This epic of national liberty is often itself inspired by the national aspirations it describes. Perhaps it would be too much to identify it with the historical novelists of Eastern Europe, especially since Hugo’s _Ninety-Three_, the hero of which has been described as being the Revolution, is admitted to be one of the best examples of it; but it seems fairly true to identify it chiefly with those countries in which the sense of national aspirations being thwarted has recently existed and has been an impulse to art and literature, and a good many of the historical novels of Eastern European writers are distinguished by the throb of national feeling that strikes through them. And this kind of novel is specially calculated to produce the precise feeling that it describes, to stir readers to the aspirations which are its theme, and to be a force for liberty itself. Such a result is even aimed at by writers, so that the novel becomes in danger of developing into a novel with a purpose. Victor Hugo’s _Ninety-Three_ is a striking example of the epic of national freedom; and it illustrates much of the mind of its author and much of the character of this type of novel. It has been said that its hero is not a particular personage in the story, but rather the Revolution itself. Hugo had the powerful grasp of the character of large and complex masses of detail, the genius for synthesis, the eagle-like sweep of an imagination that can comprehend a multitude of things and combine them in one principle--the very things that were needed to make a gigantic movement of the masses the theme of an epic. In his descriptions of the Vendée there is a chapter on “the spirit of the place” which shows his way of thinking; he demonstrates in fine flights of comprehensive statement that “the configuration of the soil decides many of man’s actions and the earth is more his accomplice than people believe...,” and he describes the difference that exists between the mountain insurgent like the Swiss, and the forest insurgent like the Vendean: “The one almost always fights for an ideal, the other for a prejudice. The one soars, the other crawls. The one combats for humanity, the other for solitude. The one desires liberty, the other wishes isolation. The one defends the commune, the other the parish.... The one has to deal with precipices, the other with quagmires....” The voice of Hugo is in all this, and whether it is true or false it shows a mind that jumps to synthesis. There is much more of the same kind of generalising in this book, _Ninety-Three_, and often Hugo seems to be preaching when he turns aside to throw out some incidental flashes of it. He sees not only the trees but the contour of the land, the character of the forest; he grasps not merely maddening events and a confusion of men bustling with action, but divines the whole curve of the mass-movement. He can speak of “the immense profile of the French