human
The Three Guardsmen and in
gpt
Midsummer Night's Dream. Dumas is as conscientious about his world of adventure as Shakespeare is in his semi-supernatural region. If Shakespeare did not respect the laws of his imaginary country, and the creatures of his fancy, if Dumas were not true to the characters he conceived, and the achievements possible to them, such works would fall into confusion. A recent story called
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The Refugees set out with a certain promise of veracity, although the reader understood of course that it was to be a purely romantic invention. But very soon the author recklessly violated his own conception, and when he got his
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characters upon an iceberg, the fantastic position became ludicrous without being funny, and the performances of the same characters in the wilderness of the New World showed such lack of knowledge in the writer that the story became an insult to the intelligence of the reader. Whereas such a romance as that of
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The MS. Found in a Copper Cylinder, although it is humanly impossible and visibly a figment of the imagination, is satisfactory to the reader because the author is true to his conception, and it is interesting as a curious allegorical and humorous illustration of the ruinous character in human affairs of extreme unselfishness. There is the same sort of truthfulness in Hawthorne's allegory of
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The Celestial Railway, in Froude's
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On a Siding at a Railway Station, and in Bunyan's
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Pilgrim's Progress.
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And this is probably the reason why so many of the novels of
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are so much more offensively untruthful to us than the wildest romances. In the former the author could perhaps