A. EPIC, DRAMA, AND NOVEL 

1. We commonly distinguish writings which appeal directly to the emotions from those of which the immediate object is the conveyance of knowledge, by applying to the former a term of conveniently loose meaning, "works of imagination." Of the kinds included in the wide denotation of this term there are three, between which it seems difficult at first sight to draw a definite line; which appeal to similar feelings, and excite a similar interest, in the different ages to which each is appropriate. These are the epic poem, the drama, and the novel. Each purports to be, in some sort, a reflex of human life and action, as obeying certain laws and tending to a certain end. In each men are represented, not as at rest, or in contemplative isolation, but in co-operation or collision. In each there is a combination of two elements, an outer element of incident, an inner of passion and character. In view of these common features, we might be tempted at first sight to suppose the difference between the three kinds to be merely one of form, merely the difference between the vehicle of prose and the vehicle of metre. We shall find, however, on deeper inquiry, that to the true artist, who does not find his materials in the world, but creates them according to the inner laws by which the world and himself are governed, the vehicle is not more a part of his creation than the "impassioned truth" which it conveys. Here, as elsewhere, form and substance are inseparable; and the difference of form that distinguishes the novel from the other kinds of composition which it seems for the present to have superseded, symbolises, or rather is identical with, a different potency in the art by which the substance is created.