If one reader of The Shaving of Shagpat were to confess the truth he would say that to him at least the other, the genuine Oriental tales, appear the imitation, and not a very good imitation.  The true genius of the East breathes in Meredith’s pages, and the Arabian Nights, at all events in the crude literality of Sir Richard Burton, pale before them like a mirage.  The variety of scenes and images, the untiring evolution of plot, the kaleidoscopic shifting of harmonious colours, all these seem of the very essence of Arabia, and to coil directly from some bottle of a genie.  Ah! what a bottle!  As we whirl along in the vast and glowing bacchanal, we cry, like Sganarelle: 

Qu’ils sont doux—­ Bouteille jolie—­ Qu’ils sont doux Vos petits glou-glous; Ah!  Bouteille, ma mie; Pourquoi vous videz-vous?

Ah! why indeed?  For The Shaving of Shagpat is one of those very rare modern books of which it is certain that they are too short, and even our excitement at the Mastery of the Event is tamed by a sense that the show is closing, and that Shibli Bagarag has been too promptly successful in smiting through the Identical.  But perhaps of all gifts there is none more rare than this of clearing the board and leaving the reader still hungry.

Who shall say, in dealing with such a book, what passage in it is best or worst?  Either the fancy, carried away utterly captive, follows the poet whither he will, or the whole conception is a failure.  Perhaps, after the elemental splendour and storm of the final scene, what clings most to the memory is how Shibli Bagarag, hard beset in the Cave of Chrysolites, touched the great lion with the broken sapphire hair of Garraveen; or again, how on the black coast of the enchanted sea, wandering by moonlight, he found the sacred Lily, and tore it up, and lo! its bulb was a palpitating heart of human flesh; or how Bhanavar called the unwilling serpents too often, and failed to win her beauty back, till, at an awful price she once more, and for the last time, contrived to call her body-guard of snakes hissing and screaming around her.

There is surely no modern book so unsullied as this is by the modern spirit, none in which the desire to teach a lesson, to refer knowingly to topics of the day, or worst of all, to be incontinently funny, interferes less with the tender magic of Oriental fancy, or with the childlike, earnest faith in what is utterly outside the limits of experience.  It belongs to that infancy of the world, when the happy guileless human being still holds that somewhere there is a flower to be plucked, a lamp to be rubbed, or a form of words to be spoken which will reverse the humdrum laws of Nature, call up unwilling spirits bound to incredible services, and change all this brown life of ours to scarlet and azure and mother-of-pearl.  Little by little, even our children are losing this happy gift of believing the incredible, and that class of