I cannot but think that in the hands of the novelist the middle course is the most powerful. Much as we may delight in burlesque, we cannot claim for it the power of achieving great results. So much I think will be granted. For the sublime we look rather to poetry than to prose, and though I will give one or two instances just now in which it has been used with great effect in prose fiction, it does not come home to the heart, teaching a lesson, as does the realistic. The girl who reads is touched by Lucy Ashton, but she feels herself to be convinced of the facts as to Jeanie Deans, and asks herself whether she might not emulate them. Now as to the realism of Thackeray, I must rather appeal to my readers than attempt to prove it by quotation. Whoever it is that speaks in his pages, does it not seem that such a person would certainly have used such words on such an occasion? If there be need of examination to learn whether it be so or not, let the reader study all that falls from the mouth of Lady Castlewood through the novel called _Esmond_, or all that falls from the mouth of Beatrix. They are persons peculiarly situated,--noble women, but who have still lived much out of the world. The former is always conscious of a sorrow; the latter is always striving after an effect;--and both on this account are difficult of management. A period for the story has been chosen which is strange and unknown to us, and which has required a peculiar language. One would have said beforehand that whatever might be the charms of the book, it would not be natural. And yet the ear is never wounded by a tone that is false. It is not always the case that in novel reading the ear should be wounded because the words spoken are unnatural. Bulwer does not wound, though he never puts into the mouth of any of his persons words such as would have been spoken. They are not expected from him. It is something else that he provides. From Thackeray they are expected,--and from many others. But Thackeray never disappoints. Whether it be a great duke, such as he who was to have married Beatrix, or a mean chaplain, such as Tusher, or Captain Steele the humorist, they talk,--not as they would have talked probably, of which I am no judge,--but as we feel that they might have talked. We find ourselves willing to take it as proved because it is there, which is the strongest possible evidence of the realistic capacity of the writer.