But Richardson, who began his career by writing amatory epistles for serving maids, realized (and showed his genius thereby), that if the hard fortunes and eventful triumph of the humble Pamela could but be sympathetically portrayed, the interest on the part of his aristocratic audience was certain to follow,—­as the sequel proved.

He knew that because Pamela was a human being she might therefore be made interesting; he adopted, albeit unconsciously, the Terentian motto that nothing human should be alien from the interests of his readers.  And as the Novel developed, this interest not only increased in intensity, but ever spread until it depicted with truth and sympathy all sorts and conditions of men.  The typical novelist to-day prefers to leave the beaten highway and go into the by-ways for his characters; his interest is with the humble of the earth, the outcast and alien, the under dog in the social struggle.  It has become well-nigh a fashion, a fad, to deal with these picturesque and once unexploited elements of the human passion-play.

This interest does not stop even at man; influenced by modern conceptions of life, it overleaps the line of old supposed to be impassable, and now includes the lower order of living things:  animals have come into their own and a Kipling or a London gives us the psychology of brutekind as it has never been drawn before—­from the view-point of the animal himself.  Our little brothers of the air, the forest and the field are depicted in such wise that the world returns to a feeling which swelled the heart of St. Francis centuries ago, as he looked upon the birds he loved and thus addressed them: 

“And he entered the field and began to preach to the birds which were on the ground; and suddenly those which were in the trees came to him and as many as there were they all stood quietly until Saint Francis had done preaching; and even then they did not depart until such time as he had given them his blessing; and St. Francis, moving among them, touched them with his cape, but not one moved.”

It is because this modern form of fiction upon which we fix the name Novel to indicate its new features has seized the idea of personality, has stood for truth and grown ever more democratic, that it has attained to the immense power which marks it at the present time.  It is justified by historical facts; it has become that literary form most closely revealing the contours of life, most expressive of its average experience, most sympathetic to its heart-throb.  The thought should prevent us from regarding it as merely the syllabub of the literary feast, a kind of after-dinner condiment.  It is not necessary to assume the total depravity of current taste, in order to account for the tyranny of this latest-born child of fiction.  In the study of individual writers and developing schools and tendencies, it will be well to keep in mind these underlying principles of growth:  personality, truth and democracy; a conception sure