case "sisters "—of the animal world, from first to last a striking trait in his character, is beautifully expressed. There is delicate humor, too, as well as pathos, in the sketch. In the latter we have the glow of his feeling for the sorrow of a child, and the spring of his wonderful imagination which a few handfuls of sand not native to the spot evoke. In neither is there the least trace of the weird which is in so large a degree characteristic of most of the others. Slight as they are in texture, they seem to me to rise far above the more subtle and fanciful tales in the strength and beauty of simple truth to nature—to the best that was in his own nature.
But the others, notably "The Black Cupid," "The Undying One," "Aphrodite and the King's Prisoner," "The Fountain of Gold," "The Gypsy's Story," are not to be undervalued. There is a power of vision, an imaginative magnificence, a weird melody of word-music in them that grips the mind of the reader as in a vise.
"The Fountain of Gold" was later reproduced in the form of "A Tropical Intermezzo," recently given to a wider public in the pages
