Mrs. Ward, in the _Nineteenth Century_, develops with warmth and force the theme and serious purpose of _Robert Elsmere_; and she does so, using the same literary method which she used, certainly with effect, in the story itself. Every age has its congenial fashion of discussing the great questions which affect, or seem to affect, the fate of mankind. According to the time and its circumstances, it is a _Summa Theologiae_, or a _Divina Commedia_, or a _Novum Organum_, or a Calvin's _Institutes_, or a Locke _On the Understanding_, or an _Encyclopedia_, or a _Candide_, which sets people thinking more than usual and comparing their thoughts. Long ago in the history of human questioning, Plato and Cicero discovered the advantages over dry argument of character and easy debate, and so much of story as clothed abstractions and hard notions with human life and affections. It is a weighty precedent. And as the prophetess of a "New Reformation" Mrs. Ward has reverted to what is substantially the same method. She is within her right. We do not blame her for putting her argument into the shape of a novel, and bringing out the points of her case in the trials and passionate utterances of imaginary persons, or in a conversation about their mental history. But she must take the good with the bad. Such a method has its obvious advantages, in freedom, and convenience, and range of illustration. It has its disadvantages. The dealer in imagination may easily become the unconscious slave of imagination; and, living in a self-constructed world, may come to forget that there is any other; and the temptation to unfairness becomes enormous when all who speak, on one side or the other, only speak as you make or let them speak.