The Sun.
London, England, 1853-09-01 00:00:00

THE SUN, LONDON, THURSDAY EVENING, SEPTEMBER 1, 1853.

SHABE MARKETS.-(THIS DAY.)

BRITISH RAILWAYS.

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69k 81 i a xd

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PREFERENCE SHARES

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Aberdeen
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liOa iosl

Bedford and
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Railway
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Lon.&Greenw
Do. Preference!
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Middlesbro'
Redcar. ......

Midld.Bradfd.
Northern and

Easternsp.e.
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Do. Fixeds p e
Prest. & Wyre

100
100
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all

Do. Shares.
Roystn.az.Hit.
Do.Shepth.St
Shef.Rothand
Goole g. 5 p.c.
S. Staffordsh.
Wear Valleygr
6 per cent
Do
Wilts&Somrst

London &
N. West.l

Gt.Westn
Do

L. &N. W.
Caledon..

Gt.Nrthn.
Gt. Westn
Yk. New.
& Berw.
Y. &NMd
Do
Do

1,8. Eastern
!Do

!Norfolk..

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& Midld.
Stekton &
Darlingt.
Midland..

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1.6 165
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64 66xd
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Mid. Consul. 6 p. c. St.
Do. Consol. Bristol di
Birm. 6 per cent....
Do. Pref. IA per cent.
Norfolk Extension._
Do. Pref. Zii per et...
Do. War. Val. 5 p c
North British
North Staffordshire..
Oxford Worcester &
Wolverh. £15,6p. c.

81
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103 104
d —ipm
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Do
Shrews& Birm. N. G
Sbrewsby. & Chester
(Nor. W. Min),B p. a.
Do. 5 per cent
South Devon
Do. New
S. Eastern (Reading
Ann.,) of £1 05.6 d.,
S. Yo:ksl►.4p. c. Guar.
Waterfd. &Kilk. Op. c.
York Newcastle and
Ibrwick, 4 p.e.Pref
Do
York& N. Midland H
& S. Purch

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par -

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Par- i PI

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1111

Business
this day.

111 x d
x d
x a

32

MINES.
1 all rgua Fria
1 all Anglo Austrin. Gold 1d par
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10 2 Australasian llcl 1
20 5 Australian
1 all Australian Cordillera
1 all Australian Freehold a 1
1 all Ave Maria — id
1 all Baden(Gd. Duchy of) d par
1 all British Austrln. Gold id a
20 13.5 British Iron • 7 9
35 241 Brazilianlmp.(issued
at .£5 pm 3 - 41
30 all Do. Cocaes & Cuiada
20 15 Do. St. John Del Rey 32 34
1 1. Carson's Creek
40 all Cobre Copper 44 45
5 1 Colonial
15 Copiapo
St. all Copper Min. of Eng 55 _6560
25 all Do. Pref. 71 p. cent 6l —7l p
5 all English and Austrin
copper Smeltg•Co 24 —1/• 3
20 all General
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2 all Do. Registered
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25 all Union of Australia 64 68 68 561
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MISCELLANEOUS
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SO all Peninsular & Oriental •• •
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100 60 Royal Mail Steam
25 25 South Austral.Lan.a 35 37
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5 2 Univeral Emigration
and Colonization . .
100 281 Van Diemen's Land. 16. it

LITERATURE.

FOREIGN.
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8
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121000 11200
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e 5. tonpfof
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Bleak House. Nos. XIX. and X.X. By Charles

