No boy can ever hope to become a really great or celebrated novel-reader who does not begin his apprenticeship under the age of fourteen, and, as I said before, stick to it as long as he lives. He must learn to scorn those frivolous, vacillating and purposeless ones who, after beginning properly, turn aside and whiling away their time on mere history, or science, or philosophy. In a sense these departments of literature are useful enough. They enable you often to perceive the most cunning and profoundly interesting touches in fiction. Then I have no doubt that, merely as mental exercise, they do some good in keeping the mind in training for the serious work of novel-reading. I have always been grateful to Carlyle's “French Revolution,” if for nothing more than that its criss-cross, confusing and impressive dullness enabled me to find more pleasure in “A Tale of Two Cities” than was to be extracted from any merit or interest in that unreal novel. This much however, may be said of history, that it is looking up in these days as a result of studying the spirit of the novel. It was not many years ago that the ponderous gentlemen who write criticisms (chiefly because it has been forgotten how to stop that ancient waste of paper and ink) could find nothing more biting to say of Macaulay's “England” than that it was “a splendid work of imagination,” of Froude's “Caesar” that it was “magnificent political fiction,” and of Taine's “France” that “it was so fine it should have been history instead of fiction.” And ever since then the world has read only these three writers upon these three epochs--and many other men have been writing history upon the same model. No good novel-reader need be ashamed to read them, in fact. They are so like the real thing we find in the greatest novels, instead of being the usual pompous official lies of old-time history, that there are flesh, blood and warmth in them. In 1877, after the railway riots, legislative halls heard the French Revolution rehearsed from all points of view. In one capital, where I was reporting the debate, Old Oracle, with every fact at hand from “In the beginning” to the exact popular vote in 1876, talked two hours of accurate historical data from all the French histories, after which a young lawyer replied in fifteen minutes with a vivid picture of the popular conditions, the revolt and the result. Will it be allowable, in the interest of conveying exact impression, to say that Old Oracle was “swiped” off the earth? No other word will relieve my conscience. After it was all over I asked the young lawyer where he got his French history. “From Dumas,” he answered, “and from critical reviews of his novels. He's short on dates and documents, but he's long on the general facts.” Why not? Are not novels history? Book for book, is not a novel by a competent conscientious novelist just as truthful a record of typical men, manners and motives as formal history is of official men, events and motives?