_Post hoc ergo propter hoc_ may not always be a fallacy, but it was certainly a mistake on the part of several reviewers of ‘Thoth’ to translate it in their haste, “after ‘She,’ therefore on account of ‘She.’” For, as a matter of fact, ‘Thoth’ was designed and in part composed more than twelve years ago. In its present form, however, it has been entirely rewritten. It may interest some of my critics to know the original intention and scheme, and the reasons why I delayed the publication even longer than the classical ninth year. The original idea was philosophical. I wished to illustrate the power of will and intellect working through generations with a definite design, and to show that this power might be used for the most repulsive object. The object I chose for my purpose was the destruction of the whole human race by means of pestilences, with the intention of replacing it with a race of men who had for generations been trained in the exercise of the highest intelligence. The new rule was to be a tyranny of intellect. The original designer of this scheme was supposed to be an Egyptian, who had discovered a method of suspending animation. His attempt to introduce the government of intellect amongst existing races had failed, and he determined to destroy them, even if it took thousands of years to prepare the means. The defeat of the scheme in the original plan was due to the friendship of the latest Thoth for Philetos. Philetos was, in marked contrast to these haters of men, a man whom every one loved, and who was the _beau ideal_ of a philanthropist. Thus the victory over hate in the original plan was gained by friendship. The reigning Thoth introduced the plague at Athens, and his life was saved by Philetos. Afterwards Thoth attempted on three occasions to kill his friend, fearing the power of his friendship. The climax was reached in a scene in which the ancestral Thoth and his descendants were aroused, and the fate of the world was to depend on the decision of the ancient ruler. After writing a considerable part of ‘Thoth’ on this plan, I became dissatisfied for several reasons. In the first place, friendship alone, though in the ancient world one of the strongest passions, did not seem as I worked it out strong enough for my purpose. I had introduced also, in the last scene, a supernatural element of a purely imaginary kind, and I heartily disliked the _deus ex machinâ_ even when of my own making. I also considered the style inflated and the characters far too abstract. The original idea, however, seemed worth developing; and when I took it up again after an interval of ten years, I substituted Daphne and love for Philetos and friendship, and put more of the elements of common humanity into the characters. I discarded the supernatural altogether, for however wonderful Thoth’s powers are, there is nothing beyond the possibility of modern science. Even the destruction of the city in the end is due to the want of a guiding mind.