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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6518b1d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #62634 (https://www.gutenberg.org/ebooks/62634) diff --git a/old/62634-8.txt b/old/62634-8.txt deleted file mode 100644 index 3a8e8c6..0000000 --- a/old/62634-8.txt +++ /dev/null @@ -1,4961 +0,0 @@ -Project Gutenberg's The Little Review, April 1914 (Vol. 1, No. 2), by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Little Review, April 1914 (Vol. 1, No. 2) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: July 13, 2020 [EBook #62634] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, APRIL *** - - - - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. This book was -produced from images made available by the Modernist Journal -Project, Brown and Tulsa Universities, -http://www.modjourn.org. - - - - - - - - - - THE LITTLE REVIEW - - - _Literature Drama Music Art_ - - MARGARET C. ANDERSON - EDITOR - - APRIL, 1914 - - "The Germ" 1 - Rebellion George Soule 3 - Man and Superman George Burman Foster 3 - Lines for Two Futurists Arthur Davison Ficke 8 - A New Winged Victory Margaret C. Anderson 9 - Correspondence: - Two Views of H. G. Wells 12 - Rupert Brooke and Whitman 15 - More About "The New Note" 16 - Sonnet Sara Teasdale 17 - Sonnet Eunice Tietjens 18 - The Critics' Critic M. H. P. 18 - Women and the Life Struggle Clara E. Laughlin 20 - "Change" 24 - The Poetry of Alice Meynell Llewellyn Jones 25 - An Ancient Radical William L. Chenery 28 - Equal Suffrage: The First Real Test Henry Blackman Sell 30 - Education of Yesterday and Today William Saphier 31 - Some Book Reviews 33 - New York Letter George Soule 46 - William Butler Yeats to American Poets 47 - Letters to the Little Review 49 - The Best Sellers 55 - - 25 cents a copy - - THE LITTLE REVIEW - Fine Arts Building - CHICAGO - - $2.50 a year - - - - - THE LITTLE REVIEW - - - Vol. I - - APRIL, 1914 - - No. 2 - - Copyright, 1914, by Margaret C. Anderson. - - - - - "The Germ" - - -In 1850 an astounding thing happened in England. A little group of -artists and poets, known as the Pre-Raphaelite Brotherhood, began the -publication of a magazine. It was to be given over to "thoughts towards -nature in poetry, literature, and art"; and it was called _The Germ_. - -The idea was Dante Gabriel Rossetti's, who was then just twenty-two -years old. Thomas Woolner, of the same age, and Holman Hunt and Millais, -both somewhere in the neighborhood of twenty, were dragged willingly -into the plan. William Michael Rossetti, aged nineteen, was made editor; -James Collinson and Frederick George Stephens were added to the four -original P. R. B.'s; John Lucas Tupper, Ford Madox Brown, Walter Howell -Deverell, William Cave Thomas, John Hancock, and Coventry Patmore were -intimately connected with the project; and Christina, then eighteen, -offered her poems for publication therein. - -_The Germ_ was published for four months, and then it died. Like all -serious things it could find no immediate audience; like all -revolutionary things it was called juvenile and regarded with shyness; -and like all original and beautiful things it has managed to stay very -much alive. For, in 1899, a limited edition of _The Germ_ in facsimile -was brought out, and William Michael Rossetti wrote an extensive -introduction for it in which he described minutely the whole glorious -undertaking. It is these facsimiles that we have been looking through -with such awe, and which tell such an interesting story. - -Here was a league of "unquiet and ambitious young spirits, bent upon -making a fresh start of their own, and a clean sweep of some effete -respectabilities." On the night of December 19, 1849, when the first -issue of the magazine was impending, they met in Dante Rossetti's studio -at 72 Newman Street to discuss a change of title. _The P. R. B. Journal -and Thoughts Towards Nature_ (the "extra-peculiar" suggestion of Dante, -according to his brother) had been discarded, and Mr. Cave Thomas had -drawn up a list of sixty-five possibilities, among them _The Seed_, _The -Scroll_, _The Harbinger_, _First Thoughts_, _The Sower_, _The -Truth-Seeker_, _The Acorn_, and _The Germ_. The last was decided upon -and the first issue came out about the first of January. Seven hundred -copies were printed and about two hundred sold. This wasn't encouraging, -so the second issue was limited to five hundred; but it sold even less -well than the first, and the P. R. B.'s were at the end of their -resources. Then the printing-firm came to the rescue and undertook the -responsibility of two more numbers. The title was changed to _Art and -Poetry, being Thoughts towards Nature, conducted principally by -Artists_; but "all efforts proved useless.... People would not buy _The -Germ_, and would scarcely consent to know of its existence. So the -magazine breathed its last, and its obsequies were conducted in the -strictest privacy." - -It did attract some critical attention, however. _The Critic_ wrote: "We -cannot contemplate this young and rising school in art and literature -without the most ardent anticipation of something great to grow from it, -something new and worthy of our age, and we bid them godspeed upon the -path they have adventured." Others remarked that the poetry in _The -Germ_ was all beautiful, "marred by not a few affectations--the genuine -metal, but wanting to be purified from its dross"; "much of it of -extraordinary merit, and equal to anything that any of our known poets -could write, save Tennyson...." - -Well--the situation demands a philosopher. We might undertake the rôle -ourselves, except that we're too near the situation, having just started -a magazine with certain high hopes of our own. - -On the cover of each issue of _The Germ_ appeared this poem by William -Rossetti, the mastery of which, some one said, would require a Browning -Society's united intellects: - - When whoso merely hath a little thought - Will plainly think the thought which is in him-- - Not imaging another's bright or dim, - Not mangling with new words what others taught; - When whoso speaks, from having either sought - Or only found,--will speak, not just to skim - A shallow surface with words made and trim, - But in that very speech the matter brought: - Be not too keen to cry--"So this is all!-- - A thing I might myself have thought as well, - But would not say it, for it was not worth!" - Ask: "Is this truth?" For is it still to tell - That be the theme a point or the whole earth, - Truth is a circle, perfect, great or small? - -Patmore's _The Seasons_, Christina Rossetti's _Dream Land_, Dante's _My -Sister's Sleep_ and _Hand and Soul_, Woolner's _My Beautiful Lady_ and -_Of My Lady in Death_, Tupper's _The Subject in Art_, William Rossetti's -_Her First Season_, and a long review of Clough's _Bothic of -Toper-na-fuosich_ make up the first number. In the others are _The -Blessed Damozel_, Christina's _An End_ and _A Pause of Thought_, -Patmore's _Stars and Moon_, John Orchard's _Dialogue on Art_, and many -other things of value, concluding with a review of Browning's _Christmas -Eve and Easter Day_, in which William Rossetti establishes with -elaborate seriousness, through six pages of solemn and awesome -sentences, that "Browning's style is copious and certainly not other -than appropriate"; that if you _will_ understand him, you shall. - -All this came to our mind the other day when some one accused us of -being "juvenile." What hideous stigma was thereby put upon us? The only -grievous thing about juvenility is its unwillingness to be frank; it -usually tries to appear very, very old and very, very wise. _The Germ_ -was quite frankly young; otherwise it could not have been so full of -death poetry, for it is youth's most natural affectation to steep itself -in death. But _The Germ_ might have been even more "juvenile" and so -avoided some of the heavy, sumptuous sentences in that Browning review. -It would have gained in readableness without any possible sacrifice of -beauty or truth. In their poetry the Pre-Raphaelites were as simple and -spontaneous as children; in their criticism they were rhetorical. Our -sympathy is somehow very strongly with the spontaneity--whatever dark -juvenile crimes it may be guilty of--in the eyes of those who merely -look but do not see. - - - - - Rebellion - - - GEORGE SOULE - - Sing me no song of the wind and rain-- - The wind and the rain are better. - I'll swing to the road on the gusty plain - Without any load, - And shatter your fetter. - - And when you sing of the strange, bright sea, - I'll leave your dark little singing - For the plunging shore where foam leaps free - And long waves roar - And gulls go winging. - - Sorrow-dark ladies you've dreamed afar; - I stay not to hear their praises. - But here is a woman you cannot mar, - In life arrayed; - Her spirit blazes. - - I shall not stiffen and die in your songs, - Flatten between your pages, - But trample the earth and jostle the throngs, - Try out life's worth-- - And burst all cages! - - - - - Man and Superman - - - GEORGE BURMAN FOSTER - -In his voluptuous vagabondage Rousseau at length halted at Paris, where -he managed to worry through some inconstant years. The thing that saved -the day for him was the fragment of a pamphlet that blew across his path -in one of his rambles, announcing a prize to be awarded by the Academy -of Dijon for the best answer to an extraordinary question. Had the -renascence of the arts and sciences ennobled morals? That was a flash of -lightning which lit up a murky night and helped this bewildered and -lonely wanderer to get his bearings. Thoughts came to him demoniacally -which shaped his entire future and won him no small place in the history -of humanity. - -Answer is "No!" said Rousseau. And his answer was awarded the academic -prize. - -It seems strange that the history of his times sided with Rousseau's -"No." Certainly it was the first fiery meteor of the French revolution. -It pronounced the first damnatory sentence upon a culture that had -already reached the point of collapse. In his own body and soul Rousseau -had bitterly experienced the curse of this culture. It was largely -responsible for his heart's abnormal yearning whose glow was consuming -him. Instead of ennobling morals this culture had inwardly barbarized -man. Then it galvanized and painted the outside of life. And then life -became a glittering lie. - -Thus Rousseau became prophet in this desert of culture, and called men -to repentance. "Back from culture to nature," was his radical cry; back -from what man has made out of himself to what nature meant him to be. -Nature gave man free use of his limbs; culture has bound them with all -sorts of bindings, until he is stiff, and short-winded, and crippled. -According to nature man lives his own life; man is what he seems and -seems what he is; according to culture he is cunning, and crafty, and -mendacious. - -The eighteenth-century man of culture hearkened with attentive soul to -the dirge in which one of its noblest sons vented his tortured heart. -The melancholy music bruised from this prophet's heart silenced the wit -and ridicule of even a Voltaire, who wanted to know, however, whether -"the idea was that man was to go on all fours again." In a few decades -the feet of revolutionary Frenchmen were at the door ready, with few and -short prayers, to bear to its last abode that culture whose moral worth -even a French Academy had called in question, and for whose moral -condemnation had awarded the first prize. - -Now it is our turn! What is the good of our culture? Such is the query -of a host of people who know nothing thereof save the wounds it has -inflicted upon them--a host of people who face our culture with the -bitter feeling that they have created it with the sweat of their brows, -but have not been permitted to taste its joys. Such, too, is the query -of others who, satiated with its beneficence, have been its pioneers,--a -John Stuart Mill, political economist, who doubts whether all our -cultural progress has mitigated the sufferings of a single human being; -a Huxley, naturalist, who finds the present condition of the larger part -of humanity so intolerable today that, were no way of improvement to be -found, he would welcome the collision of a kindly comet that would smash -our petty planet into smithereens. - -Also, there is your proletariat. And there is your culture on summits -far out of his reach. The more inaccessible it is, shining there with a -radiance that never falls upon him, the less does he reflect that all is -not gold that glitters. Then there is your philanthropist, foremost in -culture of mind and heart, surveying the masses far beneath him, in the -slime and grime of life, and doubting at last whether any labor of love -can lift men up to where he thinks men ought to be; whether, after all, -it can bring joy to men who are sick and sore with the load of life. - -Not to be partial, one may magnanimously cite your philistine also--the -man of "the golden mean," the "man of sanity," as mediocrity has ever -brand-marked itself, who "hates _ultra_." For the life of him your -philistine cannot understand how a "reasonable" man can have any doubt -about our culture. Does he not read in his favorite newspaper how -gloriously we have progressed? Does he not encore the prodigious -achievements of our technique? Has he not heard his crack spellbinder -orate on the cultural felicity that follows our flag? Down with the -disloyalty of highbrow doubters! - -Now it was from an entirely different side, indeed it was from an -entirely different standpoint, that Friedrich Nietzsche contemplated -modern culture, particularly the national culture of the German -Fatherland. What horrified him was not simply the _content_, but the -_criterion_, of our culture. He sharply scrutinized the _ideals_ which -we set ourselves in our culture. He found not simply our achievements -but our ideals, _ourselves_ even, so inferior, so vulgar, so -contemptible, that he began to doubt whether even the Germans could be -recognized as a culture people or not. Hence Nietzsche became the most -ruthless iconoclast of our culture. Unlike the majority, unlike the -scholars, the philanthropists, the philistines, Nietzsche was not moved -by the misery of the masses, by the great social need of our time. He -did not regret that the boon of our culture was shared by so few, -inasmuch as, in his opinion, this boon was of very doubtful value. He -found our life so barbarous, so culture-hostile, that he still missed -the first elements of a true culture among us. - -Hence Nietzsche lunged against _status quo_. He did what he himself -called "_unzeitmässig_," untimely. He flung a question, more burning -than any other, into our time--more burning than even the social -question, constituting indeed the main part of that question. It was the -question as to how _man_ fared in this culture--the question as to what -_man_ got out of it and as to what it got out of man. - -Never before had this question been put as Nietzsche put it. We should -recall that Nietzsche was not one of those who had experienced the -extremes of either plenty or want, nor was he one of those who filled -the wide space between the two. To him, the pessimism of the -discontented and the optimism of the fortunate and the satisfied were -alike superficial, if not impertinent. It was not a question of -"happiness" at all. In bitter, biting sarcasm he says, with reference to -the English utilitarian "happiness morality": "I do not seek my -happiness; only an Englishman seeks his happiness; I seek my _work_." - -No; his was a question which his conscience put to culture. Was it a -"culture of the _earth_, or of _man_?" Here Nietzsche probes home. And -he alone did it. The most diverse censors of our time had not seen and -said that no matter how desirable, no matter how gloriously conceived -the new order of things might be, _man_ must be the decisive thing; -_man_ must tip the scales. It was this that went against the grain. -Mightier machines, larger cities, better apartments, bigger schools, -what was the good of it all, _et id omne genus_, if new and greater men -did not arise? So said Nietzsche. And he said it with high scorn to a -generation which had forgotten that man is not for "culture," but -culture for man; of man, by man, for man. - -Every people seems to pass through a period in which it is obsessed with -the idea that the causes of popular prosperity are at once motive and -criterion of culture; that the natural laws of economics are the -universally valid norms of the ebb and flow of human values; that a -balance on the balance sheet to the good, the satisfactoriness of the -statistics of exports and imports to the wishes of the interested -parties, are an occasion for jubilation over the ascent which life has -compassed. Harbor some scruple as to whether the jubilation be warranted -or not, and you are at once pilloried as a pessimist and a malcontent. -And yet had there been no Nietzsche there would still remain Cicero's -warning: "Woe to a people whose wealth grows but whose men decay." But -there was a Nietzsche, and he dared to call even his Fatherland Europe's -"flat country"--flat was a hard word for a land that could once boast of -so many poets and thinkers. But now the flatter the better! But now no -peaks to scale, no yawning abysses on whose edges one grows dizzy! -Nothing a single step removed from the ordinary, the conventional! Now -heights and depths, distinctions and distances, these are valid in the -world of quantity, not of quality; of possession, not of being; of tax -tables, not of human essence and human power! Now all men are equal! But -Nietzsche knew that if men are equal they are not free; if free they are -not equal. With a fury and a fire that literally consumed him, he -dedicated himself to the task of leading men up out of this flatness, -away from this leveling--up to an appreciation of the potential--not the -actual--greatness of man's life. Greatness is not yet man's verity but -his vocation, his true and idiomatic destiny. Greatness? This is a man's -strength of will; the unfolding of a free personality. To say _I will_ -is to be a man. All human values are embraced in this _I will_. To -produce men who can say _I will_ is at once the task and the test of -culture. This _I will_ is the climax and goal of man. In this _I will_ -vanishes every fearsome and disquieting _I must_, every compulsion of -outer necessity. Not the passive adjustment of man to nature, but the -active adjustment of nature to man; nature outside of him and nature -inside of him--that is human calling and human culture. Vanishes, also, -every _I ought_. Man refuses to be ridden by a duty spook, but -subordinates even duty to himself. Duty, too, is for the sake of man, -not man for the sake of duty. In the depths of his own being, man -reserves the sovereign right to speak his _yes_ and his _no_ to duty. To -his own will he subjects all good and all evil taught him by others, -past or present, and thus occupies a standpoint "beyond good and evil." -Lord of the Sabbath? Yes, but lord also of standards sanctified by their -antiquity; lord of all the standards of life; lord of all that has been -written or thought or done. "And thou, O lord, art more than they!" -Thou--thou alone--art central and supreme and sacred and inviolable. -"Bring forth the royal diadem and crown him lord of all!" - -But not yet! Alas, there are no such lords, no such will-men, -personality-men! Such men are not _Gegenwartsmenschen_, present day men, -but _Zukunftsmenschen_, future day men; not reality but task--our task. -That future man will surpass present man as much as present man -surpasses the monkey which he in his development has left behind. We are -bridges from monkey to superman. Superman! In him at last, at last, all -that is unliving, unfree, withered and weak, all that is sickly in man, -shall be obliterated; and all the forces that are great and creative -shall be unfolded and molded into cultural values. - -This is the meaning of the superman of Friedrich Nietzsche. Malice and -ignorance have vied--vainly we may now hope--in caricaturing it. The way -to superman is the rugged, steep mountain path up to conscious deed and -mighty achievement; not the gentle incline down to stupid indulgence, -indolent disposition, enervating or bestial impulsive life. Not that! -Superman is precisely the man who overcomes the man of today aweary of -life and athirst for death. - -This preaching of Superman might be called Messianic. It is the bold -faith that we are not the last word of the Word of life; it is the glad -hope that the best treasures, the greatest deeds, the supreme goals of -humankind are still in the future. Nietzsche's message is a breath of -spring blowing over the land proclaiming the advent of an issue from the -womb of time of something greater, better than anything we have been, -than anything we have called good or great; the advent of a new day when -our best songs now will be our worst then; our noblest thoughts now our -basest then; our highest achievements now, our poorest by-products then. - -We shall usher in that day; superman shall be our will, our deed! -Superman gives our life worth. Ours is the new, exhilarating -responsibility, swallowing up and nullifying all the petty -responsibilities which fret us today. We have to justify our lives to -that great future, to that coming one, to our children. They, through -us, must be greater, better, freer, than all of us put together. We are -worth our contribution to the achievement of future man. Nay, only -superman can justify the history of the cosmos! Consider pre-human and -sub-human life, red in tooth and claw; consider human life, often not -much better and sometimes much worse; consider ourselves, our meanness -and our mediocrity. Is this all? Is this warrant for the long human and -pre-human story? Can you escape the conviction that but for superman the -eternal gestation and agony of cosmic maternity admits of no rational -vindication? - -Breed, then, with a view of breeding supermen. Marriage? Let this be not -for ease, not for the propagation of yourselves; the pushing of -yourselves into your children, parents, but for the creation of -something new, of superman! Education? Not to assimilate the children to -us, to the past, but to free them from us; not _Vaterland_, but -_Kinderland_, must be our concern. Children shall not "sit at our feet" -but stand upon our shoulders, that they may have a freer and broader -sweep of the horizon. And in our children we shall love the Coming One, -prepare the way for Superman, that free, great man who shall have -conquered present petty man with all his slave instincts! Such, at all -events, are the dreams of the great poetic and prophetic philosopher of -the German Fatherland of today. - - All great things have first to wander about the earth as enormous - and awe-inspiring caricatures.--Nietzsche in _Beyond Good and - Evil_. - - Plato will always be an object of admiration and reverence to men - who would rather see vast images of uncertain objects reflected - from illuminated clouds, than representations of things in their - just proportions, measurable, tangible, and convertible to - household use.--Walter Savage Landor in _Imaginary - Conversations_, Vol. 2. - - Cultivation will breed in any man a certainty of the uncertainty - of his most assured convictions.--Samuel Butler in _Life and - Habit_. - - Knowledge is in an inchoate state as long as it is capable of - logical treatment; it must be transmitted into that sense or - instinct which rises altogether above the sphere in which words - can have being at all, otherwise it is not yet vital.--Samuel - Butler in _Life and Habit_. - - - - - Lines for Two Futurists - - - ARTHUR DAVISON FICKE - - Why does all of sharp and new - That our modern days can brew - Culminate in you? - - This chaotic age's wine - You have drunk--and now decline - Any anodyne. - - On the broken walls you stand, - Peering toward some stony land - With eye-shading hand. - - Is it lonely as you peer? - Do you never miss, in fear, - Simple things and dear, - - Half-remembered, left behind? - Or are backward glances blind - Here where the wind - - Round the outposts sweeps and cries-- - And each distant hearthlight dies - To your peering eyes?... - - I too stand where you have stood; - And the fever fills my blood - With your cruel mood. - - Yet some backward longings press - On my heart: yea, I confess - My soul's heaviness. - - Me a homesick tremor thrills - As I dream how sunlight fills - My familiar hills. - - Me the yesterdays still hold-- - Liegeman still unto the old - Stories sweetly told. - - Into that profound unknown - Where the earthquake forces strown - Shake each pilèd stone - - Look; and exultance smites - Me with joy; the splintered heights - Call me with fierce lights. - - But a piety still dwells - In my bones; my spirit knells - Solemnly farewells - - To safe halls where I was born-- - To old haunts I leave forlorn - For this perilous morn. - - Yet I come! I cannot stay! - Be it bitter night, or day - Glorious,--your way - - I must tread; and on the walls, - Where this flame-swept future calls - To fierce miracles, - - Lo, I greet you here! But me - Mock not lightly. I come free-- - But with agony. - - - - - A New Winged Victory - - - _Angel Island_, by Inez Haynes Gillmore. [Henry Holt and Company, - New York.] - -_Angel Island_ is several rare things: original, profound, flaming. It -leaves you with a gasping sense of having been swept through the skies; -and also with that feeling of new life which comes with a plunge into -cold, deep seas. _Angel Island_ is a new kind of Winged Victory! - -Innumerable books have been written about the conflict of the sexes, -about the emergence of the new woman. Most of them are dull books. But -Mrs. Gillmore's is beautiful and exciting. I kept thinking as I read it: -here is something absolutely new, absolutely authentic; something so -full of vision and truth that it's like getting to the top of a mountain -for the sunrise. Its freshness and its clearness are like cool morning -mists that the sun has shot through. - -But to discard vague phrases and get to the story--for it is not a -tract, but a novel--or rather a poetic allegory--that that Mrs. Gillmore -has written. Five men of representative modern types--a professor, a -libertine, a soldier of fortune, a "mere mutt-man," and an artist--are -shipwrecked on a tropical island. After a few days their attention is -caught by what appears to be huge birds flying through the heavens. The -birds come nearer and prove to be winged women! Then comes the story of -their wooing, their capture, their ultimate evolution into what modern -women have decided they want to be: humanists. - -However, this is going too fast. The only way to appreciate _Angel -Island_ is to be conscious of the art of it as you read. Beginning with -the shipwreck, Mrs. Gillmore creates a series of brilliant pictures that -culminate in the flying orgies of the bird-women. - - ... All this was intensified by the anarchy of sea and sky, by - the incessant explosion of the waves, by the wind which seemed to - sweep from end to end of a liquefying universe, by a downpour - which threatened to beat their sodden bodies to pulp, by all the - connotation of terror that lay in the darkness and in their - unguarded condition on a barbarous, semi-tropical coast.... - - The storm, which had seemed to worry the whole universe in its - grip, had died finally but it had died hard. On a quieted earth, - the sea alone showed signs of revolution. The waves, monstrous, - towering, swollen, were still marching on to the beach with a - machine-like regularity that was swift and ponderous at the same - time.... Beyond the wave-line, under a cover of foam, the jaded - sea lay feebly palpitant like an old man asleep.... - - They had watched the sun come up over the trees at their back. - And it was as if they had seen a sunrise for the first time in - their lives. To them it was neither beautiful nor familiar; it - was sinister and strange. A chill, that was not of the dawn but - of death itself, lay over everything. The morning wind was the - breath of the tomb, the smells that came to them from the island - bore the taint of mortality, the very sun seemed icy. They - suffered--the five survivors of the night's tragedy--with a - scarifying sense of disillusion with Nature.... - - The sun was racing up a sky smooth and clear as gray glass. It - dropped on the torn green sea a shimmer that was almost dazzling; - but there was something incongruous about that--as though Nature - had covered her victim with a spangled scarf. It brought out - millions of sparkles in the white sand; and there seemed - something calculating about that--as though she were bribing them - with jewels to forget.... - - Dozens of waves flashed and crashed their way up the beach; but - now they trailed an iridescent network of foam over the - lilac-gray sand. The sun raced high; but now it poured a flood of - light on the green-gray water. The air grew bright and brighter. - The earth grew warm and warmer. Blue came into the sky, - deepened--and the sea reflected it. Suddenly the world was one - huge glittering bubble, half of which was the brilliant azure sky - and half the burnished azure sea. - -All this is gorgeous enough--this clear, vivid painting of nature. But -when Mrs. Gillmore turns her hand to the supernatural, she is simply -ravishing. For instance: - - The semi-tropical moon was at its full. Huge, white, embossed, - cut out, it did not shine--it glared from the sky. It made a - melted moonstone of the atmosphere. It faded the few clouds to a - sapphire-gray, just touched here and there with the chalky dot of - a star. It slashed a silver trail across a sea jet-black except - where the waves rimmed it with snow. Up in the white enchantment, - but not far above them, the strange air-creatures were flying. - They were not birds; they were winged women! - - Darting, diving, glancing, curving, wheeling, they interwove in - what seemed the premeditated figures of an aerial dance.... Their - wings, like enormous scimitars, caught the moonlight, flashed it - back. For an interval, they played close in a group inextricably - intertwined, a revolving ball of vivid color. Then, as if seized - by a common impulse, they stretched, hand in hand, in a line - across the sky--drifted. The moonlight flooded them full, caught - glitter and gleam from wing-sockets, shot shimmer and sheen from - wing-tips, sent cataracts of iridescent color pulsing between. - Snow-silver one, brilliant green and gold another, dazzling blue - the next, luminous orange a fourth, flaming flamingo scarlet the - last, their colors seemed half liquid, half light. One moment the - whole figure would flare into a splendid blaze, as if an inner - mechanism had suddenly turned on all the electricity; the next, - the blaze died down to the fairy glisten given by the moonlight. - - As if by one impulse, they began finally to fly upward. Higher - and higher they rose, still hand in hand.... One instant, - relaxed, they seemed tiny galleons, all sails set, that floated - lazily, the sport of an aerial sea; another, supple and sinuous, - they seemed monstrous fish whose fins triumphantly clove the air, - monarchs of that aerial sea. - - A little of this and there came another impulse. The great wings - furled close like blades leaping back to scabbard; the - flying-girls dropped sheer in a dizzying fall. Half-way to the - ground, they stopped simultaneously as if caught by some - invisible air plateau. The great feathery fans opened--and this - time the men got the whipping whirr of them--spread high, - palpitated with color. From this lower level, the girls began to - fall again, but gently, like dropping clouds.... They paused an - instant and fluttered like a swarm of butterflies undecided where - to go.... Then they turned out to sea, streaming through the air - in line still, but one behind the other. And for the first time, - sound came from them; they threw off peals of girl-laughter that - fell like handfuls of diamonds. Their mirth ended in a long, - eerie cry. - -To me, that is wonderful work--one jeweled word after another. And it's -sustained through the whole book. But of course, after this first sense -of ravishment with her pictures, you touch upon the deeper wonder of -Mrs. Gillmore--her ideas. There are enough ideas in _Angel Island_ to -equip the women who are fighting for selfhood with armour that is -absolutely hole proof. - -The winged women differ in type as widely as the men; and each man -chooses very quickly the type that appeals to him most. The libertine -wants the big blond one, whom they've named "Peachy"; the professor -likes Chiquita, the very feminine, unintellectual one; Billy, the mere -man, falls violently and reverently in love with the radiant Julia, the -leader of the group and the one your interest centers in immediately. -Julia has a personality: she appears to be "pushed on by some -intellectual or artistic impulse, to express by the symbols of her -complicated flight some theory, some philosophy of life." She seems -always to shine. She is a creator. In short, Julia thinks. - -The men plan capture and finally accomplish it by a time-honored method: -that of arousing the women's curiosity. Then follows a tragic episode -when they cut the captives' wings, making flight impossible. Of course, -marriage is the next step, and later, children are born on Angel -Island--little girl children with wings, and boys without them. But all -this time Julia has refused to marry Billy, though she's in love with -him. Her only reason is that something tells her to wait. - -Inevitably the women mourn the loss of their wings; and just as they -become reconciled to a second-hand joy in their daughters' flights, -Peachy's husband informs her that flying is unwomanly--that woman's -place is in the home, not in the air (!)