we demand in painting. Heine regards Cervantes as the originator of the
modern novel. The older novels sprang from the poetry of the Middle Ages;
their themes were knightly adventure, their personages were the nobility;
the common people did not figure in them. These romances, which had
degenerated into absurdities, Cervantes overthrew by "Don Quixote." But
in putting an end to the old romances he created a new school of fiction,
called the modern novel, by introducing into his romance of
pseudo-knighthood a faithful description of the lower classes, and
intermingling the phases of popular life. But he had no one-sided
tendency to portray the vulgar only; he brought together the higher and
the lower in society, to serve as light and shade, and the aristocratic
element was as prominent as the popular. This noble and chivalrous
element disappears in the novels of the English who imitated Cervantes.
"These English novelists since Richardson's reign," says Heine, "are
prosaic natures; to the prudish spirit of their time even pithy
descriptions of the life of the common people are repugnant, and we see
on yonder side of the Channel those bourgeoisie novels arise, wherein the
petty humdrum life of the middle classes is depicted." But Scott
appeared, and effected a restoration of the balance in fiction. As
Cervantes had introduced the democratic element into romances, so Scott
replaced the aristocratic element, when it had disappeared, and only a
prosaic, bourgeoisie fiction existed. He restored to romances the
symmetry which we admire in "Don Quixote." The characteristic feature of
Scott's historical romances, in the opinion of the great German critic,
is the harmony between the artistocratic and democratic elements.

This is true, but is it the last analysis of the subject? Is it a
sufficient account of the genius of Cervantes and Scott that they
combined in their romances a representation of the higher and lower
classes? Is it not of more importance how they represented them? It is