g the racked grief of Lear, the homely sense of Falstaff, or the
aerial vision of Miranda. Here is the historical drama; here is the varied
picture of the human heart; and if the world is not prolific of
Shakspeares, he at least has afforded decisive evidence of the vastness of
the field thus opened to its genius.

The HISTORICAL ROMANCE should take its place beside the plays of
Shakspeare. It does not aim at representation on the stage; it has not the
powers of the actor, the deception of scenery, the magic of theatrical
effect, nor the charms of music, to heighten its impression. But in
exchange it has one incalculable advantage, which in the end is adequate
to overbalance them all: it brings delight to the fireside. Seated in our
arm-chairs, with the wintry winds howling around us, with our feet at a
blazing fire, we are transported by the wand of the novelist to the most
remote ages and distant counties of the earth. The lofty spirit and
generous passions of chivalry; the stern resolves and heroic resolution of
ancient patriotism; the graceful profligacy and studied gallantry of the
court of Louis XIV.; the deep Machiavelism of Italian perfidy; the blunt
simplicity of German virtue; the freeborn fearlessness of English valour;
the lofty soul and poetic imagery of the North American savage; the
dauntless intrepidity of his Castilian conqueror; the heart-stirring
pathos of Eastern story; the savage ferocity of Scythian conquest--may be
alternately presented to our view. We roam at will, not only over space
but time; and if the writer is worthy of his high vocation, he can so warm
the imagination by the interest of event, the delineation of character,
the force of passion, or the charm of the pathetic, that the strongest
impression of reality is conveyed to the reader's mind. Add to this the
material appliances which are at his disposal; and which, though far
inferior to mental power in rousing interest or awakening sympathy, have
yet great effect in giving life to the picture, and transporting the
imagination to the scenes or the ages which are intended to be portrayed.
The scenery of all the different parts of the world, under every possible
variety of light, colour, and circumstance; the manners, habits, and
customs of all nations, and all ages and all grades of society; the
dresses, arms, houses, and strongholds of men in all stages of their
progress, from the huntsmen of Nimrod to the Old Guard of Napoleon; the
ide