--and that their daughter must -be shorn of her wings as soon as she's eighteen. - -What next? Rebellion, with Julia shining gloriously as leader. She had -been waiting for this. And in ten pages of profound, simple, magnificent -talk--if only every woman in the world would read it!--she explains to -the others that they must learn to walk. Peachy objects, because she -dislikes the earth. "There are stars in the air," she argues. "But we -never reached them," answers Julia. The earth is a good place, and they -must learn to live in it. Besides, their children will fly better for -learning to walk, and walk better for knowing how to fly; and she -prophesies that _then_ will be born to one of them a boy child with -wings. - -The women hide and master the art of walking. While they're doing this -their poor wings have a chance to grow a little, and by the time the men -are ready to capture and subdue them a second time they have achieved a -combination of walking and flying that puts them beyond reach. Then the -men submit ... and Julia asks Billy to marry her. - -That's all, except one short chapter about Julia. She has a son with -wings! And then she dies--radiant, white, goddess-woman, whose life had -been so fine a thing. The beauty of it all simply overwhelmed me. - -All of which points to several important conclusions. First, that Mrs. -Gillmore is a poet and prophet of golden values. Second, that prejudice -is the most foolish thing in the world. A general prejudice against that -obvious form of comedy called farce might cause you to miss _The Legend -of Leonore_. And a stubborn caution in regard to allegories--which, I -concede, generally _are_ unsubtle--might keep you from _Angel Island_. - - - - - Correspondence - - - Two Views of H. G. Wells - -I am just reading _The Passionate Friends_, and every time I read -anything of Wells's I wonder why it is I don't like him better. _The -World Set Free_ that has been running in _The Century_ was intensely -worth while, I thought--really prophetic. One tasted something almost -divine; human nature is capable of such wonderful undreamed of things! -It was like Tennyson prophesying the Federation of the World, airships, -etc. Wells does seem inspired in some ways. But every time I read any of -his novels--well, you remember I have a distinct mid-Victorian flavor -that has to be reckoned with. I wasn't brought up in a minister's family -for nothing! I suppose it's what we used to call our conscience. Mine -isn't much good, alas; I sometimes think of it as a little old Victorian -lady. She sits in the background of my consciousness and knits and knits -and nods her head. Meanwhile I go blithely about, espousing all sorts of -causes and thinking out all sorts of theories--imagining, you know, that -I'm perfectly free. Suddenly she wakes up--she lays aside her knitting -with a determined air and says, "Mary Martha, _what_ are you thinking -about! Stop that right now; I'm ashamed of you." And she has authority, -too, you know. I stop. Ridiculous, isn't it?--but so it is. - -And every time I read a Wells novel my little old lady folds her hands -and sits up very primly and says, "Aha, you're reading something of that -man's again. Well, I'm not asleep--I'm right on the job and I know just -what I think of _him_." So you see! And the worst--or the best--of it is -that I agree with her. I can't like him. I read along and it's all so -reasonable--he's so clever and he _thinks_; but his conclusions are all -so weak--if he comes to any. One passage in _The Passionate Friends_ has -made me furious. How can a man who's at all worth while be so really -wicked--(another word gone out of style). I mean this: - - It is manifestly true that for the most of us free talk, intimate - association, and any real fellowship between men and women turns - with extreme readiness to love. And that being so, it follows - that under existing conditions the unrestricted meeting and - companionship of men and women in society is a notorious sham, a - merely dangerous pretence of encounters. The safe reality beneath - those liberal appearances is that a woman must be content with - the easy friendship of other women and of one man only, letting a - superficial friendship towards all other men veil impassable - abysses of separation, and a man must in the same way have one - sole woman intimate.... To me that is an intolerable state of - affairs, but is reality. - -Now can you suppose that is Wells's own reasoning that he puts into the -mouth of his unfortunate hero? Talk about Edith Wharton being -thin-lipped in the pursuit of her heroines--that's a great deal better -than being loose-lipped; don't you agree with me? It may be true, and I -rather think to some extent it is true, that a man cannot have an -absorbing friendship with a woman and not run the risk of falling in -love. But what does that prove? That he should be allowed free rein and -carry on as many _liaisons_ veiled under the name of friendship as he -chooses? Or unveiled, rather, for Wells seems to want everything in the -open. He's like a child who says: Here's a very dangerous beast in a -flimsy, inadequate cage. Frequently he escapes from it and has to be put -back in. Let's abolish the cage and let the beast run about openly, -doing what it wants. And the good old-fashioned word for that beast is -lust, and it should be caged; if the cage is getting more and more -inadequate it's only a piece with what Agnes Repplier calls our loss of -nerve. How I liked that article of hers! What in the name of sense are -we in this world for if not to build up a character? That's all that -amounts to anything, and it comes from countless denials and countless -responses to duty. And what Goethe said, some time ago, is still -everlastingly true: "_Entbehren sollst Du, sollst entbehren!_" (Deny -yourself, deny, deny.) He ought to know, too, because he tried -indulgence, goodness knows, and knew the dregs at the bottom of that -cup. And I can't forgive Wells. He knows better than to let people make -all manner of experiment with such things. They wouldn't even be happy; -for happiness is built of stability, loyalty, character, and again -character. My husband said, after reading that passage in _The -Passionate Friends_, "The trouble with him and the class he writes of is -that they aren't busy enough. Let 'em work for a living, be interested -in something vitally for ten hours out of the twenty-four, and they'll -forget all about their neighbors' wives and be content with good men -friends and casual women friends." - -The trouble lies with poor old human nature, I guess, and the way it -wants what it cannot and ought not to have. But Wells says all unreality -is hateful to him. Let's tear down the barriers, let's show up for what -we are. Poor Smith wants something his neighbor has--well, let's give it -to him, whether it's his neighbor's success or his wife or his -happiness. Nature is still unbearably ugly in lots of ways. When we can -train it to be unselfish and disinterested then it will be time to tear -down barriers. - -Lady Mary in _The Passionate Friends_ is an unconvincing character, too. -I can conceive of a woman who will take all of a man's possessions, -giving him nothing in return, not even fidelity, but I cannot conceive -of her justifying herself unless she is an utter moral degenerate. The -danger of such writers as Wells is that they are plausible enough till -you look below the surface. He tries to represent Lady Mary as charming, -but she, it seems to me, even more than modern society which he -arraigns, is "honeycombed and rotten with evil." - - "M. M." - -The description of a "little old Victorian lady" who sits in the -background of our consciousness and plays conscience for us is charming; -but.... She's a sweet-faced little lady to whom the universe is as clear -as crystal and as simple as plane geometry. She is always knitting, and -what she knits is a fine web of sentimentality with which to cover the -nakedness of truth--"for it is not seemly, my dear, that anything, even -truth, should be naked." - -This web of hers is as fine as soft silk and as strong as chain mail. -It's sticky, too. And it clothes truth so thoroughly that she grows -unrecognizable to any but the most penetrating searcher--to H. G. Wells, -for instance. It's natural enough that the old lady should dislike -Wells, for he's found her out; he's made the astonishing discovery that -underneath the web life is not sentimentally simple. He discloses to her -scandalized eyes various unfortunate facts which she has done her best -to conceal, as for instance the fact that there is such a thing as sex. - -"Sex," says Wells in effect in every one of his novels, "is a disturbing -element, _the_ disturbing element, in life. So long as sex exists it is -a physical impossibility that life should be the sweetly pretty parlor -game our little Victorian lady would have it." - -Right here the husband of the little lady has something to say: "The -trouble with him and the class he writes of," he announces, "is that -they aren't busy enough. Let 'em work for a living, be interested in -something vitally for ten hours out of the twenty-four, and they'll -forget all about their neighbors' wives and be content with good men -friends and casual women friends." This is an excellent example -of what Wells finds the next most disturbing element in -life--"muddle-headedness," the lack of ability to think straight, to -think things through. "Let Wells be vitally interested in something for -ten hours of the twenty-four!" Doesn't he see that if Wells had ever -limited himself to ten hours of interest he would be making shirts -today? It is because Wells works twenty-five hours of the twenty-four at -being "vitally interested in something" that he is one of the major -prophets of our time. And the thing in which he is interested is life -itself, the great unsolvable mystery, life which extends below the -simple, polished surface that is all the Victorian lady knows as the sea -extends below its glassy smoothness on a summer day. - -One of the greatest things that Wells has done for some of us who came -on him young enough so that our minds did not close automatically at his -first startling revelation, is this: he taught us to look at life -squarely, without moral cant, and with a scientific disregard as to -whether it pleased us personally or not. We may not always agree with -him--very likely we don't--but at least we must face the issue squarely -and not take refuge in the vague sentimentality and slushy hopefulness -of the Victorian lady. - -Wells states facts and very frequently lets it go at that. Witness the -shock this method is to our little old lady. She asks how anyone at all -worth while can be so "really wicked" as to write about sex and society -as he does. - -She admits that what he says is a fact, _but_--it sticks out like a -jagged, untidy rock from the smooth surface of things; therefore it is -wicked. As a matter of fact that statement of his has no more to do with -morality, is no more wicked, or virtuous, than the statement of a -physical fact--to say, for instance, that glass breaks when hurled -against a stone wall. It is unfortunate, but it is not "wicked." - -No, the day of Victorianism is past. We are slashing away the web, we -are learning to _think_. It is a slow and painful process and we know -not yet where the struggle will end. But at least we shall be nearer to -the divine nakedness of truth. If Wells has done nothing else than to -prove to us how much of our thinking is dictated not by our own souls -but by the artificially-imposed sentimentality of the "little old -Victorian lady" he has done a full man's work. And we who owe our -emancipation largely to his vision can never be too thankful to him. - - FRANCES TREVOR. - - - Rupert Brooke and Whitman - -You treated Brooke in a masterly way in the last issue. I saw many -things I hadn't seen before, and understood the _Wagner_ better. But I -disagree with you in one way. - -The _Wagner_ and the _Channel Passage_ are merely clever realistic -satire--that's always worth while. But it's the thought behind the -_Menelaus and Helen_ sort of thing that I don't like. Of course there's -no doubt that Helen grew wrinkled and peevish. But to say that therefore -Paris in his grave was better off than Menelaus living is just a bit -decadent, isn't it? I'm forced to picture Brooke as the sort of chap who -couldn't enjoy a good dinner if he had to wash the dishes -afterward:--instead of regarding dishwashing as a natural variety of -living that could be thoroughly enjoyable with shirtsleeves and a pipe. -I'm afraid he wouldn't play American football for fear of getting his -face dirty. He's just a bit finicky about life. He's afraid to commit -himself for fear he'll have to endure something about which he can't -weave golden syllables. That's the reason I don't agree with you about -Whitman liking all of him. Whitman was frank about the whole world, dirt -and all, and he accepted it enthusiastically. Brooke writes about dirt -in such a way as to make it seem horrible. - -This poem of Whitman's will prove my point: - - Afoot and light hearted, I take to the open road; - Healthy, free, the world before me, - The long brown path before me, leading wherever I choose. - - Henceforth I ask not good fortune--I myself am good fortune; - Henceforth I whimper no more, postpone no more, heed nothing; - Strong and content I travel the open road. - - The earth--that is sufficient; - I do not want the constellations any nearer, - I know they are very well where they are; - I know they suffice for those who belong to them. - - Still, here I carry my old delicious burdens; - I carry them, men and women--I carry them with me wherever I go. - I swear it is impossible for me to get rid of them; - I am filled with them and I will fill them in return. - - You road I enter upon and look around! I believe that you are - not all that is here; - I believe that much unseen is also here. - - Here the profound lesson of reception, neither preference nor - denial; - The black and his woolly head, the felon, the diseased, the - illiterate person, are not denied; - The birth, the hasting after the physician; the beggar's tramp, the - drunkard's stagger, the laughing party of mechanics, - The escaped youth, the rich person's carriage, the fop, the eloping - couple, - The early marketman, the hearse, the moving of furniture into town, - the return back from town, - They pass--I also pass--anything passes--none may be interdicted; - None but are accepted--none but are dear to me. - _Mon enfant!_ I give you my hand! - I give you my love more precious than money; - I give you myself before preaching or law; - Will you give me yourself? Will you come travel with me? - Shall we stick by each other as long as we live? - -Beside this, doesn't the _Menelaus and Helen_ seem like an orchid?--a -very beautiful, rich orchid, to be sure, but not of the Whitman family. - - GEORGE SOULE. - - - More About the "New Note" - -The idea of "the new note" might be worked out more fully, but after all -little or nothing would be gained by elaboration. Given this note of -craft love all the rest must follow, as the spirit of self-revelation, -which is also a part of the new note, will follow any true present-day -love of craft. You will remember we once discussed Coningsby Dawson's -_The Garden Without Walls_. What I quarreled with in that book was that -the writer looked outside of himself for his material. Even realists -have done this--as, for example, Howells; and to that extent have -failed. The master Zola failed here. Why do we so prize the work of -Whitman, Tolstoy, Dostoevsky, Twain, and Fielding? Is it not because as -we read we are constantly saying to ourselves, "This book is true. A man -of flesh and blood like myself has lived the substance of it. In the -love of his craft he has done the most difficult of all things: revealed -the workings of his own soul and mind"? - -To get near to the social advance for which all moderns hunger, is it -not necessary to have first of all understanding? How can I love my -neighbor if I do not understand him? And it is just in the wider -diffusion of this understanding that the work of a great writer helps -the advance of mankind. I would like to have you think much of this in -your attitude toward all present-day writers. It is so easy for them to -bluff us from our position, and I know from my own experience how -baffling it is constantly to be coming upon good, well-done work that is -false. - -In this connection I am tempted to give you the substance of a formula I -have just worked out. It lies here before me, and if you will accept it -in the comradely spirit in which it is offered I shall be glad. It is -the most delicate and the most unbelievably difficult task to catch, -understand, and record your own mood. The thing must be done simply and -without pretense or windiness, for the moment these creep in your record -is no longer a record, but a mere mass of words meaning nothing. The -value of such a record is not in the facts caught and recorded but in -the fact of your having been able truthfully to make the -record--something within yourself will tell you when you have not done -it truthfully. I myself believe that when a man can thus stand aside -from himself, recording simply and truthfully the inner workings of his -own mind, he will be prepared to record truthfully the workings of other -minds. In every man or woman dwell dozens of men and women, and the -highly imaginative individual will lead fifty lives. Surely this can be -said if it can be said that the unimaginative individual has led one -life. - -The practice of constantly and persistently making such a record as this -will prove invaluable to the person who wishes to become a true critic -of writing in the new spirit. Whenever he finds himself baffled in -drawing a character or in judging one drawn by another, let him turn -thus in upon himself, trusting with child-like simplicity and honesty -the truth that lives in his own mind. Indeed, one of the great rewards -of living with small children is to watch their faith in themselves and -to try to emulate them in this art. - -If the practice spoken of above is followed diligently, a kind of -partnership will in time spring up between the hand and the brain of the -writer. He will find himself becoming in truth a cattle herder, a drug -clerk, a murderer, for the benefit of the hand that is writing of these, -or the brain that is judging the work of another who has written of -these. - -To be sure this result will not always follow, and even after long and -patient following of the system one will run into barren periods when -the brain and the hand do not co-ordinate. In such a period it seems to -me the part of wisdom to drop your work and begin again patiently making -a record of the workings of your own mind, trying to put down truthfully -those workings during the period of failure. I would like to scold every -one who writes, or who has to do with writing, into adopting this -practice, which has been such a help and such a delight to me. - - SHERWOOD ANDERSON. - - - - - To E - - - SARA TEASDALE - - The door was opened and I saw you there - And for the first time heard you speak my name, - Then like the sun your sweetness overcame - My shy and shadowy mood; I was aware - That joy was hidden in your happy hair, - And that for you love held no hint of shame; - My eyes caught light from yours, within whose flame - Humor and passion have an equal share. - - How many times since then have I not seen - Your great eyes widen when you talk of love, - And darken slowly with a far desire; - How many times since then your soul has been - Clear to my gaze as curving skies above, - Wearing like them a raiment made of fire. - - - - - To S - - - EUNICE TIETJENS - - From my life's outer orbit, where the night - That bounds my knowledge still is pierced through - By far-off singing planets such as you, - Whose faint, sweet voices come to me like light - In disembodied beauty, keen and bright,-- - From this far orbit to my nearer view - You came one day, grown tangible and true - And warm with sympathy and fair with sight. - - Then I who still had loved your distant voice, - Your songs, shot through with beauty and with tears - And woven magic of the wistful years, - I felt the listless heart of me rejoice - And stir again, that had lain stunned so long, - Since I had you, yourself a living song. - - - - - The Critics' Critic - - - AGNES REPPLIER ON POPULAR EDUCATION - -Through all of Miss Repplier's latest essays in _The Atlantic_ runs a -note of appeal for the sterner virtues, which she thinks are in danger -of dying out under modern conditions. So persistently is this note, -admirable in itself, sounded, that we wonder if it doesn't hark back a -bit to Sparta, and the casting away of the unfit. When it comes to the -question of an education broad enough to fit the needs of every child, -we may all pause and take a deep breath. We may not approve of a school -of moving pictures, advocated by Judge Lindsey, and yet we may not wish -to go to the other extreme of severe discipline advocated by Miss -Repplier. If only all children were of exactly the same type, so that -the same kind of schooling would suffice for all their needs! Or even if -they could come from the same kind of homes with more or less similar -ideals! - -Let us hear what she and Mr. Lindsey have to say about Tony--(Tony is a -boy who does not like school as it is at present organized). "Mr. Edison -is coming to the rescue of Tony," says Judge Lindsey. "He will take him -away from me and put him in a school that is not a school at all but -just one big game.... There will be something moving, something doing at -that school all the time. When I tell him about it Tony shouts 'Hooray -for Mr. Edison!' right in front of the battery, just as he used to say -'To hell wid de cop!'" On the other hand:--"The old time teacher," says -Miss Repplier, "sought to spur the pupil to keen and combative effort, -rather than beguile him into knowledge with cunning games and lantern -slides.... The old time parent set a high value on self discipline and -self control." - -But can she believe for one moment that Tony's parents ever dreamed of -"setting a high value on self discipline and self control?" Or that -Tony's sister was taught to "read aloud with correctness and expression, -to write notes with propriety and grace, and to play backgammon and -whist?" ... - -_Figurez-vous!