social feeling; as indeed it had been in Elizabethan days:
offering a place where many might be moved by the one thought,
the one emotion, personal variations being merged in what is now
called mob psychology, a function for centuries also exercised
by the Church. Nor should the function of the playhouse as a
visiting-place be overlooked.

So too the Novel came to express most inclusively among the
literary forms this more vivid realization of meum and tuum; the
worth of me and my intricate and inevitable relations to you,
both of us caught in the coils of that organism dubbed society,
and willingly, with no Rousseau-like desire to escape and set up
for individualists. The Novel in its treatment of personality
began to teach that the stone thrown into the water makes
circles to the uttermost bounds of the lake; that the little
rift within the lute makes the whole music mute; that we are all
members of the one body. This germinal principle was at root a
profoundly true and noble one; it serves to distinguish modern
fiction philosophically from all that is earlier, and it led the
late Sidney Lanier, in the well-known book on this subject, to
base the entire development upon the working out of the idea of
personality. The Novel seems to have been the special literary
instrument in the eighteenth century for the propagation of
altruism; here lies its deepest significance. It was a baptism
which promised great things for the lusty young form.

We are now ready for a fair working definition of the modern
Novel. It means a study of contemporary society with an implied
sympathetic interest, and, it may be added, with special
reference to love as a motor force, simply because love it is