ade to blossom. There is, however, one absolute, and
not relative fault in the book, which we find it harder to forgive,
since it is one of instinct rather than of Art. The author seems to us
prone to confound the _terrible_, (the only true subject of Art) with
the _horrible_. The one rouses moral terror or aversion, the other only
physical disgust. This is one of the worst effects of the modern French
school upon literature, the inevitable result of its degrading the
sensuous into the sensual.

We have found all the fault we could with this volume, because we
sincerely think that the author of it is destined for great things, and
that she owes it to the rare gift she has been endowed with to do
nothing inconsiderately, and by honest self-culture to raise natural
qualities to conscious and beneficent powers.

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