pt
from real life than a tale. Formal and conventional though it is,
however, it was never wholly possible to Miss Edgeworth to belie her
genius. Invariably she introduces some character, trait or observation
that redeems even a dull tale from condemnation. In this case it is the
delicate skill with which is depicted the gradual decline in character
of Manon, who from an unconscientious child becomes a bold, unscrupulous
woman. It was in penning _Madame de Fleury_ that Miss Edgeworth
encountered the difficulty she had observed of making truth and fiction
mix well together. _Emilie de Coulanges_ is the too correctly virtuous
and rather colorless daughter of a refugee French countess, whose
provoking character is deftly depicted with its selfishness, its
self-absorption, that renders her both ungrateful and regardless of the
comfort of the English lady who has most generously entertained her at
no little personal inconvenience. Unfortunately an irritable temper mars
Mrs. Somers' good, generous nature, and causes her to weary out even the
affections of those who have most cause to love her. It also renders her
suspicious of the probity, the good intentions of her friends. She loves
to arouse sentimental quarrels; the bickerings and ultimate
reconciliation give her real pleasure, as a form of mental titillation,
and she fails to see that, though with her it is all surface, as her
real feelings are not aroused, this may not be the case with her
victims. Mrs. Somers, who may rank as the true heroine, is a bold yet
highly-finished portrait, conceived and executed in Miss Edgeworth's
best manner. The countess is little less happy. Miss Edgeworth possessed
in a high degree that intuitive judgment of character which is more
common in women than in men, and which, when properly exercised,
balanced by judgment and matured by experience, explains the success
they have met with in the domain of fictitious literature.

Again and again Miss Edgeworth proved the fecund creativeness with which
she could delineate the moral and intellectual anatomy of the most
varied and various characters. Her personages are animate with life and
brightness. Above all else she was an artist in detail, and never more
felicitous than when furnishing studies of foible in female form. Of
this the _Modern Griselda_ is a notable instance--a brilliant
performance, almost too brilliant, for it scintillates with wit and
epigrammatic wisdom; it never fails or flag