and of old, antediluvian dreams. Disdaining this royal road to critical renown, I commenced by praising the enchanting invocation of the poet, who when the ladies heard it would leap out of bed and dress. I observed that to the reader who did not look below the surface--did not "read between the lines," is the favourite phrase--the poem presented some mysteries of diction. Instead of appearing as the angel in Leigh Hunt's "Abou Ben Adhem" did, who diffused himself in the room like a vision, these peripatetic visitants presented themselves like celestial postmen "knocking at the door." Then why were they out so early themselves? Had they more calls to make than they could well accomplish in the time allowed them? Why were they "in haste"? No wonder mankind lack repose if angels are in a hurry. The Kingdom of the Blest is supposed to be the land of rest Manifestly these morning angels had to be back by a stipulated time, and like a tax-collector could make no second call. Apparently Longfellow's angels are like Mr. Stead's favourite spirit Julia. They are harassed with appointments, commissions, and cares. It is of no use being a spirit if you cannot move about with regal leisureliness, such as was displayed by the first Shah of Persia who visited us. The writer has seen nothing like it in any European monarch. While in the lines now in question supernatural misgivings of angelic perturbation are awakened. But as an example of poetry, irrespective of its meaning and suggestions, every reader will covet a new edition of the American poet, and no library could be complete without a copy upon its shelves. I had visited the poet at his Cambridge home, and was proud of the opportunity of adding ever so small an addition to the pyramid of regard raised to his memory. The editor looked dubious on reading this review, and said the higher criticism might be entertaining in theology, but the higher criticism of poetry, which dealt with its meaning, was a different thing and might not be well taken. In vain I suggested that a poet ought to mean something, as Byron did, whose fascination is still real, and there was pathos and beauty, tragedy, tenderness and courtesy enough in the world to employ more poets than we have on hand. I received no more commissions in the way of criticisms, and had to think of some other vocation.