perceives or contemplates in the things that the eye or the imagination
brings before it; and nothing that has any ugliness or disproportion
about it can give any pleasure. What beauty, then, or what proportion of
the parts to the whole, or of the whole to the parts, can there be in a
book or fable where a lad of sixteen cuts down a giant as tall as a tower
and makes two halves of him as if he was an almond cake? And when they
want to give us a picture of a battle, after having told us that there
are a million of combatants on the side of the enemy, let the hero of the
book be opposed to them, and we have perforce to believe, whether we like
it or not, that the said knight wins the victory by the single might of
his strong arm. And then, what shall we say of the facility with which a
born queen or empress will give herself over into the arms of some
unknown wandering knight? What mind, that is not wholly barbarous and
uncultured, can find pleasure in reading of how a great tower full of
knights sails away across the sea like a ship with a fair wind, and will
be to-night in Lombardy and to-morrow morning in the land of Prester John
of the Indies, or some other that Ptolemy never described nor Marco Polo
saw? And if, in answer to this, I am told that the authors of books of
the kind write them as fiction, and therefore are not bound to regard
niceties of truth, I would reply that fiction is all the better the more
it looks like truth, and gives the more pleasure the more probability and
possibility there is about it. Plots in fiction should be wedded to the
understanding of the reader, and be constructed in such a way that,
reconciling impossibilities, smoothing over difficulties, keeping the
mind on the alert, they may surprise, interest, divert, and entertain, so
that wonder and delight joined may keep pace one with the other; all
which he will fail to effect who shuns verisimilitude and truth to
nature, wherein lies the perfection of writing. I have never yet seen any
book of chivalry that puts together a connected plot complete in all its
numbers, so that the middle agrees with the beginning, and the end with