proached the cottage; the texture of the disturbed sand on the floor of the cottage, and of a piece of linen in the process of weaving; the dresses at the New Year's party. In the elements of light and color, a novel may be compared with painting, not only in details, but in general effects upon the reader. Fragmentary pictorial values in Silas Marner are the autumnal colors of the foliage; the bright turf contrasted with dark cones; the shadows lengthening under the hedgerows; the ash-fretted screen; the dark-blue cotton gown of Eppie, setting off her white throat, etc. The general color scheme of this novel may be said, perhaps not too fancifully, to be somewhat sombre, in keeping with the dominant emotional tone.

As portraits of types of character, consider the subjects of the pedlar; the country doctor; the Squire; the horse-trader; the miser; the sisters; the childless, etc. For scenes of a larger scope, consider the puss and the pup; the Rainbow group; theological discussion of peasants; Christmas in the village church; the peasants' wedding; Molly's death; Eppie by the pond; learning to smoke. The author herself suggests one scene for a painter. It is interesting to remember that the novel originated in what might be called a pictorial memory.

192. Sculpture. Historically viewed, sculpture differs from the novel in that it was a highly developed art during the classical period. Its best examples have perhaps always been "classical" in a broad sense; and what is classical is to some extent anti-novelistic. It is with the epic rather than with the novel that one might best associate sculpture, in an æsthetic comparison. The intimate historical associations of sculpture with architecture have no exact analogies in the relations of the novel to any other art.

In this art, the external material is often of great beauty and rarity, considered in itself. It is often little known in the ordinary practical uses of life; in this respect offering a striking contrast to language. The externality of form in sculpture is very pronounced, and is the element which is often the most impressive to the average spectator.

Certain languages may be called sculpturesque, in a figurative sense, but these languages (Latin clearly being one) are not the ones most responsive to the art of the novelist.

Sculpture may characterize the individual and the group, may represent a simple incident, and, in a series of compositions, may approach very closely to a plot-interest. It is clearly anti-novelistic in reference to the qualities of complexity and comprehensiveness; and it cannot rival the flexibility of the novel in the delicate shadings of emotion, incident, or description of place. Even more than painting, though for similar reasons, sculpture shows a tendency toward the typical and the symbolical.

The choiceness of the materials used in sculpture, combined with the necessity for a masterly physical process of execution, may suggest that a subject ought logically to be dignified and of large permanent significance to deserve the epithet "sculpturesque." In addition to these qualities, the sculpturesque implies calmness, objectivity, perfection of form, simplicity of outline, and a high degree of intellectual interest. The rigid repression of nonessentials is necessary. Sculpture may be said to reproduce life sub specie æternitatis—the eternity of material form at least; whereas the novel lives to a large extent by virtue of its treatment of the concrete and transitory. Some short stories may be called sculpturesque in their entirety; in a novel, this quality must be episodic, though it need not be accidental.

In Silas Marner, there are several passages which have a considerable sculpturesque quality, according to the analysis just given. Note, for example, the comparative simplicity, self-repression, and intellectual calm of Chapter XIX. As subjects for actual treatment in sculpture one might suggest :- Wildfire dying; the old violinist; Godfrey and

his spaniel; the doctor looking at dead Molly; and "Memory" (Nancy in reverie). Godfrey, because of his fine form, might be especially attractive to the portrait-sculptor.

193. Music. As in the novel, from the present-day point of view, the greatest development in this art has been mainly since the Renaissance, and even to a large degree since the beginning of the eighteenth century. Unlike the novel, the progress of music has been associated with increasing perfection of mechanical agencies of expression. Another point in common with the novel is the democracy of music, its wide-spread popularity, which results in a certain tendency to lower its standards among the masses.

In the general history of art, the romantic movement has special relations to music; while realism, so prominent in painting, has comparatively scant embodiment in pure music. The works of Chopin, Mendelssohn, and Beethoven may be compared in many important respects with the fictions of Manzoni, Hugo, and Pushkin. The relations of morality to art, the contrast between the ecclesiastical and the secular service of art, are other topics which have much in common in the histories of music and of the novel.

The external material of music is not only closely related to that of the novel, but is in part actually identical with it. This fact opens up a very inviting field of technical criticism. The sciences which most directly concern this material in the two arts, are both branches of acoustics; but the science of music may or must approach more closely to an exact mathematical basis than philology. Music resembles the novel in that it is composed of details arranged in a temporal series. This fact makes possible a comparison of many such points as preparation,

reminiscence, mass, episode, cadence, introduction, conclusion, etc., in the two arts. In orchestral or chorus music, the interweaving of separable elements resembles the corresponding composition of plot. The analysis of a sonata or a symphony might be helpful to the student of formal structure in the novel. The "line of emotion" for a novel, as given in Section 35, could often be very closely followed in musical interpretation. In general, the entire structure of a great musical composition will bear more rigid analytical investigation than that of a novel. Instrumental music cannot narrate, but it has the power to furnish a significant accompaniment to a literary narration, or to suggest itself a series of the principal incidents already familiar in a literary composition.

Though the term "descriptive" is found in musical criticism, it has not the same application as in fiction. The general mental and emotional elements of a situation can be suggested by music, but it cannot reproduce the exact details of place or time settings. Music can give the general atmosphere of the seasons, of morning and of evening, but it could not represent with any accuracy the historical period of Ivanhoe, or the particular evening of Molly Cass' death.

Compare the æsthetic interpretation of Delirium, Sadness of Soul, Consolation, in Mendelssohn's Songs without Words, with the interpretation of similar themes in a novel.

The terms "dramatic" and "lyrical" are also found in musical criticism. In its way, music can characterize individuals, the seven ages of man, or the life of social groups.

Compare the presentation of the Scandinavian peasant in the music of Grieg with the corresponding literary descriptions of Björnson, Lie, and Kielland. The national characteristics of the Pole appear in the music of Chopin as well as in the conscious literary analysis of Sienkiewicz.

It is with the lyrical element of fiction that music in general has the most obvious kinship; and this fact once more places the short story and the romance in a separate category from the novel. Music stands unrivalled in its power to suggest the vague, the supernatural, etc., and to produce all the effects of sudden and delicate emotional transition.

As in the drama, so in a musical performance by others than the composer, there is an artist intervening between the original artist and the audience; and the physical process of execution is visibly and immediately before the audience.

A question of special interest, which may be taken as representative of a large class of questions concerning the musical type of style, is the capacity of musical art to express the comic.

In Silas Marner, suggest the themes and the general tone of child songs for Eppie, and of instrumental accompaniment for Aaron. The general style of the music in the Lantern Yard church service is quite clearly indicated in the text. Among the musical themes toward which certain episodes of the novel point, are, the spirit of the spring and of the autumn; moods of memory, longing, and love; the marriage of peasants; labor at the loom; the solitary Christmas; an old-fashioned country New Year's dance; an evening at the village inn; and the death of the opium eater.

194. Architecture. The historical relations of classical, Gothic, Renaissance, and revived Gothic architecture, have definite analogies in the field of fiction. In both arts, the transition from ecclesiastical to secular influences, the shifting of emphasis from a common church to individual nationalities, has much the same general outline. Doubtless national schools have been much more determinate in the more material art. One could hardly imagine Ruskin