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such inferiority as may be observed resolves itself essentially into one thing: but that is a most material one; deficiency of originality. Not total deficiency; for every production of mind which is of any substantive value, has an originality of its own—is a conception of the mind itself, not a copy of something else. Thoughts original, in the sense of being unborrowed—of being derived from the thinker's own observations or intellectual processes—are abundant in the writings of women. But they have not yet produced any of those great and luminous new ideas which form an era in thought, nor those fundamentally new conceptions in art, which open a vista of possible effects not before thought of, and found a new school. Their compositions are mostly grounded on the existing fund of thought, and their creations do not deviate widely from existing types. This is the sort of inferiority which their works manifest: for in point of execution, in the detailed application of thought, and the perfection of style, there is no inferiority. Our best novelists in point of composition, and of the management of detail, have mostly been women; and there is not in all modern literature a more eloquent vehicle of thought than the style of Madame de Stael, nor, as a specimen of purely artistic excellence, anything superior to the prose of Madame Sand, whose style acts upon the
