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of his usefulness to the world does but warm and indurate his soul. It is something when a man comes to this mind, and with all his capacity to err, is abreast of life at last. He shall not regret the infrequency of his inspirations, for he will know that the day of his strength has set in. And if, for poesy, some grave Virgilian line should pause on his memory, or some tongue of Hebrew fire leap from the ashes of his godly youth, it will be enough. But if cold duck await--why, then, to supper!"

UGLINESS IN FICTION
[_9 May '08_]
In the Edinburgh Review there is a disquisition on "Ugliness in Fiction." Probably the author of it has read "Liza of Lambeth," and said Faugh! The article, peculiarly inept, is one of those outpourings which every generation of artists has to suffer with what tranquillity it can. According to the Reviewer, ugliness is specially rife "just now." It is always "just now." It was "just now" when George Eliot wrote "Adam Bede," when George Moore wrote "A Mummer's Wife," when Thomas Hardy wrote "Jude the Obscure." As sure as ever a novelist endeavours to paint a complete picture of life in this honest, hypocritical country of bad restaurants and good women; as sure as ever he hints that all is not for the best in the best of all possible islands, some witling is bound to come forward and point out with wise finger that life is not all black. I once resided near a young noodle of a Methodist pastor who had the pious habit of reading novels aloud to his father and mother. He began to read one of mine to them, but half-way through decided that something of Charlotte M. Yonge would be less unsuitable for the parental ear. He then called and lectured me. Among other aphorisms of his which I have treasured up was this: "Life, my dear friend, is like an April day--sunshine and shadow chasing each other over the plain." That he is not dead is a great tribute to my singular self-control. I suspect him to be the Edinburgh Reviewer. At any rate, the article moves on the plane of his plain.
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The Reviewer has the strange effrontery to select Mr. Joseph Conrad's "Secret Agent" as an example of modern ugliness in fiction: a novel that is simply steeped in the finest beauty from end to end. I do not suppose that the Edinburgh Review has any moulding influence upon the evolution of the art of fiction in this country. But such nonsense may, after all, do harm by confusing the minds of people who really are anxious to encourage what is best, strongest, and most sane. The Reviewer in this instance, for example, classes, as serious, Thomas Hardy, Joseph Conrad, and John Galsworthy, who are genuine creative forces, with mere dignified unimportant sentimentalizers like Mr. W.B. Maxwell. While he was on the business of sifting the serious from the unserious I wonder he didn't include the authors of "Three Weeks" and "The Heart of a Child" among the serious! Perhaps because the latter wrote "Pigs in Clover" and the former was condemned by the booksellers! Nobody could have a lower opinion of "Three Weeks" than I have. But I have never been able to understand why the poor little feeble story was singled out as an awful example of female licentiousness, and condemned by a hundred newspapers that had not the courage to name it. The thing was merely infantile and absurd. Moreover, I violently object to booksellers sitting in judgment on novels.

LETTERS OF QUEEN VICTORIA
[_16 May '08_]
The result of Murray v. The Times is very amusing. I don't know why the fact that the Times is called upon to pay ￡7500 to Mr. John Murray should make me laugh joyously; but it does. Certainly the reason is not that I sympathize with the libelled Mr. Murray. The action was a great and a wonderful action, full of enigmas for a mere man of letters like myself. For example, Mr. Murray said that his agreement with the "authors" (I cannot imagine how Lord Esher and Mr. A.C. Benson came to be the "authors" of the late Queen's correspondence) stipulated that two-thirds of the profits should go to the "authors" and one-third to Mr. Murray. Secondly, Mr. Murray said that he paid the authors ￡5592 14s. 2d. Thirdly, he said that his own profit was ￡600. Hence ￡600 is the half of ￡5592 14s. 2d. I have no doubt that there exists some quite simple explanation of this new arithmetic; only it has not occurred to me, my name not being Colenso. The whole enterprise was regal, as befitted. Proof-corrections cost twice as much as the original setting up!