He masters a subject by letting it master him; for though his critical reputation is built on honesty, it is his enthusiasm that makes his work warm with life. Sometimes he entered the class-room so full of what he had to say that he began before he reached his desk. If he was in the middle of a peroration when the bell rang, even the back benches forgot to empty. There were the inevitable students to whom literature is a trial, and sometimes they call attention to their sufferings by a scraping of the feet. Then the professor tried to fix his eyeglass on them, and when it worked properly they were transfixed. As a rule, however, it required so many adjustments that by the time his eye took hold of it he had remembered that students were made so, and his indignation went. Then, with the light in his eye that some photographer ought to catch, he would hope that his lecture was not disturbing their conversation. It was characteristic of his passion for being just that, when he had criticised some writer severely he would remember that the back benches could not understand that criticism and admiration might go together, unless they were told so again. The test of a sensitive man is that he is careful of wounding the feelings of others. Once, I remember, a student was reading a passage aloud, assuming at the same time such an attitude that the professor could not help remarking that he looked like a teapot. It was exactly what he did look like, and the class applauded. But next moment Masson had apologized for being personal. Such reminiscences are what make the old literature class-room to thousands of graduates a delight to think of.