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 of poetic justice, and is successful in so far as that sense is appealed to and satisfied.

In their respective stories, Pecksniff, Becky Sharp, and Sir Willoughby Patterne are the people of most importance, if not the heroes; and in each case the climax of the career is a ludicrous anticlimax, with circumstances appropriate in every instance to the character.

The unveiling of Pecksniff is a public and demonstrative affair, in accordance with the public and demonstrative nature of his previous life, and also, one may add, with the Dickensian theory of the fitness of humorous retribution. In spite of the crude melodrama of the scene, there is fundamental truth in the most important item in it, the behavior of the one toward whom all eyes are turned in hostile contempt. He needed no loyal, anxious mother to beg him to "be 'umble," for his humility was not as the Heeps'. It was a superior article, self-possessed and patronizing, not servile and ingratiating, and it was therefore impregnable. Uriah might be discomfited when his mask was publicly torn away, but the Pecksniffian duplicity was no mere flimsy detachable mask. It was the very skin of his face; indeed, it was more than skin deep; it was the stuff of his soul. He could therefore be imperturbable, though felled to the floor, a dignified martyr, grieved but gracious under calumny, unquelled by those who had assembled to do him dishonor.

This impressiveness serves Pecksniff, as her wit serves Becky, to mitigate the absurdity which threatens him. It is not in this heightened moment that his comicality is apparent; it is in the retrospective picture we get of him through the revelation of Martin Chuzzlewit, whereby he is seen not only as the biter bit, but as the calf, the bland,