tood by those it is not really for. In exhibiting the
subtler and more delicate phases of human experience, the novel far
transcends the drama. The drama, at its deepest, is more poignant; but
the novel, at its highest, is more exquisite.

=Dramatized Novels.=--The proper material for the drama is, as we
have seen, a struggle between individual human wills, motivated by
emotion rather than by intellect, and expressed in terms of
objective action. In representing such material, the drama is supreme.
But the novel is wider in range; for besides exhibiting (though
less emphatically) this special aspect of human life, it may embody
many other and scarcely less important phases of individual
experience. Of late, an effort has been made to break down the
barrier between the novel and the drama: many stories, which have
been told first in the novelistic mood, have afterward been
reconstructed and retold for presentation in the theatre. This
attempt has succeeded sometimes, but has more often failed. Yet it
ought to be very easy to distinguish a novel that may be dramatized
from a novel that may not. Certain scenes in novelistic literature,
like the duel in "The Master of Ballantrae," are essentially dramatic
both in content and in mood. Such scenes may be adapted with very
little labor to the uses of the theatre. Certain novels, like "Jane
Eyre," which exhibit an emphatic struggle between individual human
wills, are inherently capable of theatric representment. But any novel
in which the main source of interest is not the clash of character
on character, in which the element of action is subordinate, or in
which the chief appeal is made to the individual (instead of the
collective) mind, is not capable of being dramatized successfully.

=III. The Novelistic Mood.=--It is impossible to determine whether, at
the present day, the novel or the drama is the more effective medium
for embodying the truths of human life in a series of imagined facts.
Dramatic fiction has the greater depth, and novelistic fiction has the
greater breadth. The latter is more extensive, the former more
intensive, in its artistry. This much, however, may be decided
definitely. The novel, at its greatest, may require a vaster sweep of
wisdom on the part of the author; but the drama is technically more
difficult, since the dramatist, besides mastering all of the general
methods of fiction which he necessarily employs in common with the
novelist, must labor