_ And so, if we can reach little Tony's darkened vision by -the simple method of moving pictures, keep him off the streets until he -learns at least not to become a hardened criminal--are we not that much -to the good? Tony will never, never be ambassador to the court of St. -James (or if he is going to be, he'll be it in spite of movies!) but he -may be a fairly honest, happy fruit vendor some day, instead of No. 207 -in a cell. Useless to cite the dull boys in school, who -absolutely refused pedagogic training and later blazed their -way--luminaries--through the world, when once they had found the work -that interested them. To interest, stimulate, and arouse is the prelude -to work; and precious few kiddies, except those who don't really need -it, do enough work that they dislike to strengthen their little -characters. But even if they do, are those who will not to have nothing? - -Of course, education is a thing that can't be disposed of in a few well -meaning phrases. Miss Repplier may be right, too, in what she says of -the education of Montaigne. You remember he learned to talk Latin under -a tutor, at an early age, in much the same way that our modern young -ones learn French and German. - -"All the boy gained by the most elaborate system ever devised for the -saving of labor," she says, "was that he over-skipped the lower forms in -school. What he lost was the habit of mastering his prescript lessons, -which he seems to have disliked heartily." But how does any one know -that that was all he gained? I should hardly select Montaigne as my -model, if I were trying to point out the ill effects of any particular -type of education. Besides, whatever its effect may have been on him, I -should hate to lose the mental picture of the little lad Latinizing with -the "simple folk of Perigord." Charming little lad, and wonderful old -father, doing his best to elevate and help his boy. No, decidedly; -whatever Miss Repplier may do to dispose of Tony and his ilk, I am glad -she had nothing whatever to do with the education of Montaigne! - - - THE LITTLE REVIEW - -Since it appears to be my duty to read all the critical journals and -dissect their contents for these columns, I can't in good faith neglect -THE LITTLE REVIEW. I have just devoured the first issue. What can I say -about the superb "announcement"? I agree ardently with it. It needed to -be said; the magazine needed to be born. There's no quarrel between art -and life except where one or the other is kept back of the door. Anyone -with a keen appreciation of art can't help appreciating life too, and -Mrs. Jones who runs away from her husband can't fairly stand for "life." -Besides, why should anybody object to a thing because it's transitorial? -Everything is transitorial. It must either grow or perish. - -Mr. Wing's criticism of _Mr. Faust_ is admirable--direct, unpretentious, -sound. But you must let me register a slight objection to Dr. Foster's -Nietzsche article. It seems to me there's just too much enthusiasm to be -borne by what he actually says. When I came to the end of that third -paragraph on page fifteen I sneaked back to Galsworthy's letter and -found an answering twinkle in its eye. I felt like going up to Dr. -Foster with a grin, putting my hand on his shoulder and saying, "My dear -man, a candidate for major prophet doesn't need political speeches. It -is really not half so important that we unregenerate should give three -cheers for him as that we should live his truth. Won't you forget a -little of this sound and fury and tell us as simply as you can just what -it is that you want us to do?" - -I went from his article with the impression that here was a man who was -very enthusiastic about Mr. Nietzsche. I'm sure that's not the -impression Dr. Foster intended to make. But I have a feeling that pure -enthusiasm wasting itself in little geysers is intrinsically ridiculous. -Enthusiasm should grow trees and put magic in violets--and that can't be -done with undue quickness, or in any but the most simple way. Nobody -cares about the sap except for what it does. And, anyhow, it always -makes me savage to be orated at, or told that my soul will be damned if -I don't admit the particular authority of Mr. Jehovah or Mr. Nietzsche -or Mr. anybody else. - -That's all by the way, however, and the impression of the magazine as a -whole is clear, true, swift. Its impact can't be forgotten. You haven't -attained your ideal--which is right; but you've done so well you'll have -to scratch to keep up the speed,--which is right, too. - - M. H. P. - - - - - Women and the Life Struggle - - - CLARA E. LAUGHLIN. - - _The Truth About Women_, by C. Gasquoine Hartley (Mrs. Walter M. - Gallichan). [Dodd, Mead & Company, New York.] - -Mrs. Gallichan has not told the whole truth about woman; but she has -told as much of it as has been told by any one writer except Olive -Schreiner; and although she has made no important discovery, educed no -brilliant new conclusion, she has summarized the best of all that has -been said in a book which can scarcely fail to render notable service. - -It is interesting to recall how the truth about women has been -disclosed. The voice of Mary Wollstonecraft, crying in the wilderness, -in 1792, pleaded that "if woman be not prepared by education to become -the companion of man, she will stop the progress of knowledge; for truth -must be common to all." Yet it was nearly sixty years before Frederick -Denison Maurice was able to open Queen's College, and give a few English -women the opportunity of an education. (In America, Mary Lyon had -already broken ground for the higher education of her countrywomen.) - -Here and there, in those days, an intrepid female declared herself a -believer in woman's rights; but her pretensions were scarcely honored to -the point even of ridicule. Women were inferior creatures, designed and -ordered by God to be subordinate to men. Didn't everything go to prove -it? And, indeed, nearly everything seemed to! - -In 1861, several scholarly gentlemen in Europe were delving in fields of -research where they were destined to upturn facts of great interest to -the inferior sex. One of these was John Stuart Mill, whose impassioned -protest against the subjection of women was then being written, although -it was not published until eight years later. Another was Henry Maine, -who was disclosing some significant things about the ancient law on -which our modern laws are founded. Another was Lecky, who was gathering -material for his _History of European Morals, from Augustus to -Charlemagne_, and--incidentally--discovering that "natural history of -morals" wherewith he was to shock the world in 1869. But two of the -others were searching back of Augustus--"back" of him both in point of -time and also in degree of civilization. One of these was Bachofen, a -German, who published, in 1861, _Das Mutterrecht_, in which he made it -clear that women had not always been subordinate, dependent, but among -primitive peoples had been the rulers of their race. McLennan's -_Primitive Marriage_, published in 1865, brought prominently to British -thinkers this quite-new contention of woman as a creature born to rule, -but defrauded and degraded. - -Then, in 1871, Darwin startled the world with _The Descent of Man, and -Selection in Relation to Sex_; and those who accepted his theory of -evolution had to revise all their previous notions about the relations -of the sexes. - -During the next quarter-century many minds were busy with this wholesale -revision of ideas, but nothing signal was set forth until Charlotte -Stetson--working with the historical data of Maine and Mill and Lecky -and their followers, with the ethnological data of Bachofen and -McLennan, and many more, and with the natural history of morals as -Darwin and Wallace and Huxley and their school disclosed it--declared -that the enslavement of women was economic in its origin and in its -final analysis. This was not the whole truth, but it was so important a -part of the whole that the book _Women and Economics_ may be said to -have given the most productive stimulus the feminist movement had had -since _The Descent of Man_. - -Scores, almost hundreds, of books dealing with some phase or other of -woman's history, appeared in the next few years. But while many of them -were valuable, and some were all but invaluable, none of them was -epoch-marking until Olive Schreiner put forth her magnificent fragment -on _Woman and Labor_, the chapter on Parasitism being the noblest and -most pregnant thing that any student of woman has given to the world. -Olive Schreiner saw much further into the question of women and -economics than Charlotte Stetson knew how to see. She has a greater -vision. She perceives that women are ennobled by what they do--just as -men are--and that they are degraded by being denied creative, productive -labor--not by being denied the full reward of their toil. - -Mrs. Gallichan does not advance upon the contribution of Mrs. Schreiner, -as Mrs. Schreiner did upon that of Mrs. Stetson; but she had less -opportunity to do so: Mrs. Schreiner did not leave so much for some one -else to say. But Mrs. Gallichan has summarized all that has been said -more fully than any other writer has done; and she has done it so -interestingly, so ably, that she deserves grateful praise. - -Her book has three sections: the biological, the historical, and the -modern. - - Let no one resent or think useless an analogy between animal - love-matings and our own. In tracing the evolution of our - love-passions from the sexual relations of other mammals, and - back to those of their ancestors, and to the humbler, though - scarcely less beautiful, ancestors of these, we shall discover - what must be considered as essential and should be lasting, and - what is false in the conditions and character of the sexes today; - and thereby we shall gain at once warning in what directions to - pause, and new hope to send us forward. We shall learn that there - are factors in our sex-impulses that require to be lived down as - out-of-date and no longer beneficial to the social needs of life. - But encouragement will come as, looking backwards, we learn how - the mighty dynamic of sex-love has evolved in fineness, without - losing in intensity, how it is tending to become more mutual, - more beautiful, more lasting. - -Two suggestions which Mrs. Gallichan makes in the biological section are -especially striking. One is derived from the bee, and one from the -spider. The bee, she reminds us, belongs - - to a highly evolved and complex society, which may be said to - represent a very perfected and extreme socialism. In this society - the vast majority of the population--the workers--are sterile - females, and of the drones, or males, only a very few at the most - are ever functional. Reproduction is carried on by the - queen-mother ... specialized for maternity and incapable of any - other function.... I have little doubt that something which is at - least analogous to the sterilization of the female bees is - present among ourselves. The complexity of our social conditions, - resulting in the great disproportion between the number of the - sexes, has tended to set aside a great number of women from the - normal expression of their sex functions. - -The danger to society, when maternity shall be left to the stupid -parasitic women who are unable to exist as workers, is pointed out by -Mrs. Gallichan; as is also that exaggerated form of matriarchy which is -realized among the ants and bees. And she reminds women who are workers, -not mothers, that in the bee-workers the ovipositor becomes a poisoned -sting. She warns women not to become like the sterile bees; but she -warns them also against state endowment of motherhood. And she does not -suggest how the great excess of women are to become mothers without -reorganizing society. - -The second example she cites in warning, the common spider, whose -courtship customs Darwin described in _The Descent of Man_, is "a case -of female superiority carried to a savage conclusion." And from this -female who ruthlessly devours her lover, Mrs. Gallichan deduces a theory -for "many of those wrongs which women have suffered at the hands of men. -Man, acting instinctively, has rebelled, not so much, I think, against -woman as against this driving hunger within himself, which forces him -helpless into her power." - -The stages by which parasitism was transferred from the male to the -female still need some elucidation--like the stages by which marriage -passed from endogamy to exogamy. But Mrs. Gallichan's suggestion about -the male preserving himself by appearing as self-sufficient and as -dominant as he can, is highly interesting. It will probably not be long -before we know a great deal more of this. - -In the historical section of her book, Mrs. Gallichan devotes four -admirable chapters to the mother-age civilization, and four others to -the position of women in Egypt, Babylon, Greece, and Rome. - -Of immense significance is the relation between the enviable status of -women in Egypt and that love of peace and of peaceful pursuits which -characterized the Egyptian people. War, patriarchy, and the subjection -of women, have gone hand in hand. Social organizations in which might -was right have minimized the worth of women; those in which ingenuity, -resourcefulness, and ideality were set above brute force have given -women most justice. - -Mrs. Gallichan's chapter on the women of Athens and of Sparta is most -suggestive. So is that on the women of Rome. - -In her modern section she discusses women and labor: - - The old way of looking at the patriarchal family was, from one - point of thought, perfectly right and reasonable as long as every - woman was ensured the protection of, and maintenance by, some - man. Nor do I think there was any unhappiness or degradation - involved to women in this co-operation of the old days, where the - man went out to work and the woman stayed to do work at least - equally valuable in the home. It was, as a rule, a co-operation - of love, and in any case it was an equal partnership in work. But - what was true once is not true now. We are living in a - continually changing development and modification of the old - tradition of the relationship of woman and man.... The women of - one class have been forced into labor by the sharp driving of - hunger. Among the women of the other class have arisen a great - number who have turned to seek occupation from an entirely - different cause, the no less bitter driving of an unstimulating - and ineffective existence, a kind of boiling-over of women's - energy wasted, causing a revolt of the woman-soul against a life - of confused purposes, achieving by accident what is achieved at - all. Between the women who have the finest opportunities and the - women who have none there is this common kinship--the wastage not - so much of woman as of womanhood. - -She considers "the women who have been forced into the cheating, damning -struggle for life," and urges that "the life-blood of women, that should -be given to the race, is being stitched into our ready-made clothes; -washed and ironed into our linen; poured into our adulterated foods"; -and so on. But her reasoning in this chapter is not very clear. Women, -to avoid parasitism, must work, and only a relatively small proportion -of them can now find in their homes work enough to keep them -self-sustaining. Protest against the sweating of women is not only -philanthropic--it is perfectly sound political economy. Women workers -not only should be protected against long hours, unnecessary risks, -insanitary surroundings, merciless nerve tension, and the computation of -their wages on a basis of their assured ability to live partly by their -labor and partly by the legitimatized or unlegitimatized sale of their -sex; but this _can_, and _must_, be done. Yet, when all this has been -accomplished, will Mrs. Gallichan feel satisfied that the struggle for -life is not "cheating, damning," if owing to conditions we cannot -regulate that struggle fails also to comprehend the struggle to give -life, to reproduce? - - It is because we are the mothers of men that we claim to be free. - -This is the keynote of her book. But she is by no means clear in her -mind as to how the mothers of men are to maintain themselves in a -freedom which shall be real, not merely conceded; nor as to how the -millions of women who, under our monogamous societies, cannot be -permanently mated, are to justify their struggle for existence by -becoming "mothers of men." - -The something that Mrs. Gallichan lacks, not in her retrospect so much -as in her previsioning, has been lacked by many of the great -investigators and writers who have built up the magnificent literature -of evolution and evolutionary philosophy: she has an admirable survey of -the "whenceness" of life and love and labor, but a short-sighted, -astigmatic vision of its "whereuntoness." - -If the sole purpose of life and love and labor, among humans as among -lower animals, is to continue life, to transmit the life-force, then -indeed are those frustrated, futile creatures who are cheated, or who -cheat themselves, out of rendering this one service to the world which -can justify them for having lived in it. - -But if, as most of us believe, we are more than just links in the human -chain; if we have a relation to eternity as well as to history and to -posterity, there are splendid interpretations of our struggles that Mrs. -Gallichan does not apprehend. If souls are immortal, life is more than -the perpetuation of species, or even than the improvement of the race; -it is the place allotted to us for the development of that imperishable -part which we are to carry hence, and through eternity. And any effort -of ours which helps other souls to realize the best that life can give, -to seek the best that immortality can perpetuate, may splendidly justify -our existence. - -Mrs. Gallichan's conclusion about religion is that it is an "opium" to -which women resort when they have no proper outlet for their -sex-impulses. "I am certain," she says, "that in us the religious -impulse and the sex impulse are one." And when she was able to satisfy -the sex impulse, she no longer had any need of or interest in religion. - -The limitations this puts upon her interpretation of life are too -obvious to need cataloging. And this is the reason she signally fails to -tell the whole of the truth about woman. This is the reason why the -latter chapters of her book, in which she writes of marriage and divorce -and prostitution, are of less worth to the generality of readers than -the earlier ones; though this is not to say that these chapters do not -contain a very great deal of vigorous thinking and excellent suggestion. -But to anyone who holds that the continuance of life is the principal -justification for having lived, yet deplores free love and state -endowment of mothers, there is inevitably an appalling waste, for the -elimination of which she may well be staggered to suggest a remedy. - -Mrs. Gallichan's book is not constructive in effect. But it is so -excellently analytical, as far as it goes, that it can scarcely fail to -provoke a great deal of thought. - - - - - "Change" - - -There is coming soon, to the Fine Arts Theatre--that charming Chicago -home of the Irish Players and of "the new note" in drama--a play with an -interesting title. It is called _Change_. It is to be given by the Welsh -Players--which fact alone has a thrill in it. But the theme is even more -compelling. - -Two old God-fearing Welsh people have denied themselves of comforts and -pleasures to give their sons an education. Then, when they expect to -reap the benefits of the sacrifice, three unexpected and awful things -happen: the student son has so fallen under the influence of modern -skepticism as to be forced to abandon his father's Calvinistic creed. -The second one has become soaked with socialism and syndicalism. The -third, a chronic invalid, is a Christian and a comfort; but he is -killed, quite unnecessarily, in a labor conflict instigated by his -brother. Then--the two old people again, alone. What can a playwright do -with such a situation? Nothing, certainly, to attract a "capacity -house." But we shall be among the first of that small minority who likes -thinking in the theatre to hear what Mr. Francis has to say. His theme -is tremendous. - - - - - The Poetry of Alice Meynell - - - LLEWELLYN JONES - -Not least among the stirring events of our present poetical renaissance -are the publication of the collected editions of the works of Alice -Meynell and Francis Thompson (Scribner). Spiritually akin, mutually -influencing one another in material as in more subtle ways, their poetry -stands in vivid contrast to the muse of our younger singers, the makers -of what English critics hail as a new Georgian Age. That this difference -gives them an added significance, and not as some critics have said, a -lessened one, is the burden of the present appreciation of the poems of -Alice Meynell. For there is a tendency for the reader who is intoxicated -with poetic modernity to reason somewhat after this fashion. Here, he -will say,--as indeed Mr. Austin Harrison has said of Francis -Thompson--is a "reed pipe of neo-mediaevalism ... a poet of the -gargoyle," not of this modern world, and so neither in sympathy of -thought or melody with us of the twentieth century, its free life and -_vers libre_. All this, of course, because, Francis Thompson was--as is -Mrs. Meynell--a child of the Catholic Church. Our supposititious reader -will continue to the effect that there is no spiritual profit to be had -in reading these poets when the modern attitude is to be found in such -writers as W. W. Gibson, Masefield, and Hardy. But in so arguing, our -reader will be entirely wrong as to the facts, and mistaken in his whole -manner of approach to the realm of poetic values. - -Mr. Max Eastman, in his charming book, _The Enjoyment of Poetry_, lays -stress on the fact that poetry is not primarily the registering of -emotions but the expression of keen realizations. A mathematical concept -may arouse an emotion, but the poet makes the actual emotion -transmissible by his selective power in picking out the focal point of -the experience by which it is aroused. If poetry is essentially -realization of life, then we have no longer any excuse for asking our -poets to share our doctrinal views before we consent to read them. On -the contrary, we should be more anxious to read Mrs. Meynell than Mr. -Gibson, if we are modernists, for Mr. Gibson may, conceivably, not be -able to tell us anything we have not already felt. Mrs. Meynell, on the -other hand, can inform our feelings with fresh aspects of experience, -and she does so abundantly. Her Catholicism is not mediaevalism, but, in -so far as it is translatable into her poetry it is simply a vocabulary -for the expression of certain emotional realizations of life which we -modernists find it very hard to express because we do not have the -necessary vocabulary. What can be more modern than the doctrine of the -immanence of God and his abode in man, that much-discussed "social -gospel?" Yet the following poem, not in spite of but through its -Catholic terminology, heightens our realization of brotherhood and -dependence one upon another. It is entitled _The Unknown God_: - - One of the crowd went up, - And knelt before the Paten and the Cup, - Received the Lord, returned in peace, and prayed - Close to my side; then in my heart I said: - - "O Christ, in this man's life-- - This stranger who is Thine--in all his strife, - All his felicity, his good and ill, - In the assaulted stronghold of his will, - - "I do confess Thee here, - Alive within this life; I know Thee near - Within this lonely conscience, closed away - Within this brother's solitary day. - - "Christ in his unknown heart, - His intellect unknown--this love, this art, - This battle and this peace, this destiny - That I shall never know, look upon me! - - "Christ in his numbered breath, - Christ in his beating heart and in his death, - Christ in his mystery! From that secret place - And from that separate dwelling, give me grace." - -The spectacle of a general communion again gives Mrs. Meynell -inspiration for a poem whose last two stanzas apply equally as well to -the secular, evolutionary view of salvation as they do to the -ecclesiastical view, and whose last stanza is most suggestive in the -light it throws upon the puzzling discrepancy between the littleness of -man and the unlimited material vast in which he finds himself a floating -speck: - - I saw this people as a field of flowers, - Each grown at such a price - The sum of unimaginable powers - Did no more than suffice. - - A thousand single central daisies they, - A thousand of the one; - For each, the entire monopoly of day; - For each, the whole of the devoted sun. - -Even so typically modern a philosopher as Henri Bergson would find one -of his leading and rather baffling ideas beautifully realized in one of -Mrs. Meynell's sonnets. Matter, Bergson tells us, in all its -manifestations is moulded by a spiritual push from behind it, so that -the sensible world is not a mosaic of atoms obeying fixed laws but -rather a cosmic compromise between matter and spirit, a _modus vivendi_ -the operation of which would seem very different to us were our -viewpoint that of pure spirit. Says Mrs. Meynell in _To a Daisy_: - - Slight as thou art, thou art enough to hide - Like all created things, secrets from me, - And stand, a barrier to eternity. - And I, how can I praise thee well and wide - - From where I dwell--upon the hither side? - Thou little veil for so great mystery, - When shall I penetrate all things and thee, - And then look back? For this I must abide, - - Till thou shalt grow and fold and be unfurled - Literally between me and the world. - Then I shall drink from in beneath a spring, - - And from a poet's side shall read his book. - O daisy mine, what shall it be to look - From God's side even of such a simple thing? - -The sense of what might, perhaps, be called restrained paradox in that -sonnet, is frequently met with in Mrs. Meynell's writings, and it -corresponds to aspects of reality which the old religious phraseology -she has so freshly minted for us is alone fitted to convey. _The Young -Neophyte_ is a beautiful sonnet enshrining the fatefulness of every -human action, the gift of the full flower which is implicit in the gift -of the smallest bud, the preparation we are constantly making for crises -which are yet hidden in the future. _Thoughts in Separation_ also deals -with the paradoxical overcoming of the handicaps of personal absence of -our friends through community of thought and feeling. Not only are these -paradoxes in human psychology delicately set forth by the poet, but -those darker ones of human work and destiny are consolingly illuminated -in such a poem as _Builders of Ruins_--which does not depend for its -quality of consolation upon anything foreign to its poetic truth. - -One poem in the book is, perhaps, most remarkable for the light it -throws upon the sense in which the term poetic truth may be used, and as -showing the difference between the poetic, the realizable, and, -therefore, the true side of a religion--the side Matthew Arnold was so -anxious to keep--and the mere theological framework, always smelling of -unreality and always in need of renovation. The poem may stand as a -warning against confusing real poetry--in whose truth we need not be -afraid to trust because its author does not inhabit our own thought -world--with versified theology. If all of Mrs. Meynell's work were like -her _Messina, 1908_, then the critic and reader who now mistakenly shun -her would be right. And the poem is a curious commentary upon Mr. -Eastman's insistence that poetry is realization. For in her other poems -the author has presented those aspects of her religion which are -verifiable in experience. Perhaps the quotations given above bear out -that point. But one aspect of religious thought has now been pretty -generally abandoned, not because it has ever been proven false, but -because we have never succeeded in realizing it for ourselves. The God -of orthodox church theodicy never did "make good"; Christ, the Saints, -and even the very material form of the cross itself had to mediate -between man and the divine. And it is precisely in the one case in this -book where Mrs. Meynell tries to present the governing rather than the -immanent God to us that she fails--as, if poetry be realization, we -should expect her to fail. The first stanza of the poem addressed to the -Deity describes in a few bold strokes the wreck of Messina, and ends -with the lines: - - Destroyer, we have cowered beneath Thine own - Immediate unintelligible hand. - -The second stanza describes the missions of mercy to the stricken city, -and ends: - - ... our shattered fingers feel - Thy mediate and intelligible hand. - -The essential weakness of this dependence for poetic effect upon the two -adjectives and their negatives is no less obvious than the weakness of -the poet's attribution of such apparently impulsive and then -retractatory conduct to a God whose ways must either be explicable in -terms of a human sense of order or not made the subject of human -discourse at all. - -Mrs. Meynell describes herself in one of these poems as a singer of a -single mood. Some of her critics have taken her at her word and saved -themselves some trouble thereby in their task of appreciation. But as a -matter of fact, she should not be taken at her own modest estimate, for -her one mood is such a pervasive one, such a large and sane mood, that -it pays to look at more than one aspect of life through its coloring. -And in truth, besides her better-known poems which need no further -mention here, _The Lady Poverty_ and _Renouncement_, for example, there -will be found within the small compass of her beautifully-housed -collection of verse many aspects of nature, all of them instinct with a -mystic shimmer of life, as well as aspects of the innermost life of man -which it is given to few spirits to sing in words--only, in fact, to -those spirits whose effort it is to make their poetry - - Plain, behind oracles ... and past - All symbols, simple; perfect, heavenly-wild, - The song some loaded poets reach at last-- - The kings that found a Child. - - To have the sense of creative activity is the great happiness and - the great proof of being alive, and it is not denied to criticism - to have it; but then criticism must be sincere, simple, flexible, - ardent, ever widening its knowledge.