Scott is an advance in self-consciousness. Both men follow the same road; but where the one went blindly and carelessly, the other advances with all deliberation and forethought. There never was artist much more unconscious than Scott; and there have been not many more conscious than Hugo. The passage at the head of these pages shows how organically he had understood the nature of his own changes. He has, underlying each of the five great romances (which alone I purpose here to examine), two deliberate designs: one artistic, the other consciously ethical and intellectual. This is a man living in a different world from Scott, who professes sturdily (in one of his introductions) that he does not believe in novels having any moral influence at all; but still Hugo is too much of an artist to let himself be hampered by his dogmas; and the truth is that the artistic result seems, in at least one great instance, to have very little connection with the other, or directly ethical result.
The artistic result of a romance, what is left upon the memory by any really powerful and artistic novel, is something so complicated and refined that it is difficult to put a name upon it and yet something as simple as nature. These two propositions may seem mutually destructive, but they are so only in appearance. The fact is