Dickens.
Unfeignedly—we both regret and rejoice at the
completion of " Bleak House." We regret its com-
pletion, because, for the time being at least, it
closes between its author and ourselves a long-sus-
tained series of alluring, and some of them delight-
ful, associations. We rejoice at it, because it affords
us the opportunity of anticipating the speedy re-
newal of a communion with which we have become
agreeably familiarised, and because we would fain
hope that that revival of intercourse between the
reader and the novelist may be effected under far
more propitious, and, all things considered, more
entirely satisfactory circumstances. Our meaning
in all this may be explained, perhaps, yet more
clearly when we remark that we still consider
" Bleak House" as greatly inferior to some
other of Mr. Dickens's productions, and yet
that, in spite of these convictions, we have
not failed (as who could fail, indeed, with
any accurate appreciation of his genius ?) to im-
bibe from the narrative, gradually, and al-
most imperceptibly as it has advanced from
its opening chapter to its denouement, a sense of
affectionate interest in several of the imaginary
characters introduced. In yielding the palm to
some among its predecessors, we are not necessarily,
however (it may be as well to remark), treating
" Bleak House" with any very grievous disparage-
ment. It does not follow, for example, that be-
cause we prefer even the brief story of the " Christ-
mas Carol " to a work like this, of extended di-
mensions, and of infinite elaboration, that there-
fore we imply, in regard to " Bleak House," a sen-
tence of excessive depreciation. By no means.
The preference would only indicate the more de-
cisively and unmistakeably the estimation in which
we hold that miniature but exquisite masterpiece.
Still less would it be invidious on our part were
we to acknowledge, as we might, that in reference
to the fiction here concluded, we recognise a sin-
gular " falling off" from the power, pathos,
humour, fancy, and wit lavished upon the masterly
volume by which it was immediately preceded.
For that confession might signify little more than
that we have come to look upon " David Copper-
field" as a tale in all essential respects incomparable.
Candidly, then, we must be permitted to avow
that, to our mind, Mr. Dickens has often before
surpassed this the latest, but not the most ripened,
fruit of his imagination. Comparisons, we admit,
are here, as in most other instances, odious—yet
here too they may have a certain amount of utility,
however unwelcome or unpalatable. Availing
ourselves of them, with a view to indicate what
appears to us to be the relative value of the writ-
ings of our distinguished novelist, we would here
venture to place the effusion now before us in a
great measure below almost every one among the
chief of his compositions. " Pickwick," of course,
remains up to this hour quite a work sui generis,
alone and unapproachable. The quintessehce of
fun. The acme of the humorous. The delight-
fullest of all literary evidences of an irresistible
rush of animal spirits. " Nicholas Nickleby" still
ry
ttoh e
traceel arin
the of
links itsnkseaorlfyitfass
alluringcinatio i
n.
nWeiedestnil:
continueess
through all that wonderful realm of the fictitious,
preserves
where, in the thick of sordid things, we recognise
the beautiful tokens of human tenderness. Smike,

in the horrible brutality and squalor of Do-the-
Boys Hall, Kate, in the frivolous and vulgar
luxury of the Mantalines. Madeline, in the garru-
lous and dastardly egotism of the threadbare
gambler and the heartless valetudinarian. " Oliver
Twist " again—who that has ever rightly under-
stood the power of that epic of every-day life, that
tragedy of the by-lane and the workhouse, can have
lost a sense of the high genius apparent in every
womanly feeling of poor degraded Nancy, in
every prattled syllable of pale-faced little Dick,
nay, in every growl of that marvellous dog of
Sykes the murderer ? As for the " Old Curiosity
Shop," we have not forgotten the tears shed
for kind, gentle, patient, noble Nell," or
the laughter won by that matchless droll Dick
Swiveller, with his gazelles and his market garden-
ers 1 " Barnaby Rudge" conjures up by its very
name as vividly as ever the bewitching coquettry
of dear little Dolly Varden, the mincing gait and
dainty tread of the refined Sir John Chester—Grip
stropping his beak upon a tombstone, and old John
Willett gazing with his fishy eye of stupidity upon
the oracular kettle in the goodly kitchen of the
Maypole. " Chuzzlewit" recurs to us glorified
with the memory of Mrs. Gamp, or still more by
that of the mythic but immortal Mrs. Harris, her
familiar—coloured by the comely villanies and

