fresh as ever and are likely to continue so as long as human nature exists. The opening chapters, the address to the reader--Lesage was never happier than his addresses to the reader, prefaces, and such like things--the episodes of Sangrado and the Archbishop, half a hundred things beside, are as amusing to read for the twentieth time as for the first. What is, perhaps, of more importance, the same may be said of the best passages, even in the work which has been less favoured by the general approbation. But at the same time no one who weighs his words will attempt to deny that Lesage has produced a considerable amount of inferior work side by side with his masterpieces. Nor can it be denied that, as has been more than once here allowed, his range is but limited and that he seems to require a somewhat unusual amount of prompting and crutching before he is able to make his bow and say his say. These things debar him from the place among the chosen few of the writers of his country to which the wonderful success of his best work and the purity of his style would otherwise entitle him. In theoretical originality, in variety of work, in construction, he is very deficient. _Gil Blas_ drags rather than hastens to its end, the author having failed completely to extricate himself from the toils of the endless episodes and digressions of his Spanish models. _Turcaret_ in the same manner lacks unity and precision of plot. Excellence of style and surprising fidelity to human nature in character-drawing--these are the two pillars of Lesage's renown, and it is solidly established upon them. He is thus one of the few writers, to return to the point from which we started, of whom it can be definitely said that, if he had been in more fortunate worldly circumstances, he would have done better, unless, which is, perhaps, equally probable, he had done nothing at all. Necessity was with him, as with others, the mother of invention--the invention, that is to say, of his own talent. But with gifts which do not fall to the lot of one writer in a thousand, he did not always or very often succeed in getting those gifts into perfect working order. His selection of foreign subjects, and the very natural, though very unjust, suspicion of grave indebtedness to foreign models, have also worked against his fame. Yet, with those who have considered novel-writing seriously, he will always rank as one of the princes of character-drawing in its largest and most human sense, while with those who busy themselves with the history of French literature he will always hold the rank of the best writer of the first quarter of the eighteenth century. HISTORY OF GIL BLAS OF SANTILLANE. BOOK THE FIRST. _CHAPTER I._ _THE BIRTH AND EDUCATION OF GIL BLAS._