At times there is a tragic sublimity in her imagination, which gathers together, as it were, the winds from the world's four quarters, that howled in winter nights across the moor around the house she lived in. Indeed the very storm of her genius hovers in the air between things sublime and things hideous. "There never was such a thunderstorm of a play," said Swinburne on Cyril Tourneur's _Revenger's Tragedy._ I am inclined to add: "There never was such a thunderstorm of a novel as _Wuthering Heights._" And it is blood-stained with the blood of the roses of sunsets; the heavy atmosphere is sultry as the hush and heat and awe of midnoon; sad visions appear with tragic countenances, fugitives try in vain to escape from the insane brooding of their consciences. And there are serviceable shadows; implacable self-devotions and implacable cruelties; vengeances unassuaged; and a kind of unscrupulous ferocity is seen not only in Heathcliff but in one of his victims. And there are startling scenes and sentences that, once impressed on the memory, are unforgettable: as scarlet flowers of evil and as poisonous weeds they take root in one. ON ENGLISH AND FRENCH FICTION I Certainly the modern English novel begins with that elaborate masterpiece, _Tom Jones_, of Henry Fielding. And it seems to me that his genius is contained, on the whole, in that one book; in which he creates living people; the very soil is living. His hero is the typical sullen, selfish, base-born, stupid, sensual, easily seduced and adventurous youth, with whom his creator is mightily amused. The very Prefaces are full of humorous wisdom; copied, I suppose, from Montaigne. The typically wicked woman is painted almost as Hogarth might have painted her. It is quite possible that she may have a few touches, here and there, of Lady Wishfort, who, wrote Meredith, "is unmatched for the vigour and pointedness of the tongue. It spins along with a final ring, like the voice of Nature in a fury, and is, indeed, racy eloquence of the elevated fishwife." Fielding has a strong sense of the vigilant comic, which is the genius of thoughtful laughter, but never serving as a public advocate. Contempt can not be entertained by comic intelligence. Blifil is essentially the grossly and basely animal creature, who is also a villain, and who has his part in the plot; indeed one scandalous scene in which he is discovered is laughable in the purely comic sense.