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Rh become able to be thrilled to their very depths by the unspeakable beauty of Tolstoï's art, you will then learn to be ashamed of the thought that for years you sensible folks of Boston have been capable of allowing the Stevensons with their Hydes, and the Haggards with their Shes, and even the clumsy Wards with their ponderous Elsmeres, to steal away, under the flag of literature, your thoughtful moments."

Now, apart from the delightful vagueness of perspective,—for "Robert Elsmere" and "She" grouping themselves amicably together is a spectacle too pleasant to be lost,—I cannot but think that there is something oppressive about the form in which these comments are offered to the world. It reminds one of that highly dramatic scene in Bulwer's "Richelieu," where the aged cardinal hurls "the curse of Rome" at a whole stageful of people, who shrink and cower without knowing very distinctly at what. Why should critics, I wonder, always adopt this stringent and defiant tone when they would beguile us to the enjoyment of Russian fiction? Why should the reading of Tolstoï necessarily imply a