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 the writers. And, in a sense, the sentiment is as true as it is strong and tender. I say 'in a sense,' for I certainly do not mean to affirm that the opinions expressed are to be taken as correct. Undoubtedly there are illusions—illusions, perhaps, as to each other's unique excellence and the intrinsic value of certain poems. But the illusions, whatever they may be, and one could not wish them to be less, do not distort the perception of the essential facts. In other cases, we are too often called upon to forgive grave errors, to drop, for the moment perhaps, one or two of the Ten Commandments, in sheer admiration of the strength of passion which has leapt very useful barriers. But here we are in the happy position of sympathising with a devotion which only strengthens the instinctive and instantaneous perception of what is right and becoming.

There seems at starting to be a little danger of the predominance of the author over the human being. There are certain references to 'art being a jealous God,' and demanding the whole man and woman, suggesting a possibility of a kind of cant which always becomes absurd as soon as its language is old-fashioned. The 'artist,' even in those days when we were all (as our posterity tells