historical action, the other of listless repose. The statesman, in the
moment of debate, and in the dignity of conscious power, finds sympathy
and encouragement in a passage of his favorite epic. Its grand types
are ever in fellowship with high thoughts. The novel is for the lighter
moment after the deed is done, when he is no longer brunting Fate, but
reclining idly, and reflecting humorously or malignly on this life. The
epic is closely and strongly framed, like the gladiator about to strike
a blow: the novel is relaxed and at careless ease, like the club-man
after lighting his pipe. The latter does not bear the burden of severe
responsibility, but is a thing of holidays and reactions. Still, as of
old, it answers to the contemplative castellar cry,--"Hail, romancer!
come and divert me,--make me merry! I wish to be occupied, but not
employed,--to muse passively, not actively. Therefore, hail! tell me
a story,--sing me a song! If I were now in the van of an army and
civilization, higher thoughts would engross me. But I am unstrung, and
wish to be fanned, not helmeted."

It has sometimes been claimed that the romantic style is essentially
lyrical. But though the idea from which many novels start was perhaps
the proper germ for one or more lyrics, it never attains in romance
a pure and unincumbered development. We may illustrate the different
intellectual creations founded on a common conception by imagining how
one of Wordsworth's lyrical fancies might have been developed in three
volumes of romance instead of three stanzas of poetry.

"She dwelt among the untrodden ways,
Beside the springs of Dove,
A maid whom there were none to praise,
And very few to love."