One of the knowledges of a period of life which we will call the riper maturity is that we need all the acc.u.mulated vigilance of the past to secure us from the ever-besetting dangers of the present: the dangers of indolence, of slovenly performance, of indistinct vision, of weakening conscience in our work. We need every atom of force, every particle of the stored electricity of youth, to keep us going in later years. While we are still young we are aware of an environing and pervading censure, coming from the rivalry, the envy, the generous emulation, the approval, the disapproval, the love, the hate of all those who witness our endeavor. No smallest slip, no slightest defect will be lost upon this censure, equally useful whether sympathetic or antipathetic. But as we grow old we are sensible of a relaxing, a lifting, a withdrawal of the environing and pervading censure. We have become the objects of a compa.s.sionate toleration or a contemptuous indifference; it no longer matters greatly to the world whether we do our work well or ill. But if we love our work as we ought till we die, it should matter more than ever to us whether we do it well or ill. We have come to the most perilous days of our years when we are tempted not so much to slight our work as to spare our nerves, in which the stored electricity is lower and scanter than it was, and to let a present feeble performance blight the fame of strenuous achievements in the past. We may then make our choice of two things--stop working; stop going, cease to move, to exist--or gather at each successive effort whatever remains of habit, of conscience, of native force, and put it into effect till our work, which we have not dropped, drops us.

Should Eugenio address these hard sayings to his appealing, his palpitating correspondents? He found himself on the point of telling them that of all the acc.u.mulated energies which could avail them when they came of his age, or were coming of it, there was none that would count for so much as the force of habit; and what could be more ba.n.a.l than that? It would not save it from ba.n.a.lity if he explained that he meant the habit of loving the very best one can do, and doing that and not something less. It would still be ba.n.a.l to say that now in their youth was the only time they would have to form the habit of tirelessly doing their best at every point, and that they could not buy or beg or borrow such a habit for the simple reason that n.o.body who had it could sell or give or lend it.

Besides, as Eugenio very well perceived, his correspondents were not only young now, but were always intending to be so. He remembered how it used to be with himself, and that was how it used to be. He saw abundance of old, or older, people about him, but he himself instinctively expected to live on and on, without getting older, and to hive up honey from experience without the beeswax which alone they seemed to have stored from the opening flowers of the past. Yet, in due course of time, he found himself an old or older man simply through living on and on and not dying earlier. Upon the whole, he liked it and would not have gone back and died earlier if he could. But he felt that it would be useless trying to convince his youthful correspondents that, whether they liked it or not, they too would grow old, or older, if they lived. How, then, teach them by precept, if they would not learn by universal example, that unless they were to be very miserable old men, and even miserable old women, they must have the habit of work? How instruct them further that unless they had the habit of good work, patient, faithful, fine work, the habit which no one can buy, beg, or borrow, because no one can sell, give, or lend it, they were worse than idle, c.u.mberers of the earth, with no excuse for being above it?

If he had set out to do that, they might have retorted upon him that he was making a petty personal matter of art, which was not only so much longer than life, but so much wider, deeper, and higher. In this event he saw that he would have nothing for it but to confirm his correspondents in their disappointment with him by declaring that art _was_ a personal matter, and that though longer, it was not wider, deeper, or higher than life, and could not be. It might be mysterious in being personal, but it was not necessarily petty. It would be great if the artist was so, but not otherwise; it could be fine on no other terms. There was a theory and an appearance that it existed somehow apart from the artist and that it made him. But the fact was he made it, partly wittingly, partly unwittingly; and it had no being except in his achievement. The power of imagining a work of art was the gift of nature, as being long or short, dark or fair was. The concern of him it was given to was how, after he found it out, to make the most of his gift. It had no power to make much or little of him. If he cherished it and served it, when he had made sure of it, by fulfilling the law that its possession imposed, then it would rise up in something he had done and call him master.

But how could Eugenio make such things--so true and yet so self-contradictory, so mutually repellent--clear to these simple-hearted young correspondents of his? The more he thought of the matter, the more he resolved to do nothing about it.

