as a framework, sometimes following it word for word, yet decorating it with so lavish an array of phrases, tricking it out with episodes so fertile and ingenious, as to force you to forget the original in the copy. Only in a single incident does his fancy lag behind. His hero's interview with the serving-maid is chastened and curtailed. The professionally elaborate detail, wherewith Lucian enhances this famous episode, is touched by Apuleius with a light and summary hand. But elsewhere he appropriates to adorn. Though again and again the transference is verbal, the added ornament is entirely characteristic, and it is as unjust to charge the author with plagiarism as it were to condemn the Greek tragedians for their treatment of familiar themes. Indeed the two writers approach the matter from opposite points of view. Lucian's austere concision is purely classical. He has a certain story to present, and he reaches the climax by the shortest possible route. The progress is interrupted neither by phrase nor interlude, and at the end you chiefly admire the cold elegance, wherewith the misfortunes of Lucius are expressed, so to say, in their lowest terms. Apuleius, on the other hand, is unrestrainedly romantic. He cares not how he loiters by the way; he is always ready to beguile his reader with a Milesian storyThe Sermo Milesius—one of those quaint and witty interludes, which have travelled the world over, and become part, not merely of every literature, but of every life. Our new fashion of analysis, our ineradicable modesty, have at last denied them literary expression, and to-day they eke out a beggarly and formless existence by the aid of oral tradition. But time was they were respectable as well as joyous. What reproach is attached to the Widow of
