'“Nay, think not, young man, that, because you are gay and bright and vital to-day, you will find the path of life throughout as smooth and easy as you find it now at the very start or outset of your appointed pilgrimage. Those juicy fruits that stretch so temptingly by the bosky wayside--those golden apples of the Hesperides that hang so lusciously from the bending boughs--those cool draughts that spring so pellucid from yon welling fountain--those fair nymphs that bid you loiter so often among the roses and eglantines of yon shady bowers--all, all, though they smile so innocent and so attractive, are but deceitful allurements to delay your feet and intoxicate your senses, toils to lead you aside from the straight but thorny road of right and duty into the brighter but deadly track of fatal self-indulgence. Yet, above all things, if you would be wise, O youth! shun that sparkling beaker, which the cunning tempter, like Comus in the masque, holds out to you too enticingly to quench your ardent thirst: quaff it not, though it dance and glitter so merrily in the sunlight, for there is death in the cup; it leads you on slowly and surely to the dishonoured grave; it loses you, one after another, health, wealth, and youth, and friends, and children; it covers you with shame, disgrace, and humiliation, and in the end this, _this_, this is the miserable plight to which it finally reduces what may once have been a man of birth, of learning, of genius, and of reputation.”' It was a tawdry bit of cheap rhetoric enough, to be sure, penned by Edmund Plantagenet in his palmiest days, when he still cherished his dream of literary greatness, in feeble imitation of De Quincey's rounded and ornate periods; but delivered as Trevor Gillingham knew how to deliver the merest tinsel, with rolling voice and profound intonations of emotion, it struck even those graceless, half-tipsy undergraduates as a perfect burst of the divinest eloquence. They didn't notice at the moment its cheap effectiveness, its muddled metaphors, its utter vulgarity of idea and expression; they were taken unexpectedly by its vivid separate elements, its false gallop of prose, its quick turns of apostrophe, exhortation and sentimentalism, its tricky outer semblance of poetical phraseology. And Gillingham knew how to make the very best of it: pointing now with his left hand upward to the golden apples of the Hesperides hanging from the imaginary branches of trees overhead; now with his right to one side toward the fair nymphs loitering unperceived in their invisible bowers among the Carlsbad plums; and now again with both together downwards towards the awful abyss that he seemed to behold opening unseen upon the carpet before him. And when at last he reached the weak and tawdry climax, 'this, this is the plight to which it finally reduces a man of genius,' he gave fresh point to the words by turning his forefinger relentlessly and reproachfully toward the very author who wrote them, the now