Page:The art of controversy and other posthumous papers (IA artofcontroversy00schouoft).pdf/72

 pathy by a complexity of circumstance, or to surprise us by unexpected entanglements. His pace is lingering; he stops at every scene; he puts one picture after another tranquilly before us, elaborating it with care. We experience no passionate emotion in reading him; our demeanour is one of pure perceptive intelligence; he does not arouse our will, but sings it to rest; and it costs us no effort to break off in our reading, for we are not in a condition of eager curiosity. This is all still more true of Dante, whose work is not, in the proper sense of the word, an epic, but a descriptive poem. The same thing may be said of the four immortal romances: Don Quixote, Tristram Shandy, La Nouvelle Heloïse, and Wilhelm Meister. To arouse our interest is by no means the chief aim of these works; in Tristram Shandy the hero, even at the end of the book, is only eight years of age.

On the other hand, we must not venture to assert that the quality of interest is not to be found in masterpieces of literature. We have it in Schiller's dramas in an appreciable degree, and consequently they are popular; also in the Œdipus Rex of Sophocles. Amongst masterpieces of description, we find it in Ariosto's Orlando Furioso; nay, an example of a high degree of interest, bound up with the beautiful, is afforded in an excellent novel by Walter Scott—The Heart of Midlothian. This is the most interesting work of fiction that I know, where all the effects due to interest, as I have given them generally in the preceding remarks, may be most clearly observed. At the same time it is a very beautiful romance throughout; it shows the most