The maggots of the brain are not to be enumerated and labelled: what led this harmless fellow to such fantasies, no man can know. Perhaps after the sudden stroke of fortune sent his wits wandering he had been mastered by some old thought, some half-forgotten protest against the drab formlessness of labour in our day, against the absence of any marks of distinction between men of one trade and men of another; he had reverted to a more ordered clear-cut time, when every man was stamped with the sign of one or other of the ancient industries. Only in some such way, can one attempt to explain this strange masquerade of his. He has his own vision of life, his own idea of that poetry which transfigures the mechanism of blood and bone; and I trust that he will be left to himself to go his own way, for when he is weary of a shepherd’s life, there are still many time-old tradesmen, from tinker to tailor, that he can personate. Nor will it be long before I see him again, caring little whether he is still a shepherd or metamorphosed into a fisherman or cobbler, so long as he is still with us, going his own fantastic gait. AUDACITY IN AUTHORSHIP There is one certain characteristic of contemporary literature which everyone must have remarked, but to which it is very difficult to give a name. It is straining language to call it this or that quality; yet a name it must have, and Audacity will do as well as another. At the worst, it is more than audacity, it is downright impudence; at the best, it becomes engaging sauciness, youth pirouetting to the breakfast-table, or rises to magnificent unwisdom and shows us, once again, the bright fool darting before the van of the angels. It must not, however, be confused with stark originality, which presents us with the strange shape of some creature new to this world, and which is far above mere audacity. There are many ways in which a writer may approach his audience: he may seem to let us overhear him, may seem to meditate aloud, in the manner of Pater; he may take us into a corner and pour out a stream of confessions and confidences, in the manner of Hazlitt; or thrust us into the darkness and belabour us back again into the light, in the manner of Carlyle; there are these and a score of other ways, but the most of them are going out of fashion. It is all ‘Boot, Saddle and Away!’ with so many of our writers now, and we, as unoffending readers, are continually harassed by the sallies of these wild horsemen. No longer are we to be soothed, cajoled, fascinated or awed; unless we are shocked or irritated, the trick fails. We must be surprised by one or two great blows, or goaded into admiration by a thousand pinpricks. We must all play the part of poor, elderly, disapproving relatives, while our authors strut about as wild young nephews, who expect nothing from us but unwilling admiration and envious side-glances. Never was there such bravery at the end of a pen.