At this point the gap between Dickens and his modern analogue H. G. Wells, is at its widest. Wells wears the future round his neck like a millstone, but Dickens's unscientific cast of mind is just as damaging in a different way. What it does is to make any positive attitude more difficult for him. He is hostile to the feudal, agricultural past and not in real touch with the industrial present. Well, then, all that remains is the future (meaning Science, "progress" and so forth), which hardly enters into his thoughts. Therefore, while attacking everything in sight, he has no definable standard of comparison. As I have pointed out already, he attacks the current educational system with perfect justice, and yet, after all, he has no remedy to offer except kindlier schoolmasters. Why did he not indicate what a school might have been? Why did he not have his own sons educated according to some plan of his own, instead of sending them to public schools to be stuffed with Greek? Because he lacked that kind of imagination. He has an infallible moral sense, but very little intellectual curiosity. And here one comes upon something which really is an enormous deficiency in Dickens, something that really does make the nineteenth century seem remote from us—that he has no ideal of work.

With the doubtful exception of David Copperfield (merely Dickens himself), one cannot point to a single one of his central characters who is primarily interested in his job. His heroes work in order to make a living and to marry the heroine, not because they feel a passionate interest in one particular subject. Martin Chuzzlewit, for instance, is not burning with zeal to be an architect; he might just as well be a doctor or a barrister. In any case, in the typical Dickens novel, the deus ex machina enters with a bag of gold in the last chapter and the hero is absolved from further struggle. The feeling, "This is what I came into the world to do. Everything else is uninteresting. I will do this even if it means starvation," which turns men of differing temperaments into scientists, inventors, artists, priests, explorers and revolutionaries—this motif is almost entirely absent from Dickens's books. He himself, as is well known, worked like a slave and believed in his work as few novelists have ever done. But there seems to be no calling except novel-writing (and perhaps acting) towards which he can imagine this kind of devotion. And, after all, it is natural enough, considering his rather negative attitude towards society. In the last resort there is nothing he admires except common decency. Science is uninteresting and machinery is cruel and ugly (the heads of the elephants). Business is only for ruffians like Bounderby. As for politics—leave that to the Tite Barnacles. Really there is no objective except to marry the heroine, settle down, live solvently and be kind. And you can do that much better in private life.

Here, perhaps, one gets a glimpse of Dickens's secret imaginative background. What did he think of as the most desirable way to live? When Martin Chuzzlewit had made it up with his uncle, when Nicholas Nickleby had married money, when John Harmon had been enriched by Boffin—what did they do?

The answer evidently is that they did nothing. Nicholas Nickleby invested his wife's money with the Cheerybles and "became a rich and prosperous merchant," but as he immediately retired into Devonshire, we can assume that he did not work very hard. Mr.