in the hands of genius, realism is apt to be dull. It gives us
uninteresting photographs. There are times when we do not care so much
for instruction as for amusement and recreation. This fact opens a
legitimate field for the imaginative story-teller. There is to-day a
decided reaction against realism in the form of what has been called the
_new romanticism_. It does not present to us elaborate studies of actual
life, but entertains us with an interesting or exciting story.
Stevenson, Weyman, Hope, and Doyle have been leaders in this movement,
and some of the most widely read novels of the past few years have
belonged to this new romanticism.

+71. Idealism.+ The influence of idealism in fiction should be
recognized. It may tinge the work both of romanticism and of realism.
It is, perhaps, to be regarded as an atmosphere rather than as a method.
The aim of idealism is to soften the hard realities of life. It in a
measure portrays things not as they are but as they should be; and as
far as it definitely pursues this course it presents a contrast to
realism. It naturally chooses for the most part the nobler types of
character; and to the villains that may be introduced it metes out in
due time a merited punishment. The trials of life are brought to happy
issue. The hero and heroine, both somewhat above the characters of
ordinary life, at length triumph over all the obstacles that beset their
path. Kept within due bounds, idealism gives a hopeful and uplifting
tone to fiction; but without careful restraint it is in danger of
becoming false and injurious. It presents to the young a caricature of
the world, and exposes them, at a later period, to bitter and dangerous
disillusionment. Among our greatest novelists an idealistic tendency is
very perceptible in Scott and Dickens.

+72. Component Elements.+ In every important work of fiction there are
six things to be considered, namely, the characters, the incidents, the
environment, the plot, the purpose, and the view or philosophy of life.
The first three elements constitute the materials out of which the
novelist builds his work; the last three supply the general plan by
which he builds it. The excellence of the work, as in architecture,
depends both on the character of the materials and on the manner in
which they are put together. When Solomon constructed his famous temple
he not only used cedar and gold but also joined them together according
to a wise design and noble pu