the same as that of John Milton, its once reputed author. No true student of Milton’s times or of Milton’s language was ever deceived by it; and the innocent and amiable Quaker lady of our own century, who wrote it, was perfectly guileless in this impersonation of his grief. But, nevertheless, it passed current for a long time on the strength of some one’s literary sagacity. This species of argument is a very common inheritance to the editors of Latin hymns, from Thomasius and Clichtove downward. But it is quite as unsafe as to assign “I am dying, Egypt, dying,” to the actual Mark Antony when we know it to have been written by William Henry Lytle, an American, born in 1829 and dying in 1863. Therefore, it is scarcely proper authoritatively to accredit these hymns to Xavier, or, indeed, to any other poet. The utmost that we can say for them is that no one can prove the converse of the proposition, and that their style and form are appropriate to the period at which he lived. He is not known to have written other verses. These may have been the only exudations of that bruised and wounded spirit which have hardened into amber and thus have become precious to us. And we would prefer to believe that he truly appears in these lines in such an exquisite mystic apotheosis rather than to intermeddle with lower questions, and so, perhaps, prevent any discussion of himself in these pages at all. We have been prohibited by much the same destructive analysis from treating of Augustine, who never wrote a hymn, and to whom the _Ad perennis vitae fontem_ has been wrongly ascribed, for we know it now to be the undoubted composition of St. Peter Damiani. In this and in other similar cases where there is any literary question concerned, it may be worth our while to investigate with great carefulness. As a rule, however, the internal evidence offered in the hymns themselves will set us on the true path. They range in structure from the lowest _corundum_ up to the choicest diamond, and are as various as any gems in their prosodic form and spiritual color. Like these gems, also, they are notable for varieties of crystallization—the Dark Ages showing imperfect angles and crude attempts, and the Renaissance exhibiting again the old sharp-cut classicism of a time anterior even to Hilary and Ambrose.