arrives at the chapter—or rather is gently inducted thereunto by his hearers—of the ghosts who frequent certain of the Lammeter stables. But ghosts threatening to prove as pregnant a theme of contention as Durham cows, the landlord again meditates: "'There's folks i' my opinion, they can't see ghos'es, not if they stood as plain as a pikestaff before 'em. And there's reason i' that. For there's my wife, now, can't smell, not if she'd the strongest o' cheese under her nose. I never seed a ghost myself, but then I says to myself, "Very like I haven't the smell for 'em." I mean, putting a ghost for a smell or else contrairiways. And so I'm for holding with both sides.... For the smell's what I go by.'"

The best drawn of the village worthies in Silas Marner are Mr. Macey, of the scene just quoted, and good Dolly Winthrop, Marner's kindly patroness. I have room for only one more specimen of Mr. Macey. He is looking on at a New Year's dance at Squire Cass's, beside Ben Winthrop, Dolly's husband.

"'The Squire's pretty springy, considering his weight,' said Mr. Macey, 'and he stamps uncommon well. But Mr. Lammeter beats 'em all for shapes; you see he holds his head like a sodger, and he isn't so cushiony as most o' the oldish gentlefolks,—they run fat in gineral;—and he's got a fine leg. The parson's nimble enough, but he hasn't got much of a leg: it is a bit too thick downward, and his knees might be a bit nearer without damage; but he might do worse, he might do worse. Though he hasn't that grand way o' waving his hand as the Squire has.'

"'Talk o' nimbleness, look at Mrs. Osgood,' said Ben Winthrop.... 'She's the finest made woman as is, let the next be where she will.'

"'I don't heed how the women are made,' said Mr. Macey, with some contempt. 'They wear nayther coat nor breeches; you can't make much out o' their shapes!'"

Mrs. Winthrop, the wheelwright's wife who, out of the fullness of her charity, comes to comfort Silas in the season of his distress, is in her way one of the most truthfully sketched of the author's figures. "She was in all respects a woman of scrupulous conscience, so eager for duties that life seemed to offer them too scantily unless she rose at half past four, though this threw a scarcity of work over the more advanced hours of the morning, which it was a constant problem for her to remove.... She was a very mild, patient woman, whose nature it was to seek out all the sadder and more serious elements of life and pasture her mind upon them." She stamps I. H. S. on her cakes and loaves without knowing what the letters mean, or indeed without knowing that they are letters, being very much surprised that Marner can "read 'em off,"—chiefly because they are on the pulpit cloth at church. She touches upon religions themes in a manner to make the superficial reader apprehend that she cultivates some polytheistic form of faith,—extremes meet. She urges Marner to go to church, and describes the satisfaction which she herself derives from the performance of her religious duties.

"If you've niver had no church, there 's no telling what good it'll do you. For I feel as set up and comfortable as niver was, when I've been and heard the prayers and the singing to the praise and glory o' God, as Mr. Macey gives out,—and Mr. Crackenthorp saying good words and more partic'lar on Sacramen' day; and if a bit o' trouble comes, I feel as I can put up wi' it, for I've looked for help i' the right quarter, and giv myself up to Them as we must all give ourselves up to at the last: and if we've done our part, it isn't to be believed as Them as are above us 'ud be worse nor we are, and come short o' Theirn."

"The plural pronoun," says the author, "was no heresy of Dolly's, but only her way of avoiding a presumptuous familiarity." I imagine that there is in no other English novel a figure so simple in its elements as this of Dolly Winthrop, which is so real without being contemptible, and so quaint without being ridiculous.

In all those of our author's books which have borne the name of the hero or heroine,—Adam Bede, Silas Marner, Romola, and Felix Holt,—the person so put forward has really played a subordinate part. The author may have set out with the intention of maintaining him supreme; but her material has become rebellious in her hands, and the technical hero has been eclipsed by the real one. Tito is the leading figure in Romola. The story deals predominantly, not with Romola as affected by Tito's faults, but with Tito's faults as affecting first himself, and incidentally his wife. Godfrey Cass, with his lifelong secret, is by right the hero of Silas Marner. Felix Holt, in the work which bears his name, is little more than an occasional apparition; and indeed the novel has no hero, but only a heroine.

The same remark applies to Adam Bede, as the work stands. The central figure of the book, by virtue of her great misfortune, is Hetty Sorrel. In the presence of that misfortune no one else, assuredly, has a right to claim dramatic pre-eminence. The one person for whom an approach to equality may be claimed is, not Adam Bede, but Arthur Donnithorne. If the story had ended, as I should have infinitely preferred to see it end, with Hetty's execution, or even with her reprieve, and if Adam had been left to his grief, and Dinah Morris to the enjoyment of that distinguished celibacy for which she was so well suited, then I think Adam might have shared the honours of pre-eminence with his hapless sweetheart. But as it is, the continuance of the book in his interest is fatal to him. His sorrow at Hetty's misfortune is not a sufficient sorrow for the situation. That his marriage at some future time was quite possible, and even natural, I readily admit; but that was matter for a new story.

This point illustrates, I think, the great advantage of the much-censured method, introduced by Balzac, of continuing his heroes' adventures from tale to tale. Or, admitting that the author was indisposed to undertake, or even to conceive, in its completeness, a new tale, in which Adam, healed of his wound by time, should address himself to another woman, I yet hold that it would be possible tacitly to foreshadow some such event at the close of the tale which we are supposing to end with Hetty's death,—to make it the logical consequence of Adam's final state of mind. Of course circumstances would have much to do with bringing it to pass, and these circumstances could not be foreshadowed; but apart from the action of circumstances would stand the fact that, to begin with, the event was possible.

The assurance of this possibility is what I should have desired the author to place the sympathetic reader at a stand-point to deduce for himself. In every novel the work is divided between the writer and the reader; but the writer makes the reader very much as he makes his characters. When he makes him ill, that is, makes him different, he does no work; the writer does all. When he makes him well, that is, makes him interested, then the reader does quite half the labour. In making such a deduction as I have just indicated, the reader would be doing but his share of the task; the grand point is to get him to make it. I hold that there is a way. It is perhaps a secret; but until it is found out, I think that the art of story-telling cannot be said to have approached perfection.

When you re-read coldly and critically a book which in former years you have read warmly and carelessly, you are surprised to see how it changes its proportions. It falls away in those parts which have been pre-eminent in your memory, and it increases in the small portions. Until I lately read Adam Bede for a second time, Mrs. Poyser was in my mind its representative figure; for I remembered a number of her epigrammatic sallies. But now, after a second reading, Mrs. Poyser is the last figure I think of, and a fresh