“Another of these posted preserves is that of satire in iambic pentameter verse. This mode of expression is supposed to belong by right divine to Alexander Pope, who made the most constant and cleverest use of it. With its concomitants of epigram and antithesis, it was old before Pope was young. He was himself a ‘trespasser’; he was roundly reviled for imitating Dryden. The form was used by other Queen Anne’s men, acceptably by Johnson and by many a later; but of this the patrolmen and gatekeepers of the Pope reservation in our day have not been apprised by ‘report divine’—the only way that they can be made to know anything, for read, the devil a bit do they. In the literary landscape they see only the highest peaks of the Delectable Mountains. They know only the large, familiar figures, and these only by their most characteristic work. To their indurated understandings each individual of this bright band stands for a particular field of composition. His title to exclusive possession is _res adjudicata_. If anybody set foot across the sacred boundary—little fellows excepted—he will find himself the fundamental element in a cone of pummeling custodians. Young man, in your report of this interview you will be good enough to quote me as deprecating that situation.” The interviewer pledged his life, his sacred fortune and his honor to the performance of that duty, and the great man resumed: “Of all these inhibiting _censores literarum_, the most austere and implacable are those guarding the sovereignty of Poe. They have made his area of activity a veritable _mare clausum_—as if he were the first that ever burst Into that silent sea.” The Timorous Reporter signified his sense of the speaker’s fertility of metaphor: there had been an inundation (of words) and the “estate” had become a “sea.” He whistled softly “A Life on the Ocean Wave.” “It was not an unknown sea; it was cris-crossed by the wakes of a thousand ships and charted to the last reef. Tales of the tragic and the supernatural are the earliest utterances in every literature. When the savage begins to talk he begins to tell wonder tales of death and mystery—of terror and the occult. Tapping, as they do, two of the three great mother-lodes of human interest, these tales are a constant phenomenon—the most permanent, because the most fascinating, element in letters. Great Scott! has the patrol never heard of _The Thousand and One Nights_, of _The Three Spaniards_, of Horace Walpole, of ‘Monk’ Lewis, of De Quincey, of Maturin, Ingemann, Blicher, Balzac, Hoffmann, Fitz James O’Brien?” The reporter summoned the boldness to say that the charge of imitation had not been made against De Maupassant, who certainly was not an unobserved “little fellow,” and was contemporary with the offending critics. “Why, sir,” said the Melancholy Author, “you forget—he wrote in French. Translations? Dear me, have there been translations? How sad!