tained to cover any work of the unbridled
imagination.

Footnote 213: This division of works of fiction into romances and novels
is a somewhat arbitrary one, but it seems, on the whole, the most natural
and the most satisfactory. Many writers use the generic term "novel" to
include all prose fiction. They divide novels into two classes, stories and
romances; the story being a form of the novel which relates certain
incidents of life with as little complexity as possible; and the romance
being a form of novel which describes life as led by strong emotions into
complex and unusual circumstances. Novels are otherwise divided into novels
of personality, like _Vicar of Wakefield_ and _Silas Marner_; historical
novels, _Ivanhoe_; novels of romance, like _Lorna Doone_ and novels of
purpose, like _Oliver Twist_ and _Uncle Tom's Cabin_. All such
classifications are imperfect, and the best of them is open to objections.

Footnote 214: One of these tales was called _The Wonderful Things beyond
Thule_. It is the story of a youth, Dinias, who for love of a girl,
Dercyllis, did heroic things and undertook many adventures, including a
journey to the frozen north, and another to the moon. A second tale,
_Ephesiaca_, is the story of a man and a maid, each of whom scoffs at love.
They meet and fall desperately in love; but the course of true love does
not run smooth, and they separate, and suffer, and go through many perils,
before they "live happily ever after." This tale is the source of the
mediaeval story, _Apollonius of Tyre_, which is used in Gower's _Confessio
Amantis_ and in Shakespeare's _Pericles_. A third tale is the pastoral love
story, _Daphnis and Chloe_, which reappeared in many forms in subsequent
literature.

Footnote 215: Minto's _Life of Defoe_, p. 139.

Footnote 216: These were not what the booksellers expected. They wanted a
"handy letter writer," something like a book of etiquette; and it was
published in 1741, a few months after _Pamela_.

Footnote 217: See p. 315.

Footnote 218: For titles and publishers of general reference works, and
of inexpensive texts, see General Bibliography at end of this book.

Footnote 219: Mrs. Radcliffe's best work is the _Mysteries of Udolpho_.
This is the story of a tender heroine shut up in a gloomy castle. Over her
broods the terrible shadow of an ancestor's crime. There are the usual
"goose-flesh" accompaniments of haunted rooms, secret doors, sliding
panels,