Today's Stichomancy for John F. Kennedy

responsibility, and out of which he can always emerge, when necessary, without discredit. And as for the old fellow who still keeps up this education of the heart, and worships his heroine with the ardour of a John Ridd and the fidelity of a Henry Esmond, I maintain that he is exempt from all the penalties of declining years. The man who can love a girl in a book may be old, but never aged.

So we sailed, lovers all three, among the Western Isles, and whatever ship it was that carried us, her figurehead was always the Princess Sheila. Along the ruffled blue waters of the sounds and lochs that wind among the roots of unpronounceable mountains, and

implicitly, if he gave loyalty a chance; and yet if he sufficiently outraged clan sentiment, was liable to deposition. As to authority, the parallel is not so close. Doubtless the Samoan chief, if he be popular, wields a great influence; but it is limited. Important matters are debated in a fono, or native parliament, with its feasting and parade, its endless speeches and polite genealogical allusions. Debated, I say - not decided; for even a small minority will often strike a clan or a province impotent. In the midst of these ineffective councils the chief sits usually silent: a kind of a gagged audience for village orators. And the deliverance of the fono seems (for the moment) to

"He is going to have money of his own, very soon, but I don't think it would attract me now. I like him personally, of course, but--there is no career, no ambition, no future."

"A Viscount has future enough behind him," observed Celia.

"It doesn't attract me," the other repeated, vaguely. "He is handsome, and clever, and kind and all that--but he would never appeal to any of the great emotions--nor be capable of them himself He is too smooth, too well-balanced, too much the gentleman. That expresses it badly--but do you see what I mean?"

Celia turned, and studied the beautiful profile beside her,

The Market-Place

considerations of ecclesiastical authority enter into the matter, so that I need not dwell upon the point. But in the case of Shakespeare it is quite obvious that the public really see neither the beauties nor the defects of his plays. If they saw the beauties, they would not object to the development of the drama; and if they saw the defects, they would not object to the development of the drama either. The fact is, the public make use of the classics of a country as a means of checking the progress of Art. They degrade the classics into authorities. They use them as bludgeons for preventing the free expression of Beauty in new forms. They are always asking a writer why he does not write like