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 while the universality of Bunyan's emblems is strikingly shown by the ease with which they are adapted to the new age of steam, the tale is, as it were, music transposed; the cleverness is Hawthorne's, but Bunyan wrote the piece. These four tales, admirable as they are in breadth, are nevertheless essentially reflective. The imaginative group of the same scope is of a higher rank. In it the general life is set forth with more individuality, though life in the abstract still occupies the foreground. To set aside such a moral parable as "The Lily's Quest," or such an illustration of the power of love to raise a man above himself temporarily as "Drowne's Wooden Image," or such a study of isolation as "The Man of Adamant," in all of which the didacticism is rather nakedly felt, there are two tales that equally exemplify this class, "Dr. Heidegger's Experiment" and "The Christmas Banquet." In the first the ghastliness of the reversal of the course of life backward, as the guests drink the elixir of youth, while it suggests the paltriness of our pleasures, is a powerful lesson in the beneficence of that daily death whereby we resign the past; this rejuvenation violates nature, and so shocks us, and by the very shock we are reconciled with nature, from which we had parted in thought. "The Christmas Banquet" is one of the most artistically conceived of all the tales, though its subject repels us; the wretchedness of life is shown in the persons of numerous guests through a succession of