I took up "Rhoda Fleming." I found some exquisite bits of description in it, but I heartily wished them in verse, they were motives for poems; and there was some wit. I remember a passage very racy indeed, of middle-class England. Antony, I think, is the man's name, describes how he is interrupted at his tea; a paragraph of seven or ten lines with "I am having my tea, I am at my tea," running through it for refrain. Then a description of a lodging-house dinner: "a block of bread on a lonely place, and potatoes that looked as if they had committed suicide in their own steam." A little ponderous and stilted, but undoubtedly witty. I read on until I came to a young man who fell from his horse, or had been thrown from his horse, I never knew which, nor did I feel enough interest in the matter to make research; the young man was put to bed by his mother, and once in bed he began to talk!...four, five, six, ten pages of talk, and such talk! I can offer no opinion why Mr George Meredith committed them to paper; it is not narrative, it is not witty, nor is it sentimental, nor is it profound. I read it once; my mind, astonished at receiving no sensation, cried out like a child at a milkless breast. I read the pages again...did I understand? Yes, I understood every sentence, but they conveyed no idea, they awoke no emotion in me; it was like sand, arid and uncomfortable. The story is surprisingly commonplace--the people in it are as lacking in subtlety as those of a Drury Lane melodrama. "Diana of the Crossways" I liked better, and had I had absolutely nothing to do I might have read it to the end. I remember a scene with a rustic--a rustic who could eat hog a solid hour--that amused me. I remember the sloppy road in the Weald, and the vague outlines of the South Downs seen in starlight and mist. But to come to the great question, the test by which Time will judge us all--the creation of a human being, of a live thing that we have met with in life before, and meet for the first time in print, and who abides with us ever after. Into what shadow has not Diana floated? Where are the magical glimpses of the soul? Do you remember in "Pères et Enfants," when Tourgueneff is unveiling the woman's, shall I say, affection, for Bazaroff, or the interest she feels in him? and exposing at the same time the reasons why she will never marry him...I wish I had the book by me, I have not seen it for ten years. After striving through many pages to put Lucien, whom you would have loved, whom I would have loved, that divine representation of all that is young and desirable in man, before the reader, Balzac puts these words in his mouth in reply to an impatient question by Vautrin, who asks him what he wants, what he is sighing for, "_D'être célèbre et d'être aimè_,"--these are soul-waking words, these are Shakespearean words.