'Eleutheria,' a section at the beginning of the book, includes a number of discreet sacrifices on the altar of Milton. Here Wilde does much better. Some of these exercises, which are among the most interesting he wrote, suggest a new view of the morale of imitation. With Wilde in this mood, imitation (to use one of those renewals of popular sayings that were the playthings of his mind), was the sincerest form of parody. Now parody is a branch of criticism. The critics of the music-hall stage are those favourite comedians who imitate their fellow-actors. Lewis Carroll is a negligible critic neither of Longfellow nor of Tennyson. Parody's criticism is too often facile, seeking applause by the readiest means, holding up to ridicule rather than to examination faults rather than excellences, exaggerating tricks of manner and concerning itself not at all with personality. Wilde's parodies are at once more valuable and more sincere. He tries to catch not only the letter but the spirit, and does indeed present a clearer view of Milton than is contained in many academic essays. An accusation of mere plagiary is made impossible by his openness. He writes a sonnet on Milton, a sonnet on Louis Napoleon, and then, matching even the title of his model, a sonnet on the Massacre of the Christians in Bulgaria. Let me print the sonnet "On the Late Massacre in Piedmont":-- "Avenge, O Lord, thy slaughter'd saints whose bones Lie scatter'd on the Alpine mountains cold; Ev'n them who kept thy truth so pure of old, When all our fathers worshipped stocks and stones, Forget not: in thy book record their groans Who were thy sheep, and in their ancient fold Slain by the bloody Piedmontese that roll'd Mother with infant down the rocks. Their moans The vales redoubled to the hills, and they To Heav'n. Their martyr'd blood and ashes sow O'er all the Italian fields, where still doth sway The triple tyrant; that from these may grow An hundredfold, who having learned thy way Early may fly the Babylonian woe." And then Wilde's:-- "Christ, dost thou live indeed? or are thy bones Still straitened in their rock-hewn sepulchre? And was thy Rising only dreamed by Her Whose love of thee for all her sin atones? For here the air is horrid with men's groans, The priests who call upon thy name are slain, Dost thou not hear the bitter wail of pain From those whose children lie upon the stones? Come down, O Son of God! incestuous gloom Curtains the land, and through the starless night Over thy Cross a Crescent moon I see! If thou in very truth didst burst the tomb Come down, O Son of Man! and show thy might, Lest Mahomet be crowned instead of Thee!"