endless chains of them, spurt from the point of his ardent pen. Standing on his magic carpet he shakes new sins out of his sleeve as a conjurer shakes out white rabbits and juggles words with an exquisite dexterity. He is, indeed, the _jongleur de notre ame_! From the beginning, his style has attracted the attention of the few and no one, I am sure, has ever written a three line review of a book by Saltus without referring to it. Mme. Amelie Rives has quoted Oscar Wilde as saying to her one night at dinner, "In Edgar Saltus's work passion struggles with grammar on every page!" Percival Pollard has dubbed him a "prose paranoiac," and Elbert Hubbard says, "He writes so well that he grows enamoured of his own style and is subdued like the dyer's hand; he becomes intoxicated on the lure of lines and the roll of phrases. He is woozy on words--locoed by syntax and prosody. The libation he pours is flavoured with euphues. It is all like a cherry in a morning Martini." A phrase which Remy de Gourmont uses to describe Villiers de l'Isle Adam might be applied with equal success to the author of "The Lords of the Ghostland": "_L'idealisme de Villiers etait un veritable idealisme verbal, c'est-a-dire qu'il croyait vraiment a la puissance evocatrice des mots, a leur vertu magique._" And we may listen to Saltus's own testimony in the matter: "It may be noted that in literature only three things count, style, style polished, style repolished; these imagination and the art of transition aid, but do not enhance. As for style, it may be defined as the sorcery of syllables, the fall of sentences, the use of the exact term, the pursuit of a repetition even unto the thirtieth and fortieth line. Grammar is an adjunct but not an obligation. No grammarian ever wrote a thing that was fit to read."