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obvious enough, but the performance reminds us of Robin Oig in Kidnapped. Robin repeated the air played by Alan Breck, but 'with such ingenuity and sentiment, with so odd a fancy and so quick a knack in the grace-notes that I was amazed to hear him.' Stevenson's 'grace-notes' give fresh charm to the old theme. The critical essays, again, may not imply a very wide knowledge of literature or familiarity with orthodox standards of judgment. They more than atone for any such defects by the freshness and the genuine ring of youthful enthusiasm. I am hopelessly unable, for example, to appreciate Walt Whitman. Stevenson himself only regretted that he had qualified his enthusiasm by noticing too pointedly some of his author's shortcomings. The shortcomings still stick in my throat; but if I cannot catch the enthusiasm, my dulness is so far enlightened that I can partly understand why Whitman fascinated Stevenson and other good judges. That, at least, is so much clear gain. To read Stevenson's criticisms is like revisiting a familiar country with a young traveller who sees it for the first time. He probably makes some remarks that we have heard before; but he is capable of such a thrill of surprise as Keats received from Chapman's Homer.