tragically. If love is simple, so is livelihood. While many of the novels do indeed concern themselves with the poor, it is the more or less contented poor of the older American villages where no serious poverty existed. In but few cases do the heroes and heroines of the eighties contend with the society in which they live, and then rarely indeed with the approval of their authors. Fiction, in short, had not assumed the heavier burdens laid on it by a subsequent generation, but existed largely for entertainment.
If it was thus limited in certain directions, so was it freed in others. It recognized no obligation to be polemic, though it could be so on occasion. It did not look relentlessly for victims of the social order who might be elevated into champions of a higher truth. It did not feel obliged to take many exceptions to the broad average current of human existence. It chose the simpler emotions for the reason that American character was simple. It preferred to make as much of the cheerful aspects of life as possible, because that was the general American preference, even when there was much unpleasantness to be blinked at. With such a temper prevalent, the style of fiction naturally became lighter and gayer. It discarded the blocks of description which the older romances had admitted and the showers of tears which had immediately preceded the Civil War. Having taken stock of technical methods, it varied its structures with its themes, gave an increased attention to dialect and dialogue, studied the problems of proportion and emphasis. The decade made a highly eclectic use of foreign models. Lanier devoted nearly a half of his study of the English novel to George
