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 and that soul is a story. Standing before a stunted orchard with a broken stone wall, we may know as a mere fact that no one has been through it but an elderly female cook. But everything exists in the human soul: that orchard grows in our own brain, and there it is the shrine and theatre of some strange chance between a girl and a ragged poet and a mad farmer. Stevenson stands for the conception that ideas are the real incidents: that our fancies are our adventures. To think of a cow with wings is essentially to have met one. And this is the reason for his wide diversities of narrative: he had to make one story as rich as a ruby sunset, another as grey as a hoary monolith: for the story was the soul, or rather the meaning, of the bodily vision. It is quite inappropriate to judge "The Teller of Tales" (as the Samoans called him) by the particular novels he wrote, as one would judge Mr. George Moore by "Esther Waters." These novels were only the two or three of his soul's adventures that he happened to tell. But he died with a thousand stories in his heart.