smug rascality of Pecksniff, endeared by the
goodness of Tom Pinch, and. lit up by the
love of Ruth, wooed and won by the Tem-
ple Fountain. " Dombey and Son" again
—despite all the absurdities (as we conceive them
to be) relating to Edith and to Carker—comes to
us always with the charm of a pathos due to little
Paul, and with the delight of a merriment for
which we are indebted to the great and memorable
Captain Cuttle. " David Copperfield"—to close the
catalogue appropriately enough with our author's
masterpiece—requires no word of commendation
at our hands, securing, as it does, the love and ad-
miration of every intelligent reader by the wisdom,
and the sweetness, and the beauty, and the elo-
quence of every sentence of that most rare of all ficti-
tious autobiographies. Introduced to ournotice after
these productions, " Bleak House" has proved to
us, in spite of all its various merits, fraught with real
and peculiar disappointment—and no marvel, be it
said, under the circumstances. Encouraged by his
previous writings to the indulgence of the highest
anticipations in regard to any new work from the
hand of Charles Dickens—no wonder we find rea-
son in some instances to regret the fact of the anti-
cipations not being realised quite satisfactorily. It
has already been observed in these columns more
than once that, to our thinking, " Bleak House,"
as a work of art, is defective. So far consequently
we have regarded it for some time past as scarcely
worthy in several particulars of its author's distin-
guished reputation. Such indeed was our impres-
sion in regard to the story almost immediately
upon its commencement. Such is still our opinion
now that we have followed the thread of the narra-
tive to its conclusion. Granted that the volume
comprises (as it could not fail to comprise—coming
from such a hand) various original and some most
masterly descriptions. Granted that many of the
imaginary characters of the plot are such as Boz alone
could have summoned into existence. Granted that

the taleabounds, in different parts, in passages here
exquisitely pathetic and there delightfully humor-
ous, yet, notwithstanding all these excellences,
excellences both numerous and diversified,

" Bleak House," as a work of art, still appears to
us on the whole, as we have said, in several par-
ticulars strikingly defective. Written alternately
in the first and the third person, the book even in
manner is confused. Its materials moreover are,
it must be confessed, jumbled together somewhat
incoherently. Inasmuch as we are never informed,
for example, from what points of the compass the
heroine Ada, and the hero Richard, are suddenly
brought together—it lacks a beginning. It lacks
an end likewise in more than one instance—as where
we are never told how Krook obtained the will in
Jarndyce and Jarndyce, or how the news of
Lady Dedlock's death was related to Sir Lei-
cester, or how it came to pass that Mademoi-
selle Hortense walked through the wet grass
in her stockings, or whether that amiable young
lady ever expiated on the scaffold the mur-
der of Mr. Tulkinghorn. Nevertheless, faulty
though the fiction appears to our judgment in
these particulars—we gladly and eagerly avow
that, in other respects, it commands our most cor-
dial admiration.
It illustrates, as Mr. Dickens reminds us in hi,s,
Preface, " the romantic side of familiar things,
and it does this with a power and consummate
skill of which we have rip comparable example in
the whole range of our imaginative literature.
Something like this has before now been successfully
accomplished amongst our neighbours by M. de
Balzac—but nothing similar, we believe, has ever
before been even attempted amongst ourselves, at
any rate so systematically. With what surprising
adroitness this purpose has been developed in the
audgi
exampletheirnbaemfoereisuLtbeenre„a_demrsro.fp"ißekleeanks Hhiraousseeli.",
tell-
ing us in so many words, " I believe
,I
have
ee
learnt
had so many readers as in this book)
through many pages, fraught with apec.sulif
tht
anda
eldritch fascination. It has been re eegnied
singular aim of the novelist,4 the prominent cha-
racteristic of " Bleak House," the romantic side
of familiar things"—in the drawing-room at Ches-
ney Wold, in the lawyer's chamber at Lincoln's-
inn-Fields, in the luxury of the town-house of the
Dedlocks, in the squalor, and disease, and dilapida-
tion of Tom-all-alone s, at the rag and bottle shop,
and at the dwelling of the law-stationer. It has
been associated with the fortunes of Jo, the crossing
sweeper, and with those of Bucket the detective.
It has not been marred, even when brought into
immediate connection with a matter-of-fact person-
of Pentonville.
all which, theGlipmorpayl of the tale has
Aagdede like
eto
grown luxuriantly out of the iniquities and abuses,
the rottenness and corruption of that monster-evil
the High Court of Chancery.
Although death had previously carried off in
succession, Nemo, and Gridley, and Jo and Lady
Dedlock, and Mr. Tulkinghorn, much still remained
to be told in the double number just published be-
fore the fiction could be completed to anything like
the author's or the reader's satisfaction. How much
may be perceived at a glance through the mere
items of information here enumerated. First of all
marriage is celebrated between Allan Woodcourt

