There is a plain matter-of-factness about Trollope's narratives which is convincing, making it difficult for the reader to call himself back to fact and to remember that he has been wandering in a world of fiction. In _The Three Clerks_, the young men who give the tale its title are all well drawn. To accomplish this in the cases of Alaric and Charley Tudor was easy enough for a skilled writer, but to breathe life into Harry Norman was difficult. At first he appears to be a lay-figure, a priggish dummy of an immaculate hero, a failure in portraiture; but toward the end of the book it is borne in on us that our dislike had been aroused by the lifelike nature of the painting, dislike toward a real man, priggish indeed in many ways, but with a very human strain of obstinacy and obdurateness, which few writers would have permitted to have entered into the make-up of any of their heroes. Of the other men, Undy Scott may be named as among the very best pieces of portraiture in Victorian fiction; touch after touch of detail is added to the picture with really admirable skill, and Undy lives in the reader's memory as vividly as he must have existed in the imagination of his creator. There are some strong and curious passages in Chapter XLIV, in which the novelist contrasts the lives and fates of Varney, Bill Sykes and Undy Scott; they stir the blood, proving uncontestibly that Undy Scott was as real to Trollope as he is to us: 'The figure of Undy swinging from a gibbet at the broad end of Lombard Street would have an effect. Ah, my fingers itch to be at the rope.' Trollope possessed the rare and beautiful gift of painting the hearts and souls of young girls, and of this power he has given an admirable example in Katie Woodward. It would be foolish and cruel to attempt to epitomize, or rather to draw in miniature, this portrait that Trollope has drawn at full length; were it not for any other end, those that are fond of all that is graceful and charming in young womanhood should read _The Three Clerks_, so becoming the friend, nay, the lover of Katie. Her sisters are not so attractive, simply because nature did not make them so; a very fine, faithful woman, Gertrude; a dear thing, Linda. All three worthy of their mother, she who, as we are told in a delicious phrase, 'though adverse to a fool' 'could sympathize with folly '. These eight portraits are grouped in the foreground of this 'conversation' piece, the background being filled with slighter but always live figures.