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 heroines in fiction. These are matters of elective affinity, and unless some bullying critic or preacher sends us astray, we take each to our own novelist as the souls in the Swedenborgian system take to their hells. Adeline took to the imaginary Marcella. There was, Melville says, the strongest likeness in their mental atmosphere. They had the same defects, a bias for superiority—to use his expressive phrase—the same disposition towards arrogant benevolence, that same obtuseness to little shades of feeling that leads people to speak habitually of the "Lower Classes," and to think in the vein of that phrase. They certainly had the same virtues, a conscious and conscientious integrity, a hard nobility without one touch of magic, an industrious thoroughness. More than in anything else, Adeline delighted in her novelist's thoroughness, her freedom from impressionism, the patient resolution