Hardy. It becomes an interesting study, therefore, why there should be such a divergence of opinion as to his merits, and what the qualities are which have repelled so many readers, and yet have attracted those whose opinion must be allowed to have a special weight.

The most obvious reason is his complete unconventionality. The public read to be amused. The novelist reads to have new light thrown upon his art. To read Meredith is not a mere amusement; it is an intellectual exercise, a kind of mental dumb-bell with which you develop your thinking powers. Your mind is in a state of tension the whole time that you are reading him.

If you will follow my nose as the sportsman follows that of his pointer, you will observe that these remarks are excited by the presence of my beloved "Richard Feverel," which lurks in yonder corner. What a great book it is, how wise and how witty! Others of the master's novels may be more characteristic or more profound, but for my own part it is the one which I would always present to the new-comer who had not yet come under the influence. I think that I should put it third after "Vanity Fair" and "The Cloister and the Hearth" if I had to name the three novels which I admire most in the Victorian era. The book was published, I believe, in 1859, and it is almost incredible, and says little for the discrimination of critics or public, that it was nearly twenty years before a second edition was needed.

But there are never effects without causes, however inadequate the cause may be. What was it that stood in the way of the book's success? Undoubtedly it was the style. And yet it is subdued and tempered here with little of the luxuriance and exuberance which it attained in the later works. But it was an innovation, and it stalled off both the public and the critics. They regarded it, no doubt, as an affectation, as Carlyle's had been considered twenty years before, forgetting that in the case of an original genius style is an organic thing, part of the man as much as the colour of his eyes. It is not, to quote Carlyle, a shirt to be taken on and off at pleasure, but a skin, eternally fixed. And this strange, powerful style, how is it to be described? Best, perhaps, in his own strong words, when he spoke of Carlyle with perhaps the arriere pensee that the words would apply as strongly to himself.

"His favourite author," says he, "was one writing on heroes in a style resembling either early architecture or utter dilapidation, so loose and rough it seemed. A wind-in-the-orchard style that tumbled down here and there an appreciable fruit with uncouth bluster, sentences without commencements running to abrupt endings and smoke, like waves against a sea-wall, learned dictionary words giving a hand to street slang, and accents falling on them haphazard, like slant rays from driving clouds; all the pages in a breeze, the whole book producing a kind of electrical agitation in the mind and joints."

What a wonderful description and example of style! And how vivid is the impression left by such expressions as "all the pages in a breeze." As a comment on Carlyle, and as a sample of Meredith, the passage is equally perfect.

Well, "Richard Feverel" has come into its own at last. I confess to having a strong belief in the critical discernment of the public. I do not think good work is often overlooked. Literature, like water, finds its true level. Opinion is slow to form, but it sets true at last. I am sure that if the critics were to unite to praise a bad book or to damn a good one they could (and continually do) have a five-year influence, but it would in no wise affect the final result. Sheridan said that if all the fleas in his bed had been unanimous, they could have pushed him out of it. I do not think that any unanimity of critics has ever pushed a good book out of literature.

Among the minor excellences of "Richard Feverel"--excuse the prolixity of an enthusiast--are the scattered aphorisms which are worthy of a place among our British proverbs. What could be more exquisite than this, "Who rises from prayer a better man his prayer is answered"; or this, "Expediency is man's wisdom. Doing right is God's"; or, "All great thoughts come from the heart"? Good are the words "The coward amongst us is he who sneers at the failings of humanity," and a healthy optimism rings in the phrase "There is for the mind but one grasp of happiness; from that uppermost pinnacle of wisdom whence we see that this world is well designed." In more playful mood is "Woman is the last thing which will be civilized by man." Let us hurry away abruptly, for he who starts quotation from "Richard Feverel" is lost.

He has, as you see, a goodly line of his brothers beside him. There are the Italian ones, "Sandra Belloni," and "Vittoria"; there is "Rhoda Fleming," which carried Stevenson off his critical feet; "Beauchamp's Career," too, dealing with obsolete politics. No great writer should spend himself upon a temporary theme. It is like the beauty who is painted in some passing fashion of gown. She tends to become obsolete along with her frame. Here also is the dainty "Diana," the egoist with immortal Willoughby Pattern, eternal type of masculine selfishness, and "Harry Richmond," the first chapters of which are, in my opinion, among the finest pieces of narrative prose in the language.