There is now, and always has been, a strange sympathy between France and Scotland. A Scot learns French, as a rule, easily. One of the striking differences between dialect Scotch and book English is precisely the peculiar French ingredients in the former. For three hundred years the two countries were allies, and the advantages to England may be gathered from the remark of King Henry V. in Shakespeare's play-- "For you shall read that my great-grandfather Never went with his forces into France, But that the Scot on his unfurnished kingdom, Came rolling like the tide into the breach." GIL BLAS. One French book that has solaced my leisure (in train, steamer, and trap), is that altogether delectable volume _Gil Blas_. It would be worth learning French to be able to read the book in the original. The characters are non-moral reprobates who lie, rob, and drink with the most unaffected sincerity. Vice loses all its grossness, and becomes intensely entertaining. The tone of the confessions is at once subtle and naïve, tragic and trivial, comic and pathetic. The humour is absolutely colossal: many English books, alleged to be humorous, do not contain, in their entire bulk, as much humour as a single chapter of this great work. For brilliancy of style it stands very high, and few authors, either in France or elsewhere, have attained such admirable clearness, precision, and pith. Read _Gil Bias_, say I, if you wish to appreciate the possibilities of the French tongue, and taste all the delicate flavour of its racy idiom. ROMANCE AND AUGUSTANISM. There is a well-known text of Scripture, "In my father's house are many mansions" which, with a slight turn, might be applied to the House of Literature. There is room there for every pure and beautiful expression of human thought and emotion. Romance and Augustanism have both the right of entry. I am glad to see that Alexander Pope, the cleverest of our English bards, is still a popular favourite wherever I go. It would be a pity if this were not so, for he is head of the guild of Queen Anne wits, and no one of them can rival his instinctive delicacy, careful workmanship, and crystalline lucidity. His skill in the coining of impressive aphoristic couplets is unrivalled: it is almost as good as a novel addition to truth to find an old maxim supplied with the winged words of such a consummate verbal artist. Pope is a writer who appeals directly to all readers, for he never hides poverty of thought in a cloud of vague words.