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 material, as you read it, without artistic significance; it is simply an astounding incident, and not an outward sign of an inward mystery. As for the possible allegory I have too much respect for Mr Stevenson as an artificer to think that he would regard this element as anything but a very grave defect. Allegory, as Poe so well observed, is always a literary vice, and we are only able to enjoy the "Pilgrim's Progress" by forgetting that the allegory exists. Yes, that seems to me the vitium of "Jekyll and Hyde": the conception has been badly realised, and by badly I do not mean clumsily, because from the logical, literal standpoint, the plot and the construction are marvels of cleverness; but I mean inartistically: ecstasy, which as we have settled is the synonym of art, gave birth to the idea, but immediately abandoned it to artifice, and to artifice only, instead of presiding over and inspiring every further step in plot, in construction, and in style. All this may seem to you very fine-drawn and over-subtle, but I am convinced that it is the true account of the matter, and perhaps you may realise my theory better if I draw out that analogy of "translation" which I suggested, I think, a few minutes ago. I was passing along New Oxford