first. I think I must plead guilty to four equal favorites: "Amelia," "Esmond," "The Mill on the Floss," and "Villette;" but perhaps I might tell you to-morrow that I place "Vanity Fair" above "Esmond," and prefer "Middlemarch" to "The Mill on the Floss." Still I think to-day's choice is best, so I will stick to it.
It is impossible to know all one's reasons for preferring some books to others – the style, the diction, the subtle way in which the writer makes you feel many things he has left unsaid elude description; and one's own frame of mind when the book first became known may have a great deal to do with it. Unconsciously association has much to do with one's preferences. It is for the character of Amelia, and the charm of her relations with her husband, that I like this novel. Some of the scenes and dialogues between these two are to my mind perfect, absolutely true and beautiful and satisfying. "Esmond" is certainly very inferior to "Amelia" in point of illusion; one always is conscious that one is reading, and the characters are like people we have heard of, or who are at least absent from us; but Harry Esmond is, to my mind, the finest gentleman in English fiction, none the less noble for his little self-conscious air. I have always wondered why he is less popular than Col. Newcome. Except perhaps Warrington he is Thackeray's noblest male character; and "Esmond" is, I take it, the best constructed of Thackeray's novels, and exquisitely written. It is only because there is no woman worthy of the name of heroine that I cannot like this novel best of all. For the reverse reason, that there is no hero, I cannot place "The Mill on the Floss" quite first. Maggie is a beautiful creation, and the picture of English country-life inimitable; the Dodsen family in all its branches is truly masterly. But for deep insight into the heart and soul and mind of a woman where will you find Charlotte Brontë's equal? Her descriptive power and her style are unsurpassable, and Lucy Snowe can teach you more about the thoughts and griefs and unaccountable nervous miseries and heart-aches of the average young woman than any other heroine in fiction that I know of. There is no episode that I am aware of, of such heartfelt truth as that wretched summer holiday she passed alone at Madame Beck's. And every character in the book is excellent; and as for the manner of it, it seems wrung from the very heart of the writer.
Dear Sir: I hardly know what to say in response to your question as to my favorite work of fiction. I am afraid I must go so far back as Defoe, of whose "Colonel Jack" and "Moll Flanders" I never weary. Amongst modern writers I greatly admire Blackmore, Hardy, and Besant. There is great genius and originality, too, in Christie Murray. But with Thackeray, Dickens, George Eliot, Nathaniel Hawthorne, Mrs. Gaskell, and the Brontë's on my shelves, the indication of any one work of fiction as my favorite since the days of "Roxana," "Pamela," "Joseph Andrews," and "Humphrey Clinker," would prove an undertaking which I fear I have not the courage to adventure.
Sir: Your question seems to me to be a difficult, or I might almost say, an impossible one to answer. I do not see how a man of any carefulness of thought or decision can have one favorite work of fiction. To answer your question as simply as possible, I should say that of foreign books my favorites are "Don Quixote" and the novels of Goethe and Jean Paul Richter.
As regards English fiction, I should, I think, place George Eliot's "Silas Marner" first, both as a work of art and as fulfilling, to me, all the needs and requirements of a work of fiction; but I could not say this unless I may be allowed to bracket with this book Nathaniel Hawthorne's "House of the Seven Gables," Mrs. Gaskell's "Cranford," Jane Austen's "Persuasion," Mrs. Ritchie's "Story of Elizabeth," and William Black's "Daughter of Heth" – all of which books seem to me to stand in the very first rank, and not only to fulfil the requirements of the human spirit, but to stand the much more difficult test of being, each of them, perfect as a whole.
Dear Sir: You ask for the title of my favorite work of fiction. I answer that I have no one favorite work of fiction. Among the myriad novels which I have read there is none of excellence so supreme that I prefer it before all others. On the other hand, I have favorite novels – a dozen or so; I have never reckoned them up. These I will enumerate as they occur to me: "Don Quixote," "Tom Jones," "Ivanhoe," "The Heart of Midlothian," "Jane Eyre," "David Copperfield," "Tale of Two Cities," "Esmond," "Vanity Fair," "Adam Bede," "Lorna Doone," "Crime and Punishment" (Dostoieffsky), "Monte Cristo," and "Froment Jeune et Risler Ainé."
I do not suggest that these novels are of equal literary merit. I merely say that they are my favorites, that I have read them all with equal pleasure more than once, and that, as time goes on, I hope to read them again.
A QUEEN'S EPITAPH
There lay the others: some whose names were writ
In dust – and, lo! the worm hath scattered it.
There lay the others: some whose names were cut
Deep in the stone below which Death is shut.
The plumèd courtier, with his wit and grace,
So flattered one that scarce she knew her face!
And the sad after-poet (dreaming through
The shadow of the world, as poets do)
Stops, like an angel that has lost his wings,
And leans against the tomb of one and sings
The old, old song (we hear it with a smile)
From towers of Ilium and from vales of Nile.
But she, the loveliest of them all, lies deep,
With just a rude rhyme over her fair sleep.
(Why is the abbey dark about her prest?
Her grave should wear a daisy on its breast.
Nor could an age of minster music be
Worth half a skylark's hymn for such as she.)
With one rude rhyme, I said; but that can hold
The sweetest story that was ever told.
For, though, if my Lord Christ account it meet
For us to wash, sometimes, a pilgrim's feet,
Or slip from purple raiment and sit low
In sackcloth for a while, I do not know;
Yet this I know: when sweet Queen Maud lay down,
With her bright head shorn of its charm of crown
(A hollow charm at best, aye, and a brief —
The rust can waste it, as the frost the leaf),
She left a charm that shall outwear, indeed,
All years and tears – in this one rhyme I read.
THE COST OF THINGS
"Papa, why does bread cost so much money?" asks a child, of its father. Perhaps if the father is indifferent, indolent, or ignorant, he may dodge the question and reply, "Because flour is so scarce." But if he is a thinking and observant man, willing to instruct an ignorant child asking a very natural question, he will not content himself with such a reply, for he must have observed that bread is sometimes high when wheat and flour are very plentiful.
By drawing on his experience he will not fail to recall the fact that, in a season when any particular article is in much demand, the price of that article will rise and will continue to rise until the demand for the article induces a supply of it from outside sources.
Let him
