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It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.

Some of the most eminent men of Rome had long been convinced of the necessity of this reform. It had been meditated by the younger Scipio Africanus, and proposed by C. Gracchus. The Roman people, however, always offered it the most violent opposition. But Drusus still had many partisans. The Italian allies looked up to him as their leader, and loudly demanded the rights which had been promised them. It was too late to retreat; and, in order to oppose the formidable coalition against him, Drusus had recourse to sedition and conspiracy. A secret society was formed, in which the members bound themselves by a solemn oath to have the same friends and foes with Drusus, and to obey all his commands. The ferment soon became so great that the public peace was more than once threatened. The Allies were ready to take up arms at the first movement. The Consuls, looking upon Drusus as a conspirator, resolved to meet his plots by counterplots. But he knew his danger, and whenever he went into the city kept a strong body-guard of attendants close to his person.

The pit being ready and the mescal gathered, the work of cooking commences. Just at daylight the old woman in charge takes her place at the rim of the pit and prays that the cooking may be successful and that the people may be in condition to partake of the food. In igniting the fuel the old-fashioned fire-sticks must be employed; to use matches would bring ill fortune. When the fuel in the pit becomes a blazing mass the women go to prepare breakfast, but are soon at work again gathering brush and grass to cover the mescal. Within four hours the fuel is entirely consumed and the red-hot stones have settled to the bottom of the pit. When it is certain that no fuel remains unburned, as even a small amount of smoke would spoil the quality of the mescal, the head-woman says, "It is good," and with great eagerness her followers begin to fill the pit. There is need for haste in throwing in and covering the mescal, as the steam must be confined to prevent the hot stones from scorching it. The covering consists of alternate layers of green brush, grass, dry leaves, and finally a layer of earth, about six inches in thickness. After forty-eight hours of steaming the seething mass is uncovered and each woman removes her portion.

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