all know this difficulty in the case of a picture, simple and strong as may be the impression that it has left with us; and it is only because language is the medium of romance that we are prevented from seeing that the two cases are the same. It is not that there is anything blurred or indefinite in the impression left with us, it is just because the impression is so very definite after its own kind, that we find it hard to fit it exactly with the expressions of our philosophical speech.

It is this idea which underlies and issues from a romance, this something which it is the function of that form of art to create, this epical value, that I propose chiefly to seek and, as far as may be, to throw into relief, in the present study. It is thus, I believe, that we shall see most clearly the great stride that Hugo has taken beyond his predecessors, and how, no longer content with expressing more or less abstract relations of man to man, he has set before himself 27 the task of realising, in the language of romance, much of the involution of our complicated lives.

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This epical value is not to be found, let it be understood, in every so-called novel. The great majority are not works of art in anything but a very secondary signification. One might almost number on one’s fingers the works in which such a supreme artistic intention has been in any way superior to the other and lesser aims, themselves more or less artistic, that generally go hand in hand with it in the conception of prose romance. The purely critical spirit is, in most novels, paramount. At the present moment we can recall one man only, for whose works it would have been equally possible to accomplish our present design: and that man is Hawthorne. There is a unity, an unwavering creative purpose, about some at least of Hawthorne’s romances, that impresses itself on the most indifferent reader; and the very restrictions and weaknesses of the man served perhaps to strengthen the vivid and single impression of his works. There is nothing of this kind in Hugo: unity, if he attains to it, is indeed unity out of multitude; and it is the wonderful power of subordination and synthesis thus displayed, that gives us the measure of his talent. No amount of mere discussion and statement, such as this, could give a just conception of the greatness of this power. It must be felt in the books themselves, and all that can be done in the present essay is to recall to the reader the more general features of each of the five great romances, hurriedly and imperfectly, as space will permit, and rather as a suggestion than anything more complete.

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