V

THE UNSATISFACTORINESS OF UNFRIENDLY CRITICISM

It was the experience of Eugenio that the criticisms of his books, when they were unfriendly, presented a varying offence, rather than a c.u.mulative offence, as the years wore on. The criticisms of one's books are always hard to bear if they are unfavorable, but he thought that displeasure for displeasure the earlier refusal to allow him certain merits was less displeasing than the later consent to take these merits for granted. To be taken for granted in any wise is to be limited. It is tantamount to having it said of one that, yes, one has those virtues, but one has no others. It comes also to saying that one has, of course, the defects of one's virtues; though Eugenio noted that, when certain defects of his were taken for granted, it did not so distinctly and immediately follow that he was supposed to have the virtues of these.

Now, Eugenio's theory of himself was that he was not limited, and that, if he modestly stopped short of infinity, it was because he chose. He had a feeling of always breaking new ground; and he did not like being told that he was tilling the old glebe and harvesting the same crops, or that in the little garden-ground where he let his fancy play he was culling flowers of such familiar tint and scent that they seemed to be the very flowers he had picked thirty or forty years before. What made it harder to endure suggestion of this sort was that in his feeling of always breaking new ground there was an inner sense, or fear, or doubt, that perhaps it was not really virgin soil he was turning up, but merely the sod of fields which had lain fallow a year or two or had possibly been cropped the season before.

The misgiving was forced upon him by certain appearances in the work of other veteran authors. When he took up the last book of some lifelong favorite, no matter how great a master he knew him still to be, he could not help seeing that the poor old master was repeating himself, though he would not have phrased the case in such brutal terms. Then the chill wonder how long he could hope to escape the like fate pierced him, and for a moment he could not silence the question whether it might not have already befallen him. In another moment he knew better, and was justly aggrieved with the next reviewer who took things in him for granted, quite as offensively if they were merits as if they were defects. It was vital to him to be always breaking new ground, and, if at times it seemed to him that he had turned this or that furrow before, he said to himself that it was merely one of those intimations of pre-existence which are always teasing us here with the sense of experience in circ.u.mstances absolutely novel; and he hoped that no one else would notice the coincidence.

He was, indeed, tolerably safe from the chance, for it is one of the conditions of literary criticism that the reviewers shall be nearly always young persons. They, if they alone are capable of the cruelties they sometimes practise, are alone capable of the enthusiasms which supply publishers with quotable pa.s.sages for their advertis.e.m.e.nts, and which lift authors' hearts in pride and joy. It is to their advantage that they generally bring to the present work of a veteran author an ignorance of all that he has done before, and have the zest for it which the performance of a novice inspires. They know he is not a novice, of course, and they recognize his book as that of a veteran, but they necessarily treat it as representative of his authorship. Of course, if it is his twentieth or thirtieth book, or his fortieth or fiftieth, it is merely one of a long series which fully represents him. Even these collectively represent him inadequately as long as he is adding to them, if he has the habit, like Eugenio, of always breaking new ground. The reviewer, however, is probably much newer than the ground which the established author breaks in his last book, and, coming to it in his generous ignorance, which he has to conceal under a mask of smiling omniscience, he condemns or praises it without reference to the work which has gone before it and which it is merely part of, though of course it has entirety enough of a sort to stand alone. If the author has broken ground in the direction of a new type of heroine, the reviewer, by the conditions of his calling, is all but obliged to say that here is one of those enchanting girls whom the author in question has endeared to generations of readers; or one of those tedious prudes for whom his name is a synonyme. If, after many psychological romances, the author has stepped down to the level of actual life, he is praised or blamed for the vital or servile naturalism of his work; or if the contrary is the case, he has to read of himself as doing something habitual and entirely characteristic of him. In vain, so far as that acute young critic is concerned, has he broken new ground. But if he has with much compunction consciously turned his furrows in a field tilled before, he stands a fair chance of being hailed at the outset of a new career.

He cannot openly complain, and if he could the critic cannot help being what he is. If the critic were older and more versed in the veteran author, he might not like him so well, and he could not, at any rate, bring the fresh interest to his work which the young reviewer brings.

