light, in a familiar room, falling so white upon the carpet, and showing all its figures so distinctly,—making every object so minutely visible, yet so unlike a morning or noontide visibility,—is a medium the most suitable for a romance-writer to get acquainted with his illusive guests. There is the little domestic scenery of the well-known apartment; the chairs, with each its separate individuality; the centre-table, sustaining a work-basket, a volume or two, and an extinguished lamp; the sofa; the book-case; the picture on the wall;—all these details, so completely seen, are so spiritualized by the unusual light, that they seem to lose their actual substance, and become things of intellect. Nothing is too small or too trifling to undergo this change, and acquire dignity thereby. A child's shoe; the doll, seated in her little wicker carriage; the hobby-horse;—whatever, in a word, has been used or played with, during the day, is now invested with a quality of strangeness and remoteness, though still almost as vividly present as by daylight. Thus, therefore, the floor of our familiar room has become a neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other. Ghosts might enter here, without affrighting us. It would be too much in keeping with the scene to excite surprise, were we to look about us and discover a form, beloved, but gone hence, now sitting quietly in a streak of this magic moonshine, with an aspect that would make us doubt whether it had returned from afar, or had never once stirred from our fireside.
The somewhat dim coal-fire has an essential influence in producing the effect which I would describe. It throws
