Works of fiction would be less doubtful reading if the reader, after finishing the last page of the story, utterly forgot the whole, or remembered it only as we remember veritable history. The loss in that case would be chiefly loss of time. But as things are, novel-readers spend many a precious hour in dreaming out clumsy little romances of their own, in which they themselves are the beautiful ladies and the gallant gentlemen who achieve impossibilities, suffer unutterable woe for a season, and at last anchor in a boundless ocean of connubial bliss. Nor does it require much previous mental cultivation to enable one to indulge in these visionary joys. The school-boy and school-girl, the apprentice, the seamstress, the girl in the kitchen, can conjure up rosy dreams as readily as other people; and perhaps more readily, as it requires but little reading of the sort to render them impatient of their lot in life, and set them to imagine something that looks higher and better. In fact, the Cinderella of the old nursery story is the true type of thousands of our novel-readers. They live a sort of double life-one in their own proper persons, and in their real homes; the other as ideal lords and ladies in dream-land. Ella, sitting among her native cinders, is a very prosaic individual, addicted to exceedingly prosaic employments, and fulfilling a destiny far removed from sublimated romance. But touched by the wand of the good Fairy, Ella is transfigured, her coarse garments are robes of magnificence, the mice are prancing steeds, the pumpkin is a coach, and she rides in state, the admiration of all beholders, and weds the prince triumphantly. The modern Ella, sitting among the cinders, has indeed no good Fairy to confer sudden splendors upon her; but her place is well supplied by sundry periodicals, designed for just this style of readers. And so Ella invests her six cents weekly, and reads, and dreams. According to the flesh, she bears an honest, humble name, busies herself with a cooking stove, or a noisy sewing-machine, and with all her matrimonial anglings, perhaps has never a nibble. In her other capacity she is the Countess of Moonshine, who dwells in a Castle of Spain, wears a coronet of diamonds, and to whom ardent lords and smitten princes make love in loftiest eloquence; and she is blest. But, as Napoleon once observed, there is only a step between the sublime and the ridiculous. At any moment the coach of state may relapse into its original squash, the prancing horses again become mice, the costly array turn once more to rags; and the Countess, sweeping in her trailing robes through the glittering crowd of admiring lords and envious ladies, subside into her former simple self, with the hideous onions to be peeled, or the clattering machine to be kept in motion.