--Matthew Arnold in _Essays - in Criticism_ (First Series). - - - - - An Ancient Radical - - - WILLIAM L. CHENERY - - _Euripides and His Age_, by Gilbert Murray. [Henry Holt and Company, - New York.] - -The "conspiracy of silence" which oppressed the youth of those of us who -were born in the late Victorian era never seems more hateful than when -some master hand connects the present labors of liberty with the -strivings of the infinite past. In some fashion the dominating spirits -of a generation ago contrived to make the struggles for human freedom -appear as ugly isolated episodes without precursors or ancestry. They -forgot the Shelleys and the Godwins and they even denied the -significance of the classic forerunners of today's ardent prophets. - -There were happy exceptions. Some of us cherish the teachings of a -Virginia professor who, as far as the adolescent capacities of his -students permitted, bridged the gap between Socrates's free questionings -and the contemporary yearnings for a world of uncompromising justice and -beauty. What that Southern student did for his small band of followers -Gilbert Murray has long been doing for the great world. His present -contribution belongs to that satisfying series, _The Home University -Library_. Incidentally, one reflects that this _Home University_ is one -of the few institutions of learning which has completely avoided the -blinders so many are complacently wearing. The Euripides of Murray -suggests to the author--and to the reader, one may claim--both Tolstoi -and Ibsen. But, one hastens to state, Professor Murray is too learned -and thoughtful a man to paint a revolutionary Euripides such as _The -Masses_--much as one loves that exuberant Don Quixote--would delight to -honor and to portray. His onset, however, catches us: - - "Every man who possesses real vitality can be seen as the - resultant of two forces," says Murray. "He is first the child of - a particular age, society, convention; of what we may call in one - word a tradition. He is secondly, in one degree or another, a - rebel against that tradition. And the best traditions make the - best rebels. Euripides is the child of a strong and splendid - tradition and is, together with Plato, the fiercest of all rebels - against it.... Euripides, like ourselves, comes in an age of - criticism, following upon an age of movement and action. And for - the most part, like ourselves, he accepts the general standards - on which the movement and action were based. He accepts the - Athenian ideals of free thought, free speech, democracy, - 'virtue,' and patriotism. He arraigns his country because she is - false to them." - -The suffragist and the feminist movements have recently brought the -great dramatist to his proper appreciation in respect to women. Some of -the passages in the _Medea_ are quoted as often in suffragist campaigns -as the words of Bernard Shaw or of Olive Schreiner. This Greek is -sometimes said to be the first literary man who understood women. For -that reason, as Professor Murray so charmingly emphasizes, Euripides was -ever accounted a woman hater, despite even the implications of his great -chorus which sings so nobly woman's destined rise as a power in the -world. His statement of the cause of barbarian woman against a civilized -man who has wronged her is incomparably more contemporary than _Madam -Butterfly_, and with Murray we may doubt "if ever the deserted one has -found such words of fire as Medea speaks." And, as the author continues, -"Medea is not only a barbarian; she is also a woman, and fights the -horrible war that lies, an eternally latent possibility, between woman -and man. Some of the most profound and wounding things said both by -Medea and Jason might almost be labelled in a book of extracts 'Any Wife -to Any Husband' or 'Any Husband to Any Wife.'" - -The change which came over the spirit of Euripides's vision, as Athens -itself was transformed by empire lust from the first glories of -Pericles, suggest again the purifying satire of our ablest moderns. War -is hateful and the picture which the Attic dramatist drew of the horrors -of dying Troy leave little to the present imagination. Euripides -accordingly became as popular in imperialistic Athens as was Bebel among -the Kaiser's ministers. Murray interprets this phase magnificently. He -concludes: "This scene, with the parting between Andromache and the -child which follows, seems to me perhaps the most heartrending in all -the tragic literature of the world. After rising from it one understands -Aristotle's judgment of Euripides as the 'most tragic of the poets.'" -One has only to recall the brave gentleness of Hector's wife, described -first in Homeric words, to agree with the present author. - -On the purely critical side Professor Murray's words are vastly -important. Especially valuable is his discussion of the chorus and the -_deus ex machina_ concerning which so much error has been taught since -Horace wrote on the art of poetry. But this small book is not designed -for those whose interest in Greek drama is technical. It is Euripides, -the philosopher; Euripides, the satirist of his times; Euripides, the -preacher of lofty virtues, the apostle of new men and more righteous -gods, who concerns the great awakening world of 1914. The intellectual -battles which Euripides fought on behalf of Athens have been waged again -and often for the millions who slumber and are content. They are being -fought now with an intensity unprecedented. So it brings courage and it -brings calm to realize the continuity of the conflict, and to recall the -signal victories of the olden days. Gilbert Murray's achievements are -too numerous to permit praise. One may only say now that the present -book is in line with the fine things of his past; that by virtue of his -labors the world agony for liberty and justice and beauty reveals new -phases of the intrinsic dignity and honor which have been its possession -since men desired better things. - - For those whose lives are chaotic personal loves must also be - chaotic; this or that passion, malice, a jesting humor, some - physical lust, gratified vanity, egotistical pride, will rule and - limit the relationship and color its ultimate futility.--H. G. - Wells in _First and Last Things_. - - Isn't it possible to be pedantic in the demand for simplicity? - It's a cry which, if I notice aright, nature has a jaunty way of - disregarding. Command a rosebush in the stress of June to purge - itself; coerce a convolvulus out of the paths of catachresis. - Amen!--_Some Letters of William Vaughn Moody._ - - - - - Equal Suffrage: The First Real Test - - - HENRY BLACKMAN SELL - -The query of the anti-suffragist--"Will the women really use suffrage if -they have it"--was rather conclusively answered in the affirmative at -Chicago aldermanic elections on April 7, when equal suffrage was given -its first real test in an American city of first rank. This election -brought out many interesting incidents which might be considered as -having "laboratory" value. - -It has been contended by the "antis" that the women would be bad losers; -that they would not support the non-partisan ideals which are becoming a -definite part of our "new patriotism"; that the result of equal suffrage -would simply be one of double vote, wives voting as their husbands -decided; that the women coming out in the first enthusiasm of -registration would not take the same interest in the prosaic work at the -polls; that the fights against bad nominees would result either in a -duplication of man-run campaigns, or in ineffective and lady-like -campaigns. - -The first of these contentions was proved untrue to even the most casual -observer at the polls on election day. The women were fighting uphill -all the way, and where the so-termed "suffrage men" were slightly -unpleasant in their attitude towards the "antis," the women were all -cheerfulness and all refreshing encouragement. As one explained: "It has -been the most wonderful feeling, working shoulder to shoulder with the -men in something that has really been our duty all along." - -Nine women candidates were up for election and not one was chosen; and -yet, after talking with five defeated women candidates and three -defeated men candidates, I concluded that the women knew more about the -philosophy of politics and its sad uncertainties than men who had been -contesting for years. - -True, election to office is but a by-product of political experience; it -is a most coveted by-product, nevertheless, and when a woman like Marion -Drake, who ran a close race against Chicago's "bad" alderman, says, at -the closing of the polls, "I have not been elected, but every minute of -the time I have expended has been worth while and I shall try again at -the next election,"--it shows the right spirit and the fundamental error -in the assertion that women cannot lose gracefully. - -Non-partisanism could be given no real test, for these ideals seemed -necessary of application in only two or three wards. In one--the -twenty-first--an alderman with a bad record was up for re-election in -opposition to a Republican of no particular merit. The women got -together, with the aid of some of the better men, and selected a -non-partisan candidate. This man was elected directly through the -efforts of the women who, Republican, Democratic, and Progressive, -rallied in true non-partisan spirit to his aid. - -As to the control of the women's votes by the men: it is interesting to -note that in the more intelligent wards there was considerable variance -between the men and the women, while in the wards of the poorer and less -intellectually-inclined portions of the city the votes ran a great deal -alike. - -The women came out in good numbers and, as a matter of fact, the -masculine vote was considerably higher than usual; but even with this -advantage, the registered women outvoted the registered men by a small -per cent. - -The campaigns conducted by the various women were distinctly different -from the ordinary political campaigns. They were dignified, -straightforward, strong, and effective. Miss Drake, in her campaign -against John Coughlin, colloquially and delicately known as "Bathhouse -John,"--the name originating from the fact that the gentleman in -question received his political training as a mopper and rubber in one -of Chicago's most infamous bath houses,--made a direct appeal, in a -house to house, voter to voter, canvass of her ward. In this way she -told over two-thirds of the people of the "Bathhouse's" territory all -about the gentleman, his ambitions, his desires, and his insidious -motives. And while she was defeated, it must be remembered that though -Coughlin received a sufficient plurality, he by no means attained his -boast:--"I'll beat that skirt by 8,000 votes." In fact, where his -plurality at the last elections was approximately eight to one, this -year it was less than two-and-a-half to one, making an obvious deduction -that Miss Drake's campaign was decidedly successful even though she did -not win. - - - - - The Education of Yesterday and Today - - - WILLIAM SAPHIER - - _The Education of Karl Witte_, translated by Leo Wiener and edited - by H. Addington Bruce. [Thomas Y. Crowell Company, New York.] - - Mr. Saphier is a Roumanian who came to this country only a few - years ago and learned English. The following review is his first - attempt at writing, and we print it just as it came to us, hoping - our readers will find it as interesting as we did. - -French, Italian, English, Greek, and German at the age of nine, a Ph.D. -degree at fourteen, a doctor of laws and an appointment to the teaching -staff of the Berlin University at sixteen--these were some of the -achievements of Karl Witte. Or shall I say of pastor Witte, the father? -For the boy had very little to do with it: he was merely a piece of -putty in the able hands of a strong-willed man who knew what he wanted -and how to get it. A child of ordinary abilities, according to pastor -Witte and others, Karl absorbed an enormous amount of knowledge in a -comparatively short time, as a result of a method of education which -began almost as soon as he showed intelligence. - -The book, originally written about one hundred years ago when scientific -advice on the subject was lacking, is a remarkable document. It is full -of useful information and practical hints to parents and people -interested in the education of children, even in this day of scientific -methods and conflicting authorities. But as we might have expected, the -discipline reminds us a little of the German "Kaserne." The spilling of -a little milk on the tablecloth was punished by enforced abstinence from -all foods except bread and salt. Punishment as a remedy for an offense -is always wrong, because it does not prove the responsibility of the act -to the child. - -The spirit in which pastor Witte went about his task is shown in the -following passage: - - The firmness in executing my purpose went so far that even our - house dog knew the emphasis of the words: "I must work," and - calmed down the moment we spoke these words softly into his ears. - Almost from the outset this made an enormous impression on Karl. - He soon became accustomed to look upon his work time as something - sacred. - -The development of intellectual and moral courage, the most important -qualities any man or woman may possess, were neglected, at least were -not given the attention they deserve. To inculcate in the child a desire -for liberty and social equality, he overlooks entirely. - -The father is really the more remarkable of the two. A product of the -method of education prevailing at the time, he stands as a refutation of -his own theories. Pastor Witte conceived and carried out an idea -successfully. He did something, at least theoretically, worth while. The -son died at eighty-three. Now what difference would it have made either -to the boy or to the world if his appointment to the teaching staff of -Berlin had come at a later date? Most methods of education aim at the -training of the senses and the accumulation of facts. While these are -necessary, I think the speed at which this is done is immaterial to the -child. - -Some of the finest men and women, who made this a better world to live -in, had no scientific training in their childhood or later. We need not -go back to history to find them. Maxime Gorky, for instance, lost his -parents before he was four years old, and began to read under the -supervision of a cook at sixteen. Jack London is another instance that -suggests itself readily to one's mind. - -Of course these are exceptional people, but take the thousands of able -and brainy men and women in labor organizations and idealists in all -walks of life. Usually they had very little attention from their -parents, either because they had no time or did not know enough. These -men and women who had to rub up against the rough edges of our -money-making machinery and to stand squarely on their feet facing this -world and its problems,--willing to lend a hand, yes, even to give their -lives for the betterment of social and economic conditions--these -persons are worthy of the name. - -Now I don't want to say anything against the early training of children. -The kindergarten and all the methods of early training in schools have -come into existence because there is a real need for them. Parents, for -many reasons, no longer have the time to train their own children; but -we expect results from education in general that cannot be accomplished. - -What good are all the learning and scientific facts that we have -accumulated up to now, if we don't use them to make our life richer and -more beautiful? Knowledge and ability are worthless if there is no moral -and intellectual courage to back them up. Pastor Witte thought the -education of his son finished when he reached the age of sixteen. We -today do things in the same spirit. We get things done. Nothing slow -about us. The result, of course, is very poor; nobody is satisfied. Our -experts, always ready with advice on any and everything, tell us that -what we need is technical training to provide industry with efficient -help. These educators do not see that the difficulty is not with the -child but with industrial conditions. They are going to fit the child to -this misery called modern industry. But remove the possibility of the -unscrupulous taking advantage of the inexperienced and simple-minded, -and many of the so-called educational problems will disappear. - - - - - Some Book Reviews - - - A New-Old Tagore Play - - _Chitra: A Play in One Act_, by Rabindranath Tagore. [The - Macmillan Company, New York.] - -Nothing is more irritating to a really modern critic than to have to -join in a chorus of universal praise. It is particularly irritating when -the person acclaimed is a Nobel prize winner, for surely those of us who -sit in private judgment in secluded places ought to be able to discern -values subtler than the ones open to the eyes of some mysterious -frock-coated and silk-hatted jury of professors in Stockholm, or -wherever it may be. The very marrow in the bones of criticism curdles at -the thought of agreeing with a popular award. - -But a certain native honesty and a distinct desire to spread good news -obliges one, in the case of _Chitra_, to withhold the amiable dissecting -knife. The play is far too beautiful to serve as a cadaver for the -illustration of either the anatomist's skill or the facts of anatomy. -Let it be confessed that this reviewer, who was about to send the book -back with a refusal to review any work of Tagore, found, after reading a -few lines, that he was forced to go on; and that having once gone on, he -preferred to write the review rather than to give up the book. - -This play was written twenty-five years ago, and belongs, therefore, to -that earlier strata of Tagore's life which is to the normal mind so much -more alluring than the latter detritus that seems to have accumulated -over him. His later work appears to be old with the old age of Asia and -with the old age of himself. Its fundamental feeling is the only too -familiar impulse to recline on the bosom of a remote God. We who regard -this attitude as a perversion of manhood will turn from it with relief -to the earlier writing, in which the very life-blood of our own hearts -seems quivering with the intimations of a better-than-godlike beauty. - -As I have suggested, there is very little that can rationally be said -about this play _Chitra_. To indicate something of the nature of so -perfect a work is the sole office that I can profitably perform. - -Chitra, daughter of a King who had no sons, was brought up to live the -life and perform the activities of a man, with a man's hardness of frame -and a man's directness of will. One day while hunting in the forest, she -found sleeping in her path Arjuna, the great warrior of the Kuru Clan. -"Then for the first time in my life I felt myself a woman, and knew that -a man was before me...." Going to the gods of love, Chitra obtained from -them the gift of a perfect and world-vanquishing beauty to last for one -year only; and returning to Arjuna she overcame by this invincible -weapon the monastic vows which he had taken upon himself, and swept him -away into the wild and glorious current of her year of beauty. Thus the -year begins: - - _Chitra_ - - At evening I lay down on a grassy bed strewn with the petals of - spring flowers, and recollected the wonderful praise of my beauty - I had heard from Arjuna;--drinking drop by drop the honey that I - had stored during the long day. The history of my past life, like - that of my former existences, was forgotten. I felt like a - flower, which has but a few fleeting hours to listen to all the - humming of the woodlands and then must lower its eyes from the - sky, bend its head, and at a breath give itself up to the dust - without a cry, thus ending the short story of a perfect moment - that has neither past nor future. - - _Vasanta_ (The God of Love) - - A limitless life of glory can bloom and spend itself in a - morning. - - _Madana_ (The God of the Seasons) - - Like an endless meaning in the narrow span of a song. - - _Chitra_ - - The southern breeze caressed me to sleep. From the flowering - _malati_ bower overhead silent kisses dropped over my body. On my - hair, my breast, my feet, each flower chose a bed to die on. I - slept. And suddenly, in the depth of my sleep, I felt as if some - intense eager look, like tapering fingers of flame, touched my - slumbering body. I started up and saw the Hermit standing before - me. The moon had moved to the west, peering through the leaves to - espy this wonder of divine art wrought in a fragile human frame. - The air was heavy with perfume; the silence of the night was - vocal with the chirping of crickets; the reflections of the trees - hung motionless in the lake; and with his staff in his hand he - stood, tall and straight and still, like a forest tree. It seemed - to me that I had, on opening my eyes, died to all realities of - life and undergone a dream birth into a shadow land. Shame - slipped to my feet like loosened clothes. I heard his - call--"Beloved, my most beloved!" And all my forgotten lives - united as one and responded to it. I said, "Take me, take all I - am!" And I stretched out my arms to him. The moon set behind the - trees. Heaven and earth, time and space, pleasure and pain, death - and life merged together in an unbearable ecstasy.... With the - first gleam of light, the first twitter of birds, I rose up and - sat leaning on my left arm. He lay asleep with a vague smile - about his lips like the crescent moon in the morning. The - rosy-red glow of the dawn fell upon his noble forehead. I sighed - and stood up. I drew together the leafy lianas to screen the - streaming sun from his face. I looked about me and saw the same - old earth. I remembered what I used to be, and ran and ran like a - deer afraid of her own shadow, through the forest path strewn - with _shephali_ flowers. I found a lonely nook, and sitting down - covered my face with both hands, and tried to weep and cry. But - no tears came to my eyes. - - _Madana_ - - Alas, thou daughter of mortals! I stole from the divine - storehouse the fragrant wine of heaven, filled with it one - earthly night to the brim, and placed it in thy hand to - drink--yet still I hear this cry of anguish!... - -A few words, a half dozen pages of prose modulated to perform an office -as subtle as that of blank verse, give us the exquisite essence of the -year that follows; and toward the end there steal into it notes of the -inadequacy which the great warrior feels in this perfection, and his -desire for the old and harsher round of human life. Thus the year ends: - - _Madana_ - - Tonight is thy last night. - - _Vasanta_ - - The loveliness of your body will return tomorrow to the - inexhaustible stores of the spring. The ruddy tint of thy lips, - freed from the memory of Arjuna's kisses, will bud anew as a pair - of fresh asoka leaves, and the soft, white glow of thy skin will - be born again in a hundred fragrant jasmine flowers. - - _Chitra_ - - O gods, grant me this my prayer! Tonight, in its last hour, let - my beauty flash its brightest, like the final flicker of a dying - flame. - - _Madana_ - - Thou shalt have thy wish. - -And as it ends, and as Chitra realizes that there is to fall from her -that radiance which has been, for a year, the sole bond between her and -her lover, and also the sole barrier between the real her and him, she -finds that his profounder longing has changed into a desire for the -companionship of that strong and eager boy-woman that she was before her -transformation. - - _Chitra_ (_cloaked_) - - My lord, has the cup been drained to the last drop? Is this - indeed the end? No; when all is done something still remains, and - that is my last sacrifice at your feet. - - I brought from the garden of heaven flowers of incomparable - beauty with which to worship you, god of my heart. If the rites - are over, if the flowers have faded, let me throw them out of the - temple (_unveiling in her original male attire_). Now, look at - your worshipper with gracious eyes. - - I am not beautifully perfect as the flowers with which I - worshipped. I have many flaws and blemishes. I am a traveller in - the great world-path, my garments are dirty, and my feet are - bleeding with thorns. Where should I achieve flower-beauty, the - unsullied loveliness of a moment's life? The gift that I proudly - bring you is the heart of a woman. Here have all pains and joys - gathered, the hopes and fears and shames of a daughter of the - dust; here love springs up struggling toward immortal life. - Herein lies an imperfection which yet is noble and grand. If the - flower-service is finished, my master, accept this as your - servant for the days to come! - - I am Chitra, the king's daughter. Perhaps you will remember the - day when a woman came to you in the temple of Shiva, her body - loaded with ornaments and finery. That shameless woman came to - court you as though she were a man. You rejected her; you did - well. My lord, I am that woman. She was my disguise. Then by the - boon of gods I obtained for a year the most radiant form that a - mortal ever wore, and wearied my hero's heart with the burden of - that deceit. Most surely I am not that woman. - - I am Chitra. No goddess to be worshipped, nor yet the object of - common pity to be brushed aside like a moth with indifference. If - you deign to keep me by your side in the path of danger and - daring, if you allow me to share the great duties of your life, - then you will know my true self. If your babe, whom I am - nourishing in my womb, be born a son, I shall myself teach him to - be a second Arjuna, and send him to you when the time comes, and - then at last you will truly know me. Today I can only offer you - Chitra, the daughter of a king. - - _Arjuna_ - - Beloved, my life is full. - - ARTHUR DAVISON FICKE. - - - An Unorthodox View of Burroughs - - _Our Friend John Burroughs_, by Clara Barrus. [Houghton Mifflin - Company, Boston.] - -That title engenders a resentment in me, a sense of unfitness. It is an -epitome of a popular approval which has cheapened the word "friendship." -If Walt Whitman, John Muir, and Francis F. Browne had jointly written of -Burroughs, the words "our friend" in the title of their collaboration -would have been inevitable and nice. The common disregard of so -unimportant a matter as this seems to be in the author's opinion -exhibits the crass liberties which the public is wont to take with -personalities. The result is that a great man may become popular and -useful before he is understood. - -Burroughs happily is both read and understood. His popularity therefore -is wholesome. But the mild and consistent protest which his life has -been and is against the necessary artificialities in which most of his -"friends" live has never drawn them into a comprehending, practicing -sympathy with it. He is read, applauded, and envied--but not followed. -His softness and gentle unconcern with affairs are the antitheses of -those dynamic qualities which confer leadership and vitalize men's -impulses and deeds. His urban admirers go to the country to rusticate -and picnic but not to live a life like his. He does too much speculative -thinking to give his attitude toward the world an opportunity to go home -to his readers. - -Whitman, with a similar indifference to a following, drives men into the -open road; Thoreau lures them to Walden Ponds to repeat his experiment; -Ik Marvel persuades them to farm; David Grayson charms city folk back to -the land, to anchor and live. Burroughs attracts visitors to Slabsides. -He is on the verge of becoming an institution, a curiosity. His life has -been a personal success. He is young in spirit and surprisingly robust -at nearly eighty years of age--he is seventy-seven this month--and I -daresay that his obvious failure to lead his readers towards country -homes of their own or seriously to interest them in the art of simple -living has never given him the slightest pain. He has assumed no -responsibility for the ways of the world. Nature is capable of working -out her own salvation during a future eternity. A leaf on a tree does -not quarrel with or attempt to reform its personal kin. It functions -alone; the life of which it is a part must take care of horticultural -sociology. Burroughs to me acknowledges himself to be a leaf on the -great tree. That is exceedingly interesting; but endow leaves with -reason, give them an expanding consciousness, and their functions must -change. Burroughs would require to be more than a predestinated leaf if -his fellows were leaves. - -By virtue of society's struggle and industry, in which Burroughs is not -interested, he has made of the world, so far as he is concerned, a -quiet, beautiful outdoor cathedral, domed by the sky, its chief priest -being fed and clothed by the slaves of productive industry in your world -and mine. With great respect and admiration I pronounce him a sagacious -man, a clever leaf that has employed its reason with remarkable personal -advantage. In Burroughs' world the tragedies, strife, and noise that we -experience do not exist; his cathedral is a by-product and he is a -modest beneficiary of humanity's work. In relation to the masses of -people it is as unreal as it is unproductive of racial fitness to -persist in the world as most men know it. He loves to dream, think, and -write in his cathedral; what is going on outside does not disturb him. -He revels in the leisure, order, and security which the outsiders have -provided. He assures us that it is pleasant and satisfying, and we honor -and reward him for the information, but I should like to ask him whether -the largest freedom and selfhood that are achievable apart from working, -conflicting, warring men are not themselves fundamentally artificial. - -Burroughs does not seem to be sufficiently alive to suspect that he has -missed something greater than personal contentment. A reader of -everything that he has published, I never, until I read the -autobiographical sketches in this work, felt the pity and unsocial -contempt--not for the man but for the type--which I have here tried to -express. - - D. C. W. - - - Another Masefield Tragedy - - _The Tragedy of Pompey the Great_, by John Masefield. [The - Macmillan Company, New York.] - -Creative artist that he is, Masefield moves forward into amazing -clearness, heightened by flashes of poetic light, the scenes of nearly -two thousand years ago in Rome. The fidelity of this tragedy to the -facts of history, and the remarkable extent to which it reproduces the -overwhelming glory of a great struggle, are new proofs of the author's -special affinity with the sanguinary deeds of heroic men. Masefield's -plays and narrative poems give the element of tragedy something of its -old vividness and nobility in art. Some of his phrases sound like the -fall of a guillotine. He is a master of the magic of objectifying -tremendous unrealities. He hates feeble passions; wanton courage and -oaken physical power in action are the big things that he likes to -ennoble with poetic treatment. And his success is incomparable, so far -as his contemporaries are concerned. - -Masefield's great characters, true to the glossed facts of life, in -crises exhibit indwelling cave-men. His frankness and honesty are -themselves tragical. Life _is_ full of and inseparable from tragedy. -Pompey "saw a madman in Egypt. He was eyeless with staring at the sun. -He said that ideas come out of the East, like locusts. They settle on -the nations and give them life; and then pass on, dying, to the wilds, -to end in some scratch on a bone, by a cave-man's fire." The old warrior -lies awake, thinking. "What are we?" he asks Lucceius, and that actor in -a great play replies, "Who knows? Dust with a tragic purpose. Then an -end." Masefield surveys the recorded history of the past, sees into the -heart of the present and exclaims, "Tragedy!" And of course that is in -his own life; otherwise he could not see it apart from himself. In sheer -desperation he endues dust with a "tragic purpose," but he does not -believe so much as he hopes that a "purpose" inheres in that resultant -of life, for in the big poem with which he summarizes the record of -Pompey he says: - - And all their passionate hearts are dust, - And dust the great idea that burned - In various flames of love and lust - Till the world's brain was turned. - - God, moving darkly in men's brains, - Using their passions as his tool, - Brings freedom with a tyrant's chains - And wisdom with the fool. - - Blindly and bloodily we drift, - Our interests clog our hearts with dreams, - God make my brooding soul a rift - Through which a meaning gleams. - -_The Tragedy of Pompey the Great_, unlike any Shaw play or even _The -Tragedy of Nan_, is not good reading; its short sentences, tragic with -import, are mere outlines. But they drive incarnate reality into one's -soul. - -What was the tragedy of Pompey? Well, it began