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 also of Thackeray's good heroines, like Laura or Lady Castlewood. Beatrice Esmond and Becky Sharp, both highly intelligent, are of course a bad lot.

No less significant is the kind of emotion the English novelist invites towards his secondary or lower-class heroes—toward Mr. Boffin in Our Mutual Friend, for example, or Harry Foker in Pendennis. These characters amuse us, and we feel pleasantly superior to them, but we agree with the novelist that they are wholly admirable in their station. Yet if a Frenchman—let us say Balzac—were presenting such types, he would make us feel, as in Père Goriot or Eugénie Grandet, not only admiration for the stable, loyal nature, but also deep pity that such goodness should be so tragically bound in unintelligence or vulgarity. This comparison of racial temperaments helps us to understand ourselves. We may continue the method