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170 glaring colours, but you cannot deny the humanity of the men or the effectiveness of their portraits. And when you remember how few are the male creations of women-writers which are indubitable men, you must in reason give credit to Ouida for her approximation.

I submit that it is not an absolute condemnation to say of Ouida's women that they are "hateful." There are critics, I know, who deny by implication the right of an author to draw any character which is not good and pleasant. That there may be, at one time or another, too pronounced a tendency to describe only people who are wicked or unpleasant, to the neglect of those who are sane and healthy and reputable, is certain; but the critics should remember that there is no great author of English fiction who has limited himself to these. One may regret that any writer should ignore them, but only stupidity or malevolence refuses to such a writer what credit may be due to him for what he has done, because of what he has left undone. Of Ouida's women much the same, mutatis mutandis, may be said, as has been said so often of Thackeray's: the good women are simpletons or obtuse, only the wicked women interesting. That criticism of Thackeray has always seemed to me to be remarkably crude, even for a criticism: it argues surely a curious ignorance of life or lack of charity to deny any "goodness" to Beatrix Esmond or Ethel Newcome. But of Ouida it is tolerably fair. There is an air of stupidity about her good and self-sacrificing women, and since there is nobody, not incredibly unfortunate, but has known women good in the most conventional sense, and self-sacrificing, and wise and clever as well, it follows that Ouida has not described the whole of life. But perhaps she has not tried so to do. It is objected occasionally, even against a short story, that its "picture of life" is so-and-so, and