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forbidden by one of its most peculiar and indispensable adjuncts; we allude of course, to rhythm. It may be added, here, par parenthèse, that the author who aims at the purely beautiful in a prose tale is laboring at great disadvantage. For Beauty can be better treated in the poem. Not so with terror, or passion, or horror, or a multitude of such other points. And here it will be seen how full of prejudice are the usual animadversions against those tales of effect many fine examples of which were found in the earlier numbers of Blackwood. The impressions produced were wrought in a legitimate sphere of action, and constituted a legitimate although sometimes an exaggerated interest. They were relished by every man of genius: although there were found many men of genius who condemned them without just ground. The true critic will but demand that the design intended be accomplished, to the fullest extent, by the means most advantageously applicable.

—Graham’s Magazine, May 1842

ON THE DESIGN OF FICTION

(from “A Chapter of Suggestions”)

An excellent Magazine paper might be written upon the subject of the progressive steps by which any great work of art—especially of literary art—attained completion. How vast a dissimilarity always exists between the germ and the fruit—between the work and its original conception! Sometimes the original conception is abandoned, or left out of sight altogether. Most authors sit down to write with no fixed design, trusting to the inspiration of the moment; it is not, therefore, to be wondered at, that most books are valueless. Pen should never touch paper, until at least a well-digested general purpose be established. In fiction, the dénouement—in all other composition the intended effect, should be definitely considered and arranged, before writing the first word; and no word should be then written which does not tend, or form a part of a sentence which tends, to the development of the dénouement, or to the strengthening of the effect. Where plot forms a portion of the contemplated interest, too much preconsideration cannot be had. Plot is very imperfectly understood, and has never been rightly defined. Many persons regard it as mere complexity of incident. In its most rigorous acceptation, it is that from which no component atom can be removed, and in which none of the component atoms can be displaced, without ruin to the whole; and although a sufficiently good plot may be constructed, without attention to the whole rigor of this definition, still it is the definition which the true artist should always keep in view, and always endeavor to consummate in his works. Some authors appear, however, to be totally deficient in constructiveness, and thus, even with plentiful invention, fail signally in plot. Dickens belongs to this class. His “Barnaby Rudge” shows not the least ability to adapt. Godwin and Bulwer are the best constructors of plot in English literature. The former has left a preface to his “Caleb Williams,” in which he says that the novel was written backwards; the author first completing the second volume, in which the hero is involved in a maze of difficulties, and then casting about him for sufficiently probable cause of these difficulties, out of which to concoct volume the first. This mode cannot surely be recommended, but evinces the idiosyncrasy of Godwin’s mind. Bulwer’s “Pompeii” is an instance of admirably managed plot. His “Night and Morning,” sacrifices to mere plot interests of far higher value.

—The Opal, 1845

THE OBJECT OF POETRY

(from “Letter to B——”)

It has been said that a good critique on a poem may be written by one who is no poet himself. This, according to your idea and mine of poetry, I feel to be false—the less poetical the critic, the less just the critique, and the converse. On this account, and because there are but few B—’s in the world, I would be as much ashamed of the world’s good opinion as proud of your own. Another than yourself might here observe, “Shakspeare is in possession of the world’s good opinion, and yet Shakspeare is the