objective one of De Foe, Jane Austen, Dumas. Our second-rate novels are chiefly mechanical inventions turned off for a market which the modern press has created and is ominously enlarging. However, with such an outlet for the play of the invention which, three centuries ago, spent its strength upon the rhythmical drama, it is no wonder that even our foremost poets look out to rival ranges, with now and then still another peak above them; and these lectures would seem an anachronism were it not that it is a good time to observe the nature of an object when it is temporarily inactive.
Except for this prose fiction superadded to the The nineteenth century: its literary distinction.best poetic achievements of the modern schools, the nineteenth century would not have been, as I believe it to have been, nearly equal in general literary significance (as in science it is superior) to the best that preceded it. It is difficult for critics to project themselves beyond their time; perceiving its shortcomings, they are prone to underestimate what in after time may seem a peculiar literary eminence. To all the splendor of our greatest fiction must be united the romance of the Georgian poetic school and the composite beauty and thought of the Victorian, that this statement may be sound with respect to the literature of our own language. While poetry and fiction both have to do with verities, Mill was not wrong when he said that the novelist gives us a true picture of life, but the poet, the truth of the soul.
