when we let ourselves be inspired by the luminous idea of a great character, we take it in its purest form, free from the exaggerations which seemed necessary in times of more direct conflict, and free from the modes of expression which were due to temporary causes.
I have said that we cannot safely read any man into a formula. We cannot associate him entirely with one object, without losing much of the significance of his life. I am not sure that the methods of contemporary fiction do not seriously affect our judgments of men of the past. Certainly Sir Walter Scott exerted great influence on the methods of historical writing. The highly analytical novel which prevails at present accustoms us to a habit of regarding a man as typical of some particular mood, or affording the means of exhibiting some nice situation. We may rebel against this mode of treatment, and wish to know what the hero ate and drank, and how he made his money, when he was not engaged in analysing himself to the too sympathetic heroine. Yet, none the less, we are compelled to take him as he is put before us; and we accept the conclusions of the one volume as complete, forgetting that it would require a whole library of volumes to exhibit on the same scale the other motives which were working on his life and character at the same time, and which all had their share in producing the result which is ascribed to one motive only.
Fiction, however, is artificial, and may work in its own sphere, according to its own rules, which it is our business to appreciate at their proper worth. But
