The influence of works of fiction is unbounded. Even the minds of well-informed people are often more stored with characters from acknowledged fiction than from history or biography, or the real life around them. We dispute about these characters as if they were realities. Their experience is our experience; we adopt their feelings, and imitate their acts. And so there comes to be something traditional even in the management of the passions. Shakespeare’s historical plays were the only history to the Duke of Marlborough. Thousands of Greeks acted under the influence of what Achilles or Ulysses did, in Homer. The poet sings of the deeds that shall be. He imagines the past; he forms the future. Yet how surpassingly interesting is real life when we get an insight into it. Occasionally a great genius lifts up the veil of history, and we see men who once really were alive, who did not always live only in history; or, amidst the dreary page of battles, levies, sieges, and the sleep-inducing weavings and unweavings of political combination, we come, ourselves, across some spoken or written words of the great actors of the time, and are then fascinated by the life and reality of these things. Could you have the life of any man really portrayed to you, sun-drawn as it were, its hopes, its fears, its revolutions of opinion in each day, its most anxious wishes attained, and then, perhaps, crystallising into its blackest regrets—such a work would go far to contain all histories, and be the greatest lesson of love, humility, and tolerance, that men had ever read. Now fiction does attempt something like the above. In history we are cramped by impertinent facts that must, however, be set down; by theories that must be answered; evidence that must be weighed; views that must be taken. Our facts constantly break off just where we should wish to examine them most closely. The writer of fiction follows his characters into the recesses of their hearts. There are no closed doors for him. His puppets have no secrets from their master. He plagues you with no doubts, no half-views, no criticism. Thus they thought, he tells you; thus they looked, thus they acted. Then, with every opportunity for scenic arrangement (for though his characters are confidential with him, he is only as confidential with his reader as the interest of the story will allow), it is not to be wondered at that the majority of readers should look upon history as a task, but tales of fiction as a delight.