But of course, though Mr. Leslie Stephen, like the wise man he is, occasionally hits his idol over the costard with a club just to preserve his own independence, he is and frankly owns himself to be a bookish man from the crown of his head to the sole of his foot. He even confesses he loves the country best in books; but then it must be in real country-books and not in descriptive poetry, which, says he with Johnsonian calmness, is for the most part ‘intolerably dull.’ There is no better living representative of the great clan of sensible men and women who delight in reading for the pleasure it gives them than Mr. Stephen. If he is only pleased, it is quite shocking what he will put up with, and even loudly commend. ‘We are indeed told dogmatically that a novelist should never indulge in little asides to a reader. Why not?... I like to read about Tom Jones or Colonel Newcome; but I am also very glad when Fielding or Thackeray puts his puppets aside for the moment and talks to me in his own person. A child, it is true, dislikes to have the illusion broken, and is angry if you try to persuade him that Giant Despair was not a real personage like his favourite Blunderbore. But the attempt to produce such illusions is really unworthy of work intended for full-grown readers.’ Puppets indeed! It is evil and wicked treason against our Sovereign Lady, the Art we serve, to talk of puppets. The characters of our living Novelists live and move and have an independent being all their very own. They are clothed in flesh and blood. They talk and jostle one another. Where, we breathlessly inquire, do they do all or any of these fine things? Is it in the printed page? Alas! no. It is only in the minds of their Authors, whither we cannot follow them even if we would. Mr. Stephen has great enthusiasm, which ought to reconcile us to his discriminating judgment and occasional easterly blast. Nobody loves a good book better than he. Whether his subject be Nathaniel Hawthorne or Daniel De Foe, it is handled cunningly, as by a man who knows. But his highest praise is his unbought verdict. He is his own man. He is dominated by no prevailing taste or fashion. Even his affection does not bias him. He yields to none in his admiration for the ‘good Sir Walter,’ yet he writes: ‘It is a question perhaps whether the firmer parts of Scott’s reputation will be sufficiently coherent to resist after the removal of the rubbish.’