Introduction
construction a matter of some difficulty, and almost necessitated what is peculiar in their machinery. I never attempted great elaboration of detail in the working out of character within such limits, believing that it could not succeed.” The effect on characterisation here alluded to will be considered later. Here let us glance at the effect on construction. As we have already seen, the end of The Chimes was not in sight from the beginning. Still, it did appear at a comparatively early stage. By the beginning of the Second Quarter the general outline was fixed and the space to be allotted to each portion at least roughly determined. The advantage of this comparatively careful planning—so different from the haphazard growth of the long novels—may be judged by its results: The Chimes is, in every way, an admirably constructed tale.
Especially skilful is the way the story opens. The First Quarter begins with an introductory paragraph in which, after earnestly declaring that “a story-teller and a story-reader should establish a mutual understanding as soon as possible,” Dickens runs off into burlesque, in his usual style, and issues a mock-challenge to his readers, offering to meet all doubters individually if need be, and thus to demonstrate the unquestionable truth of his initial statement that “There are not many people … who would care to sleep in a church.” There follows, in the second paragraph, the famous personified description of the Night Wind, which is extremely likely to be the most fearsome and awe-inspiring element in the experience of anyone whoxix