What Eugenio would really wish would be to have each successive book of his given for review to some lifelong admirer, some dear and faithful friend, all the better for not being an acquaintance, who had liked him from the beginning and was intimately versed in all his work. Such a critic would know that Eugenio was always breaking new ground, and that he was never more true to this inherent tendency than when he seemed to be ploughing the same old furrows in the same old fields. Such a critic would be alert to detect those fine differences of situation which distinguish a later from an earlier predicament. He would note with unfailing perspicacity the shades of variance which const.i.tute Florindo an essentially novel character when presented under the name of Lindoro, or Floribella a fresh delight when she reappears as Doralinda. Even when he could not deny that these persons were in themselves one and the same, he would be able to make the reader observe that the new light thrown upon them by the author's ever-renascent art revealed in familiar creations traits of mind and charms of spirit unimagined before. He would insist that, if not new, they were newer, because being more fully ascertained they were truer. He would boldly recur to the personages in Eugenio's former books whom they reminded one of, and, studying them in contrast, would convince the reader that the increasing purpose of the author in the treatment of the well-known types had been to reveal the infinite variety of character which lay hid in each and every human type.

Some such reviewer, Eugenio thought, all journals pretending to literary authority ought to keep on their staff for the comfort of veteran authors and for the dispensation of that more delicate and sympathetic justice which their case required. It might be well enough to use a pair of ordinary steelyards, or even hay-scales, in weighing out the rewards and punishments of younger authors, but some such sensitive balance as only the sympathetic nerves of equal years, and, if possible, equal intelligence, could adjust ought to be used in ascertaining the merits of a veteran author.

In his frankest self-consciousness, Eugenio did not say a veteran author like himself, and he did not insist exclusively upon a veteran critic for his behoof. There were times when he thought that a young critic, coming in the glow of adolescence and the freshness of knowledge won from the recent study of all his works, might be better fitted to appreciate the qualities of the latest. He quite rejected the notion, when it came to business, with which he had sometimes played, of an author reviewing his own books, and this apart from his sense of its immodesty. In the course of his experience he had known of but one really great author who had done this, and then had done it upon the invitation of an editor of rare if somewhat wilful perspicacity, who invited the author to do it on the ground that no one else could do it so well. But though he would not have liked to be his own reviewer, because it was not seemly, he chiefly feared that if put upon his honor, as he would be in such a case, he must deal with his work so damagingly as to leave little or nothing of it. He might make the reputation of a great critic, but in doing execution upon his own shortcomings he might be the means of destroying himself as a great author.

After all, authors are not the self-satisfied generation they must often seem to the public which has tried to spoil them with praise.

There is much in doing a thing which makes a man modest in regard to the way he has done it. Even if he knows that he has done it well, if the testimony of all his faculties is to that effect, there is somehow the lurking sense that it was not he who really did it, but that there is a power, to turn Matthew Arnold's phrase to our use, "not ourselves, that works for" beauty as well as righteousness, and that it was this mystical force which wrought through him to the exquisite result. If you come to the second-best results, to the gold so alloyed that you may confidently stamp it your own, do you wish to proclaim it the precious metal without alloy? Do you wish to declare that it is to all intents and purposes quite as good as pure gold, or even better? Do you hold yourself quit of the duty of saying that it is second-best, that it is something mixed with copper or nickel, and of the value of oroide, say?

You cannot bring yourself to this extreme of candor, and what right, then, have you to recognize that something else is fine gold when it is really so? Ought not you to feign that it is only about thirteen carats when it is actually eighteen?

Considerations like these always stayed Eugenio when it came to the point of deciding whether he would care to be his own reviewer, but the desire to be adequately reviewed still remained with him, a fond longing amid repeated disappointments. An author often feels that he has got too much praise, though he never has got all he wants. "Why don't they clap?" Doctor Holmes once whimsically demanded, speaking of his audiences in those simple early days when he went about lecturing like Emerson and Alcott and other saints and sages of New England. "Do they think I can't stand it? Why don't they give me three times three? I can stand it very well." An author may sometimes think he is fulsomely praised and may even feel a sort of disgust for the slab adulation trowelled upon him, but his admirer need not fear being accused of insincerity. He may confidently count upon being regarded as a fine fellow who has at worst gone wrong in the right direction. It ought, therefore, to be a very simple matter to content a veteran author in the article of criticism, but somehow it is not.

