Two distinguished souls! deux etres d'elite--M. Feuillet thinks--whose fine qualities properly brought them together. When Mademoiselle de Courteheuse said of the heroes of her favourite age, that their passions, their errors, did but pass over a ground of what was solid and serious, and which always discovered itself afresh, she was unconsciously describing Bernard. Singular young brother of Monsieur de Camors--after all, certainly, more fortunate than he--he belongs to the age, which, if it had great faults, had also great repentances. In appearance, frivolous; with all the light charm of the world, yet with that impressibility to great things, according to the law which makes the best of M. Feuillet's [240] characters so interesting; above all, with that capacity for pity which almost everything around him tended to suppress; in real life, if he exists there, and certainly in M. Feuillet's pages, it is a refreshment to meet him. 1886. POSTSCRIPT ainei de palaion men oinon, anthea d' hymnon neoteron+ [241] THE words, classical and romantic, although, like many other critical expressions, sometimes abused by those who have understood them too vaguely or too absolutely, yet define two real tendencies in the history of art and literature. Used in an exaggerated sense, to express a greater opposition between those tendencies than really exists, they have at times tended to divide people of taste into opposite camps. But in that House Beautiful, which the creative minds of all generations--the artists and those who have treated life in the spirit of art--are always building together, for the refreshment of the human spirit, these oppositions cease; and the Interpreter of the House Beautiful, the true aesthetic critic, uses these divisions, only so far as they enable him to enter into the peculiarities of the objects with which he has to do. The term classical, fixed, as it is, to a well-defined literature, and a well-defined group in art, is clear, indeed; but then it has often been used in a hard, and merely scholastic [242] sense, by the praisers of what is old and accustomed, at the expense of what is new, by critics who would never have discovered for themselves the charm of any work, whether new or old, who value what is old, in art or literature, for its accessories, and chiefly for the conventional authority that has gathered about it--people who would never really have been made glad by any Venus fresh-risen from the sea, and who praise the Venus of old Greece and Rome, only because they fancy her grown now into something staid and tame.