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 is carefully kept in the background," "the art by which the two characters are contrasted throughout the volume," "the highly artistic manner in which Fernando and the heroine are brought together on the last page"—these, you see clearly, are contrivances, artifices, in no way differing in degree from the contrivances of the man who makes the garden path, of the cook who "dusts in" just a suspicion of lemon-rind, of the bee who administers the "royal food." This "art" then is a totally different thing from our Art with the capital letter, with the epithet "fine," or "high" before it; and in future when I mean "adaptation of means to ends," I shall always say "artifice"; while "art" will be retained and set apart for higher uses.

And now as to "emotion." Here, I think, you ought to have been down on me. You might have said: "You declare that the appeal to the emotions is not a test of fine literature. But to what then does Homer appeal? What is the 'Œdipus' but an appeal to the emotions? What is all exquisite lyric poetry but the cry of the emotions, set to music?" I suppose that, as a matter of fact, you understood my real