Perhaps the trouble is in the nature of criticism, which, unwillingly enough, no doubt, a.s.sumes to be and to do more than it can. Its convention is that it is an examination of a book and a report upon its qualities. But it is not such a report, and it cannot be in the limits a.s.signed it, which are the only tolerable limits with the reader. The author would not mind if the critic's report were physically commensurate with his book; but, of course, the reader could not stand that; and, generous as they are, other authors might complain.

Sometimes, as it is, they think that any one of their number who gets something like a good report from a critic is getting more than his deserts. Yet authors, though a difficult, are not an impossible generation. Few of them would allow that they are even unreasonable with regard to criticism, and they would probably hail any improvement in its theories and methods with grat.i.tude.

As criticism cannot be an adequate report upon the qualities of a book, even a book which has not been examined, why should it a.s.sume to do more than talk about it and talk all the better for being merely tentative and altogether unfinal? n.o.body can really be authoritative concerning anything, for there is no one whose wisdom will not be disputed by others of the wise. The best way, then, might be for a reviewer to go round collecting sentiment and opinion about the book he means to talk of, and then to give as many qualifying varieties of impression as the general unhandsomeness of human nature will allow him to give when they differ from his own impression. On the terms of the old and still accepted convention of criticism, Eugenio had himself done a vast deal of reviewing, an amount of it, in fact, that he could not consider without amaze, and in all this reviewing he had not once satisfied himself with his work. Never once had he written a criticism which seemed to him adequate, or more than an approximation to justice, even when he had most carefully, almost prayerfully, examined the work he reported upon. He was aware of writing from this mood or that, of feeling hampered by editorial conditions, of becoming impatient or jaded, and finally employing the hay-scales when he ought to have used the delicate balances with which one weighs out life-giving elixirs or deadly poisons. But he used to imagine that if he could have put himself in the att.i.tude of easy discussion or light comment, instead of the judicial pose he felt obliged to take, he could have administered a far finer and more generous measure of justice. In these moments he used to wonder whether something stated and organized in the way of intelligent talk about books might not be subst.i.tuted for the conventional verdicts and sentences of the courts of criticism.

In this notion he proceeded upon a principle evolved from his own experience in fields far from the flinty and sterile ranges of criticism. He had not only done much reviewing in those days, but he had already written much in the kinds which he could not, in his modesty, bring himself to call "creative," though he did not mind others calling it so. Whatever had been the shortcomings of the conventional reports upon his work, it was his glad experience that nothing he said or meant, not the slightest intention or airiest intimation in his books, was ever wholly lost. Somewhere, some one, somehow had caught it, liked it, remembered it, and had by a happy inspiration written him of it, it might be diffident, it might be confident, of his pleasure in the recognition.

Such recognition was always more precious than the reports of the conventional critics, though if these were favorable the author was glad of them, as of any good that the G.o.ds gave. But what struck Eugenio was that such recognition was the real, the very, the vital criticism, and that if it could be evoked in behalf of others, in its sincerity, it might be helpful to the cause of literature far beyond anything that the courts of criticism could do or effect in its behalf. After all, as he said to himself, an author wrote for his readers and not for his critics, for pleasure and not for judgment; and if he could be a.s.sured publicly, as he sometimes was a.s.sured privately, that nothing he did was lost, he might be encouraged to keep on doing his best. Why, indeed, should not there be a critical journal embodying in a species of fragrant bouquet the flowers of thought and emotion springing up in the brains and bosoms of readers responsive to the influence of a new book?

Such readers would have only to suppose themselves addressing the author direct, and the thing could be done. It might be done in another way by the authors contributing the praises privately sent him. In a time when personal letters to authors are constantly quoted in advertis.e.m.e.nts, this might not seem so immodest as in some earlier literary condition.

In the mean time the question of what shall be done for veteran authors who are always breaking new ground still remains, and it is complicated by a fact of psychological import for the reader as well as the author.

