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Fancies versus Fads and especially to a certain ethical idealism in them, which he declares to have been more essential than the Calvinism of which I "make so much." He puts the point in a genial but somewhat fantastic fashion by saying that the world owes something to the jokes of Mr. G. K. Chesterton, but more to the moral earnestness of John Milton. This involves rather a dizzy elevation than a salutary depression; and the comparison is rather too overwhelming to be crushing. For I suppose the graceful duster of mirrors himself would hardly feel crushed, if I told him he did not hold the mirror up to Nature quite so successfully as Shakespeare. Nor can I be described as exactly reeling from the shock of being informed that I am a less historic figure than Milton. I know not how to answer, unless it be in the noble words of Sam Weller: "That's what we call a self-evident proposition, as the cats'-meat-man said to the housemaid when she said he was no gentleman." But for all that I have a controversial issue with the critic about the moral earnestness of Milton, and I have a confession to make which will seem to many only too much in the personal manner referred to by Mr. Freeman.

My first impulse to write, and almost my first impulse to think, was a revolt of disgust with the Decadents and the æsthetic pessimism of the nineties. It is now almost impossible to bring home to anybody, even to myself, how final that fin de siécle seemed to be; not the end of the century but the end of the world. To a boy his first hatred is almost as immortal as his first love. He does not realize that the objects of either can alter; and I did not know that the twilight of 220