The words of Blake come into my mind, "the daring of the lion or the submission of the ox." With these words I should have headed my letter to the secretary of the charitable institution, and I should have told him that many books which he would regard as licentious are looked upon by me as sacred. "Mademoiselle de Maupin," "the golden book of spirit and sense," Swinburne has called it, I have always looked upon as a sacred book from the very beginning of my life. It cleansed me of the belief that man has a lower nature, and I learned from it that the spirit and the flesh are equal, "that earth is as beautiful as heaven, and that perfection of form is virtue." "Mademoiselle de Maupin" was a great purifying influence, a lustral water dashed by a sacred hand, and the words are forever ringing in my ear, "by exaltation of the spirit and the flesh thou shalt live." This book would be regarded by my correspondent as he regards my "Memoirs," and its publication has been interdicted in England. How could it be permitted to circulate in a country in which the kingdom of heaven is (in theory) regarded as more important than the kingdom of earth? A few pages back the idea came up under my pen that the aim of practical morality was to render illicit love as unattractive as possible, and I suppose, though he has never thought the matter out, the Christian moralist would regard Gautier as the most pernicious of writers, for his theme is always praise of the visible world, of all that we can touch and see; and in this book art and sex are not estranged. I have often wondered if the estrangement of the twain so noticeable in English literature is not the origin of this strange belief that bodily love is part of our lower nature. Our appreciation of the mauve flush dying in the west has been indefinitely heightened by descriptions seen in pictures and read in poems, and I cannot but think that if the lover's exaltation before the curve of his mistress's breast had not been forbidden, the ugly thought that the lover's ardor is inferior to the poet's would never have obtained credence. There is but one energy, and the vital fluid, whether expended in love or in a poem, is the same. The poet and the lover are creators, they participate and carry on the great work begun billions of years ago when the great Breath breathing out of chaos summoned the stars into being. But why do I address myself like this to the average moralist? How little will he understand me! In the Orelay adventure which horrified him there was an appreciation of beauty which he has, I am afraid, rendered himself incapable of. Myself and Doris were spiritual gainers by the Orelay adventure, Doris's rendering of "The Moonlight Sonata," till she went to Orelay, was merely brilliant and effective; and have not all the critics in England agreed that the story in which I relate her contains some of the best pages of prose I have written? But why talk of myself when