_e._ The writer must likewise consider the differences between the sexes in the point of moral faculties, even though in many respects they are the same. For girls have tender consciences, though not so tenacious; they are quick to promise, and as quick to forget; they are easily stirred to pity, their sympathy easily appealed to. Bringing it down to an animalistic basis, Mr. Tomlinson believes that though the ancestral cruelty in girls is not so evident as in boys, when it does flash forth it is sharper in every way. “To both, right and wrong are absolute, not relative terms, and a youthful misanthrope is as much of an anomaly as a youthful grandfather.” _f._ The sentiments must be directed in channels of usefulness and power, hence the story of patriotism, the situation of courage, the incident of tenderness. _g._ Since the faculties in action are receptive, rather than perceptive, since the memory is keen to hold, the writer must bear this psychological status in mind. In fine, recognising that even in his play the boy takes things seriously, and believing that the juvenile intellect “seeks the reasonable more than the process of reasoning,” Mr. Tomlinson shapes a dicta of criticism, a standard by which the child’s book may be recognised in terms of vital characteristics. Apply them to recent juvenile books, if you will, and you will find the majority wanting. But will not the classics meet these requirements? Are we to relegate the best we have to the back shelves, and buy nothing that smacks of good style? Instead of putting tight bands of expectancy about our minds, and of making us bow down before a throne of iced classics, let the librarian treat the “Iliad” genially, let her represent “Siegfried” with the broad heavens above him. The classics have _yielding_ power.