moral tone. Dickens and Thackeray claimed very properly the right to deal with shameful passions and suggest their shameful culminations; Scott sometimes dealt with ideas positively horrible—as in that grand Glenallan tragedy which is as appalling as the Œdipus or The Cenci. None of these great men would have tolerated for a moment being talked to (as the muddle-headed amateur censors talk to artists to-day) about "wholesome " topics and suggestions "that cannot elevate." They had to describe the great battle of good and evil and they described both; but they accepted a working Victorian compromise about what should happen behind the scenes and what on the stage. Dickens did not claim the license of diction Fielding might have claimed in repeating the senile ecstasies of Gride (let us say) over his purchased bride: but Dickens does not leave the reader in the faintest doubt about what sort of feelings they were; nor is there any reason why he should. Thackeray would not have described the toilet details