and Esther Summerson. The latter is resigned by
good John Jarndyce with a magnanimity eminently
noble, and therefore wo!, derfully characteristic.
Mr. Guppy, subsequent to this resignation, attempts
on his part also an act of magnanimity by proposing
anew to Esther in the presence of his friend with
the whiskers, and of his incomparable mother
with the elbows and the chuckle. Then the
great cause of Jarndyce and Jarndyce is ac-
tually brought to a conclusion though when
everything is thought to be conducted to a satis-
factory settlement, it is found (an old tale enough)
that the entire property is swallowed up by costs—
plums dropped into the insatiable maws of Vholes
the pimpled and Menge the conversational.
Richard, poor Rick, has died in consequence.
Ada has thereby been widowed. Charley has mar-
ried a miller. George, after reclaiming the fraternal
affections of " the iron man," has enlisted in the
household brigade of Sir Leicester. Caddy's baby
turns out to be deaf and dumb—her husband
Prince goes lame—her father-in-law, degenerated
into the apoplectic Mr. Turveydrop, still solaces
the west-end by displays of his Deportment. How
all this is told is something admirable—the author's
power of sustained pathos. and elaborated drollery
betraying in no one instance the faintest tokens of
exhaustion. Nothing, indeed, can be nobler than
Mr. Jarndyce's explanation ending with the words
" and, before God, it is the brightest day in all my
life"—as nothing could be more solemn, more
touching, or more beautiful, than the record of
poor Rick's death—" He slowly laid his face down
upon her bosom, drew his arms closer round her
neck, and with one parting sob began the world.
Not this world, 0 not this ! The world that sets
this right." Compare with this the exquisitely
ludicrous description of the conduct of Mrs.
Guppy, when her son's offer is rejected by
Mr. Jarndyce in the name, and on behalf of,
Esther Summerson : and you have another of those
marvellous illustrations of the versatility of our
author's genius, of his equally facile command of
our tears and our laughter. Mrs. Guppy, in truth,
we take to be " a sketch" quite as delicious in its
way as the memorable hero of the chops and pud-
ding, the " friendly waiter" in " David Copper-
field." Who that has once read either, in connec-
tion with the context, can resist roaring over the
description ? " Nothing seemed to astonish Mr.
.Guppy's mother so much, or to make her so very
indignant, as our not getting out. Why don't
you get out ?' said Mrs. Guppy. What are you
stopping here for ?" Mother,' interposed her son,
always getting before her and pushing her back
with one shoulder, as she sidled at my guardian,
will you hold your tongue ?" No, William'' she
returned, ' I won't. Not unless he gets out, I
won't !' " Reading it, one seems to 101 l in
" Rabellais' easy chair"—a-laughing. Altogether
the effect produced on the reader's mind by the
closing chapters of "Bleak House"—notwithstand-
ing the pathos of the death of poor Rick Carstone—
is reallyto the utmost extent exhilarating. Scarcely
any one among the various characters introduced
in the course of the narrative but comes in, before
" the end," for some agreeable passing word of
commemoration. Of Deportment, meaning of
course old Mr. Turveydrop, we are told " He is
still constant in his patronage of Peepy, and is un-
derstood to have bequeathed him a favourite French
clock in his dressing-room—which is not his pro-
perty." While "as to Tom, Charley's brother," ob-
serves Esther, "I am really afraid to say what he
did at school in cyphering, but I think it was
Decimals." Thus delightfully and in the gayest
humour are we brought to the concluding sentence
of a fiction to which we are indebted (as ever with
these serial tales of Boz) for many happy recollec-
tions. Gratefully as to the past and hopefully as
to the future, we close the volume with a benison
to its author, a cordial God-speed, and the kind-
liest Farewell.

THE COMET.