“Is it unreasonable to confess that we believe in God, not by reason of the Nature which conceals Him, but by reason of the Supernatural in Man which alone reveals and proves Him to exist?... Man reveals God: for Man, by his intelligence, rises above Nature; and in virtue of this intelligence is conscious of himself as a power not only independent of, but opposed to, Nature, and capable of resisting, conquering, and controlling her.”(6) If the meaning involved in the argument, of which I have here made but scanty extracts, be carefully studied, I think that we shall find deeper reasons than the critics who dictated canons of taste to the last century discovered,--why the supernatural is indispensable to the Epic, and why it is allowable to all works of imagination, in which Art looks on Nature with Man’s inner sense of a something beyond and above her. But the Writer who, whether in verse or prose, would avail himself of such sources of pity or terror as flow from the Marvellous, can only attain his object in proportion as the wonders he narrates are of a kind to excite the curiosity of the age he addresses. In the brains of our time, the faculty of Causation is very markedly developed. People nowadays do not delight in the Marvellous according to the old childlike spirit. They say in one breath, “Very extraordinary!” and in the next breath ask, “How do you account for it?” If the Author of this work has presumed to borrow from science some elements of interest for Romance, he ventures to hope that no thoughtful reader--and certainly no true son of science--will be disposed to reproach him. In fact, such illustrations from the masters of Thought were essential to the completion of the purpose which pervades the work. That purpose, I trust, will develop itself in proportion as the story approaches the close; and whatever may appear violent or melodramatic in the catastrophe, will, perhaps, be found, by a reader capable of perceiving the various symbolical meanings conveyed in the story, essential to the end in which those meanings converge, and towards which the incidents that give them the character and interest of of fiction, have been planned and directed from the commencement.