844 (originally in monthly numbers from January 1843 to July 1844). 18. 'Evenings of a Working Man,' by John Overs, with a preface relative to the author by Charles Dickens, 1844. 19. 'The Chimes; a Goblin Story of some Bells that Rang an Old Year out and a New Year in,' Christmas, 1844; illustrated by Maclise, Stanfield, R. Doyle, and J. Leech. 20. 'The Cricket on the Hearth; a Fairy Tale of Home,' Christmas, 1845; illustrated by Maclise, Stanfield, C. Landseer, R. Doyle, and J. Leech. 21. 'Pictures from Italy,' 1846 (originally in 'Daily News' from January to March 1846, where it appeared as a series of 'Travelling Letters written on the Road') 22. 'The Battle of Life; a Love Story,' Christmas, 1846; illustrated by Maclise, Stanfield, R. Doyle, and J. Leech. 23. 'Dealings with the Firm of Dombey and Son, Wholesale, Retail, and for Exportation,' April 1848; illustrated by H. K. Browne (originally in monthly numbers from October 1846 to to April 1848). 24. 'The Haunted Man, and the Ghost's Bargain; a Fancy for Christmas Time, Christmas,' 1848; illustrated by Stanfield, John Tenniel, Frank Stone, and J. Leech. 25. The Personal History of David Copperfield,' November 1850; illustrated by H. K. Browne (originally in monthly parts from May 1849 to November 1850). 26. 'Bleak House,' September 1853; illustrated by H. K. Browne (originally in monthly numbers from March 1852 to September 1853). 27. 'A Child's History of England,' 3 vols. 1854 (originally in 'Household Words' from 25 Jan. 1851 to 10 Dec. 1853). 28. 'Hard Times for these Times,' August 1854 (originally in 'Household Words' from 1 April to 12 Aug. 1854). 29. 'Little Dorrit,' June 1857; illustrated by H. K. Browne (originally in monthly numbers from December 1855 to June 1857). 30. 'A Tale of Two Cities,' November 1859; illustrated by H. K. Browne (originally in 'All the Year Round,' from 30 April to 26 Nov. 1859). 31. 'Great Expectations,' 3 vols. August 1861; illustrated (when published in one volume 1862) by Marcus Stone (originally in 'All the Year