criticism and ridicule, and is commanding respectful attention.

In Raphael is illustrated two kinds of excess, both fatal to the normal and rounded growth of the soul -- the excess of sensualism and the excess of intellectualism, which inevitably must produce an all-absorbing, instead of all-giving personality. His egotistical selfishness is colossal. He seeks to draw all to himself and give nothing. Even the work to which he devotes himself is to be given to the world, not that the world may be helped thereby, he content, if need be, to remain unknown, but that it shall redound to his own glory and compel recognition of its author at his own valuation -- which is the animal instinct of gratification and appropriation appearing on the intellectual plane.

Here is illustrated another form of selfishness -- that of pure intellectualism; the thinking which is solely from the head, into which the heart does not enter. It is research and knowledge for enjoyment of their pursuit and possession. It ossifies the heart and produces the egotist who will give of his store only at the price of fame for himself.

Through Pauline, the tender unselfishness of the truly loving woman, the give all and exact nothing, that is possible only when self is forgotten, is thrown into bold relief by contrast with Fedora and her impassiveness on the one hand, and Raphael and his egotism on the other. As in the great plan of the