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free, moreover, from that vice of unexpectedness which is part of fine writing, and which Mr. Saintsbury finds so prevalent among the literary workers of to-day; the desire to surprise us by some new and profoundly irrelevant application of a familiar word. The "veracity" of a bar of music, the finely executed "passage" of a marble chimney-piece, the "andante" of a sonnet, and the curious statement, commonly applied to Mr. Gladstone, that he is "part of the conscience of a nation,"—these are the vagaries which to Mr. Saintsbury, and to every other student of words, appear so manifestly discouraging. Mr. James Payn tells a pleasant story of an æsthetic sideboard which was described to him as having a Chippendale feeling about it, before which touching conceit the ever famous "fringes of the north star" pale into insignificance. A recent editor of Shelley's letters and essays says with seeming seriousness in his preface that the "Witch of Atlas" is a "characteristic outcome," an "exquisite mouse of fancy brought forth by what mountain of Shelleyan imagination." Now, when a careful student and an appreciative reader