William Watson receives over a column of biography, and is eulogized for his classic traditions in an age of prosodic lawlessness. The sentimental and inoffensive Austin Dobson apparently is a high favorite with the editors of the Encyclopædia, for he is given a column and three-fourths—more space than is given John Davidson, Francis Thompson, William Watson, Watts-Dunton, or Oscar Wilde—an allowance out of all proportion to his importance. In closing this brief record of the _Encyclopædia Britannica’s_ prodigal generosity to British poets, it might be well to mention that Thomas Chatterton receives a biography of five and a half columns—a space considerably longer than that given to Heine. Since Thomas Chatterton died at the age of eighteen and Heinrich Heine did not die until he was fifty-nine, I leave it to statisticians to figure out how much more space than Heine Chatterton would have received had he lived to the age of the German poet. On turning to the French poets and bearing in mind the long biographies accorded British poets, one cannot help feeling amazed at the scant treatment which the former receive. Baudelaire, for instance, is given less space than Christina Rossetti, William Watson, Henley, Coventry Patmore, John Davidson, or Austin Dobson. Catulle Mendès receives considerably less space than Stephen Phillips. Verlaine is given equal space with Watts-Dunton, and less than half the space given to Austin Dobson! Stéphane Mallarmé receives only half the space given to John Davidson, Christina Rossetti, or William Watson. Jean Moréas receives only half the space given to Sydney Dobell or Christina Rossetti. Viélé-Griffin draws a shorter biography than Kendall, the Australian poet; and Régnier and Bouchor are dismissed in fewer words than is the Scotch poet, Alexander Smith. Furthermore, these biographies are rarely critical, being in the majority of instances a cursory record of incomplete data. Here attention should be called to the fact that only in the cases of the very inconsequent British poets is criticism omitted: if the poet is even fairly well known there is a discussion of his work and an indication of the place he is supposed to hold in his particular field. But with foreign writers—even the very prominent ones—little or nothing concerning them is vouchsafed save historical facts, and these, as a general rule, fall far short of completeness. The impression given is that obscure Englishmen are more important than eminent Frenchmen, Germans, or Americans. Evidently the editors are of the opinion that if one is cognizant of British culture one can easily dispense with all other culture as inferior and unnecessary. Otherwise how, except on the ground of deliberate falsification, can one explain the liberal treatment accorded English poets as compared with the meagre treatment given French poets?