hundreds of years before -he was born; he was the accidental embodiment of it. He had earned -security and peace. He had aided Caesar in conquering Gaul. "Caesar -would never have been anybody if Pompey hadn't backed him." But that -tyrant's lust for power provoked a civil war, and the end was "a blind, -turbulent heaving towards freedom." Pompey's dream of freedom--his -conviction that power was in too few hands--cost him his life. To him -Rome was inwardly "a great democratic power struggling with obsolete -laws." He declared that "Rome must be settled. The crowd must have more -power." But Pompey's dream was shallow and human, even if great, for, -regarding the "thought of the world" as of transcendent importance, he -asks, "For what else are we fighting but to control the thought of the -world? What else matters?" - -History seems to try to repeat itself. Lentulus, fearing that they were -losing Rome, said to Pompey, "You have done nothing." The -reply--"Wait"--has a modern sound. Pompey was preparing to fight Caesar, -but public opinion, voiced by Metellus, excitedly demanded, "but at -once. Give him no time to win recruits by success. Give them no time -here. The rabble don't hesitate. They don't understand a man who -hesitates." - -That too might have been said by a modern American newspaper, affecting -to speak for the crowd. - -Philip, beloved of the maiden Antistia, is fanatically true to his -master, whom he would follow "To the desert. To the night without stars. -To the wastes of the seas. To the two-forked flame." To him this blind -devotion meant more than Antistia's love. "We shall have to put off our -marriage," he said to her, and she, speaking from the deep heart of the -mother, unachieved, answered: - - Why, thus it is. We put off and put off till youth's gone, and - strength's gone, and beauty's gone. Till we two dry sticks mumble - by the fire together, wondering what there was in life, when the - sap ran.... When you kiss the dry old hag, Philip, you'll - remember these arms that lay wide on the bed, waiting, empty. - Years. You'll remember this beauty. All this beauty. That would - have borne you sons but for your master. - -Whatever the fate of Pompey, Antistia's was the supreme tragedy. - - DEWITT C. WING. - - - A Net to Snare the Sun - - _The World Set Free_, by H. G. Wells. [E. P. Dutton and Company, - New York.] - -Do you remember the little verse of Kipling's in the _Just So Stories_ -about the small person who kept so many serving men - - "One million Hows, two million Wheres, - And seven million Whys?" - -There's something very much like that small person in a decidedly larger -person called H. G. Wells. For all the great sweep and astonishing -convincingness of his later novels he still keeps the child-like quality -of asking startling questions about everything in the universe. He still -wants to know: "Why can't I catch the sun, and what would happen if I -did?" - -In his last half dozen novels he has been asking about various phases of -our modern society, politics, and the sex question. But in this latest -book, _The World Set Free_, he goes back to a type of question that -interested him some years ago, the type half fanciful and half -sociological that produced _In the Days of the Comet_, _The Time -Machine_, and _When the Sleeper Wakes_. But this book is not entirely -like the earlier ones. For one thing the science is for the first time -so nearly possible that it is almost probable, and for another this book -is the work of an older, quieter soul with less regard for externals and -with more faith in the ultimate high hope for mankind. - -What Wells has asked himself this time is: "What would happen if man -were suddenly given command over an unlimited amount of physical power?" -He brings this about by modern chemistry. A scientist discovers a new -theory of matter which enables him to break down metals by -radio-activity and so generate practically limitless power. The first -use the world makes of this power is to go to war. We can hardly quarrel -with Wells for the improbability of this because it sweeps the board so -clear for his reconstruction period, which is the heart of the story. - -A strange story it is; one whose hero is mankind--mankind in the bulk, -groping, struggling, trying half blindly to adapt himself to the new -conditions, and at last, after a desperate period of reconstruction, -coming out into the sunlight, triumphant, clean, and at peace. Now and -then an individual is caught up for an instant into the story, -transfigured for the moment by circumstances into a mouthpiece for the -mass of mankind,--a scientist, a middle-class Englishman who wrote his -memoirs, the Slavic Fox, a dying prophet of the later age,--but for the -most part it is just mankind who speaks. Wells, by the great sweep and -vision of his ideas and the almost super-human handling of the technical -difficulties of such an impersonal story, succeeds in raising us for a -moment out of our personal selves so that we are completely identified -with the race, and view its later successes with a serene and personal -pride. - -Each of us becomes a link in the great chain of humanity that reaches -from the cave man through the "chuckle-headed youth" to the dying -professor, the men who dreamed of snaring the sun in a net and taming it -to their hand. "Ye auld red thing ..." we say with the chuckle-headed -youth, "We'll have you _yet_!" And the dying prophet cries for each of -us to the setting orb: - - "Old Sun, I gather myself together out of the pools of the - individual that have held me dispersed so long. I gather my - billion thoughts into science and my million wills into a common - purpose. Well may you slink down behind the mountain from me, - well may you cower...." - - EUNICE TIETJENS. - - - A $10,000 Novel - - _Diane of the Green Van_, by Leona Dalrymple. [The Reilly and - Britton Company, Chicago.] - -About the middle of last December Mr. F. K. Reilly sent a telegram to a -Miss Leona Dalrymple of Passaic, New Jersey, in which he asked: "May I -call upon you Thursday afternoon?" The telegram was the result of the -$10,000 prize contest which the Reilly and Britton Company had planned -early in the year; and Miss Dalrymple had just been announced as the -winner by the three judges--S. S. McClure, Ida Tarbell, and George N. -Madison. She knew nothing of this, however, though she thought Mr. -Reilly's telegram must mean an interest in her work; so she replied -calmly that she would be pleased to see him on Thursday. Then Mr. -Reilly's eyes begin to twinkle, as he tells the story, for it is rather -a joke to set out on a journey with a $10,000 check in your pocket for -an unsuspecting young woman. Even when he explained to her and presented -the check she remained calm--though she is only twenty-eight years old -and this was her first taste of real fame. She told Mr. Reilly that she -had another novel which she hoped might interest him--but he took the -words out of her mouth by saying that he had come prepared to make a -contract for it! - -So much for the latest of modern fairy tales. _Diane of the Green Van_ -is the prize-winning novel, and, despite our first suspicion of it -because of that very fact, it proves to be a good one. Miss Dalrymple -loves the outdoors, and her present story of an American girl who goes -jaunting in a van in the Florida Everglades was suggested by a newspaper -clipping about an adventurous young Englishwoman who managed to break -away from conventions once a year and roam the country in a gipsy wagon. -Not all "best sellers" have as much real charm as this one. Perhaps its -freshness and spontaneity are due to the fact that it had to be written -in six weeks for the contest. - -Miss Dalrymple has stated that her purpose in writing novels is to -"entertain wholesomely through optimism and romance." Usually that type -of purpose is linked up with a sentimentality which means being sweet at -the expense of truth. But this author is not that sort: in expressing -her dislike of sex stories, for instance, she attributes their -shortcomings to treatment, not to material--"since there is absolutely -no subject under the sun which may not be treated with perfect good -taste in a novel." She has also stated that in her opinion the modern -woman is over-sexed--a popular though altogether wrong-headed view which -we mean some time to argue with her in these columns. - - - Slime and the Breath of Life - - _The Russian Novel_, translated from the French of Le Vicomte E. M. - de Vogüe by Colonel H. A. Sawyer. [George H. Doran Company, - New York.] - -Although this book was written in 1886, its treatments of Pushkin, -Gogol, Turgeneff, Dostoevsky, and Tolstoy are now first made accessible -to the English reader, and will still be worth his attention. In fact -one reads them with a growing regret that the author, who died in 1910, -did not continue his interpretation of the Russian spirit as the -religious and mystic tone of its nihilism gradually faded and left us -the bleaker outlook of such men as Gorky. With Tolstoy, -however--"probably the greatest demonstrator of life which has arisen -since Goethe"--the book closes. - -The author treats his subject from the standpoint of a certain formula -which he finds to hold throughout the range of that realism which -succeeded the romanticism of Pushkin--a romanticism which disappeared in -1840. Thereafter there grew up the great realistic school which gives -Russia the leadership of the world in the field of realistic fiction--a -leadership due partly to the temperamental standpoint of the Russian, -adapted for just the kind of work which the great realistic novel -involves, and partly to the importance of the novel as the vehicle of -those ideas which the censor barred from every other channel of -expression. - -In the bible we are told that God made man out of the slime of the earth -and breathed into him the breath of life. In those words is the secret -of the Russian realistic novel. For the realism of his own country the -author of this work has little praise. Because, he says, it lacked that -human sympathy which saw in man not only the slime of the earth but the -breath of life, it is barren. - -Dickens, on the other hand, and George Eliot gave to English realism a -standpoint which was moulded, nay, impregnated through and through, with -the religion of that book to which Mary Evans had renounced formal -allegiance--the Protestant bible. In fact, De Vogüe goes so far as to -say that some of her writing, for instance "the meeting between Dinah -and Lisbeth," is biblical in the quality of its appeal, and might have -been written by the hand that gave us _Ruth_. - -This spirit, but without the Anglo-Saxon hardness, is the spirit of -Russian realism. It has all the photographic accuracy, the preocupation -with all types of life that distinguishes French realism; but the -preoccupation with the divine, the mystical turning away from the things -of this world, is also present. The sympathy of Gogol is intensified to -painfulness in Dostoevsky and is apotheosized into a new religion of -renunciation in Tolstoy. - -And because (in contrast to the French) the Russians "disentangled -themselves from these excesses, and like the English gave realism a -superior beauty moved by the same moral spirit of a compassion cleansed -of all impurities and glorified by the spirit of the gospels"--because -of this De Vogüe regards Russian realistic literature as the one force -that can rejuvenate the literary art of the European nations. - -The author writes with the authority of long study and gives us a -sufficient basis for what we must now do ourselves--namely, read -comtemporary Russian literature and ask ourselves what it tells us; -whether or not it tells us that Christian realism is a contradiction in -terms. - - LLEWELLYN JONES. - - - A Drama of the Two Generations - - _Nowadays: A Contemporaneous Comedy in Three Acts_, by George - Middleton. [Henry Holt and Company, New York.] - -Some little theatre company ought to send eight of its members on tour -through all the smaller cities of the country in _Nowadays_. It would be -the most effective way in the world to awaken the people of those -slumbering places to the really amazing revolutions in contemporary -life--and incidentally in the contemporary theatre. For one thing, it -shows how parents and children are gradually bridging the foolish gulf -between the generations--the gulf that Shaw has called the degrading -objection of youth to age; for another, it reflects the extraordinary -renaissance that has come to our theatre since the first visit of the -Irish Players. - -Mr. Middleton takes a typical small-town family--a father, mother, son, -and daughter--and leads them through a domestic crisis that has probably -been the sad lot of most modern families. The daughter, like all proper -young women, has an ambition: she wants to be a sculptor. The mother -understands, having had similar longings before she married a man who -made it his business to suppress them. The father refuses to listen to -the daughter's idea, and tells her that if she goes to New York it will -be without his help. But she goes; and the play opens with her first -visit home. The son, a weakling without ability of any sort except to -spend money and sow wild oats, has also left home; but he has managed to -live very comfortably because of a monthly allowance from his father. -The justice of the situation harks back to the antique theory that even -a weak boy has more right to the splendors of the world than a girl of -any type. - -Diana's father refuses to think about woman suffrage. "I don't have to -think about something I _feel_. I tell you, if we had woman suffrage, -women would all vote like their husbands." - -"They say it would double the ignorant vote," answers Diana's friend, -Peter, the journalist, who has encouraged her in rebelling. - -"He's a good-natured old fossil," Peter says later to Diana. And when -the girl insists that she loves her father anyhow, Peter says, "I love -radishes, but they don't agree with me. If he had a new idea he'd die of -dropsy." - -The result of Diana's visit is to produce certain rebellions in her -mother, who goes back to New York with her to help make a home of that -lonely little flat, and to revive her own early ambitions as a painter. -Later the father succumbs to the new order. It is all good "comedy"; -also it's tremendously good thinking. If only it could be read by all -the people who misunderstand the surging modern spirit that is riding so -bravely through traditions and inheritances. - -But _Nowadays_ has another value besides that of its story. It is made -of the stuff of the new drama; it fulfills our demand that the theatre -shall give us the truth about life in a simple way. However, we shall -talk more about this in another issue. - - - Our Mr. Wrenn and Us - - _Our Mr. Wrenn_, by Sinclair Lewis. [Harper and Brothers, New - York.] - -The poverty of American workaday criticism has rarely shown more -threadbare than in the fact that of all the reviews of _Our Mr. Wrenn_, -a first novel by Sinclair Lewis, a new author, not one has mentioned the -idea under the book. - -They have been good reviews, too, as reviews go. Many have praised the -book, have talked around it, described its characters, attempted to -classify it--under names so various as Locke, Wells, and Dickens. Yet so -expected is the novel that means nothing, and so dead is critical -vision, that no one has thought to say "Here is a new American writer. -What is in his soul?" - -Let me prove the point. "Our Mr. Wrenn" is a mouse-like little clerk in -the office of a New York novelty company. He is called "Our Mr. Wrenn" -in business correspondence by the manager of the firm. He is -overshadowed by "the job." He lives uncomfortably in Mrs. Zapp's -downtown boarding house. Because the author can see, various figures -from the drab stream one meets in the street are made human. Because the -author has whimsicality and scorn and sympathy, the book has humor and -satire and pathos. All these things have been noted by the critics. - -Mr. Wrenn is not always "Our." He becomes his own in the gorgeously -illustrated travel leaflets sent out by steamship companies. Eventually -he does go to England on a cattle steamer. He is "Bill Wrenn" and licks -a tough. He meets adventures--Istra, an over-fine artist girl who likes -him because he's real. In the end he pathetically sees her soar above -him and sails back to America, where he goes into the office again, -falls in love with a sweet little lingerie-counter clerk, marries, and -"settles down." All these things the critics have told us. - -But Mr. Wrenn is at once glorious and pathetic, not only because he says -"Gee!" when he has the emotions of a poet. It isn't only the little -things of the book that twist our smiles. - -There is an epic conflict between Mr. Wrenn of the job and Bill Wrenn of -the sunsets and the sea. Our Mr. Wrenn, oppressed and bullied, scuttling -out of the way, not quite daring to think his own thoughts or dream his -own dreams, not knowing quite enough to understand the great things of -the world--this man is everywhere in New York, in America; he is in our -own souls. And when he musters courage to become Bill Wrenn, when he -sets out on dangerous quests and loves strange beauty, he becomes a -conqueror who rallies with him the great of history, and stands on the -high places of our own spirits. - -Pitifully inadequate Bill Wrenn is, of course. The lonely tragedy of -that conventionally "happy ending" has escaped the critics. The drab, -the commonplace, creep over Bill again without his knowing it. That's -the frightful part of it. It's very like what appears to happen to -everybody. Our Mr. Wrenn he is at the end, sunk in comfort and -forgetting his flags in sunsets. - -It is a poignant, bitterly human novel. After reading it in sympathy one -cannot lean back in satisfaction and write commonplaces. It leads to -understandings and resolutions. When we learn to demand such things of -American writers, their primary purpose will then cease to be either to -entertain or to "teach a lesson." - - GILBERT ALDEN. - - - Lantern Gleams - - _Little Essays in Literature and Life_, by Richard Burton. [The - Century Company, New York.] - -Readers of _The Bellman_ will welcome in this permanent form many little -lantern gleams of thought that have been shed athwart their path by this -unacademically-minded incumbent of a Minnesota chair. - -Mr. Burton flashes his lamp fitfully over a large area, and shows us -loitering spots as well as boggy ground it were well to avoid. Opening -his book at random, we find here a hint on reading and here a warning -gleam over some political or social morass. - -When the morass is a deep one, however, we must not expect to sound its -depths with a lantern gleam, and so sometimes Mr. Burton disappoints us. -Thus in discussing the individual and society he merely tells us what we -all know: that we pay for the advantage of sociality, of mutual comfort, -and support by the loss of individuality, by the growth of a fear to do -the thing that commends itself to our best judgment. But what must we -do? Must we fill in this particular morass by throwing in all the -individuals? Or will the individuals be able to jump it? Mr. Burton is -discreet on such points. - -More satisfactory than that essay and others like it are those on -literature. Under "Books and Men" the author deplores the tendency which -characterized Chaucer ("Farewell my books and my devotion") of drawing -an antithesis between men and books, between literature and life. -Literature has its origin in life and its apparent separation from it is -an accidental result of the printed book method of spreading what used -to be spread by the human voice alone or in chorus. - - ILLIAM DHONE. - - - About Nietzsche - - _Nietzsche and Other Exponents of Individualism_, by Paul Carus. - [The Open Court Publishing Company, Chicago.] - -Expositions of Nietzsche are usually written by uncritical disciples -with little knowledge of formal philosophy. In so far as Nietzsche was a -poet, some of these productions may be of value in spots, but in so far -as Nietzsche was an intellectual critic of life they are worthless. - -Dr. Carus writes from the standpoint of a philosopher in the most formal -sense of that word. To him Nietzsche the thundering voice of protest -named _Zarathustra_ is of less importance than Nietzsche the extreme -nominalist. The chief value of his work therefore is purely informative. -He will certainly not send the philosophic debutante further into the -matter. - -Even from the purely informative side, however, Dr. Carus's work is -delimited by his own attitude, which is that of the old time believer in -the validity of universals. Recurrence, uniformity, eternal norms of -things behind the changing phenomena are the foundations of Dr. Carus's -stated or implied world view. - -He therefore treats Nietzsche as simply a forerunner of such, to him, -mischievous people as William James and Henri Bergson. He takes great -pains, indeed, to show that there are many Nietzsches, and among them he -classes George Moore, on the strength of extracts from his _Confessions -of a Young Man_. Of more value than that is his consideration of the -philosophy of Stirner--mainly because Stirner is not so well known as -Nietzsche, nor so well as he deserves to be on his merits. - -One undoubted merit the book has, and that is the industrious collection -of personal recollections of Nietzsche and of Nietzsche portraits which -Dr. Carus has brought together in its pages. These will give the book a -positive value to the Nietzsche enthusiast, while the sight of Dr. -Carus's cool, scholastic temperament trying to drench the burning bush -of Nietzsche will at least interest him. - - ILLIAM DHONE. - - - Feminism and New Music - - _Anthony the Absolute_, by Samuel Merwin. [The Century Company, - New York.] - -It is interesting to watch the struggles of an essentially chivalrous -masculine soul caught in the whirlpool of modern feminism. Samuel -Merwin, ever since the old days of _A Short Line War_ and _Calumet K._, -written in collaboration with Henry Kitchell Webster, has held towards -women the attitude of the knight errant. Recently, as shown in _The -Citadel_, _The Charmed Life of Miss Austin_, and even more strongly in -this latest book, _Anthony the Absolute_, he has become a determined -feminist. But the attitude has not changed. Formerly his hero laid at -the feet of the lady of his choice as much wealth, fame, and position as -he could acquire; this latest hero gives her in the same spirit a career -and the chance to develop her own personality. Mr. Merwin says: "The man -who deliberately stops a woman's growth--no matter what his traditions; -no matter what his fears for her--is doing a monstrous thing, a thing -for which he must some day answer to the God of all life." He is still -the knight errant. It is still man who permits woman to develop. - -None the less it is a very readable tale. The male characters are all -clearly and convincingly drawn, not without humor. The lady is a little -nebulous, but very charming. Illustrating the absoluteness of Anthony -and serving as an introduction to the charming Heloise is an interesting -musical theme. The scene is laid in China, where Anthony is studying -primitive music, and Heloise is able to sing for him a perfect -close-interval scale, in eighth tones instead of the "barbarous" half -and whole tones of the piano scale. - -Unfortunately Mr. Merwin has permitted himself to be led by the -exigencies of a popular magazine, in which the story appeared in serial -form, into giving the tale a certain meretricious air of sex allurement -which it fundamentally does not possess. On the whole, except in a -certain technical facility in handling the situations and sustaining the -tension of the plot, _Anthony the Absolute_ is a decided falling below -the really splendid standard of excellence which Mr. Merwin set for -himself in _The Citadel_. - - EUNICE TIETJENS. - - Of all our funny little Pantheon the absurd little god who gets - the least of my service is the one labeled "Personal - Dignity."--_Some Letters of William Vaughn Moody._ - - - - - New York Letter - - - GEORGE SOULE - -Is it true that a Chicago woman's club recently declared any book to be -immoral which contains a character whom you wouldn't invite into your -home to meet your daughter? If so, the world is to be congratulated, -because all novels except the ROLLO BOOKS are labeled immoral, and we -needn't worry any more about the word. Provided, of course, that the -daughters of this particular woman's club are sheltered as carefully as -they should be, having been brought up by such mothers. - -I'm afraid only authors and publishers know just how threatening this -fear of "immoral" books is getting to be. The most significant American -novelist has just written a masterful book which has been declined by -two at least of the oldest and best publishing houses because it is "too -frank." The men in charge want to publish it; they think the world ought -to have a chance at it. But they are afraid. And the author, unlike most -authors under similar circumstances, won't modify the book. He says -he'll wait twenty-five years, if necessary, but he won't change a word. -And yet, if the book were published, some people would accuse him of -"pandering to commercialism." - -Don't blame the publisher. Mitchell Kennerley came near being fined -hundreds of dollars and sent to jail recently for issuing _Hagar -Revelly_--a serious though by no means a great novel. Anthony Comstock, -who earns his living by attempting to suppress anything which he happens -to consider immoral, is likely at any time to pick out a good piece of -work for his thunderbolts--and he is a government official in the post -office department. You can't tell what he is going to do next. Everybody -remembers his ill-advised censorship of Paul Chabas's delicate and -inoffensive little _September Morn_; yet in every cheap picture-store -window in New York there is now displayed without protest a photograph -of a nude woman which makes no pretense to art or beauty. - -Not many people know that six men decide what Boston may or may not -read. _The Watch and Ward Society_, a group of puritans backed up by the -blue laws of the state, have long been active in this pharisaical -undertaking and from time to time have arrested booksellers. The -booksellers in self-defense have recently formed a committee of three to -act with three members of this society. When a new book comes along -which anybody "suspects," it is put before the joint committee, and if -that decides against it, Boston cannot buy it except by mail. _The -Devil's Garden_ only barely escaped, because somebody had read to the -end of the book and labeled it "religious." In other words, it teaches a -lesson. But the same argument did not save Witter Bynner's _Tiger_. - -Magazine editors will tell you similar facts by the hour. The -_Metropolitan_ was recently held up by the post office because it -contained photographs of nude statuary--from the winter exhibition of -the National Academy! - -We shall not rid ourselves of this vicious situation by simply getting -enraged at the censors. The truth is, they are too well entrenched in -public opinion. The people who enforce the law are ignorant postal -clerks, clergymen of archaic convictions, and lower court judges of the -tobacco-chewing, corner-saloon type to whom any thought of sex is -necessarily nasty. But behind them is the man who is always saying that -such and such a book or play "oughtn't to be allowed." He is always -wanting to protect "the young," or somebody else, although he rarely -reads books himself, and probably would resent interference with his own -often vicious pleasures. His mind is essentially rotten. He is incapable -of understanding the pure beauty of the human body, because he has seen -so many "musical comedies." He would be shocked by the statement that -passion is a beautiful element of nature toward which we should be -reverent. He has a sense of propriety, not so much about what should be -done as about what should be said. And then there is the vast Florence -Barclay contingent, largely women, who, because they don't know what the -world is like, don't want to know, and don't think anybody should be -allowed to know. - -The trouble with censorship is that we always want it to apply to other -people, never to ourselves. It is our national weakness that we try to -prescribe conduct by law, instead of seeing that the individual is -strong and truth-seeing, and leaving conduct to take care of itself, -allowing ideas to fight their own battles. If we must have a censorship, -let it be in the hands of the strong and intelligent. Let us forbid all -books which are not true. Mental and moral fibre is really vitiated by -the Florence Barclay sort of thing. People brought up on that are -enemies of light and progress. Their world is an exercise-place for -impossible ethics. Their emotion is washed-out sentiment. Courage and -vigor are unknown to them. And the worst of it is that their soft and -clinging hands are wrapped about the rest of us, as they try to drag us -down from the rain-washed skies of the morning to their stuffy -hair-cloth religion and pink-candy pleasures. - -The fight between the writers and the censors is sure to grow bitter in -the next few years; both sides are getting more determined every day. -But such crises are welcomed by the adventurous. We shall end not only -by riding over our small opponents, but by carrying with us an army -awakened to the true issues of art and life. - - - - - William Butler Yeats to American Poets - - -The current number of _Poetry_ prints a speech that William Butler Yeats -made during his recent visit to Chicago, in which he took occasion to -warn his confreres in America against a number of besetting sins. He -said, in part: - - Twenty-five years ago a celebrated writer from South Africa said - she lived in