Please tell the Fortnightly man that I am sorry but I can do nothing of that sort this year, as I am under a pledge to Scribner's; and indeed my monthly articles take the best of my time. It was a project I went into with horrid diffidence; and lucre was my only motive. I get on better than I expected, but it is difficult to find an article of the sort required for each date, and to vary the matter and keep up (if possible) the merit. I do not know if you think I have at all succeeded; it seemed to me this really worked paper was more money's worth (as well as probably better within my means) than the Lang business at the Sign of the Ship. Indeed I feel convinced I could never have managed that; it takes a gift to do it. Here is lunch.--Yours afftly., R. L. S. TO HENRY JAMES [_Saranac Lake, March 1888._] MY DEAR DELIGHTFUL JAMES,--To quote your heading to my wife, I think no man writes so elegant a letter, I am sure none so kind, unless it be Colvin, and there is more of the stern parent about him. I was vexed at your account of my admired Meredith: I wish I could go and see him; as it is I will try to write; and yet (do you understand me?) there is something in that potent, _genialisch_ affectation that puts one on the strain even to address him in a letter. He is not an easy man to be yourself with: there is so much of him, and veracity and the high athletic intellectual humbug are so intermixed.[26] I read with indescribable admiration your _Emerson_. I begin to long for the day when these portraits of yours shall be collected: do put me in. But Emerson is a higher flight. Have you a _Tourgueneff_? You have told me many interesting things of him, and I seem to see them written, and forming a graceful and _bildend_ sketch. (I wonder whence comes this flood of German--I haven't opened a German book since I teethed.) My novel is a tragedy; four parts out of six or seven are written, and gone to Burlingame. Five parts of it are sound, human tragedy; the last one or two, I regret to say, not so soundly designed; I almost hesitate to write them; they are very picturesque, but they are fantastic; they shame, perhaps degrade, the beginning. I wish I knew; that was how the tale came to me however. I got the situation; it was an old taste of mine: The older brother goes out in the '45, the younger stays; the younger, of course, gets title and estate and marries the bride designate of the elder--a family match, but he (the younger) had always loved her, and she had really loved the elder. Do you see the situation? Then the devil and Saranac suggested this _denouement_, and I joined the two ends in a day or two of constant feverish thought, and began to write. And now--I wonder if I have not gone too far with the fantastic? The elder brother is an INCUBUS: supposed to be killed at Culloden, he turns up again and bleeds the family of money; on that stopping he comes and lives with them, whence flows the real tragedy, the nocturnal duel