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Rh ture under the crucifixion they have prepared for him; especially the feelings of the rival, who learns from his remorse to understand genius and magnanimity, are admirably depicted. Such repentance always comes too late for the one injured; men kill him first, then grow wiser and mourn; this dreadful and frequent tragedy is shown in Luria's case with its full weight of dark significance, spanned by the rainbow beauty that springs from the perception of truth and nobleness in the victim.

The second piece, "A Soul's Tragedy," is another of the deepest tragedies—a man fancying himself good because he was harsh, honourable because he was not sweet, truer than the lovely and loving natures, because unskilled to use their winning ways. His self-deception is revealed to him by means the most original and admirably managed. Both these dramas are full of genius; both make the heart ache terribly. A text might well suit the cover—a text we must all of us learn ever more and more deeply to comprehend: "Let him who thinketh he standeth take heed lest he fall."

We hope these eight numbers of "Bells and Pomegranates" will now be reprinted here. They would make one volume of proper size to take into the woods and fields.