the East End of London because only there could she - see the faces of people without a mask. To this Oscar Wilde - replied that he lived in the West End because nothing interested - him but the mask. After a week of lecturing I am too tired to - assume a mask, so I will address my remarks especially to a - fellow craftsman. For since coming to Chicago I have read several - times a poem by Mr. Lindsay, one which will be in the - anthologies, _General Booth Enters Into Heaven_. This poem is - stripped bare of ornament; it has an earnest simplicity, a - strange beauty, and you know Bacon said, "There is no excellent - beauty without strangeness." ... - - I have lived a good many years and have read many writers. When I - was younger than Mr. Lindsay, and was beginning to write in - Ireland, there was all around me the rhetorical poetry of the - Irish politicians. We young writers rebelled against that - rhetoric; there was too much of it and to a great extent it was - meaningless. When I went to London I found a group of young lyric - writers who were also against rhetoric. We formed the Rhymers' - Club; we used to meet and read our poems to one another, and we - tried to rid them of rhetoric. - - But now, when I open the ordinary American magazine, I find that - all we rebelled against in those early days--the sentimentality, - the rhetoric, the "moral uplift"--still exists here. Not because - you are too far from England, but because you are too far from - Paris. - - It is from Paris that nearly all the great influences in art and - literature have come, from the time of Chaucer until now. Today - the metrical experiments of French poets are overwhelming in - their variety and delicacy. The best English writing is dominated - by French criticism; in France is the great critical mind. - - The Victorians forgot this; also, they forgot the austerity of - art and began to preach. When I saw Paul Verlaine in Paris, he - told me that he could not translate Tennyson because he was "too - _Anglais_, too noble"--"when he should be broken-hearted he has - too many reminiscences." - - We in England, our little group of rhymers, were weary of all - this. We wanted to get rid not only of rhetoric but of poetic - diction. We tried to strip away everything that was artificial, - to get a style like speech, as simple as the simplest prose, like - a cry of the heart.... - - Real enjoyment of a beautiful thing is not achieved when a poet - tries to teach. It is not the business of a poet to instruct his - age. He should be too humble to instruct his age. His business is - merely to express himself, whatever that self may be. I would - have all American poets keep in mind the example of François - Villon. - - So you who are readers should encourage American poets to strive - to become very simple, very humble. Your poet must put the fervor - of his life into his work, giving you his emotions before the - world, the evil with the good, not thinking whether he is a good - man or a bad man, or whether he is teaching you. A poet does not - know whether he is a good man. If he is a good man, he probably - thinks he is a bad man. - - Poetry that is naturally simple, that might exist as the simplest - prose, should have instantaneousness of effect, provided it finds - the right audience. You may have to wait years for that audience, - but when it is found that instantaneousness of effect is - produced.... - - We rebelled against rhetoric, and now there is a group of younger - poets who dare to call us rhetorical. When I returned to London - from Ireland, I had a young man go over all my work with me to - eliminate the abstract. This was an American poet, Ezra Pound. - Much of his work is experimental; his work will come slowly, he - will make many an experiment before he comes into his own. I - should like to read to you two poems of permanent value, _The - Ballad of the Goodly Fere_ and _The Return_. This last is, I - think, the most beautiful poem that has been written in the free - form, one of the few in which I find real organic rhythm. A great - many poets use _vers libre_ because they think it is easier to - write than rhymed verse, but it is much more difficult. - - The whole movement of poetry is toward pictures, sensuous images, - away from rhetoric, from the abstract, toward humility. But I - fear I am now becoming rhetorical. I have been driven into Irish - public life--how can I avoid rhetoric? - - - - - Letters to The Little Review - - -What an insouciant little pagan paper you flourish before our bewildered -eyes! Please accept the congratulations of a stranger. - -But you must not scoff at age, little bright eyes, for some day you, -too, will know age; and you should not jeer at robustness of form, slim -one, for the time may come when you, too, will find the burdens of flesh -upon you. Above all, do not proclaim too loudly the substitution of -Nietzsche for Jesus of the Little Town in the niche of your invisible -temple, for when you are broken and forgotten there is no comfort in the -Overman. - -One thing more: Restraint is sometimes better than expression. One who -has learned this lesson cannot refrain from saying this apropos of the -first paragraphs in the criticism of _The Dark Flower_. Do not give folk -a chance to misunderstand you. Being a woman, you have to pay too high a -price for moments of high intellectual orgy. - -Forgive all this and go on valiantly. - - SADE IVERSON. - Chicago. - -I am greatly indebted for a copy of THE LITTLE REVIEW. I take this -opportunity of stating that the publication is one of the cleverest and -best things I have seen. It deserves success, for it contains stuff -which will compare very favorably with the best that is being written. - - G. FRANK LYDSTON. - Chicago. - -Will you allow me to congratulate you on your magnificent effort in -bringing out THE LITTLE REVIEW? - -I have found it very refreshing after having suffered for so long by -reading the so-called book review magazines that have no right to more -than passing notice. - -You have accomplished wonders, and if your efforts of the future come up -to those put into the first number of THE LITTLE REVIEW, your success is -assured. - -The best wish I can offer is that its path may be covered with roses and -bordered with the trees of prosperity. - -Again congratulating you, I am, with every good wish, very truly yours, - - LEE A. STONE, M. D. - Chicago. - -THE LITTLE REVIEW came this morning! And I have read it all! And I love -it! Much more than I expected, to be perfectly honest! I feared -something too radical--too modern--if that is possible. If it had been -like _The Masses_--well, I can never express my contempt for that -sheet. But you're perfectly sane, intelligent, readable, and -enthusiastic--gloriously so! - -Your description of Kreisler is worth much to me. It is precisely what I -have always felt about him. Paderewski, too. But I think the Mason and -Hamlin reference a little too commercial. I realize you want THE LITTLE -REVIEW to be straightforward, honest, intimate, etc., but I fear that -kind of thing will be taken as advertisement and not as a personal -belief and enthusiasm. - -If I should never know anything more of Mr. George Soule than his sonnet -and New York letter I should have to like him. The man who could feel -and write that last paragraph is a splendid type. - -But the whole thing is beautiful, and worth while, whether you agree -with it all or not. A thousand congratulations! - - AGNES DARROW. - Dayton, Ohio. - - [Of course our remarks about the Mason and Hamlin violated all - journalistic traditions. But traditions are so likely to need - violation, and diplomacy and caution are such uninteresting - qualities! What we feel and tried to say about that piano is that - it's as definitely a work of art as good poetry or good music. - Why not say so, quite naturally? We know something of the man who - is responsible for its quality of tone; he's as authentic an - artist as those musicians who create on his foundations. Is there - any reason why such an achievement is not to be mentioned in a - journal that means to devote itself to beauty? Is anything vital - ever gained by a cautious regard for "_on dit_"? Above all, if - one can discover no importance in journalistic tradition of that - type, why defer to it?--THE EDITOR.] - -I haven't got over your beautiful magazine yet. Don't let anybody keep -you from making it a truthful expression of yourself--but you won't. - -First of all, it's beautifully made. You couldn't have done better -typographically. It's the most _inviting_ magazine published. I like the -color and the paper label. - -Second, its spirit blows keen and with a pure fragrance. If you can -continue to show such freshness you will have gone far toward achieving -the goal Mr. Galsworthy urges--that "sleeping out under the stars" which -cleans our hearts of all things artificial. - -With sincerest congratulations, - - HENRY S. - New York. - -I am very much pleased with the first issue of THE LITTLE REVIEW. I am -very glad to know that such a thing should be started, and it should be -both a cause and an effect of better times in literature. I shall do -everything I can to make it better known. - - WILLIAM LYON PHELPS. - Yale University. - -When I found that the local bookstores had sold out their first orders -of THE LITTLE REVIEW I was delighted; for it meant folks were interested -in the fledgeling. The first number deserves the praise and -congratulations of everybody interested in literature; everything in it -is fine, even unto the composition of the "ad" pages. With its fresh, -cheerful note THE LITTLE REVIEW very fittingly comes forth on the first -day of Spring. Long may it spread sweetness and light. - - W. W. G. - Chicago. - -There are so many things that I admire in the first issue of THE LITTLE -REVIEW that I find it difficult to decide just where to begin. It was -like taking up a copy of the Preludes of Debussy for the first time; -after playing them over and over again I found it difficult to know -whether it was what he said or the way he said it which held the greater -charm for me. I congratulate you most sincerely on the distinct personal -quality which is so evident in your magazine and you may count upon me -to rejoice with you if it meets with anything like the great success -which it so distinctly merits. - - F. L. R. - Chicago. - -Your new publication has just fallen into my hands. The vital thing! - -I cannot begin to tell you what its pulsating, teeming import means to -me. I know nothing today in magazine form that will mean so much to -busy, thinking people. - - NANNIE C. LOVE. - Indianapolis. - -Please let me offer my sincerest congratulations and my warmest wishes -for the continued success of THE LITTLE REVIEW. There are numerous -points in the first issue that I should like to discuss with you; I must -warn you that you are tempting your readers and must not be surprised if -you are overwhelmed with letters, questioning, approving, and -criticising. - -The foreword strikes such a splendid note! I hope no criticism will -influence you to change it. - -You agree, evidently, with the point that _The Dark Flower_ suggests a -Greek classic; so do I. But, conceding that, how could you have been -surprised that countless people care nothing for it? Don't you know that -the majority of people in the world do not really "possess" the Greek -classics? Without the background of the world's thought, ages ago, and -its progress--unless we agree with Alfred Russell Wallace that we have -made no progress--can't you see that _The Dark Flower_ could genuinely -startle many people? So I beg for less sharpness toward those who do not -feel the wonder of it. The tragedy is in their lives. - -For just the same reason _Jean Christophe_ belongs to a few, -comparatively. If you had never before felt the power of a great epic, -could you really grasp this one? Modern as we claim to be--and -independent--must there not be some foundation? Oh dear!--I do want to -tell you why I think _Vanity Fair_ is greater than _Succession_ and why -Ysaye's music is inspired--when I listen, at least. But one can't go on -forever. - -Since the "Critics' Critic" expressed a doubt about that quotation from -Euripides and since you insisted that it sounded like a Gilbert Murray -translation, you may be glad to know that it is both. But you quoted it -wrong. It is from _Aeolus_, a lost play, and this is the correct -version: - - This Cyprian, - She is a thousand, thousand changing things; - She brings more pain than any god; she brings - More joy. I cannot judge her. May it be - An hour of mercy when she looks on me. - -I do agree that "a million, million changing things" is somehow more -perfect; I even agree now, though not at first, with the order of -attributes: "She brings more joy than any god, she brings more pain." On -a re-reading of _Aeolus_ I am taken with the way you misquoted it. Joy -was surely first in the Greek's life. And of course the human beauty of -the thing made me think immediately of the way Mrs. Browning "struck -off" Euripides: - - Our Euripides, the human, - With his droppings of warm tears - And his touches of things common - Till they rose to touch the spheres! - - KATHERINE TAPPERT. - Davenport, Iowa. - -... I don't know when I've read anything so inspiring as that letter -from Galsworthy. Can't all of you who are helping to make the magazine -arrange to march up to it mentally and present your "copy" for approval -before you decide to print it? - -I like the article on Paderewski and the one about _The Dark Flower_. -But do be careful of "beauty" and "passion." It's easy to make them -commonplace. Also spare your adjectives a bit; you don't need an -adjective for everything. I realize that your abbreviations are made in -the interest of readableness, but however informal you want to make it -you only succeed in sounding hideously colloquial. It doesn't read well, -and it makes me feel that you're trying to achieve through the style -what ought to be achieved quite simply through the material itself. Not -that I approve of anything stilted, but you can easily overdo the other -side of it. And wouldn't it be better to leave some of the things -unsigned? People who don't know that the various Anderson contributors -are unrelated will think it's rather a family monopoly. - -The Ficke poems are exquisite; and how I love Nicholas Vachel Lindsay's! -Also I like the New York letter very much, but George Soule's _Major -Symphony_ could just as well be unwritten. Poetry has to be so much -better than that to be real poetry. Another thing: I think your -quotations from _Succession_ weren't as efficient as you hoped. It's a -book that can't well be quoted except to one who knows it. - -You wanted frankness, so here it is. Otherwise, I have nothing but -praise for the whole glorious undertaking! - - LOIS ALLEN PETERS. - Philadelphia. - - [Being a sister of the editor, Mrs. Peters speaks her mind with a - freedom that enchants us. It also helps us--though we want to - shake her for one or two of those remarks. However--may her - letter serve as a model to timid but opinionated readers!--THE - EDITOR.] - -If you will allow me to be perfectly frank about your first issue, I -should like to tell you that THE LITTLE REVIEW seems rather too esthetic -in tone and spirit to avoid being "restrictive"--a wish you expressed in -your editorial. There is not enough variety in it, for one thing. For -another, some of its critical judgments are too personal--are too -largely temperamental judgments--to be of any permanent value. You seem -to have set out to exploit personalities; and there's a juvenility in -many of the articles that I'm afraid you'll all blush for in ten years. - - A WELL-MEANING CRITIC. - -The first number of THE LITTLE REVIEW came as a delightful surprise and -I have enjoyed reading it. I particularly appreciate the spirit of -appreciation running through the pages, which I believe will be of -inestimable service to young writers, if you are able to keep it up. - - M. K. - New York. - -The Little Review looks very interesting. I hope to have the pleasure of -reading it through very soon, but at the moment my small sister is -devouring it and refuses absolutely to give it up. If you are as -successful in pleasing women generally as you have been in pleasing her -you need have no fear for the success of the magazine. - - J. C. P. - New York. - -Professor Foster's essay on _The Prophet of a New Culture_ is -magnificent--a soul-searching, heart-breaking bit of writing, fiery and -tragic. Nicholas Vachel Lindsay's _How a Little Girl Danced_ is a -delightful thing--airy, high-minded, and full of his burning spirit. In -fact, THE LITTLE REVIEW is full of things that one reads with a keen -zest. - - W. L. C. - Denver. - -THE LITTLE REVIEW came to hand promptly, but I was unable to read it -until last night. That is where I made my first mistake, as I had been -denying myself a very pleasant two hours. My second mistake was in -having read it at all, as it has now become one of those eight or ten -journals which are always welcome and more or less necessary. Ten -journals each month (and some weeklies), quietly yet insistently urging -me to take them up, are like those good friends who tempt me with an -outing in Spring when work is crowding. So with THE LITTLE REVIEW. It -has with one reading become a distinctly individual friend. - - W. M. L. - Philadelphia. - -Your LITTLE REVIEW has just reached me. I took it home for leisurely -examination on Sunday. I congratulate you upon launching and hope that -you'll meet no adverse trade winds in your voyage. Its atmosphere is -certainly anything but editorial, and you've put plenty of your own -personality into it. And what a delightfully charming letter is that -from Galsworthy! - -I should take sharp issue with you on one or two slight points could I -face you across a lunch table, but as it is, I tuck my differences away, -with a sigh of envy at your enthusiasm, and the sincere wish that you -may always keep it. - -With best wishes for your good luck. - - BEATRICE L. MILLER. - Boston. - -I think your first number very interesting indeed, and congratulate you -on your fine start. I am always delighted with every new manifestation -of the life and enthusiasm in Chicago! - -With best wishes for your future. - - ALICE C. HENDERSON. - Chicago. - -... I've fallen in love with M. H. P., "The Critics' Critic." She's just -the sort of person I'd like to go and talk with this afternoon. Please -ask her to write a letter properly sitting on Agnes Repplier for her -_Atlantic_ essays. A very delicate, cultured, polite little woman -sitting behind a tea-table in her aloof apartment, and given over to -well-bred sneering at things she doesn't know anything about--that's how -I picture Miss Repplier. - - A CONTRIBUTOR. - -THE LITTLE REVIEW is here, and I have so enjoyed going over it. - -It is a great first number and sets a pace that would have made most of -us breathless before we started; but anyone can know it isn't so with -you, from that last paragraph of your announcement. It was lovely! - -I loved the Paderewski, too. Was there anything more wonderful than the -glory of the Funeral March as he played it the afternoon of his first -recital here this winter? I know you heard it from the way you write of -it. An emotion that brings the tears and makes the sobs struggle in the -back of your throat is always worth living through, and I wouldn't have -missed it for worlds. - -With the best of good wishes. - - MABEL REBER. - Chicago. - -I want to tell you how very good the first issue of THE LITTLE REVIEW -is. I don't know what the succeeding numbers will be like, but you have -set a pace in this one that will demand some vigorous effort to keep up. -After that "gripping" announcement no one will doubt the real purpose of -the REVIEW and the fine optimism that is behind it. I don't have to -believe everything you are going to print, but if those who write it do, -by all means keep them together. And _don't_ let George Soule get away. - -It's too early to make suggestions, but I should say that Number One is -well balanced and very readable, and I like the trick of throwing the -light on from different angles--like the Galsworthy and Nietzsche -discussions. The tone is high, and I am quite sure I never read more -intelligent reviews anywhere. - -Good luck to THE LITTLE REVIEW! - - J. D. MARNEY. - Springfield, Ill. - -Will you let me thank you for giving me a very pleasant experience in -reading the first copy of THE LITTLE REVIEW? There are many things in -the first number which arouse one's interest, though I am not sure that -I would at all agree in all the critical judgments which are there -pronounced. Anyway, you will let me wish you all success, and wave you -my hand with the hope that THE LITTLE REVIEW shall be the biggest review -in the country. - - D. W. WYLIE. - Iowa City, Iowa. - -Congratulations must be pouring in on you from all sides, but I want, -just the same, to add my voice to the chorus of "Bravos" that surrounds -you. - -THE LITTLE REVIEW is a triumph. It even outdoes my picture of it; and -that is saying much, for I have known it was to be something -exceptionally nice. - -It is a delight to look at, showing somebody's good personal taste; and -the contents--well, I like them _lots_ more than I could say adequately -or put in this space. - -Blessings on you and the heartiest congratulations to all concerned in -the making of THE LITTLE REVIEW. - - MARGARET T. CORWIN. - New Haven, Conn. - -I am pleased with its general appearance, and the contents are -inspiring--full of the spirit of youth. I wish THE LITTLE REVIEW every -success. - - GEORGIA M. WESTON. - Geneva, Ill. - -The initial number of THE LITTLE REVIEW has impressed me so favorably -that I want some of my friends also to share in its appreciation. - -You surely have made a fine beginning and, in my judgment, cannot do -better than to adopt as the creed of THE LITTLE REVIEW the sound and -encouraging advice given in Mr. Galsworthy's inspiring letter. - - ALBERT H. LOEB. - Chicago. - -From the first page to the last book announcement I have read THE LITTLE -REVIEW with pride and delight. - -Its sincerity attracts me even more than its obvious literary merit, and -its comprehensiveness and quality will appeal to all who read at -all--especially to those who go below the surface. - - ALETHEA F. GRIMSLEY. - Springfield, Ill. - -Thank you so much for THE LITTLE REVIEW! I liked it from the moment I -saw it, both outside and in. I like particularly the personal note you -put into your writing. It's as though you were really talking to me and -telling me how you feel about _The Dark Flower_ and Paderewski and dear -Little Antoine with his bad room that was "pretty but stupid for the -sound." - -With best wishes to you in your beautiful, big undertaking. - - ZETTA GAY WHITSON. - Chicago. - - - - - The "Best Sellers" - - - The following books, arranged in order of popularity, have been - "bestsellers" in Chicago during March: - - The Inside of the Cup Winston Churchill Macmillan - Diane of the Green Van Leona Dalrymple Reilly and Britton - Pollyanna Eleanor Porter L. C. Page - Laddie Gene Stratton-Porter Doubleday, Page - T. Tembarom Frances Hodgson Burnett Century - Sunshine Jane Anne Warner Little, Brown - The Woman Thou Gavest Me Hall Caine Lippincott - Cap'n Dan's Daughter Joseph C. Lincoln Appleton - Passionate Friends H. G. Wells Harper - Old Valentines S. H. Havens Houghton Mifflin - The Devil's Garden W. B. Maxwell Bobbs-Merrill - The White Linen Nurse Eleanor Abbott Century - When Ghost Meets Ghost William DeMorgan Henry Holt - The After House Mary Roberts Rinehart Houghton Mifflin - The Iron Trail Rex Beach Harper - The Dark Hollow Anne Katherine Green Dodd, Mead - The Rocks of Valpre E. H. Dell Putnam - The Light of Western Zane Gray Harper - Stars - Peg o' My Heart Hartley Manners Dodd, Mead - The Dark Flower John Galsworthy Scribner - Daddy Long Legs Jean Webster Century - It Happened in Egypt C. N. and A. M. Doubleday, Page - Williamson - Darkness and Dawn George Allan England Small, Maynard - The Forester's Daughter Hamlin Garland Harper - Westways S. Weir Mitchell Century - My Wife's Hidden Life Anonymous Rand, McNally - Home Anonymous Century - The Valley of the Moon Jack London Macmillan - The Harvester Gene Stratton-Porter Doubleday, Page - Gold Stewart Edward White Doubleday, Page - A People's Man E. Phillips Oppenheim Little, Brown - The Way Home Basil King Harper - Martha by the Day Julie M. Lippman Holt - The Rosary Florence Barclay Putnam - Making Over Martha Julie M. Lippman Holt - - NON-FICTION - Crowds Gerald Stanley Lee Doubleday, Page - Alone in the Wilderness Joseph Knowles Small, Maynard - Autobiography Theodore Roosevelt Macmillan - What Men Live By Richard C. Cabot Houghton Mifflin - The Gardener Rabindranath Tagore Macmillan - The Modern Dances Ellen Walker Saul - - THE LITTLE REVIEW is now on sale in the following bookstores: - - New York: - Brentano's. - Vaughn and Gamme. - M. J. Whaley. - - Chicago: - The Little Theatre. - McClurg's. - Morris's Book Shop. - Carson, Pirie, Scott and Company. - A. Kroch and Company. - Chandler's Bookstore, Evanston. - W. S. Lord, Evanston. - - Pittsburg: - Davis's Bookshop. - - Springfield, Mass.: - Johnson's Bookstore. - - Cleveland: - Burrows Brothers Company. - - Detroit: - Macauley Brothers. - - Minneapolis: - Nathaniel McCarthy's. - - Los Angeles: - C. C. Parker's. - - Omaha: - Henry F. Keiser. - - Columbus, O. - A. H. Smythe's. - - By John Galsworthy - - The Dark Flower - - _$1.35 net; postage extra._ - - This splendid story of love which has drawn more attention than - anything else Mr. Galsworthy ever wrote, is now in its fourth - large edition. - - The editor of the new _Little Review_ says of it: "Everything - John Galsworthy has done has had its special function in making - 'The Dark Flower' possible. The sociology of 'Fraternity,' the - passionate pleading of 'Justice' and 'Strife,' the incomparable - emotional experiments of 'A Commentary,' the intellectuality of - 'The Patrician'--all these have contributed to the noble - simplicity of 'The Dark Flower.'" - - John Galsworthy's Plays - - The Fugitive - - _60 cents net; postage extra._ - - "Mr. Galsworthy deals with the problem of woman's economic - independence, her opportunity and preparation for self-support - outside the refuge of marriage.... - - "'The Fugitive' is an admirable piece of dramatic writing. The - undeviating exposition of the situation in the first act is - certainly the best thing Mr. Galsworthy has yet done in the - dramatic field." - - --_New York Tribune._ - - The Pigeon - - A Fantasy in Three Acts - - _60 cents net._ - - The Eldest Son - - A Domestic Drama in Three Acts. - - _60 cents net._ - - Justice - - A Tragedy in Four Acts. - - _60 cents net._ - - The Little Dream - - An Allegory in Six Scenes - - _50 cents net._ - - Three of these plays--"Justice," "The Little Dream," and "The - Eldest Son"--have been published in the more convenient form of - one volume, entitled "Plays by John Galsworthy, Second Series." - - _$1.50 net._ - - My First Years as a Frenchwoman 1876-1879 - - BY MARY KING WADDINGTON, author of "Letters of a Diplomat's - Wife," "Italian Letters of a Diplomat's Wife," etc. - - _$2.50 net; postage extra._ - - The years this volume embraces were three of the most critical in - the life of the French Republic. Their principal events and - conspicuous characters are vividly described by an expert writer - who was within the inmost circles of society and diplomacy--she - was the daughter of President King of Columbia, and had just - married M. William Waddington, one of the leading French - diplomats and statesmen of the time. - - Notes of a Son and Brother - - BY HENRY JAMES. - - _Illustrated. With drawings by_ WILLIAM JAMES. _$2.50 net; - postage extra._ - - Harvard, as it was in the days when, first William, and then - Henry, James were undergraduates, is pictured and commented upon - by these two famous brothers--by William James through a series - of letters written at the time. The book carries forward the - early lives of William and Henry, which was begun in "A Small Boy - and Others," published a year ago. Among the distinguished men - pictured in its pages are John LaFarge, Hunt, Professor Norton, - Professor Childs, and Ralph Waldo Emerson, who was a close friend - of Henry James, Senior. - - North Africa and the Desert - - BY GEORGE E. WOODBERRY. _$2.00 net; postage extra._ - - This is one of that very small group of books in which a man of - genuine poetic vision has permanently registered the color and - spirit of a region and a race. It is as full of atmosphere and - sympathetic interpretation as any that have been written. - Chapters like that on "Figuig," "Tougourt," "Tripoli," and "On - the Mat"--a thoughtful study of Islam--have a rare value and - beauty. - - By HUDSON STUCK, D.D. Archdeacon of the Yukon. - - The Ascent of Denali (Mt. McKinley) - - _With illustrations and maps_ _$1.75 net; postage extra._ - - The fact that this narrative describes the only successful - attempt to climb this continent's highest mountain peak, and that - the writer led the successful expedition, is enough to give it an - intense interest. But when the writer happens to be as sensitive - as an artist to all the sights and sounds and incidents of his - great adventure, and to be so skilful a writer to convey - everything to the reader, the value and interest of the book are - irresistible. - - Ten Thousand Miles with a Dog Sled - - _With 48 illustrations, 4 in color._ _$3.50 net; postage - extra._ - - If you would see the vast snow-fields, frozen rivers, and rugged, - barren mountains of the Yukon country but cannot visit them you - will do the next best thing by reading this often beautiful - account of a missionary's ten thousand miles of travel in - following his hard and dangerous work. It is the story of a brave - life amid harsh, grand, and sometimes awful surroundings. - - Charles Scribner's Sons - Fifth Avenue, New York - - - - - SPRING PUBLICATIONS - - - HOUGHTON MIFFLIN COMPANY - - 4 Park Street, Boston - 1914 - 16 E. 40th St., New York - - George Borrow and His Circle - - By CLEMENT K. SHORTER - - "A treasure and a delight to admirers of Borrow."