In “Back-Log Studies” there are, no doubt, some essentially inartistic things—some long episodes; for example, such as the “New Vision of Sin” and the “Uncle in India,” which are clearly inferior in texture to the rest, and not quite worth the space they occupy; but, as a whole, the book is certainly a most agreeable contribution to the literature of the Meditative school. And it is saying a great deal to say this. To make such an attempt successful there must be a lightness of touch sustained through everything; there must be a predominant sweetness of flavor, and that air of joyous ease which is often the final triumph of labor. There must also be a power of analysis, always subtle, never prolonged; there must be description, minute enough to be graphic, yet never carried to the borders of fatigue; there must also be glimpses of restrained passion, and of earnestness kept in reserve. All these are essential, and all these the “Back-Log Studies” show. If other resources were added—as depth of thought, or powerful imagination, or wide learning, or constructive power—they would only carry the book beyond the proper ranks of the Meditative school, and place it in that higher grade of literature to which Holmes’ “Autocrat of the Breakfast Table” belongs. Yet it may be better not to insist on this distinction, for it is Mr. Warner himself who wisely reminds us that “the most unprofitable and unsatisfactory criticism is that of comparison.” It is as true in literature as in painting that “it is in the perfection and precision of the instantaneous line that the claim to immortality is made.” The first and simplest test of good writing is in the fresh and incisive phrases it yields; and in this respect “Back-Log Studies” is strong. The author has not only the courage of his opinions, but he has the courage of his phrases, which is quite as essential. What an admirable touch, for instance, is that where Mr. Warner says that a great wood-fire in a wide kitchen chimney, with all the pots and kettles boiling and bubbling, and a roasting spit turning in front of it, “makes a person as hungry as one of Scott’s novels!” Fancy the bewilderment of some slow and well-meaning man upon encountering that stroke of fancy; his going over it slowly from beginning to end, and then again backward from end to beginning, studying it with microscopic eye, to find where the resemblance comes in, until at last it occurs to him that possibly there may be a typographical error somewhere, and that, with a little revision, the sentence might become intelligible! He does not know that in literature, as in life, nothing venture, nothing have; and that it often requires precisely such an audacious stroke as this to capture the most telling analogies.