quickened a naturally lively perception of the ridiculous, for which he was distinguished even in boyhood.

It is curious to observe how similar opportunities of becoming acquainted practically with life, and the busy actors on its varied scenes, in very early life, appear to influence the minds of thinking and imaginative men in after-years. Goldsmith's pedestrian excursions on the Continent, Bulwer's youthful rambles on foot in England, and equestrian expeditions in France, and Maclise's extensive walks in boyhood over his native county, and the mountains and valleys of Wicklow a little later, were fraught with similar results.

Charles Dickens was intended by his father to be an attorney. Nature and Mr. John Dickens happily differed on that point. London law may have sustained little injury in losing Dickens for "a limb.” English literature would have met with an irreparable loss, had she been deprived of him whom she delights to own as a favourite son.

Dickens, having decided against the law, began his career in "the gallery," as a reporter on The True Sun; and from the first made himself distinguished and distinguishable among “the corps," for his ability, promptness, and punctuality.

Remaining for a short term on the staff of this periodical, he seceded to The Mirror of Parliament, which was started with the express object of furnishing verbatim reports of the debates. It only lived, however, for two sessions.

The influence of his father, who on settling in the

metropolis, had become connected with the London press, procured for Charles Dickens an appointment as short-hand reporter on the Morning Chronicle. To this period of his life he has made some graceful and interesting allusions in a speech delivered at the Second Anniversary of the Newspaper Press Fund, about five years ago.

It was in The Monthly Magazine of January, 1834, before he had quite attained his twenty-second year, that Charles Dickens made his first appearance in print as a story-teller.* Neither the editor of the magazine, nor the readers, nor even the ardent and gratified young author himself (who has described in the preface to the "Pickwick Papers" his sensations on finding his little contribution accepted), then dreamt that he would become in five short years from that time one of the most popular and widely-read of English authors, that his name would shortly become familiar as a household word, and that his praise would be on every tongue on both sides of the Atlantic.

Encouraged by his success, Charles Dickens continued to send sketches in the same vein, and for the next twelve months was a tolerably constant con

* This first Sketch was entitled, “Mrs. Joseph Porter, 'over the Way," which is still one of the favourite and most effective readings of Mr. Bellew. The Monthly Magazine in which this appeared was published by Cochrane and M'Crone, and must not be confounded with The New Monthly Magazine, published by Colburn.

tributor to the Magazine. All, or nearly all, of these little papers were reprinted in the collection of Sketches by Boz; but as it will perhaps be interesting to some of our readers to trace their original appearance in the magazine, we give a list of them here:

February, 1834, Horatio Sparkins.

Marriage a-la-Mode.

January, 1835. Passage in the Life of Mr. Watkins

February

"

Tottle.

Ib. Chapter Second.

A similar series was afterwards contributed to the evening edition of The Morning Chronicle,† then edited by Mr. John Black, and on which Dickens was engaged as parliamentary reporter.

While writing the "Sketches," a strong inclination towards the stage induced Mr. Charles Dickens to test his powers as a dramatist, and his first piece, a farce

* This was the first paper in which Dickens assumed the pseudonym of "Boz." The previous sketches appeared anonymously.

+ Of these Sketches two volumes were collected and published by Macrone (with illustrations by George Cruikshank), in February, 1836, and a third in the December following.

called The Strange Gentleman, was produced at the St. James's Theatre on the opening night of the season, September 29, 1836. The late Mr. Harley was the hero of the farce, which was received with great favour. This was followed by an opera, called The Village Coquettes, for which Mr. Hullah composed the music, and which was brought out at the same establishment, on Tuesday, December 6, 1836. The quaint humour, unaffected pathos, and graceful lyrics of this production found prompt recognition, and the piece enjoyed a prosperous run. The Village Coquettes took its title from two village girls, Lucy and Rose, led away by vanity, coquetting with men above them in station, and discarding their humble, though worthy lovers. Before, however, it is too late they see their error, and the piece terminates happily. Miss Rainforth and Miss Julia Smith were the heroines, and Mr. Bennet and Mr. Gardner were their betrothed lovers. Braham was the Lord of the Manor, who would have led astray the fair Lucy. There was a capital scene, where he was detected by Lucy's father, played by Strickland, urging an elopement. Harley had a trifling part in the piece, rendered highly amusing by his admirable acting.

On March 6, 1837, was brought out at the St. James's Theatre a farce, called Is She His Wife; or, Something Singular, in which Harley played the principal character, Felix Tapkins, a flirting bachelor, and sang a song in the character of Pickwick, "written expressly for him by Boz."

Under the pseudonym of Timothy Sparks Charles Dickens published about this time a wholesome, wise, and cleverly written little pamphlet against Sabbatarianism, in which he cogently and forcibly advocated more liberal views respecting the observance of Sunday than generally obtain in this country.*

In March, 1836, appeared the first number of "Pickwick," with illustrations by Seymour. It was continued in monthly shilling numbers until its completion, and this has been Mr. Dickens's favourite and usual form of publication ever since. The success and popularity of the work-which, in freshness and vigour, he has never surpassed in his later and maturer writings were unmistakeable. Several playwrights dramatised it, with more or less success; and a swarm of obscure scribblers flooded the town with imitations and sequels, which, like Avanelleda's second part of "Don Quixote," came mostly to grief, and were quickly forgotten.

Before the work had reached its third number, the talented artist who had undertaken the illustrations, and who has immortalised the features of Mr. Pickwick, was unfortunately removed by death, and Mr. Hablot Browne (the well-known Phiz) was chosen to replace him, and continued to illustrate most of Mr. Dickens's novels for many years after. During the

*The pamphlet was entitled Sunday under Three Heads: As it is; as Sabbath Bills would make it; as it might be made. By Timothy Sparks. London, Chapman and Hall, 1836, pp. 49 (with illustrations by Hablot K. Browne).