worst of both--obsolete American provincialisms and the patois of the quartier latin side by side. To the cultured American who knows only the English of Lindley Murray and scholastic French, the book is about as intelligible as Greek to Casca or the "dog-latin" of the American schoolboy to Julius Caesar. His characters resemble the distorted freaks of nature in a dime museum. They may all be possible, but not one of them probable. Taffy and Gecko are the best of the lot. The first is a big, good-natured Englishman who wants to see his sweetheart married to his friend, weds another and supports her quite handsomely by painting pictures he cannot sell; the latter a Pole with an Italian's temperament, yet who sees the woman he loves in the power of a demon--by whom she is presumably debauched--and makes no effort to rescue her, is not even jealous. Svengali is the greatest musician in the world, yet cannot make a living in Paris, the modern home of art. He is altogether and irretrievably bad--despite the harmony in which his soul is steeped! Think of a hawk outwarbling a nightingale--of a demon flooding the world with melody most divine! We may now expect Mephistopheles to warble "Nearer My God to Thee" between the acts! Trilby can sing no more than a burro. Like the useful animal, she has plenty of voice, and, like him, she can knock the horns off the moon with it or send it on a hot chase after the receding ghost of Hamlet's sire; but she is "tone-deaf"-- can't tell Ophelia's plaint from the performance of Thomas' orchestra. Svengali hypnotizes her, and, beneath his magic spell she becomes the greatest cantatrice in Europe. Hypnotism is a power but little understood; so we must permit Du Maurier to make such Jules Verne's excursions into that unknown realm as may please him. Had Svengali made a contortionist of the stiff old Devonshire vicar we could not cry "impossible." The Laird of Cockpen is a good-natured fellow to whom Trilby tells her troubles instead of pouring them into the capacious ear of a policeman. He is a kind of bewhiskered Sir Galahad who goes in quest of Trilby instead of the Holy Grail, and having found her, sits down on her bed and cheers her up while she kisses and caresses him. As she is in love with his friend, the performance is eminently proper, quite platonic. The Laird advises Trilby to give up sitting for "the altogether"; yet Du Maurier assures us that "nothing is so chaste as nudity"--that "Venus herself, as she drops her garments and steps on to the model-throne, leaves behind her on the floor every weapon by which she can pierce to the grosser passions of men."