I like, too, to spend an afternoon conversing with a number of ladies in a comfortable drawing room, which is well heated. I visualize the various rewards which are meted out by fame as being housed invariably under a good roof. What is not intimate, does not appeal to me. I have often seen Guimerá in a café on the Rambla in Barcelona, drinking coffee at a table, alone and forlorn, in the midst of a crowd of shop clerks and commercial travellers. "Is that Guimerá?" I asked a Catalan journalist. "Yes." And then he told me that they had tendered him a tremendous testimonial some months previously, which had been attended by I don't know how many hundreds of societies, all marching with their banners. I have no very clear idea of just what Guimerá has done, as it is many years since I have gone to the theatre, but I know that he is considered in Catalonia to be one of the glories of the country. I should not care for an apotheosis, and then find myself left forlorn and alone to take my coffee afterwards with a horde of clerks. I may never write anything that will take the world by storm--most probably not; but if I do, and it occurs to my fellow townsmen to organize one of these celebrations with flags, banners and choral societies, they need not count upon my attendance. They will not be able to discover me even with the aid of Sherlock Holmes. When I am old, I hope to take coffee with pleasant friends, whether it be in a palace or a porter's lodge. I neither expect nor desire flags, committees, nor waving banners. Laurel does not seduce me, and you cannot do it with bunting. ELECTIVE ANTIPATHIES As I have expressed my opinions of other authors sharply, making them public with the proper disgust, others have done the same with me, which is but logical and natural, especially in the case of a writer such as myself, who holds that sympathy and antipathy are of the very essence of art. My opponents and myself differ chiefly in the fact that I am more cynical than they, and so I disclose my personal animus quite ingenuously, which my enemies fail to do. I hold that there are two kinds of morality; morality of work and morality of play. The morality of work is an immoral morality, which teaches us to take advantage of circumstances and to lie. The morality of play, for the reason that it deals with mere futilities, is finer and more chivalrous. I believe that in literature and in all liberal arts, the morality should be the morality of play, while my opponents for the most part hold that the morality of literature should be the morality of work. I have never, consciously at least, been influenced in my literary opinions by practical considerations. My ideas may have been capricious, and they are,--they may even be bad,--but they have no ulterior practical motive. My failure to be practical, together, perhaps, with an undue obtuseness of perception, brings me face to face with critics of two sorts: one, esthetic; the other, social.