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and read how every soul is divided into three parts (like Cæsar's Gaul). He may turn to the finest critic of Victorian times, Matthew Arnold, and find in his essay on Maurice de Guerin the perfect key to what is there called the "magical power of poetry." It is Shakespeare, with his
William Hazlitt's "Table Talk," among the volumes of Essays, may help to show the relationship of one author to another, which is another form of the Friendship of Books. His incom'parable essay in that volume, "On Going a Journey," forms a capital prelude to Coleridge's "Biographia Literaria" and to his and Wordsworth's poems. In the same way one may turn to the review of Moore's Life of Byron in Macaulay's Essays as a prelude to the three volumes of Byron's own poems, remembering that the poet whom Europe loved more than England did was as Macaulay said: "the beginning, the middle and the end of all his own poetry." This brings us to the provoking reflection that it is the obvious authors and the books most easy to reprint which have been the signal successes out of the seven hundred odd in the series, for Everyman is distinctly proverbial in his tastes. He likes best of all an old author who has worn well or
a comparatively new author who has gained something like newspaper notoriety. In attempting to lead him on from the good books that are known to those that are less known, the publishers may have at times been too adventurous. The Chief himself (as a mere editor may say) has been much more than an ordinary book-producer in this critical enterprise. He has thrown himself into it with the zeal of a book-lover and indeed of one who, like Milton, thought that books might be as alive and productive as dragons' teeth, which, being "sown up and down the land, might chance to spring up armed men."