attractive or unattractive. They may prove very slight moral consequences, and very shallow moral impressions in the long run, but there they are, none the less, its inevitable accompaniments. It is unavoidable that this should be so. Even if the novelist attempts or affects to be impartial, he still cannot prevent his characters setting examples; he still cannot avoid, as people say, putting ideas into his readers' heads. The greater his skill, the more convincing his treatment the more vivid his power of suggestion. And it is equally impossible for him not to betray his sense that the proceedings of this person are rather jolly and admirable, and of that, rather ugly and detestable. I suppose Mr. Bennett, for example, would say that he should not do so; but it is as manifest to any disinterested observer that he greatly loves and admires his Card, as that Richardson admired his Sir Charles Grandison, or that Mrs. Humphry Ward considers her Marcella a very fine and estimable young woman. And I think it is just in this, that the novel is not simply a fictitious record of conduct, but also a study and judgment of conduct, and through that of the ideas that lead to conduct, that the real and increasing value--or perhaps to avoid controversy I had better say the real and increasing importance--of the novel and of the novelist in modern life comes in. It is no new discovery that the novel, like the drama, is a powerful instrument of moral suggestion. This has been understood in England ever since there has been such a thing as a novel in England. This has been recognised equally by novelists, novel-readers, and the people who wouldn't read novels under any condition whatever. Richardson wrote deliberately for edification, and "Tom Jones" is a powerful and effective appeal for a charitable, and even indulgent, attitude towards loose-living men. But excepting Fielding and one or two other of those partial exceptions that always occur in the case of critical generalisations, there is a definable difference between the novel of the past and what I may call the modern novel. It is a difference that is reflected upon the novel from a difference in the general way of thinking. It lies in the fact that formerly there was a feeling of certitude about moral values and standards of conduct that is altogether absent to-day. It wasn't so much that men were agreed upon these things--about these things there have always been enormous divergences of opinion--as that men were emphatic, cocksure, and unteachable about whatever they did happen to believe to a degree that no longer obtains. This is the Balfourian age, and even religion seeks to establish itself on doubt. There were, perhaps, just as many differences in the past as there are now, but the outlines were harder--they were, indeed, so hard as to be almost, to our sense, savage. You might be a Roman Catholic, and in that case you did not want to hear about Protestants, Turks,