says in the Emilia, with fair pride of race: "All subtle feelings are discerned by Welsh eyes when untroubled by any mental agitation. Brother and sister were Welsh, and I may observe that there is human nature and Welsh nature." If his personages are not portrayed at full length, they are clear and living in his mind's eye, as we discern by the exquisitely appropriate gesture or attitude or look in vivid moments: and they are characterised by an image or a phrase, as when we are told that the profile of Beauchamp "suggested an arrow-head in the up-flight;" and of Renée: "her features had the soft irregularities which run to rarities of beauty, as the ripple rocks the light; mouth, eyes, brows, nostrils, and bloomy cheeks played into one another liquidly; thought flew, tongue followed, and the flash of meaning quivered over them like night-lightning. Or oftener, to speak truth, tongue flew, thought followed: her age was but newly seventeen, and she was French." And as with the outward so with the interior nature of his personages. Marvellous flashes of insight reveal some of their profoundest secrets, detect the mainsprings and trace the movements of their most complex workings, and from such data you must complete the characters, as from certain leading points a mathematician defines a curve. So with his conversations. The speeches do not follow one another mechanically adjusted like a smooth pavement for easy walking: they leap and break, resilient and resurgent, like running foam-crested sea-waves, impelled and repelled and crossed by under-currents and great tides and broad breezes; in their restless agitations you must divine the immense life abounding beneath and around and above them; and the Mudie novice accustomed to saunter the level pavements, finds that the heaving and falling are sea-sickness to a queasy stomach. Moreover he delights in the elaborate analysis
