uniformity of a normal student's rhetoric. If Virgil had written in the style of M. Pessonneaux, or of M. Benoist, he would be Benoist, he would be Pessonneaux, and the monks would have scrapped his parchments to substitute for his verses some good lease of a sure and lasting interest. Apropos of these evident truths, M. Albalat refutes Zola's opinion that "it is the form which changes and passes the most quickly," and that "immortality is gained by presenting living creatures." So far as this second sentence can be interpreted at all, it would seem to mean that what is called life, in art, is independent of form. But perhaps this is even less clear? Perhaps it will seem to have no sense whatever. Hippolytus, too, at the gates of Troezen, was "without form and without colour" only he was dead. All that can be conceded to this theory is that, if a beautiful and original work of art survives its century and, what is more, the language in which it was written, it is no longer admired except as a matter of imitation, in obedience to the traditional injunction of the educators. Were the _Iliad_ to be discovered to-day, beneath the ruins of Herculaneum, it would give us merely archaeological sensations. It would interest us in precisely the same degree as the _Chanson de Roland_; but a comparison of the two poems would then reveal more clearly than at present their correspondence to extremely different moments of civilization, since one is written entirely in images (somewhat stiff, it is true) while the other contains so few that they have been counted. There is, moreover, no necessary relation between the merit of a work and its duration. Yet, when a book has survived, the authors of "analyses and extracts conforming to the requirements of the academic programme" know very well how to prove its "inimitable" perfection, and to resuscitate (for the brief time of a lecture) the mummy which will return once more to its linen bands. The idea of glory must not be confused with that of beauty. The former is entirely dependent upon the revolutions of fashion and of taste. The second is absolute to the extent of human sensations. The one is a matter of manners and customs; the other is firmly rooted in the law.