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 especially "Beau Austin," is remarkably thoughtful and true. But it is a very singular fact, and goes far, as we say, to prove that Stevenson had that unfathomable quality which belongs to the great, that this admiring student of Stevenson can number and marshal all the master's work and distribute praise and blame with decision and even severity, without ever thinking for a moment of the principles of art and ethics which would have struck us as the very things that Stevenson nearly killed himself to express.

Mr. Baildon, for example, is perpetually lecturing Stevenson for his "pessimism"; surely a strange charge against a man who has done more than any modern artist to make men ashamed of their shame of life. But he complains that, in "The Master of Ballantrae" and "Dr. Jekyll and Mr. Hyde," Stevenson gives evil a final victory over good. Now if there was one point that Stevenson more constantly and passionately emphasised than any other it was that we must worship good for its own value and