the public, which, ever loyal to one fighting for the right, has supported and befriended Marie Corelli in her dauntless crusade against vice and unbelief.
Other writers have doubtless written in a somewhat similar strain, and it has not been their fault that the woman who forms the subject of this biography has eclipsed all the worthy makers of such books who have preceded her. Power has been given her, and she has not proved false to her trust. Genius is Heaven-sent, to be used or abused according to the will of its possessor; let those so gifted beware lest they cast the pearls of their brain before swine, for of a surety there will come a day of reckoning when every genius, as well as every other man, shall be called upon to give an account of his stewardship.
Unlike the majority of her contemporaries, Marie Corelli does not subsist on a single "big hit." She is a twelve-book rather than a one-book woman. It is a fortunate circumstance for a writer when people disagree in regard to his or her chef-d'œuvre. There are those—and their name is legion—who regard "Thelma" as Miss Corelli's best book, while others—and their name, too, is legion—account "The Sorrows of Satan" the worthiest of her productions. The overwhelming success of the "Mas-
