It takes a Goethe to see a work of art fully, completely and perfectly, and I thoroughly agree with Mr. Whibley when he says that it is a pity that Goethe never had an opportunity of reading Dorian Gray. I feel quite certain that he would have been delighted by it, and I only hope that some ghostly publisher is even now distributing shadowy copies in the Elysian fields, and that the cover of Gautier's copy is powdered with gilt asphodels. You may ask me, Sir, why I should care to have the ethical beauty of my story recognised. I answer, Simply because it exists, because the thing is there. The chief merit of Madame Bovary is not the moral lesson that can be found in it, any more than the chief merit of Salammbo is its archaeology; but Flaubert was perfectly right in exposing the ignorance of those who called the one immoral and the other inaccurate; and not merely was he right in the ordinary sense of the word, but he was artistically right, which is everything. The critic has to educate the public; the artist has to educate the critic. Allow me to make one more correction, Sir, and I will have done with Mr. Whibley. He ends his letter with the statement that I have been indefatigable in my public appreciation of my own work. I have no doubt that in saying this he means to pay me a compliment, but he really overrates my capacity, as well as my inclination for work. I must frankly confess that, by nature and by choice, I am extremely indolent. Cultivated idleness seems to me to be the proper occupation for man. I dislike newspaper controversies of any kind, and of the two hundred and sixteen criticisms of Dorian Gray that have passed from my library table into the wastepaper basket I have taken public notice of only three. One was that which appeared in the Scots Observer. I noticed it because it made a suggestion, about the intention of the author in writing the book, which needed correction. The second was an article in the St. James's Gazette. It was offensively and vulgarly written, and seemed to me to require immediate and caustic censure.

I see the great peaks, with clouded tops, seeming to mount up for ever and ever; I hear the music of the distant herds, the peasant’s jodel, and the solemn church-bells; and I scent the fragrant breath of the pines: and after these have passed away, another train of thoughts succeeds—of those who have been upright, brave, and true; of kind hearts and bold deeds; and of courtesies received at stranger hands, trifles in themselves, but expressive of that good will towards men which is the essence of charity. Still, the last, sad memory hovers round, and sometimes drifts across like floating mist, cutting off sunshine, and chilling the remembrance of happier times. There have been joys too great to be described in words, and there have been griefs upon which I have not dared to dwell; and with these in mind I say, Climb if you will, but remember that courage and strength are nought without prudence, and that a momentary negligence may destroy the happiness of a lifetime. Do nothing in haste; look well to each step; and from the beginning think what may be the end. [Illustration: The end] APPENDIX. *A.* THE DEATH OF BENNEN.(253) On February 28, 1864, Mr. P. C. Gosset and Mr. B—— started from the village of Ardon (about mid-way between Sion and Martigny), to make the ascent of the Haut-de-Cry (9688 feet), with the guides J. J. Nance, F. Rebot, A. Bevard, and J. J. Bennen. They arrived within a few hundred feet of the summit before mid-day, and determined to complete the ascent by following the crest of a ridge leading towards the east. Before this could be done it was necessary to cross some steep snow; and, while passing this, an avalanche was unfortunately started. Bennen and Mr. B—— perished; the others happily escaped. The following narrative, from the pen of Mr. Gosset, illustrates, in a very impressive manner, the danger of traversing new-fallen snow at considerable inclinations:— “We had to go up a steep snow-field, about 800 feet high, as well as I remember.