--_London - Athenæum._ "A sane book about a sane and magnificently wholesome - man."--_London Daily Express._ - - With frontispiece. $3.00 net. Postage extra. - - What Men Live By - - By RICHARD C. CABOT, M.D. - - A physician's contribution to the conduct of life. His - application of work, play, love, and worship to daily life and - his experience of their healing powers are set forth in this - volume in an inspiring and readable way. - - $1.50 net. 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HUEBSCH, Publisher, 225 Fifth avenue, New York - - - SUBSCRIPTION BLANK - - THE LITTLE REVIEW, - Fine Arts Building, Chicago. - - _I enclose $2.50 for which please send me_ THE LITTLE REVIEW _for - one year, beginning with the ............. issue. I also send the - names and addresses of persons who would like to receive specimen - copies._ - - _____________________ - _____________________ ___________________________________ - _____________________ - _____________________ ___________________________________ - _____________________ - _____________________ ___________________________________ - - - - - Transcriber's Notes - - -Advertisements were collected at the end of the text. - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. Further corrections are listed here -(before/after): - - [p. 13]: - ... true: "Euch behren sollst ... - ... true: "Entbehren sollst ... - - [p. 13]: - ... Du, sollst eutbehren!" (Deny yourself, ... - ... Du, sollst entbehren!" (Deny yourself, ... - - [p. 27]: - ... To have the sense or creative activity is the ... - ... To have the sense of creative activity is the ... - - [p. 50]: - ... up a copy of the Preludes of Debessy ... - ... up a copy of the Preludes of Debussy ... - - [p. 53]: - ... will be like, but you have set a place in ... - ... will be like, but you have set a pace in ... - - - - - - -End of the Project Gutenberg EBook of The Little Review, April 1914 (Vol. 1, -No. 2), by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, APRIL *** - -***** This file should be named 62634-8.txt or 62634-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/6/3/62634/ - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. 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You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Little Review, April 1914 (Vol. 1, No. 2) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: July 13, 2020 [EBook #62634] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, APRIL *** - - - - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. This book was -produced from images made available by the Modernist Journal -Project, Brown and Tulsa Universities, -http://www.modjourn.org. - - - - - - -</pre> - - -<div class="frontmatter chapter"> -<h1 class="title"> -<span class="smallcaps">The Little Review</span> -</h1> - -<p class="subt"> -<em>Literature Drama Music Art</em> -</p> - -<p class="ed"> -<span class="line1">MARGARET C. ANDERSON</span><br /> -<span class="line2">EDITOR</span> -</p> - -<p class="issue"> -APRIL, 1914 -</p> - - <div class="table"> -<table class="toc" summary="TOC"> -<tbody> - <tr> - <td class="col1">“The Germ”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-1">1</a></td> - </tr> - <tr> - <td class="col1">Rebellion</td> - <td class="col2">George Soule</td> - <td class="col_page"><a href="#page-3">3</a></td> - </tr> - <tr> - <td class="col1">Man and Superman</td> - <td class="col2">George Burman Foster</td> - <td class="col_page"><a href="#page-3">3</a></td> - </tr> - <tr> - <td class="col1">Lines for Two Futurists</td> - <td class="col2">Arthur Davison Ficke</td> - <td class="col_page"><a href="#page-8">8</a></td> - </tr> - <tr> - <td class="col1">A New Winged Victory</td> - <td class="col2">Margaret C. Anderson</td> - <td class="col_page"><a href="#page-9">9</a></td> - </tr> - <tr> - <td class="col1">Correspondence:</td> - <td class="col2"> </td> - <td class="col_page"> </td> - </tr> - <tr class="i"> - <td class="col1">Two Views of H. G. Wells</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-12">12</a></td> - </tr> - <tr class="i"> - <td class="col1">Rupert Brooke and Whitman</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-15">15</a></td> - </tr> - <tr class="i"> - <td class="col1">More About “The New Note”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-16">16</a></td> - </tr> - <tr> - <td class="col1">Sonnet</td> - <td class="col2">Sara Teasdale</td> - <td class="col_page"><a href="#page-17">17</a></td> - </tr> - <tr> - <td class="col1">Sonnet</td> - <td class="col2">Eunice Tietjens</td> - <td class="col_page"><a href="#page-18">18</a></td> - </tr> - <tr> - <td class="col1">The Critics’ Critic</td> - <td class="col2">M. H. P.</td> - <td class="col_page"><a href="#page-18">18</a></td> - </tr> - <tr> - <td class="col1">Women and the Life Struggle</td> - <td class="col2">Clara E. Laughlin</td> - <td class="col_page"><a href="#page-20">20</a></td> - </tr> - <tr> - <td class="col1">“Change”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-24">24</a></td> - </tr> - <tr> - <td class="col1">The Poetry of Alice Meynell</td> - <td class="col2">Llewellyn Jones</td> - <td class="col_page"><a href="#page-25">25</a></td> - </tr> - <tr> - <td class="col1">An Ancient Radical</td> - <td class="col2">William L. Chenery</td> - <td class="col_page"><a href="#page-28">28</a></td> - </tr> - <tr> - <td class="col1">Equal Suffrage: The First Real Test</td> - <td class="col2">Henry Blackman Sell</td> - <td class="col_page"><a href="#page-30">30</a></td> - </tr> - <tr> - <td class="col1">Education of Yesterday and Today</td> - <td class="col2">William Saphier</td> - <td class="col_page"><a href="#page-31">31</a></td> - </tr> - <tr> - <td class="col1">Some Book Reviews</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-33">33</a></td> - </tr> - <tr> - <td class="col1">New York Letter</td> - <td class="col2">George Soule</td> - <td class="col_page"><a href="#page-46">46</a></td> - </tr> - <tr> - <td class="col1">William Butler Yeats to American Poets</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-47">47</a></td> - </tr> - <tr> - <td class="col1">Letters to the Little Review</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-49">49</a></td> - </tr> - <tr> - <td class="col1">The Best Sellers</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-55">55</a></td> - </tr> -</tbody> -</table> - </div> - <div class="table"> - <div class="footer"> -<p class="pricel"> -25 cents a copy -</p> - -<p class="pub"> -THE LITTLE REVIEW<br /> -Fine Arts Building<br /> -CHICAGO -</p> - -<p class="pricer"> -$2.50 a year -</p> - - </div> - </div> -</div> - -<div class="frontmatter chapter"> -<p class="tit"> -<a id="page-1" class="pagenum" title="1"></a> -<span class="smallcaps">The Little Review</span> -</p> - - <div class="table"> - <div class="issue"> -<p class="vol"> -Vol. I -</p> - -<p class="issue"> -APRIL, 1914 -</p> - -<p class="number"> -No. 2 -</p> - - </div> - </div> -<p class="cop"> -Copyright, 1914, by Margaret C. Anderson. -</p> - -</div> - -<h2 class="article1" id="chapter-0-1"> -“The Germ” -</h2> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">n</span> 1850 an astounding thing happened -in England. A little group -of artists and poets, known as the Pre-Raphaelite -Brotherhood, began the publication -of a magazine. It was to be -given over to “thoughts towards nature -in poetry, literature, and art”; and it -was called <em>The Germ</em>. -</p> - -<p> -The idea was Dante Gabriel Rossetti’s, -who was then just twenty-two years old. -Thomas Woolner, of the same age, and -Holman Hunt and Millais, both somewhere -in the neighborhood of twenty, -were dragged willingly into the plan. -William Michael Rossetti, aged nineteen, -was made editor; James Collinson -and Frederick George Stephens were -added to the four original P. R. B.’s; -John Lucas Tupper, Ford Madox -Brown, Walter Howell Deverell, William -Cave Thomas, John Hancock, and Coventry -Patmore were intimately connected -with the project; and Christina, then -eighteen, offered her poems for publication -therein. -</p> - -<p> -<em>The Germ</em> was published for four -months, and then it died. Like all serious -things it could find no immediate audience; -like all revolutionary things it -was called juvenile and regarded with -shyness; and like all original and beautiful -things it has managed to stay very -much alive. For, in 1899, a limited -edition of <em>The Germ</em> in facsimile was -brought out, and William Michael Rossetti -wrote an extensive introduction for -it in which he described minutely the -whole glorious undertaking. It is these -facsimiles that we have been looking -through with such awe, and which tell -such an interesting story. -</p> - -<p> -Here was a league of “unquiet and -ambitious young spirits, bent upon making -a fresh start of their own, and a -clean sweep of some effete respectabilities.” -On the night of December 19, -1849, when the first issue of the magazine -was impending, they met in Dante -Rossetti’s studio at 72 Newman Street to -discuss a change of title. <em>The P. R. B. -Journal and Thoughts Towards Nature</em> -(the “extra-peculiar” suggestion of -Dante, according to his brother) had -been discarded, and Mr. Cave Thomas -had drawn up a list of sixty-five possibilities, -among them <em>The Seed</em>, <em>The -Scroll</em>, <em>The Harbinger</em>, <em>First Thoughts</em>, -<em>The Sower</em>, <em>The Truth-Seeker</em>, <em>The -Acorn</em>, and <em>The Germ</em>. The last was decided -upon and the first issue came out -about the first of January. Seven hundred -copies were printed and about two -hundred sold. This wasn’t encouraging, -so the second issue was limited to five -hundred; but it sold even less well than -the first, and the P. R. B.’s were at the -end of their resources. Then the printing-firm -came to the rescue and undertook -the responsibility of two more numbers. -The title was changed to <em>Art and -Poetry, being Thoughts towards Nature, -conducted principally by Artists</em>; but “all -<a id="page-2" class="pagenum" title="2"></a> -efforts proved useless.... People would -not buy <em>The Germ</em>, and would scarcely -consent to know of its existence. So the -magazine breathed its last, and its obsequies -were conducted in the strictest -privacy.” -</p> - -<p> -It did attract some critical attention, -however. <em>The Critic</em> wrote: “We cannot -contemplate this young and rising -school in art and literature without the -most ardent anticipation of something -great to grow from it, something new -and worthy of our age, and we bid them -godspeed upon the path they have adventured.” -Others remarked that the -poetry in <em>The Germ</em> was all beautiful, -“marred by not a few affectations—the -genuine metal, but wanting to be purified -from its dross”; “much of it of extraordinary -merit, and equal to anything -that any of our known poets could write, -save Tennyson....” -</p> - -<p> -Well—the situation demands a philosopher. -We might undertake the rôle -ourselves, except that we’re too near the -situation, having just started a magazine -with certain high hopes of our own. -</p> - -<p> -On the cover of each issue of <em>The -Germ</em> appeared this poem by William -Rossetti, the mastery of which, some one -said, would require a Browning Society’s -united intellects: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">When whoso merely hath a little thought</p> - <p class="verse1">Will plainly think the thought which is in him—</p> - <p class="verse1">Not imaging another’s bright or dim,</p> - <p class="verse">Not mangling with new words what others taught;</p> - <p class="verse">When whoso speaks, from having either sought</p> - <p class="verse1">Or only found,—will speak, not just to skim</p> - <p class="verse1">A shallow surface with words made and trim,</p> - <p class="verse">But in that very speech the matter brought:</p> - <p class="verse">Be not too keen to cry—“So this is all!—</p> - <p class="verse1">A thing I might myself have thought as well,</p> - <p class="verse">But would not say it, for it was not worth!”</p> - <p class="verse1">Ask: “Is this truth?” For is it still to tell</p> - <p class="verse1">That be the theme a point or the whole earth,</p> - <p class="verse">Truth is a circle, perfect, great or small?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Patmore’s <em>The Seasons</em>, Christina Rossetti’s -<em>Dream Land</em>, Dante’s <em>My Sister’s -Sleep</em> and <em>Hand and Soul</em>, Woolner’s -<em>My Beautiful Lady</em> and <em>Of My Lady in -Death</em>, Tupper’s <em>The Subject in Art</em>, -William Rossetti’s <em>Her First Season</em>, and -a long review of Clough’s <em>Bothic of -Toper-na-fuosich</em> make up the first number. -In the others are <em>The Blessed Damozel</em>, -Christina’s <em>An End</em> and <em>A Pause of -Thought</em>, Patmore’s <em>Stars and Moon</em>, -John Orchard’s <em>Dialogue on Art</em>, and -many other things of value, concluding -with a review of Browning’s <em>Christmas -Eve and Easter Day</em>, in which William -Rossetti establishes with elaborate seriousness, -through six pages of solemn and -awesome sentences, that “Browning’s -style is copious and certainly not other -than appropriate”; that if you <em>will</em> understand -him, you shall. -</p> - -<p> -All this came to our mind the other -day when some one accused us of being -“juvenile.” What hideous stigma was -thereby put upon us? The only grievous -thing about juvenility is its unwillingness -to be frank; it usually tries to -appear very, very old and very, very -wise. <em>The Germ</em> was quite frankly -young; otherwise it could not have been -so full of death poetry, for it is youth’s -most natural affectation to steep itself -in death. But <em>The Germ</em> might have -been even more “juvenile” and so -avoided some of the heavy, sumptuous -sentences in that Browning review. It -would have gained in readableness without -any possible sacrifice of beauty or -truth. In their poetry the Pre-Raphaelites -were as simple and spontaneous as -children; in their criticism they were -rhetorical. Our sympathy is somehow -very strongly with the spontaneity—whatever -dark juvenile crimes it may be -guilty of—in the eyes of those who -merely look but do not see. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-2"> -<a id="page-3" class="pagenum" title="3"></a> -Rebellion -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Soule</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Sing me no song of the wind and rain—</p> - <p class="verse">The wind and the rain are better.</p> - <p class="verse">I’ll swing to the road on the gusty plain</p> - <p class="verse">Without any load,</p> - <p class="verse">And shatter your fetter.</p> - </div> - <div class="stanza"> - <p class="verse">And when you sing of the strange, bright sea,</p> - <p class="verse">I’ll leave your dark little singing</p> - <p class="verse">For the plunging shore where foam leaps free</p> - <p class="verse">And long waves roar</p> - <p class="verse">And gulls go winging.</p> - </div> - <div class="stanza"> - <p class="verse">Sorrow-dark ladies you’ve dreamed afar;</p> - <p class="verse">I stay not to hear their praises.</p> - <p class="verse">But here is a woman you cannot mar,</p> - <p class="verse">In life arrayed;</p> - <p class="verse">Her spirit blazes.</p> - </div> - <div class="stanza"> - <p class="verse">I shall not stiffen and die in your songs,</p> - <p class="verse">Flatten between your pages,</p> - <p class="verse">But trample the earth and jostle the throngs,</p> - <p class="verse">Try out life’s worth—</p> - <p class="verse">And burst all cages!</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-3"> -Man and Superman -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Burman Foster</span> -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">n</span> his voluptuous vagabondage -Rousseau at length halted at Paris, -where he managed to worry through -some inconstant years. The thing that -saved the day for him was the fragment -of a pamphlet that blew across his path -in one of his rambles, announcing a -prize to be awarded by the Academy of -Dijon for the best answer to an -extraordinary question. Had the renascence -of the arts and sciences ennobled -morals? That was a flash of lightning -which lit up a murky night and helped -this bewildered and lonely wanderer to -get his bearings. Thoughts came to -him demoniacally which shaped his -entire future and won him no small place -in the history of humanity. -</p> - -<p> -Answer is “No!” said Rousseau. -And his answer was awarded the -academic prize. -</p> - -<p> -It seems strange that the history of -his times sided with Rousseau’s “No.” -Certainly it was the first fiery meteor -<a id="page-4" class="pagenum" title="4"></a> -of the French revolution. It pronounced -the first damnatory sentence upon a -culture that had already reached the -point of collapse. In his own body and -soul Rousseau had bitterly experienced -the curse of this culture. It was -largely responsible for his heart’s abnormal -yearning whose glow was consuming -him. Instead of ennobling morals this -culture had inwardly barbarized man. -Then it galvanized and painted the outside -of life. And then life became a -glittering lie. -</p> - -<p> -Thus Rousseau became prophet in -this desert of culture, and called men -to repentance. “Back from culture to -nature,” was his radical cry; back from -what man has made out of himself to -what nature meant him to be. Nature -gave man free use of his limbs; culture -has bound them with all sorts of bindings, -until he is stiff, and short-winded, -and crippled. According to nature man -lives his own life; man is what he seems -and seems what he is; according to culture -he is cunning, and crafty, and -mendacious. -</p> - -<p> -The eighteenth-century man of culture -hearkened with attentive soul to the -dirge in which one of its noblest sons -vented his tortured heart. The melancholy -music bruised from this prophet’s -heart silenced the wit and ridicule of -even a Voltaire, who wanted to know, -however, whether “the idea was that -man was to go on all fours again.” In -a few decades the feet of revolutionary -Frenchmen were at the door ready, with -few and short prayers, to bear to its last -abode that culture whose moral worth -even a French Academy had called in -question, and for whose moral condemnation -had awarded the first prize. -</p> - -<p> -Now it is our turn! What is the good -of our culture? Such is the query of -a host of people who know nothing -thereof save the wounds it has inflicted -upon them—a host of people who face -our culture with the bitter feeling that -they have created it with the sweat of -their brows, but have not been permitted -to taste its joys. Such, too, is the query -of others who, satiated with its beneficence, -have been its pioneers,—a John -Stuart Mill, political economist, who -doubts whether all our cultural progress -has mitigated the sufferings of a single -human being; a Huxley, naturalist, who -finds the present condition of the larger -part of humanity so intolerable today -that, were no way of improvement to be -found, he would welcome the collision -of a kindly comet that would smash our -petty planet into smithereens. -</p> - -<p> -Also, there is your proletariat. And -there is your culture on summits far -out of his reach. The more inaccessible -it is, shining there with a radiance that -never falls upon him, the less does he -reflect that all is not gold that glitters. -Then there is your philanthropist, foremost -in culture of mind and heart, -surveying the masses far beneath him, -in the slime and grime of life, and -doubting at last whether any labor of -love can lift men up to where he thinks -men ought to be; whether, after all, it -can bring joy to men who are sick and -sore with the load of life. -</p> - -<p> -Not to be partial, one may magnanimously -cite your philistine also—the -man of “the golden mean,” the “man of -sanity,” as mediocrity has ever brand-marked -itself, who “hates <em>ultra</em>.” For -the life of him your philistine cannot -understand how a “reasonable” man can -have any doubt about our culture. Does -he not read in his favorite newspaper how -gloriously we have progressed? Does -he not encore the prodigious achievements -of our technique? Has he not -heard his crack spellbinder orate on the -<a id="page-5" class="pagenum" title="5"></a> -cultural felicity that follows our flag? -Down with the disloyalty of highbrow -doubters! -</p> - -<p> -Now it was from an entirely different -side, indeed it was from an entirely -different standpoint, that Friedrich -Nietzsche contemplated modern culture, -particularly the national culture of the -German Fatherland. What horrified -him was not simply the <em>content</em>, but the -<em>criterion</em>, of our culture. He sharply -scrutinized the <em>ideals</em> which we set ourselves -in our culture. He found not -simply our achievements but our ideals, -<em>ourselves</em> even, so inferior, so vulgar, -so contemptible, that he began to doubt -whether even the Germans could be recognized -as a culture people or not. -Hence Nietzsche became the most ruthless -iconoclast of our culture. Unlike the -majority, unlike the scholars, the philanthropists, -the philistines, Nietzsche was -not moved by the misery of the masses, -by the great social need of our time. -He did not regret that the boon of our -culture was shared by so few, inasmuch -as, in his opinion, this boon was of very -doubtful value. He found our life so -barbarous, so culture-hostile, that he -still missed the first elements of a true -culture among us. -</p> - -<p> -Hence Nietzsche lunged against <em>status -quo</em>. He did what he himself called -“<em>unzeitmässig</em>,” untimely. He flung a -question, more burning than any other, -into our time—more burning than even -the social question, constituting indeed -the main part of that question. It was -the question as to how <em>man</em> fared in this -culture—the question as to what <em>man</em> -got out of it and as to what it got out -of man. -</p> - -<p> -Never before had this question been -put as Nietzsche put it. We should -recall that Nietzsche was not one of -those who had experienced the extremes -of either plenty or want, nor was he -one of those who filled the wide space -between the two. To him, the pessimism -of the discontented and the optimism of -the fortunate and the satisfied were alike -superficial, if not impertinent. It was not -a question of “happiness” at all. In -bitter, biting sarcasm he says, with reference -to the English utilitarian “happiness -morality”: “I do not seek my -happiness; only an Englishman seeks -his happiness; I seek my <em>work</em>.” -</p> - -<p> -No; his was a question which his conscience -put to culture. Was it a “culture -of the <em>earth</em>, or of <em>man</em>?” Here -Nietzsche probes home. And he alone -did it. The most diverse censors of our -time had not seen and said that no matter -how desirable, no matter how gloriously -conceived the new order of things -might be, <em>man</em> must be the decisive -thing; <em>man</em> must tip the scales. It was -this that went against the grain. Mightier -machines, larger cities, better apartments, -bigger schools, what was the good -of it all, <em>et id omne genus</em>, if new and -greater men did not arise? So said -Nietzsche. And he said it with high -scorn to a generation which had forgotten -that man is not for “culture,” but -culture for man; of man, by man, for -man. -</p> - -<p> -Every people seems to pass through a -period in which it is obsessed with the -idea that the causes of popular prosperity -are at once motive and criterion of -culture; that the natural laws of economics -are the universally valid norms of -the ebb and flow of human values; that a -balance on the balance sheet to the good, -the satisfactoriness of the statistics of -exports and imports to the wishes of the -interested parties, are an occasion for -jubilation over the ascent which life has -compassed. Harbor some scruple as to -whether the jubilation be warranted or -<a id="page-6" class="pagenum" title="6"></a> -not, and you are at once pilloried as a -pessimist and a malcontent. And yet had -there been no Nietzsche there would still -remain Cicero’s warning: “Woe to a -people whose wealth grows but whose -men decay.” But there was a Nietzsche, -and he dared to call even his Fatherland -Europe’s “flat country”—flat was a -hard word for a land that could once -boast of so many poets and thinkers. -But now the flatter the better! But now -no peaks to scale, no yawning abysses on -whose edges one grows dizzy! Nothing -a single step removed from the ordinary, -the conventional! Now heights -and depths, distinctions and distances, -these are valid in the world of quantity, -not of quality; of possession, not of being; -of tax tables, not of human essence -and human power! Now all men are -equal! But Nietzsche knew that if men -are equal they are not free; if free they -are not equal. With a fury and a fire -that literally consumed him, he dedicated -himself to the task of leading men -up out of this flatness, away from this -leveling—up to an appreciation of the -potential—not the actual—greatness -of man’s life. Greatness is not yet man’s -verity but his vocation, his true and -idiomatic destiny. Greatness? This is a -man’s strength of will; the unfolding of -a free personality. To say <em>I will</em> is to be -a man. All human values are embraced -in this <em>I will</em>. To produce men who can -say <em>I will</em> is at once the task and the test -of culture. This <em>I will</em> is the climax and -goal of man. In this <em>I will</em> vanishes -every fearsome and disquieting <em>I must</em>, -every compulsion of outer necessity. -Not the passive adjustment of man to -nature, but the active adjustment of -nature to man; nature outside of him -and nature inside of him—that is human -calling and human culture. Vanishes, -also, every <em>I ought</em>. Man refuses to be -ridden by a duty spook, but subordinates -even duty to himself. Duty, too, is for -the sake of man, not man for the sake of -duty. In the depths of his own being, -man reserves the sovereign right to speak -his <em>yes</em> and his <em>no</em> to duty. To his own -will he subjects all good and all evil -taught him by others, past or present, -and thus occupies a standpoint “beyond -good and evil.” Lord of the Sabbath? -Yes, but lord also of standards sanctified -by their antiquity; lord of all the standards -of life; lord of all that has been -written or thought or done. “And thou, -O lord, art more than they!” Thou—thou -alone—art central and supreme -and sacred and inviolable. “Bring forth -the royal diadem and crown him lord of -all!” -</p> - -<p> -But not yet! Alas, there are no such -lords, no such will-men, personality-men! -Such men are not <em>Gegenwartsmenschen</em>, -present day men, but <em>Zukunftsmenschen</em>, -future day men; not reality but task—our -task. That future man will surpass -present man as much as present man surpasses -the monkey which he in his development -has left behind. We are bridges -from monkey to superman. Superman! -In him at last, at last, all that is unliving, -unfree, withered and weak, all that is -sickly in man, shall be obliterated; and -all the forces that are great and creative -shall be unfolded and molded into cultural -values. -</p> - -<p> -This is the meaning of the superman -of Friedrich Nietzsche. Malice and -ignorance have vied—vainly we may -now hope—in caricaturing it. The way -to superman is the rugged, steep mountain -path up to conscious deed and -mighty achievement; not the gentle incline -down to stupid indulgence, indolent -disposition, enervating or bestial impulsive -life. Not that! Superman is precisely -the man who overcomes the man of -<a id="page-7" class="pagenum" title="7"></a> -today aweary of life and athirst for -death. -</p> - -<p> -This preaching of Superman might be -called Messianic. It is the bold faith -that we are not the last word of the Word -of life; it is the glad hope that the best -treasures, the greatest deeds, the supreme -goals of humankind are still in the -future. Nietzsche’s message is a breath -of spring blowing over the land proclaiming -the advent of an issue from the -womb of time of something greater, better -than anything we have been, than -anything we have called good or great; -the advent of a new day when our best -songs now will be our worst then; our -noblest thoughts now our basest then; -our highest achievements now, our poorest -by-products then. -</p> - -<p> -We shall usher in that day; superman -shall be our will, our deed! Superman -gives our life worth. Ours is the new, -exhilarating responsibility, swallowing -up and nullifying all the petty responsibilities -which fret us today. We have -to justify our lives to that great future, -to that coming one, to our children. -They, through us, must be greater, better, -freer, than all of us put together. -We are worth our contribution to the -achievement of future man. Nay, only -superman can justify the history of the -cosmos! Consider pre-human and sub-human -life, red in tooth and claw; consider -human life, often not much better -and sometimes much worse; consider ourselves, -our meanness and our mediocrity. -Is this all? Is this warrant for the long -human and pre-human story? Can you -escape the conviction that but for superman -the eternal gestation and agony of -cosmic maternity admits of no rational -vindication? -</p> - -<p> -Breed, then, with a view of breeding -supermen. Marriage? Let this be not -for ease, not for the propagation of -yourselves; the pushing of yourselves -into your children, parents, but for the -creation of something new, of superman! -Education? Not to assimilate the children -to us, to the past, but to free them -from us; not <em>Vaterland</em>, but <em>Kinderland</em>, -must be our concern. Children shall not -“sit at our feet” but stand upon our -shoulders, that they may have a freer and -broader sweep of the horizon. And in -our children we shall love the Coming -One, prepare the way for Superman, that -free, great man who shall have conquered -present petty man with all his slave instincts! -Such, at all events, are the -dreams of the great poetic and prophetic -philosopher of the German Fatherland -of today. -</p> - -<div class="filler"> -<p class="noindent"> -All great things have first to wander about -the earth as enormous and awe-inspiring caricatures.