that it is a law that the rich make knowing they can always break it. From the printed interview it appeared that I had said, 'Prohibition! All matter of dollar sign.' This is almost avowed translation, like a French translation. Nobody can suppose that it would come natural to an Englishman to talk about a dollar, still less about a dollar sign—whatever that may be. It is exactly as if he had made me talk about the Skelt and Stevenson Toy Theatre as 'a cent plain, and two cents coloured' or condenmed a parsimonious policy as dime-wise and dollar-foolish. Another interviewer once asked me who was the greatest American writer. I have forgotten exactly what I said, but after mentioning several names, I said that the greatest natural genius and artistic force was probably Walt Whitman. The printed interiew is more precise; and students of my literary and conversational style will be interested to know that I said, 'See here, Walt Whitman was your one real red-blooded man.' Here again I hardly think the translation can have been quite unconscious; most of my intimates are indeed aware that I do not talk like that, but I fancy that the same fact would have dawned on the journalist to whom I had been talking. And even this trivial point carries with it the two truths which must be, I fear, the rather monotonous moral of these pages. The first is that America and England can be far better friends when sharply divided than when shapelessly amalgamated. These two journalists were false reporters, but they were true translators. They were not so much interviewers as interpreters. And the second is that in any such difference it is often wholesome to look beneath the surface for a superiority. For ability to translate does imply ability to under-
