truth belonging in his own field. This richer significance of great works is especially found where the union of the general and the particular is strong; where the fusion is complete, as in Hamlet. In a sense he is more real than living men, and we can analyze his nature, have doubts about his motives, judge differently of his character, and value his temperament more or less as one might with a friend. The more imaginative a character is, in the sense that his personality and experience are given in the whole so that one feels the bottom of reality there, the more significance it has. Thus in the world of art discoveries beyond the intention of the writer may be made as in the actual world; so much of reality does it contain.

Will it be said that, in making primary the universal contents and spiritual significance of type and plot, I have made literature didactic, as if the word should stop my mouth? If it is meant by this that I maintain that literature conveys truth, it may readily be admitted, since only thus can it interest the mind which has its whole life in the pursuit and its whole joy in the possession of truth. But if it be meant that abstract or moral instruction has been made the business of literature, the charge may be met with a disclaimer, as should be evident, first, from the emphasis placed on its concrete dealing with persons and actions. On the contrary, literature fails in art precisely in proportion as it becomes expressly such a teacher. Secondly, the life which literature organizes, the whole of human nature in its relation to the world, is many-sided; and imaginative genius, the creative reason, grasps it in its totality. The moral aspect is but one among many that life wears. If ethics are implicit in the mass of life, so also are beauty and passion, pathos, humour, and terror; and in literature any one of these may be the prominent phase at the moment, for literature gives out not only practical moral wisdom, but all the reality of life. Literature is didactic in the reproachful sense of the word only in proportion as type and plot are distinctly separated from the truth they embody, and ceases to be so in proportion as these are blended and unified. The fable is one of the most ancient forms of such didactic literature; in it a story is told to enforce a lesson, and animals are made the characters, in consequence of which it has the touch of humour inseparable from the spectacle of beasts playing at being men; but the very fact that the moral is of men and the tale is of beasts involves a separation of the truth from its concrete embodiment, and besides the moral is stated by itself. In the Oriental apologue an advance is made. The parables of our Lord, in particular, are 

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