You will say that Esther was not alone, that she had her brother to look at it with her; but who will deny that a brother who makes agricultural remarks about the Queen of Night, and observes that the haze round her royal head looks well for the turnips, is worse, immeasurably worse than nobody? To me it seems that there is nothing absolute, positive in all this shifting, kaleidoscope world; everything is comparative. There is nothing either good, bad, pretty, ugly, large, small, except as compared with something better, worse, prettier, uglier, larger, smaller. Measure two men together, and you find one tall and the other short; put the short one by himself or among a world of pigmies, and straightway he grows tall. Lacking a standard to go by, we make egregious errors. I have known many a woman to pass through life with a pigmy beside her, taking him for a giant all the while, nor undeceived to the end. Esther has no man to measure her Robert by; none at all, save the cowman, the carter, and the groom. Intellectually, morally, physically, he outtops them in stature, and that is all she can as yet know about him. Moonlight, propinquity, total absence of objects of comparison--these three must be Esther's excuses. Robert is not much like her ideal, certainly--the ideal whose picture she has been painting life-size on the canvas of her mind during the vacant moments of the last two transitional years; but if we all waited to be wed till our ideal came knocking at our doors, the world would be shortly dispeopled of legitimate inhabitants. Miss Craven's ideal is dark; at seventeen, most ideals are dark: he has long, fierce, sleepy, unfathomable eyes. Robert is straw-coloured: his eyes are blue; very wide awake: they say exactly what his tongue does, neither more nor less, and there is absolutely no harm in them--a doubtful recommendation to a woman. The ideal's nose is fine cut, delicately chiselled; his cheeks are a little haggard, slightly hollowed and paled by five and thirty years or so of the reckless life of one that has lived, not existed. Robert's nose is broad and blunt; his cheeks have the roundness and bloom of a countryman's five and twenty. The ideal breaks most of the commandments with easy grace; is inclined to be sceptical and a little sarcastic over the old world beliefs, and facts hoary with time and reverence. Robert nightly prays on bent knees to be "not led into temptation but delivered from evil;" he believes firmly every thing that he ever was taught, from the Peep of Day upwards, and he could no more shape his honest lips into a sneer than he could square the circle. Before the fell shafts of the ideal's eyes women lie slain as thick as Greeks lay beneath the arrows of Apollo in the Iliad's opening clash; the number of Robert's female victims is represented by a duck's egg.