THE HAMILTCN ASSOCIATION. 17 
2nd. We read a novel for excitement. In this case we select 
sensaticnal works and read them for the sort of intoxication they 
induce. This motive for reading is very common and is liable 
to lead to the same kind of intemperance that the desire for 
stimulants of any other kind may lead to, and to carry this 
analogy a step farther, these novels mav have a proper place as 
medicine. ; 
3rd. We read novels for relaxation from study or care. ‘This 
is quite distinct in its motive from the two reasons mentioned above. 
When the mind is tired and tense from work, we often desire, and it is 
at times almost necessary, that we should have something to divert 
us and relieve the strain. We seek and find this something in the 
novel. The novel-reading of the great majority is explained by the 
above three reasons, but there is a fourth which is most important of 
all, namely : 
4th. We read a novel to find out more about life, or for 
instruction. It may be objected that the novel is not read for this 
purpose, but I reply that from personal experience, as well as from 
the experience of others, I know that itis so read. In fact, do not 
a great proportion of modern novels appeal directly to this class of 
readers, because in them are propounded new religious, social, and 
philosophical theories? They are written on the supposition that 
there are those who will read them thoughtfully and critically. It 
may be objected, nevertheless, that to make a text book of a novel 
is to put it to a use for which it was never intended. I ask for 
what use it was intended? I have already dealt with the opinion 
that the object of the novelis to give pleasure, and shown in contra- 
distinction that the object of a novel is to give expression to a con- 
ception of life. And is not a conception of life, or any phase or 
experience of it, as worthy of study as a conception of nebule, or 
material elements, or anything else? Is it not, indeed, more 
worthy of study, inasmuch as how we live is of more importance 
than what we know? It seems to me _ that the reading 
of a good novel is only begun when we have followed the story ; it 
is completed only when we have discovered the conception the 
author must have had of the phases or principles of life presented, 
and when we have stored these thoughts up in a form for practical 
use. ‘This is true novel-reading. We study many classic dramas in 
this way, comparing part with part, yet the novel holds greater 
