unjust: and yet the accusation, that she did not cheerfully make a strain
and spurt on behalf of her child, pressed to be repeated.

These short glimpses at reflection in Victor were like the verberant
twang of a musical instrument that has had a smart blow, and wails away
independent of the player's cunning hand. He would have said, that he
was more his natural self when the cunning hand played on him, to make
him praise and uplift his beloved: mightily would it have astonished him
to contemplate with assured perception in his own person the Nature he
invoked. But men invoking Nature, do not find in her the Holy Mother she
in such case becomes to her daughters, whom she so persecutes. Men call
on her for their defence, as a favourable witness: she is a note of their
rhetoric. They are not bettered by her sustainment; they have not, as
women may have, her enaemic aid at a trying hour. It is not an effort at
epigram to say, that whom she scourges most she most supports.

An Opera-placard drew his next remark to Fenellan.

'How Wagner seems to have stricken the Italians! Well, now, the Germans
have their Emperor to head their armies, and I say that the German
emperor has done less for their lasting fame and influence than Wagner
has done. He has affected the French too; I trace him in Gounod's Romeo
et Juliette--and we don't gain by it; we have a poor remuneration for the
melody gone; think of the little shepherd's pipeing in Mireille; and
there's another in Sapho-delicious. I held out against Wagner as long as
I could. The Italians don't much more than Wagnerize in exchange for the
loss of melody. They would be wiser in going back to Pergolese,
Campagnole. The Mefistofole was good--of the school of the foreign
master. Aida and Otello, no. I confess to a weakness for the old
barleysugar of Bellini or a Donizetti-Serenade. Aren't you seduced by