ously created for the exercise of the principle, instead of
one, who, being alone, was essentially selfish. Adam was all the world
to himself. With the addition of Eve, human society commenced; and the
fault of our first mother furnishes a grand and terrible example of the
mischief of thinking of the benefit of another. Satan suggested to her
that Adam should partake of the fruit--an idea, having in it the taint
of benevolence, so generally mistaken--whence sin and death came into
the world. Had Eve been strictly selfish, she would wisely have kept the
apples to herself, and the evil would have been avoided. Had Adam helped
himself, he would have had no stomach for the helping of another--and
so, on his part, the evil temptation had been obviated.

The HELP YOURSELF principle has at no time been extinct in society,
while it is seen to be a universal law of Nature. The wolf _helps
himself_ to the lamb, and the lamb to the grass. No animal assists
another, excepting when in the relation of parent to young, when
Nature could not dispense with the caprice of benevolence, which in
this instance, be it observed, distresses the parties susceptible of
the sentiment; for suckling creatures are always in poor condition.
Appropriation is the great business of the universe. The institution
of property is, on the other hand, artificial.--_Ibid._

* * * * *

BALLET OF KENILWORTH, AT THE KING'S THEATRE.

There is a very curious and ingenious, though not original, exhibition
in this ballet. Among the festivities at Kenilworth Castle, in honour
of the royal guests, a pantomimic "masque" of the gods and goddesses of
Olympus is introduced. The divinities, instead of appearing in genuine
Grecian attire, present themselves in the mongrel costume visual on such
occasions in the time of Queen Elizabeth. This is droll enough, but more
whimsical still is the style of their dancing. This, too, is meant as an
imitation of the limited choregraphic _savoir faire_ of the age. It is
as if Mons. Deshayes had triumphantly intended to portray the first
dawn of an art which he considers to have now reached the summit of
perfection. But who knows but the Monsieur _Un tel_ of 1931 may, with
equal boldness, parody the pirouettes of Monsieur Deshayes? Even the
music to this mythological interlude is borrowed from ancient scores;
a happy thought, which deserves commendation.--_Ibid._

* * * *