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terms may be heaped upon it without the possibility of completely clearing it from them. To some eyes it underlies them most when it is most ambitious, as in the Le Fevre story and the diatribe against critics. It leaves the court with all manner of stains on its character. Only, once more, if it did not exist we should be ignorant of more than one of the most remarkable possibilities of the English language. Thus, in almost exactly the course of a technical generation--from the appearance of Pamela in xxxx to that of Humphry Clinker in xxxx--the wain of the novel was solidly built, furnished with four main wheels to move it, and set a?going to travel through the centuries. In a sense, inasmuch as Humphry Clinker itself, though Smollett's best work, can hardly be said to show any absolutely new faculties, character, or method, the process was even accomplished in two?thirds of the time, between Pamela and Tristram Shandy. We shall see in the next chapter how eagerly the examples were taken up: and how, long before Smollett died, the novel of this and that kind had become one of the most
prolific branches of literature. But, for the moment, the important thing is to repeat that it had been thoroughly and finally started on its high road, in general by Richardson, Fielding, and Smollett; in particular and wayward but promising side?paths by Sterne. The English Novel 50 strictly eighteenth century, but belongs to the first decade or so of the nineteenth. But the majority of the contents actually conform to the title, and there is hardly any more convenient or generally applicable heading for the novel before Miss Austen and Scott, excluding the great names dealt with in the last chapter. It is at last beginning to be recognised in principle, though it is still much too often forgotten in practice, that the minor work of a time is at least as important as the major in determining general literary characteristics and tendencies. Nor is this anywhere much more noticeable than in regard to the present period of our present subject. The direct influence of Richardson and Fielding was no doubt very great: but the development of the novel during the middle and later century was too
large and too various to be all mere imitation. As a result, however, of their influence, there certainly came over the whole kind a very remarkable change. Even before them the nisus towards it, which has been noticed in the chapter before the last, is observable enough. Mrs. Manley's rather famous New Atlantis (xxxx) has at least the form of a key?novel of the political sort: but the whole interest is in the key and not in the novel, though the choice of the form is something. And the second, third, and fourth decades of the century saw other work testifying to the vague and almost unconscious hankering after prose fiction which was becoming endemic. A couple of examples of this may be treated, in passing, before we come to the work--not exactly of the first class in itself--of a writer who shows both the pre?Richardsonian and the post?Richardsonian phases of it most interestingly, and after a fashion to which there are few exact parallels. A book, which counts here from the time of its appearance, and from a certain oddity and air of "key" about it, rather than from much merit as literature,