What first gives an author his hold upon the reader is not the novelty of his theme, but a pleasing, it may be a painfully pleasing, quality which in its peculiar variation must be called his personal quality. It is the sense of this in each of his successive books which deepens his hold upon the reader, and not the style, or the characters, or the intrigue. As long as this personal quality delights, he is new whether he breaks new ground or not, or he is newly welcome. With his own generation, with the readers who began young with him and have grown old with him, he is always safe. But there is danger for him with the readers who begin young with him after he has grown old. It is they who find his tales twice told and himself hackneyed, unless they have been trained to like his personal quality by their elders. This might be difficult, but it is not impossible, and ought not it to be the glad, the grateful care of such elders?

VI

THE FICKLENESS OF AGE

All forms of literature probably hold a great deal more meaning than people commonly get out of them; but prose may be likened to a cup which one can easily see to the bottom of, though it is often deeper and fuller than it looks; while verse is the fount through which thought and feeling continually bubble from the heart of things. The sources that underlie all life may be finding vent in a rhyme where the poet imagined he was breathing some little, superficial vein of his own; but in the reader he may unawares have reached the wells of inmost pa.s.sion and given them release. The reader may himself live with a certain verse and be aware of it now and then merely as a teasing iterance that

"From some odd corner of the mind Beats time to nothing in the brain."

But suddenly some experience, or perhaps the exfoliation of the outer self through the falling away of the withered years, shall open to him its vital and cosmical significance. He shall know then that it is not an idle whisper of song, but a message to his soul from the senate where the immortals gather in secular counsel and muse the wisdom of all the centuries since humanity came to its earliest consciousness. The bearer of the message may not have known it in the translation which it wears to the receiver; each must read it in his own tongue and read meaning into it; perhaps it always takes two to make a poet, and singer and listener are the twin spheres that form one star.

A valued correspondent of ours, one of those whose letters are oftener than we should like to own fraught with the suggestion of our most fortunate inspirations, believes himself to have been recently the confidant of the inner sense of certain lines in a familiar poem of Longfellow's. Its refrain had, from the first reading, chanted in the outer chamber of his ear, but suddenly, the other day, it sang to his soul with a newly realized purport in the words,

"A boy's will is the wind's will, And the thoughts of youth are long, long thoughts."

The words are, as the poet promptly declares, the burden of a Lapland song, which "is haunting his memory still," which "murmurs and whispers still," which "is singing and saying still," which "is mournful" and "sweet" and "fitful" and "fatal" and "strange" and "beautiful." Yet he seems not to have known, as our friend now thinks he himself knows, that they express a difference, unrecognized hitherto, between youth and age, and rightfully attribute to the young a steadfastness and persistence in objects and ideals formerly supposed the distinguishing qualities of the old. In other words, they have precipitated into his consciousness a truth unwittingly held in solution by both the poets in their verse. Or, if it was conveyed to him by their sensible connivance, he is the first who has been made its repository. Or, if he cannot claim an exclusive property in the revelation, it is now his, in his turn, by that sad right of seniority whose advantages are not ours till there are few or none left to contest them with us. One has not been promoted to them because of any merit or achievement; one has simply lived into them; and how much of one has died in the process of survival! The lines speak to our friend's age a language which his youth could not have understood, and it is because he is no longer young that he perceives how long the thoughts of youth were and how brief the thoughts of age.

He had always fancied that his later years should be a time of repose in the faiths, loves, and joys through which he realized himself. But nothing apparently was farther from the fact. Such length of thoughts as he had, such abiding pleasures, such persistent hopes, were from his youth; and the later sort were as the leaves of the tree to the tree itself. He put them forth at the beginning of an epoch, a season, and they dropped from him at the close. In as great bitterness as is consonant with his temperament he has asked us why youth should ever have been deemed fickle and age constant when so precisely the contrary is true. Youth, he owns, is indeed full of vain endeavors and of enterprises that come to nothing, but it is far more fixed than age in its aspirations. His aspirations change now with such rapidity that they seem different not only from year to year, but from month to month, from day to day. He has not merely discarded his old ideals, he loathes them.

