but did both with a lofty calm that deceived the admiring friend who
clearly saw the authoress behind her mask, and feared lest she should be
too confidently trusting to the powers of her pen to support an
establishment.

'If the public were a perfect instrument to strike on, I should be
tempted to take the wonderful success of my PRINCESS at her first
appearance for a proof of natural aptitude in composition, and might
think myself the genius. I know it to be as little a Stradivarius as I
am a Paganini. It is an eccentric machine, in tune with me for the
moment, because I happen to have hit it in the ringing spot. The book is
a new face appealing to a mirror of the common surface emotions; and the
kitchen rather than the dairy offers an analogy for the real value of
that "top-skim." I have not seen what I consider good in the book once
mentioned among the laudatory notices--except by your dear hand, my Emmy.
Be sure I will stand on guard against the "vaporous generalizations," and
other "tricks" you fear. Now that you are studying Latin for an
occupation--how good and wise it was of Mr. Redworth to propose it!--
I look upon you with awe as a classic authority and critic. I wish I had
leisure to study with you. What I do is nothing like so solid and
durable.

'THE PRINCESS EGERIA' originally (I must have written word of it to you--
I remember the evening off Palermo!) was conceived as a sketch; by
gradations she grew into a sort of semi-Scudery romance, and swelled to
her present portliness. That was done by a great deal of piecing, not to
say puffing, of her frame. She would be healthier and have a chance of
living longer if she were reduced by a reversal of the processes. But
how would the judicious clippings and prickings affect our "pensive
public"? Now that I have furnished a house and have a fixed address,