II. _The Lamp of Ideality_.--The materials of the novelist must be real; they must be gathered from the field of humanity by his actual observation. But they must pass through the crucible of the imagination; they must be idealized. The artist is not a photographer, but a painter. He must depict not persons but humanity, otherwise he forfeits the artist's name, and the power of doing the artist's work in our hearts. When we see a novelist bring out a novel with one or two good characters, and then, at the fatal bidding of the booksellers, go on manufacturing his yearly volume, and giving us the same character or the same few characters over and over again, we may be sure that he is without the power of idealization. He has merely photographed what he has seen, and his stock is exhausted. It is wonderful what a quantity of the mere lees of such writers, more and more watered down, the libraries go on complacently circulating, and the reviews go on complacently reviewing. Of course, this power of idealization is the great gift of genius. It is that which distinguishes Homer, Shakespeare, and Walter Scott, from ordinary men. But there is also a moral effort in rising above the easy work of mere description to the height of art. Need it be said that Scott is thoroughly ideal as well as thoroughly real? There are vague traditions that this man and the other was the original of some character in Scott. But who can point out the man of whom a character in Scott is a mere portrait? It would be as hard as to point out a case of servile delineation in Shakespeare. Scott's characters are never monsters or caricatures. They are full of nature; but it is universal nature. Therefore they have their place in the universal heart, and will keep that place for ever. And mark that even in his historical novels he is still ideal. Historical romance is a perilous thing. The fiction is apt to spoil the fact, and the fact the fiction; the history to be perverted and the romance to be shackled: daylight to kill dreamlight, and dreamlight to kill daylight. But Scott takes few liberties with historical facts and characters; he treats them, with the costume and the manners of the period, as the background of the picture. The personages with whom he deals freely, are the Peverils and the Nigels; and these are his lawful property, the offspring of his own imagination, and belong to the ideal.