'"I am convinced," said Edward, "that you really feel all the delight in a fair prospect which you profess to feel. But, in return, your sister must allow me to feel no more than I profess. I like a fine prospect, but not on picturesque principles; I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight, and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles or thistles or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower, and a troop of tidy happy villagers please me better than the finest banditti in the world."'[5] There can be no doubt, indeed, that in the novels of this period two main features of the modern story, the word-painting of scenery and the analysis of subjective emotions, are conspicuously absent. Yet among the manifold causes to which may be ascribed the wide recent expansion of the Novel of Manners, we may well reckon the decisive impulse that it received from these famous authoresses. They were, in fact, the founders of the dominion which women bid fair to establish over this class of fiction, where they are already extending it to a degree that threatens to evict the men. Various circumstances have co-operated toward this curious literary revolution. The conventional romance, though apparently flourishing, was in their time on the brink of a decline; and as women have never succeeded in the Novel of Adventure--for the obvious reason that their tastes and experiences are opposed to success--they had no difficulty in abandoning a decaying school, and in throwing all their freshness of mind and subtlety of observation into the department which precisely suited their idiosyncrasy. The spread of education among female readers and writers has undoubtedly aided them. And thus the rise of feminine novelists has operated as a formidable contingent of fresh troops that has joined the camp of Manners, to which alliance it may be noticed that, with very few exceptions, the women have faithfully adhered. For although in the last century Mrs. Radcliffe had revived, as Mr. Raleigh observes, the Romance proper, and Miss Jane Porter claimed in the first years of this century the honour of having invented the historical romance, women have been practically superseded in this class of literature, so far as it survives, by men, George Eliot's _Romola_ being the only notable exception. The true representatives of female novelists are now the leaders of that school which confines itself to minute observation, whether of outward facts or inward feeling, and which is above all things devoted to the close delineation of contemporary society. The analysis of character within the range of ordinary experience, the play of civilised emotion, the vicissitudes of grief or joy in the parsonage, the ball-room, and the village, the troubled course of legitimate love-making, have all