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Literature.—'All of the many different kinds of novel readers will enjoy Love and his Mask. It is a book that skilfully combines the more interesting points of a war story, the intimate delights of the now popular love-letters, the joys of an aristocratic circle, the consideration of the subtleties of a woman's heart, and the delineation of the conventional, straightforward, noble, harmless, necessary mind of man. The story is a refreshment from beginning to end. Love and his Mask will be one of the most popular novels of the autumn season.'

The Daily Chronicle.—An original idea, which Mrs. Norman develops with great skill, missing none of its humorous and dramatic possibilities. A delightful romance.'

Punch.—'A very clever novel, brightly written, with just that amount of the khaki flavour which rather more than "half-suspected animates the whole."'

The Spectator.—'We have no hesitation in welcoming Forest Folk as one of the very best and most original novels of the year, and our only regret is that we have failed to proclaim the fact sooner. The characterisation is excellent, the narrative is crowded with exciting incident, and the author has, in addition to an eye for the picturesque, a quite peculiar gift for describing effects of light and colour.'

The Athenæum.—'An excellent performance. The people are such forest folk as we are little likely to forget. The book reminds us of George Eliot in the unforced and racy style in which bucolic characters speak from its pages; it reminds us of Mr. Hardy in its dramatic situations.'

The Pall Mall Gazette.—'Mr. Prior has a large knowledge and is a keen observer of nature; he is cunning in devising strong situations, dramatic in describing them. His are forest folk indeed, men and women of flesh and blood.'

The Athenæum.—'Mr. Woodroffe has drawn a strong picture of temperaments and their surroundings.'

The St. James's Gazette.—'Full of live people, whom one remembers long. The whole book is charming.'

The Illustrated London News.—'Mr. Woodroffe writes with admirable clearness, picturesqueness, and restraint; he has an eye for character, and a grip of tragic possibilities. It is a moving story, and stamps the author as one of the few real artists who are now writing English fiction.'