He used to like going out to dinner, above all things; and he was fond of lunches, even of afternoon teas; but in a day, in an hour, such delights became wearinesses and vexations of spirit. Formerly he enjoyed travel with all its necessary concomitants. It amused him to check his baggage and depart from stations, to arrive at hotels and settle himself in new rooms; the very domiciliation in sleeping-cars or the domestication in diners had a charm which was apparently perennial; a trip in a river-boat was rapture; an ocean voyage was ecstasy. The succession of strange faces, new minds, was an unfailing interest, and there was no occurrence, in or out of the ordinary, which did not give him release from self and form a true recreation. The theatre does not amuse him now, though the time has been, and lately, for the curtain, when it rose on a play, new or old, to lift his spirit with it and to hold him entranced till its fall. As for the circus, he once rejoiced in all its feats; performing elephants could not bore him, nor acts of horsemanship stale its infinite variety. But the time has come abruptly when the smell of the sawdust, or the odor of the trodden weed, mixed with the aroma of ice-cold lemonade, is a stench in his nostrils.

These changes of ideal have occurred, not through the failure of any powers that he can note in himself, but as part of the great change from youth to age, which he thinks is far greater morally than physically. He is still fairly strong; he has not lost his appet.i.te or the teeth to gratify it; he can walk his miles, always rather two than ten, and rest refreshed from them; except that he does not like to kill things, he could trudge the whole day through fields and woods with his gun on his shoulder; though he does not golf, and cannot know whether or no it would bore him, he likes to wield the axe and the scythe in the groves and meadows of his summer place. When he stretches himself on the breast of the mother alike of flesh and gra.s.s, it is with a delicious sense of her restorative powers and no fear of rheumatism. If he rests a little longer than he once used, he is much more rested when he rises from his repose.

His body rejoices still in its experiences, but not his soul: it is not interested; it does not care to have known its experiences or wish to repeat them. For this reason he thinks that it is his spirit which is superannuated, while its "muddy vesture of decay" is in very tolerable repair. His natural man is still comparatively young, and lives on in the long, long thoughts of youth; but his supernatural man has aged, with certain moral effects which alarm his doubts of the pleasures he once predicated of eternity. "If it is going to be like _this_ with me!"

he says to himself, and shrinks from supplying the responsive clause of his conditional.

But mainly his mind turns upon itself in contemplation of its earthly metamorphoses, in which it hardly knows itself for the mind of the same man. Its apprehensions are for the time when, having exhausted all the differences, it shall care for none; but meanwhile it is interested in noting the absurdity of that conventional view of age as the period of fixed ideals. It may be the period of fixed habits, of those helpless iterances which imply no intentions or purposes; but it is not the period in which the mind continues in this or that desire and strives for its fulfilment. The same poet who sang at second hand those words of the Lapland song,

"The thoughts of youth are long, long thoughts,"

erred, to our friend's sense, in singing of

"The young heart hot and restless, And the old subdued and slow."

He believes the reverse would rightly characterize the heart of youth and the heart of age. Age is not slow in its mental motions; it is hurried and anxious, with that awful mystical apprehension of the swift-coming moment when time shall be no more and nothing but eternity shall be left. It is not subdued; its heart is hot with rebellion against the inevitable. But for youth there is no inevitable; there is no conclusion, no catastrophe, which it may not hope to escape; and, so it is patient of chances, it is glad of them. Its heart is not restless; it is quite at peace in the bosom which is secure of all the time there is.

Our friend believes that a variety of popular superst.i.tions will fall at the recognition of the truth in this matter, and none more finally than that which attributes to the junior partner the unhappiness of those marriages in which youth and crabbed age try to live together. In such hazardous unions the junior partner is, for some unexplained reason, of the s.e.x which has the repute of a generic fickleness as well as the supposed volatility of its fewer years. Probably repute wrongs it as much in one respect as in the other, but our friend contends only for greater justice to it in the last. In the light that he has come into, he holds that where such unions are unhappy, though they may have been formed with a fair appearance of affection, it is the senior partner who is to blame if blame may ever be attached to involuntary change. It is the senior partner who has wearied first of the companionship and wished for release with the impatience natural to age. This is intolerant of the annoyances which seem inherent in every union of the kind, and impatient of those differences of temperament which tell far more than any disparities of age, and which exist even where there are no such disparities. The intolerance, the impatience, is not more characteristic of the husband where he is the elder than of the wife in the much fewer instances of her seniority. In the unions where two old people join their faltering destinies, the risks of unhappiness are, logically, doubled; and our friend holds it a grotesque folly to expect anything else of marriages in which two lovers, disappointed of each other in their youth, attempt to repair the loss in their age. Where any such survive into later life, with the pa.s.sion of earlier life still rife in their hearts, he argues that they had much better remain as they are, for in such a belated union as they aspire to the chances are overwhelmingly against them.

