For my own part, notwithstanding all the charms of life in swiftly-written novels, I prefer real life. It is true that, in the former, everything breaks off round, every little event tends to some great thing, everybody one meets is to exercise some great influence for good or ill upon one’s fate. I take it for granted one fancies oneself the hero. Then all one’s fancy is paid in ready money, or at least one can draw upon it at the end of the third volume. One leaps to remote wealth and honour by hairbreadth chances; and one’s uncle in India always dies opportunely. To be sure the thought occurs, that if this novel life could be turned into real life, one might be the uncle in India and not the hero of the tale. But that is a trifling matter, for at any rate one should carry on with spirit somebody else’s story. On the whole, however, as I said before, I prefer real life, where nothing is tied up neatly, but all in odds and ends; where the doctrine of compensation enters largely, where we are often most blamed when we least deserve it, where there is no third volume to make things straight, and where many an Augustus marries many a Belinda, and, instead of being happy ever afterwards, finds that there is a growth of trials and troubles for each successive period of man’s life. * * * * * In considering the subject of fiction, the responsibility of the writers thereof is a matter worth pointing out. We see clearly enough that historians are to be limited by facts and probabilities; but we are apt to make a large allowance for the fancies of writers of fiction. We must remember, however, that fiction is not falsehood. If a writer puts abstract virtues into book-clothing, and sends them upon stilts into the world, he is a bad writer: if he classifies men, and attributes all virtue to one class and all vice to another, he is a false writer. Then, again, if his ideal is so poor, that he fancies man’s welfare to consist in immediate happiness; if he means to paint a great man and paints only a greedy one, he is a mischievous writer and not the less so, although by lamplight and amongst a juvenile audience, his coarse scene-painting should be thought very grand. He may be true to his own fancy, but he is false to Nature. A writer, of course, cannot get beyond his own ideal: but at least he should see that he works up to it: and if it is a poor one, he had better write histories of the utmost concentration of dulness, than amuse us with unjust and untrue imaginings. * * * * * _Ellesmere_. I am glad you have kept to the obvious things about fiction. It would have been a great nuisance to have had to follow you through intricate theories about what fiction consists in, and what are its limits, and so on. Then we should have got into questions touching the laws of representation generally, and then into art, of which, between ourselves, you know very little.