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Of al zijn rampen overtelde,

In ijskoude onverschilligheid."

A highly eclectic Byronesque being is he, but in the main it is the joint figure of Conrad-Lara that is presented to us. Like Conrad's own, his name is bound up with one single virtue and a thousands evils, and he has all that character's penchant for solitary, brooding wandering:

"Alleen — met velen om mij heen!

Alleen — maar onvervaard;

Alleen — maar met mijn wraak alleen;

Alleen — maar met een driftenstoet Tot bondgenooten."

But his youth is the youth of Lara: he too is reared in an atmosphere of evil, hatred, deception, and oppression, quits his fatherland without telling a soul where he is bound for, wreaks his vengeance on mankind, and at last returns; all in very similar circumstances:

"Daar is hij weer in 't oord dat hij ontvluchtte."

Beets' next romantic tale "Kuser", has been already dealt with under the influence of Scott. Both Dr Vissink and Dr Popma, however, from their arbitrarily conditioned viewpoints, claim it as a specimen for their own particular collection, and a further word might, therefore, be said about it. In its historical subjectmatter and treatment there can be little question that it favours the side of Scott. But in two outstanding respects at least it also suggests Byron — these are, in its five-footed iambic lines and in the picture given of its hero. Kuser has all the sombre despair of his type. He has really only one desire: "dat 't verdriet hem van het leven, waarvoor hij een afschuw heeft gekregen, zal verlossen." On one occasion, after some mocking words from Aleid van Poelgeest, he even enters The Hague forest with thoughts of suicide, but is distracted from these to go to her defence, and