It is inevitable, moreover, that too much rigidity on the part of teachers should be followed by a brisk spirit of insubordination on the part of the taught. Accordingly, now and then, some belligerent freeman rushes into print, and shakes our souls by declaring breathlessly that he hates “Wagner, and Mr. Irving, and the Elgin Marbles, and Goethe, and Leonardo da Vinci;” and this rank socialism in literature and art receives a very solid and shameless support from the more light-minded writers of the day. Mr. Birrell, for instance, fails to see why the man who liked Montgomery’s poetry should have been driven away from it by Macaulay’s stormy rhetoric, nor why Macaulay himself could not have let poor Montgomery alone, nor why “some cowardly fellow” should join in the common laugh at Tupper, when he knows very well that in his secret soul he much prefers the “Proverbial Philosophy” to “Atalanta in Calydon” or “Empedocles on Etna.” A recent contributor to Macmillan assures us, with discouraging candor, that it is all vanity to educate ourselves into admiring Turner, and that it is not worth while to try and like the “Mahabharata” or the “Origin of Species,” if we really enjoy “King Solomon’s Mines” or the “Licensed Victualler’s Gazette.” On the other hand, we have Ruskin’s word for it that unless we love Turner with our whole hearts we shall not be--artistically speaking--saved; and hosts of strenuous critics in the field of letters are each and every one assuring us that there is no intellectual future for the world unless we speedily tender our allegiance wherever he says it is due. Poet-censors, like Mr. Swinburne, whose words are bitterness and whose charity is small, lay crooked yokes upon our galled necks. Even the story-tellers have now turned reviewers on their own account, and gravely tell us how many novels, besides their own, we should feel ourselves at liberty to read.