DEAR HERBERT,--You ask what I have been reading. Well, I have been going through Newman's Apologia for the twentieth time, and as usual have fallen completely under the magical spell of that incomparable style; its perfect lucidity, showing the very shape of the thought within, its simplicity (not, in Newman's case, I think, the result of labour, but of pure instinctive grace), its appositeness, its dignity, its music. I oscillate between supreme contentment as a reader, and envious despair as a writer; it fills one's mind up slowly and richly, as honey fills a vase from some gently tilted bowl. There is no sense of elaborateness about the book; it was written swiftly and easily out of a full heart; then it is such a revelation of a human spirit, a spirit so innocent and devoted and tender, and, moreover, charged with a sweet naive egotism as of a child. It was written, as Newman himself said, IN TEARS; but I do not think they were tears of bitterness, but a half-luxurious sorrow, the pathos of the past and its heavinesses, viewed from a quiet haven. I have no sympathy whatever with the intellectual attitude it reveals, but as Roderick Hudson says, I don't always heed the sense: it is indeed a somewhat melancholy spectacle of a beautiful mind converted in reality by purely aesthetic considerations, by the dignity, the far-off, holy, and venerable associations of the great Church which drew him quietly in, while all the time he is under the impression that it is a logical clue which he is following. And what logic! leaping lightly over difficult places, taking flowery by-paths among the fields, the very stairs on which he treads based on all kinds of wide assumptions and unverifiable hypotheses. Then it is distressing to see his horror of Liberalism, of speculation, of development, of all the things that constitute the primal essence of the very religion that he blindly followed. One cannot help feeling that had Newman been a Pharisee, he would have been, with his love of precedent, and antiquity, and tradition, one of the most determined and deadly opponents of the spirit of Christ. For the spirit of Christ is the spirit of freedom, of elasticity, of unconventionality. Newman would have upheld in the Sanhedrim with pathetic and exquisite eloquence that it was not time to break with the old, that it was miserable treachery to throw over the ancient safeguards of faith, to part with the rich inheritance of the national faith delivered by Abraham and Moses to the saints. Newman was a true fanatic, and the most dangerous of fanatics, because his character was based on innocence and tenderness and instinctive virtue. It is rather pathetic than distressing to see Newman again and again deluded by the antiquity of some petty human logician into believing his utterance to be the very voice of God. The struggle with Newman was not the struggle of faith with scepticism, but the struggle between two kinds of