translated several Brazilian tales. He translated Apulius' "Golden Ass." And he had notes for a book on the Gypsies, on the Greek Anthology, and Ausonius. The Burton bibliography looks like the catalogue of a small library. All the world knows about his book, "The Scented Garden," which he translated from the Persian, and which, after his death, his wife burned rather than permit the publication of its naked naturalism. It was in the same vein as his "Arabian Nights," and contained much curious comment upon many things that we Anglo Saxons do not talk about, save in medical society meetings, and dog Latin. When such a man sat down to write a poem, embodying his view of "the Higher Law," what could have been expected but a notable manuscript. With his poem, "the Kasidah," we shall now concern ourselves. It purports to be a translation from the Arabic of Haji Abdu El Yezdi. Its style is like that of the Rubaiyat. It is erude, but subtile. It is brutal in its anti-theism, and yet it has a certain tender grace of melancholy, deeper than Omar's own. It is devoid of Omar's mysticism and epicureanism, and appallingly synthetic. It will not capture the sentimentalists, like the Rubaiyat, but, when it shall be known, it will divide honors with the now universally popular Persian poem. Burton's "Kasidah" is miserably printed in his "Life," but Mr. Thomas Mosher, of Portland, Maine, has issued it in beautiful and chaste form, for the edification of his clientele of searchers for the literature that is always almost, but never quite completely forgotten. The "Kasidah" was written in 1853, and it is, in its opening, much like Fitz Gerald's Rubaiyat, though Burton never saw that gem of philosophy and song, until eight years after. "The Kasidah" was not printed until 1880. It is difficult to interpret, because it so clearly interprets itself. It must be read. It cannot be "explained."