each, even when brought into close external contact.
If there be any truth in this it applies to M. Texte's final moral. He observes that there is a danger of literature becoming too cosmopolitan. The distinctive qualities in which French literature has been super-eminent may disappear: and if something is gained for science, much may be lost for art. At present, indeed, we do not seem to be rapidly approaching the period at which patriotism will be lost in universal philanthropy. When the 'parliament of man' has been elected by the 'federation of the world' it will be time enough to make up our minds as to the gain and loss. The real danger is, to my mind, a little different. It is quite true that the modern author does his best to be in one way cosmopolitan. He goes about the world searching for new sensations. If an original writer arises in France or Germany, Russia or Norway, he is translated and imitated, and has his sect of fervent admirers in every other civilised country. That, no doubt, represents a very different state of things from the old order, under which each vernacular literature grew up utterly unconscious of the existence of others, or even from the order in which a small body of
