in the old fogy, he can reveal the hero, and, in the poor pedant, show the man of inflexible will, which no other has discovered him to be than the poet who so well knows that every one of his creations bears within the depths of its soul an indelible stamp of nobility. IV. Those authors who, as Spielhagen, for instance, most frequently linger over the conflicts of consciousness and of the will, and are fondest of depicting great social and political conflicts, will as a matter of course have better success in portraying men than women. Such a male character as Leo, in the romance "In Reih und Glied" (In Rank and File), would seek in vain for its equal, but a female character of the same excellence Spielhagen has not drawn. Any one, on the other hand, whose spirit seeks the nobility and grace of the absolutely natural, of visible and spiritual beauty, will as a matter of course give the preference to women, and draw them better than men. Herein Heyse resembles his master, Goethe. In almost all of his productions the female characters are placed in the foreground, and the male forms serve mainly to render them prominent, or to develop them. As woman's nature unfolds its secret being, and shoots forth its fairest bloom in love, since in love, nature as nature, through a thousand illusions, becomes ennobled and spiritualized, so Heyse glorifies in an eminent way the love of woman. He renders homage to love, and he renders homage to woman; nevertheless, it is his greatest delight to represent these two great powers in conflict one with the other. For when love gains the victory, when it appears as the power to whose mandates the feminine heart may not bid defiance, it sparkles with radiance, vanquishing resistance, as though possessed of omnipotent might, and producing the effect that every woman under its influence, in defiance against it, in conflict with it, animated by it, rouses in all the pride of her sex, and is invested by love with that aristocratic beauty, which no one represents better than Heyse.