It is not very long since the country, to which Della Crusca ultimately betook himself, received to her shores the reputed prophet of Æstheticism, whose career, in other respects, presented remarkable parallels with that of Robert Merry. Each made his poetical appearance in the columns of a newspaper called the _World_; each professed Republican opinions; each wrote poems not remarkable for truth to nature or sobriety of diction; each represented a school; and the name of each became as a red rag to the Giffords who played the part of the bull in the china shop. But it is not with this clumsy rage that posterity will regard our follies; nor is it useful, or desirable, that we should now so regard them. It is with a smile of amused anticipation, it is with a bland and philosophic interest, that the antiquarian of the future will turn to the pages of _Punch_ or the libretto of _Patience_, to read of the Anna Matildas who lately delighted to apparel themselves in what Bramston called “shape-disguising sacks”—the Della Cruscas who took Postlethwaite for a great poet.—_National Review._ THE SAVAGE. BY PROF. F. MAX MÜLLER. There are people in the world who are very fond of asking what they call point-blank questions. They generally profess to hate all shilly-shallying, and they are at no pains to hide their suspicion that anyone who declines to say yes or no to any question which they choose to ask has either his intellect clouded by metaphysics or has not the courage of his opinions. The idea that it is often more difficult to ask a sensible question than to answer it, and that a question, however pointed it may sound, may for all that be so blunt and vague that no accurate and honest thinker would care or dare to answer it, never enters their mind; while the thought that there are realms of knowledge where indefinite language is more appropriate, and in reality more exact and more truthful than the most definite phraseology, is scouted as mere fencing and intellectual cowardice.