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 redeemed by the fervour which half excuses fanaticism; and a singular incapacity for even suspecting the humorous or fanciful aspects of life, are qualities which go far to make the superlative bore. They may be harmless or even advantageous in a man who wishes to compose a political Euclid, but that kind of author is not likely to be attractive at a supper-party, and certainly not likely to succeed in other branches of literary work. Yet it is odd that, without too much violence to language, we might describe Godwin as one of the most versatile authors of his time. Though a dealer in the most abstract speculations, he became an industrious Dryasdust, raking in the obscurest assortments of waste paper. In spite of his priggishness, he was a writer of popular books for children, and, without the smallest claims to poetic imagination, he was the author of one tragedy which escaped failure. A more remarkable fact, however, was his success as a novelist. He wrote in a comparatively barren period. The generation which had been impressed by the novels of Richardson, Fielding, Smollett, Sterne, and Goldsmith had passed away, and the novel of the nineteenth century had not yet come to life in Miss Austen and Scott. The novels