For the rest, I do not know that anyone could treat the story of the unhappy lovers of the Paraclete, imaginatively, in such a way as to disarm criticism. I do not refer to any technical difficulty, arising out of the central catastrophe in Abelard’s life. To the true imaginative artist, that would mean as little as it meant to Eloisa. Indeed, it would assist him to obtain compassion for Abelard, just as it made Eloisa love him only all the more. It is the something beyond compassion of which Abelard stands in need, that would baffle the most skilful artistic handling. He would necessarily have to be the hero, and, unfortunately, he is not heroic. Were it not that such a woman as Eloisa loved him, I should be inclined to say that he was hateful. I doubt if there ever lived the man altogether worthy of such a love as hers; yet one would be sorry to think that hundreds of men do not exist more worthy of it than he was. One forgives him much for her sake; yet it is her perfection that makes him look the more imperfect. The contrast between her simplicity and his complexity, between her single-minded devotion to him and his many-sided calculations of what would be best for himself, ends by making him odious; and one is compelled to acknowledge the truth of that bitter saying of Rousseau, “Tout homme réflechi est méchant.” It is to no man-of-letters, recent or remote, neither to Bussy-Rabutin nor to Colardeau, neither to Pope nor to De Rémusat, but to the famous Correspondence of the pathetic pair, that we must turn if we are to understand either their character or their story. The first letter is written by Abelard, not to Eloisa, but to “a Friend,” and relates the leading incidents of his life. Nowhere, it has often been remarked, does a man so thoroughly, because so unconsciously, betray the secret of his disposition as in his letters. _Raconter mon histoire_ is, to this day, a favorite occupation with Frenchmen; and Abelard is garrulous about his own merits, his own grief, his own successes. He speaks contemptuously of William of Champeaux, and with just as little respect of Anselm of Laon. It was, however, customary in the Middle Ages for controversialists to treat each other with scant courtesy; the flattering consideration which people who sneer at each other in private nowadays exhibit towards each other in public not having yet come into fashion. It is when Abelard narrates how he made the acquaintance of Eloisa that we get the full measure of his fundamentally coarse and selfish nature. Fancy a man writing of a woman who had loved him, and loved him as Eloisa loved Abelard, that she was _per faciem non infima_, or, as we should say in English, “not bad-looking”! Fancy his being able to remember, let alone to describe without intolerable shame, that, having heard of her accomplishments, he deliberately planned to win her affections, adding that he felt sure this would be easy, because “tanti quippe tunc nominis eram, et