Very probably, like other discoverers, he is too much impressed with the value of his divination. It is something that, at any rate, can appeal for recognition only to the aged or the aging. With these we could imagine it bringing a certain consolation, a relief from vain regret, an acquittal from self-accusation. If one has suddenly changed for no apparent reason, one must be glad to find a reason in the const.i.tution of things, and to attribute one's fickleness to one's time of life.

Youth's errors have possibly been too much condoned upon grounds where age could more justly base its defence. It may be more reckless than age, but it is not nearly so rash. It keeps thinking its long, long thoughts and questioning the conclusions to which age eagerly hobbles or hurls itself from its crutches. Youth is deliberate, for it has plenty of time, while, as our friend notes, age has little but eternity before it. Not youth, but age, leaps from life's trolley while it is still in motion, or, after mismeasuring the time and s.p.a.ce, limps impatiently before it and is rolled under its fender. You may see physical proof of this difference, our friend insists, in the behavior of two people, one young and one old, at any street-crossing; and why should so many old ladies fall on the stairs, but that they are apt to precipitate themselves wildly from landings where young girls linger to dream yet one dream more before they glide slowly down to greet the young men who would willingly wait years for them?

The distrust of eternity at which our friend hints is perhaps the painfulest of his newly discovered differences between youth and age.

Resting so serenely as it does in practically unlimited time, with ideals and desires which scarcely vary from year to year, youth has no fears of infinity. It is not afraid but it shall have abundant occupation in the aeons before it, or that its emotions or volitions shall first be exhausted. Its blithe notion of immortality is that it is immortal youth. It has no conception of age, and could not imagine an eternity of accomplished facts. It is, perhaps, for this reason that doubt of immortality never really comes to youth. One of the few things which our friend still believes is that every sceptic who deals honestly with his only history must be aware of an hour, almost a moment, of waning youth, when the vague potentiality of disbelief became a living doubt, thence-forward to abide with him till death resolve it. Endless not-being is unthinkable before that time, as after it endless being is unthinkable. Yet this unthinkable endless being is all that is left to age, and it is in the notion of it alone that age can get back to the long, long thoughts in which is surcease from unrest. Our old friend may accuse us of proposing the most impossible of paradoxes when we invite him to take refuge from his whirling ideals, not in an unavailing endeavor to renew the conditions of youth in time, but in the forecast of youth in eternity. We think that the error of his impatience, his despair with the state he has come to here, is largely if not wholly through his failure to realize that he is not going to wake up old in some other being, but young, and that the capacity of long, long thoughts will be renewed in him with the renewal of his life. The restlessness of age, its fickleness, its volatility, is the expression of immense fatigue. It tosses from side to side and tries for this and that like a sick man from sheer weakness; or, rather, if the reader prefers another image, it is like some hapless wild thing caught by rising floods on a height of land which they must soon submerge, and running incessantly hither and thither as the water more narrowly hems it in.

Undoubtedly the mutability of age in its ideals has been increased of late by the restriction of human hope to the years which remain, few and brief to the longest earthly life, by the sciences which provisionally darken counsel. When these shall have penetrated to a point where they can discern the light, they will "pour the day" on the dim orbs of age and illumine the future with new hope. Then doubting age can enter into the rest now forbidden it and take its repose between illimitable horizons in the long, long thoughts of eternal youth. We speak here in behalf of the sceptic, the agnostic few. For the many who have not lost their hope because they have never lost their faith, doubtless all the trouble of change which disquiets our friend will seem something temperamental merely, and not something essential or inseparable from human nature. Their thoughts have remained long, their ideals steadfast, because they have not lost the most precious jewel of their youth--the star of trust and hope which