—Nietzsche -in <em>Beyond Good and Evil</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Plato will always be an object of admiration -and reverence to men who would rather see vast -images of uncertain objects reflected from -illuminated clouds, than representations of -things in their just proportions, measurable, -tangible, and convertible to household use.—Walter -Savage Landor in <em>Imaginary Conversations</em>, -Vol. 2. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Cultivation will breed in any man a certainty -of the uncertainty of his most assured convictions.—Samuel -Butler in <em>Life and Habit</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Knowledge is in an inchoate state as long as -it is capable of logical treatment; it must be -transmitted into that sense or instinct which -rises altogether above the sphere in which words -can have being at all, otherwise it is not yet -vital.—Samuel Butler in <em>Life and Habit</em>. -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-4"> -<a id="page-8" class="pagenum" title="8"></a> -Lines for Two Futurists -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Arthur Davison Ficke</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse2">Why does all of sharp and new</p> - <p class="verse">That our modern days can brew</p> - <p class="verse">Culminate in you?</p> - </div> - <div class="stanza"> - <p class="verse2">This chaotic age’s wine</p> - <p class="verse">You have drunk—and now decline</p> - <p class="verse">Any anodyne.</p> - </div> - <div class="stanza"> - <p class="verse2">On the broken walls you stand,</p> - <p class="verse">Peering toward some stony land</p> - <p class="verse">With eye-shading hand.</p> - </div> - <div class="stanza"> - <p class="verse2">Is it lonely as you peer?</p> - <p class="verse">Do you never miss, in fear,</p> - <p class="verse">Simple things and dear,</p> - </div> - <div class="stanza"> - <p class="verse2">Half-remembered, left behind?</p> - <p class="verse">Or are backward glances blind</p> - <p class="verse">Here where the wind</p> - </div> - <div class="stanza"> - <p class="verse2">Round the outposts sweeps and cries—</p> - <p class="verse">And each distant hearthlight dies</p> - <p class="verse">To your peering eyes?...</p> - </div> - <div class="stanza"> - <p class="verse2">I too stand where you have stood;</p> - <p class="verse">And the fever fills my blood</p> - <p class="verse">With your cruel mood.</p> - </div> - <div class="stanza"> - <p class="verse2">Yet some backward longings press</p> - <p class="verse">On my heart: yea, I confess</p> - <p class="verse">My soul’s heaviness.</p> - </div> - <div class="stanza"> - <p class="verse2">Me a homesick tremor thrills</p> - <p class="verse">As I dream how sunlight fills</p> - <p class="verse">My familiar hills.</p> - </div> - <div class="stanza"> - <p class="verse2">Me the yesterdays still hold—</p> - <p class="verse">Liegeman still unto the old</p> - <p class="verse">Stories sweetly told.</p> - </div> - <div class="stanza"> -<a id="page-9" class="pagenum" title="9"></a> - <p class="verse2">Into that profound unknown</p> - <p class="verse">Where the earthquake forces strown</p> - <p class="verse">Shake each pilèd stone</p> - </div> - <div class="stanza"> - <p class="verse2">Look; and exultance smites</p> - <p class="verse">Me with joy; the splintered heights</p> - <p class="verse">Call me with fierce lights.</p> - </div> - <div class="stanza"> - <p class="verse2">But a piety still dwells</p> - <p class="verse">In my bones; my spirit knells</p> - <p class="verse">Solemnly farewells</p> - </div> - <div class="stanza"> - <p class="verse2">To safe halls where I was born—</p> - <p class="verse">To old haunts I leave forlorn</p> - <p class="verse">For this perilous morn.</p> - </div> - <div class="stanza"> - <p class="verse2">Yet I come! I cannot stay!</p> - <p class="verse">Be it bitter night, or day</p> - <p class="verse">Glorious,—your way</p> - </div> - <div class="stanza"> - <p class="verse2">I must tread; and on the walls,</p> - <p class="verse">Where this flame-swept future calls</p> - <p class="verse">To fierce miracles,</p> - </div> - <div class="stanza"> - <p class="verse2">Lo, I greet you here! But me</p> - <p class="verse">Mock not lightly. I come free—</p> - <p class="verse">But with agony.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-5"> -A New Winged Victory -</h2> - -</div> - -<p class="book"> -<em>Angel Island</em>, by Inez Haynes Gillmore. -[Henry Holt and Company, New York.] -</p> - -<p class="first"> -<em><span class="firstchar">A</span><span class="postfirstchar">ngel</span> Island</em> is several rare things: -original, profound, flaming. It leaves -you with a gasping sense of having been -swept through the skies; and also with -that feeling of new life which comes with -a plunge into cold, deep seas. <em>Angel -Island</em> is a new kind of Winged Victory! -</p> - -<p> -Innumerable books have been written -about the conflict of the sexes, about the -emergence of the new woman. Most of -them are dull books. But Mrs. Gillmore’s -is beautiful and exciting. I kept -thinking as I read it: here is something -absolutely new, absolutely authentic; -something so full of vision and truth -that it’s like getting to the top of a -mountain for the sunrise. Its freshness -and its clearness are like cool morning -mists that the sun has shot through. -</p> - -<p> -But to discard vague phrases and get -to the story—for it is not a tract, but -a novel—or rather a poetic allegory—that -<a id="page-10" class="pagenum" title="10"></a> -that Mrs. Gillmore has written. Five -men of representative modern types—a -professor, a libertine, a soldier of -fortune, a “mere mutt-man,” and an -artist—are shipwrecked on a tropical -island. After a few days their attention -is caught by what appears to be huge -birds flying through the heavens. The -birds come nearer and prove to be -winged women! Then comes the story -of their wooing, their capture, their -ultimate evolution into what modern -women have decided they want to be: -humanists. -</p> - -<p> -However, this is going too fast. The -only way to appreciate <em>Angel Island</em> is -to be conscious of the art of it as you -read. Beginning with the shipwreck, -Mrs. Gillmore creates a series of brilliant -pictures that culminate in the flying -orgies of the bird-women. -</p> - -<div class="excerpt"> -<p class="noindent"> -... All this was intensified by the anarchy -of sea and sky, by the incessant explosion -of the waves, by the wind which seemed to -sweep from end to end of a liquefying universe, -by a downpour which threatened to beat their -sodden bodies to pulp, by all the connotation of -terror that lay in the darkness and in their unguarded -condition on a barbarous, semi-tropical -coast.... -</p> - -<p> -The storm, which had seemed to worry the -whole universe in its grip, had died finally but -it had died hard. On a quieted earth, the sea -alone showed signs of revolution. The waves, -monstrous, towering, swollen, were still marching -on to the beach with a machine-like regularity -that was swift and ponderous at the same -time.... Beyond the wave-line, under a -cover of foam, the jaded sea lay feebly palpitant -like an old man asleep.... -</p> - -<p> -They had watched the sun come up over the -trees at their back. And it was as if they had -seen a sunrise for the first time in their lives. -To them it was neither beautiful nor familiar; -it was sinister and strange. A chill, that was -not of the dawn but of death itself, lay over -everything. The morning wind was the breath -of the tomb, the smells that came to them from -the island bore the taint of mortality, the very -sun seemed icy. They suffered—the five survivors -of the night’s tragedy—with a scarifying -sense of disillusion with Nature.... -</p> - -<p> -The sun was racing up a sky smooth and clear -as gray glass. It dropped on the torn green sea -a shimmer that was almost dazzling; but there -was something incongruous about that—as -though Nature had covered her victim with a -spangled scarf. It brought out millions of -sparkles in the white sand; and there seemed -something calculating about that—as though -she were bribing them with jewels to forget.... -</p> - -<p> -Dozens of waves flashed and crashed their -way up the beach; but now they trailed an iridescent -network of foam over the lilac-gray -sand. The sun raced high; but now it poured a -flood of light on the green-gray water. The air -grew bright and brighter. The earth grew warm -and warmer. Blue came into the sky, deepened—and -the sea reflected it. Suddenly the world -was one huge glittering bubble, half of which -was the brilliant azure sky and half the burnished -azure sea. -</p> - -</div> - -<p class="noindent"> -All this is gorgeous enough—this -clear, vivid painting of nature. But -when Mrs. Gillmore turns her hand to -the supernatural, she is simply ravishing. -For instance: -</p> - -<div class="excerpt"> -<p class="noindent"> -The semi-tropical moon was at its full. Huge, -white, embossed, cut out, it did not shine—it -glared from the sky. It made a melted moonstone -of the atmosphere. It faded the few -clouds to a sapphire-gray, just touched here and -there with the chalky dot of a star. It slashed -a silver trail across a sea jet-black except where -the waves rimmed it with snow. Up in the -white enchantment, but not far above them, the -strange air-creatures were flying. They were -not birds; they were winged women! -</p> - -<p> -Darting, diving, glancing, curving, wheeling, -they interwove in what seemed the premeditated -figures of an aerial dance.... Their wings, -like enormous scimitars, caught the moonlight, -flashed it back. For an interval, they played -close in a group inextricably intertwined, a revolving -ball of vivid color. Then, as if seized -by a common impulse, they stretched, hand in -hand, in a line across the sky—drifted. The -moonlight flooded them full, caught glitter and -gleam from wing-sockets, shot shimmer and -sheen from wing-tips, sent cataracts of iridescent -color pulsing between. Snow-silver one, brilliant -green and gold another, dazzling blue the -next, luminous orange a fourth, flaming flamingo -scarlet the last, their colors seemed half liquid, -<a id="page-11" class="pagenum" title="11"></a> -half light. One moment the whole figure would -flare into a splendid blaze, as if an inner mechanism -had suddenly turned on all the electricity; -the next, the blaze died down to the fairy glisten -given by the moonlight. -</p> - -<p> -As if by one impulse, they began finally to fly -upward. Higher and higher they rose, still hand -in hand.... One instant, relaxed, they -seemed tiny galleons, all sails set, that floated -lazily, the sport of an aerial sea; another, supple -and sinuous, they seemed monstrous fish whose -fins triumphantly clove the air, monarchs of -that aerial sea. -</p> - -<p> -A little of this and there came another impulse. -The great wings furled close like blades -leaping back to scabbard; the flying-girls -dropped sheer in a dizzying fall. Half-way to -the ground, they stopped simultaneously as if -caught by some invisible air plateau. The great -feathery fans opened—and this time the men -got the whipping whirr of them—spread high, -palpitated with color. From this lower level, -the girls began to fall again, but gently, like -dropping clouds.... They paused an instant -and fluttered like a swarm of butterflies -undecided where to go.... Then they -turned out to sea, streaming through the air in -line still, but one behind the other. And for -the first time, sound came from them; they -threw off peals of girl-laughter that fell like -handfuls of diamonds. Their mirth ended in a -long, eerie cry. -</p> - -</div> - -<p class="noindent"> -To me, that is wonderful work—one -jeweled word after another. And it’s -sustained through the whole book. But -of course, after this first sense of ravishment -with her pictures, you touch upon -the deeper wonder of Mrs. Gillmore—her -ideas. There are enough ideas in -<em>Angel Island</em> to equip the women who -are fighting for selfhood with armour -that is absolutely hole proof. -</p> - -<p> -The winged women differ in type as -widely as the men; and each man chooses -very quickly the type that appeals to -him most. The libertine wants the big -blond one, whom they’ve named -“Peachy”; the professor likes Chiquita, -the very feminine, unintellectual one; -Billy, the mere man, falls violently and -reverently in love with the radiant Julia, -the leader of the group and the one -your interest centers in immediately. -Julia has a personality: she appears to -be “pushed on by some intellectual or -artistic impulse, to express by the symbols -of her complicated flight some theory, -some philosophy of life.” She seems -always to shine. She is a creator. In -short, Julia thinks. -</p> - -<p> -The men plan capture and finally accomplish -it by a time-honored method: -that of arousing the women’s curiosity. -Then follows a tragic episode when they -cut the captives’ wings, making flight -impossible. Of course, marriage is the -next step, and later, children are born -on Angel Island—little girl children -with wings, and boys without them. But -all this time Julia has refused to marry -Billy, though she’s in love with him. -Her only reason is that something tells -her to wait. -</p> - -<p> -Inevitably the women mourn the loss -of their wings; and just as they become -reconciled to a second-hand joy in their -daughters’ flights, Peachy’s husband -informs her that flying is unwomanly—that -woman’s place is in the home, -not in the air (!)—and that their -daughter must be shorn of her wings -as soon as she’s eighteen. -</p> - -<p> -What next? Rebellion, with Julia -shining gloriously as leader. She had -been waiting for this. And in ten pages -of profound, simple, magnificent talk—if -only every woman in the world would -read it!—she explains to the others that -they must learn to walk. Peachy objects, -because she dislikes the earth. -“There are stars in the air,” she argues. -“But we never reached them,” answers -Julia. The earth is a good place, and -they must learn to live in it. Besides, -their children will fly better for learning -to walk, and walk better for knowing -how to fly; and she prophesies that -<a id="page-12" class="pagenum" title="12"></a> -<em>then</em> will be born to one of them a boy -child with wings. -</p> - -<p> -The women hide and master the art -of walking. While they’re doing this -their poor wings have a chance to grow -a little, and by the time the men are -ready to capture and subdue them a -second time they have achieved a combination -of walking and flying that puts -them beyond reach. Then the men submit -... and Julia asks Billy to marry -her. -</p> - -<p> -That’s all, except one short chapter -about Julia. She has a son with wings! -And then she dies—radiant, white, goddess-woman, -whose life had been so fine -a thing. The beauty of it all simply -overwhelmed me. -</p> - -<p> -All of which points to several important -conclusions. First, that Mrs. -Gillmore is a poet and prophet of golden -values. Second, that prejudice is the -most foolish thing in the world. A general -prejudice against that obvious form -of comedy called farce might cause you -to miss <em>The Legend of Leonore</em>. And -a stubborn caution in regard to allegories—which, -I concede, generally <em>are</em> -unsubtle—might keep you from <em>Angel -Island</em>. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-6"> -Correspondence -</h2> - -</div> - -<h3 class="section" id="subchap-0-6-1"> -Two Views of H. G. Wells -</h3> - -<p class="noindent"> -I am just reading <em>The Passionate -Friends</em>, and every time I read anything -of Wells’s I wonder why it is I -don’t like him better. <em>The World Set -Free</em> that has been running in <em>The -Century</em> was intensely worth while, I -thought—really prophetic. One tasted -something almost divine; human nature -is capable of such wonderful undreamed -of things! It was like Tennyson prophesying -the Federation of the World, airships, -etc. Wells does seem inspired in -some ways. But every time I read any -of his novels—well, you remember I -have a distinct mid-Victorian flavor that -has to be reckoned with. I wasn’t -brought up in a minister’s family for -nothing! I suppose it’s what we used -to call our conscience. Mine isn’t much -good, alas; I sometimes think of it as -a little old Victorian lady. She sits in -the background of my consciousness and -knits and knits and nods her head. Meanwhile -I go blithely about, espousing all -sorts of causes and thinking out all sorts -of theories—imagining, you know, that -I’m perfectly free. Suddenly she wakes -up—she lays aside her knitting with a -determined air and says, “Mary Martha, -<em>what</em> are you thinking about! Stop that -right now; I’m ashamed of you.” And -she has authority, too, you know. I -stop. Ridiculous, isn’t it?—but so it is. -</p> - -<p> -And every time I read a Wells novel -my little old lady folds her hands and -sits up very primly and says, “Aha, -you’re reading something of that man’s -again. Well, I’m not asleep—I’m right -on the job and I know just what I think -of <em>him</em>.” So you see! And the worst—or -the best—of it is that I agree with -her. I can’t like him. I read along and -it’s all so reasonable—he’s so clever and -he <em>thinks</em>; but his conclusions are all so -weak—if he comes to any. One passage -in <em>The Passionate Friends</em> has made me -furious. How can a man who’s at all -worth while be so really wicked—(another -<a id="page-13" class="pagenum" title="13"></a> -word gone out of style). I mean -this: -</p> - -<div class="excerpt"> -<p class="noindent"> -It is manifestly true that for the most of us -free talk, intimate association, and any real -fellowship between men and women turns with -extreme readiness to love. And that being so, -it follows that under existing conditions the -unrestricted meeting and companionship of men -and women in society is a notorious sham, a -merely dangerous pretence of encounters. The -safe reality beneath those liberal appearances is -that a woman must be content with the easy -friendship of other women and of one man only, -letting a superficial friendship towards all other -men veil impassable abysses of separation, and -a man must in the same way have one sole -woman intimate.... To me that is an intolerable -state of affairs, but is reality. -</p> - -</div> - -<p class="noindent"> -Now can you suppose that is Wells’s -own reasoning that he puts into the -mouth of his unfortunate hero? Talk -about Edith Wharton being thin-lipped -in the pursuit of her heroines—that’s -a great deal better than being loose-lipped; -don’t you agree with me? It -may be true, and I rather think to some -extent it is true, that a man cannot have -an absorbing friendship with a woman -and not run the risk of falling in love. -But what does that prove? That he -should be allowed free rein and carry on -as many <em>liaisons</em> veiled under the name of -friendship as he chooses? Or unveiled, -rather, for Wells seems to want everything -in the open. He’s like a child -who says: Here’s a very dangerous beast -in a flimsy, inadequate cage. Frequently -he escapes from it and has to be put back -in. Let’s abolish the cage and let the -beast run about openly, doing what it -wants. And the good old-fashioned word -for that beast is lust, and it should be -caged; if the cage is getting more and -more inadequate it’s only a piece with -what Agnes Repplier calls our loss of -nerve. How I liked that article of hers! -What in the name of sense are we in this -world for if not to build up a character? -That’s all that amounts to anything, and -it comes from countless denials and -countless responses to duty. And what -Goethe said, some time ago, is still everlastingly -true: “<em><a id="corr-3"></a>Entbehren sollst -Du, sollst <a id="corr-4"></a>entbehren!</em>” (Deny yourself, -deny, deny.) He ought to know, too, -because he tried indulgence, goodness -knows, and knew the dregs at the bottom -of that cup. And I can’t forgive -Wells. He knows better than to let -people make all manner of experiment -with such things. They wouldn’t even -be happy; for happiness is built of stability, -loyalty, character, and again character. -My husband said, after reading -that passage in <em>The Passionate Friends</em>, -“The trouble with him and the class he -writes of is that they aren’t busy enough. -Let ’em work for a living, be interested -in something vitally for ten hours out of -the twenty-four, and they’ll forget all -about their neighbors’ wives and be content -with good men friends and casual -women friends.” -</p> - -<p> -The trouble lies with poor old human -nature, I guess, and the way it wants -what it cannot and ought not to have. -But Wells says all unreality is hateful -to him. Let’s tear down the barriers, -let’s show up for what we are. Poor -Smith wants something his neighbor has—well, -let’s give it to him, whether it’s -his neighbor’s success or his wife or his -happiness. Nature is still unbearably -ugly in lots of ways. When we can -train it to be unselfish and disinterested -then it will be time to tear down barriers. -</p> - -<p> -Lady Mary in <em>The Passionate Friends</em> -is an unconvincing character, too. I can -conceive of a woman who will take all -of a man’s possessions, giving him nothing -in return, not even fidelity, but I cannot -conceive of her justifying herself -unless she is an utter moral degenerate. -The danger of such writers as Wells is -<a id="page-14" class="pagenum" title="14"></a> -that they are plausible enough till you -look below the surface. He tries to represent -Lady Mary as charming, but she, -it seems to me, even more than modern -society which he arraigns, is “honeycombed -and rotten with evil.” -</p> - -<p class="sign"> -“M. M.” -</p> - -<p class="vspace noindent"> -The description of a “little old Victorian -lady” who sits in the background -of our consciousness and plays conscience -for us is charming; but.... She’s a -sweet-faced little lady to whom the universe -is as clear as crystal and as simple -as plane geometry. She is always knitting, -and what she knits is a fine web of -sentimentality with which to cover the -nakedness of truth—“for it is not -seemly, my dear, that anything, even -truth, should be naked.” -</p> - -<p> -This web of hers is as fine as soft -silk and as strong as chain mail. It’s -sticky, too. And it clothes truth so thoroughly -that she grows unrecognizable to -any but the most penetrating searcher—to -H. G. Wells, for instance. It’s natural -enough that the old lady should dislike -Wells, for he’s found her out; he’s -made the astonishing discovery that underneath -the web life is not sentimentally -simple. He discloses to her scandalized -eyes various unfortunate facts which she -has done her best to conceal, as for instance -the fact that there is such a thing -as sex. -</p> - -<p> -“Sex,” says Wells in effect in every -one of his novels, “is a disturbing element, -<em>the</em> disturbing element, in life. So -long as sex exists it is a physical impossibility -that life should be the sweetly -pretty parlor game our little Victorian -lady would have it.” -</p> - -<p> -Right here the husband of the little -lady has something to say: “The trouble -with him and the class he writes of,” he -announces, “is that they aren’t busy -enough. Let ’em work for a living, be -interested in something vitally for ten -hours out of the twenty-four, and they’ll -forget all about their neighbors’ wives -and be content with good men friends -and casual women friends.” This is an -excellent example of what Wells finds the -next most disturbing element in life—“muddle-headedness,” -the lack of ability -to think straight, to think things -through. “Let Wells be vitally interested -in something for ten hours of the twenty-four!” -Doesn’t he see that if Wells had -ever limited himself to ten hours of interest -he would be making shirts today? It -is because Wells works twenty-five hours -of the twenty-four at being “vitally interested -in something” that he is one of -the major prophets of our time. And the -thing in which he is interested is life itself, -the great unsolvable mystery, life -which extends below the simple, polished -surface that is all the Victorian lady -knows as the sea extends below its glassy -smoothness on a summer day. -</p> - -<p> -One of the greatest things that Wells -has done for some of us who came on him -young enough so that our minds did not -close automatically at his first startling -revelation, is this: he taught us to look -at life squarely, without moral cant, and -with a scientific disregard as to whether -it pleased us personally or not. We may -not always agree with him—very likely -we don’t—but at least we must face -the issue squarely and not take refuge -in the vague sentimentality and slushy -hopefulness of the Victorian lady. -</p> - -<p> -Wells states facts and very frequently -lets it go at that. Witness the shock this -method is to our little old lady. She -asks how anyone at all worth while can -be so “really wicked” as to write about -sex and society as he does. -</p> - -<p> -She admits that what he says is a fact, -<a id="page-15" class="pagenum" title="15"></a> -<em>but</em>—it sticks out like a jagged, untidy -rock from the smooth surface of things; -therefore it is wicked. As a matter of -fact that statement of his has no more -to do with morality, is no more wicked, -or virtuous, than the statement of a -physical fact—to say, for instance, that -glass breaks when hurled against a stone -wall. It is unfortunate, but it is not -“wicked.” -</p> - -<p> -No, the day of Victorianism is past. -We are slashing away the web, we are -learning to <em>think</em>. It is a slow and painful -process and we know not yet where -the struggle will end. But at least we -shall be nearer to the divine nakedness of -truth. If Wells has done nothing else -than to prove to us how much of our -thinking is dictated not by our own souls -but by the artificially-imposed sentimentality -of the “little old Victorian lady” -he has done a full man’s work. And we -who owe our emancipation largely to his -vision can never be too thankful to him. -</p> - -<p class="sign"> -<span class="smallcaps">Frances Trevor.</span> -</p> - -<h3 class="section" id="subchap-0-6-2"> -Rupert Brooke and Whitman -</h3> - -<p class="noindent"> -You treated Brooke in a masterly way -in the last issue. I saw many things I -hadn’t seen before, and understood the -<em>Wagner</em> better. But I disagree with you -in one way. -</p> - -<p> -The <em>Wagner</em> and the <em>Channel Passage</em> -are merely clever realistic satire—that’s -always worth while. But it’s the thought -behind the <em>Menelaus and Helen</em> sort of -thing that I don’t like. Of course there’s -no doubt that Helen grew wrinkled and -peevish. But to say that therefore Paris -in his grave was better off than Menelaus -living is just a bit decadent, isn’t it? -I’m forced to picture Brooke as the sort -of chap who couldn’t enjoy a good dinner -if he had to wash the dishes afterward:—instead -of regarding dishwashing -as a natural variety of living that -could be thoroughly enjoyable with -shirtsleeves and a pipe. I’m afraid he -wouldn’t play American football for fear -of getting his face dirty. He’s just a -bit finicky about life. He’s afraid to -commit himself for fear he’ll have to -endure something about which he can’t -weave golden syllables. That’s the reason -I don’t agree with you about Whitman -liking all of him. Whitman was -frank about the whole world, dirt and -all, and he accepted it enthusiastically. -Brooke writes about dirt in such a way -as to make it seem horrible. -</p> - -<p> -This poem of Whitman’s will prove -my point: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Afoot and light hearted, I take to the open road;</p> - <p class="verse">Healthy, free, the world before me,</p> - <p class="verse">The long brown path before me, leading wherever I choose.</p> - </div> - <div class="stanza"> - <p class="verse">Henceforth I ask not good fortune—I myself am good fortune;</p> - <p class="verse">Henceforth I whimper no more, postpone no more, heed nothing;</p> - <p class="verse">Strong and content I travel the open road.</p> - </div> - <div class="stanza"> - <p class="verse">The earth—that is sufficient;</p> - <p class="verse">I do not want the constellations any nearer,</p> - <p class="verse">I know they are very well where they are;</p> - <p class="verse">I know they suffice for those who belong to them.</p> - </div> - <div class="stanza"> - <p class="verse">Still, here I carry my old delicious burdens;</p> - <p class="verse">I carry them, men and women—I carry them with me wherever I go.</p> - <p class="verse">I swear it is impossible for me to get rid of them;</p> - <p class="verse">I am filled with them and I will fill them in return.</p> - </div> - <div class="stanza"> - <p class="verse">You road I enter upon and look around! I believe that you are not all that is here;</p> - <p class="verse">I believe that much unseen is also here.</p> - </div> - <div class="stanza"> - <p class="verse">Here the profound lesson of reception, neither preference nor denial;</p> - <p class="verse">The black and his woolly head, the felon, the diseased, the illiterate person, are not denied;</p> - <p class="verse">The birth, the hasting after the physician; the beggar’s tramp, the drunkard’s stagger, the laughing party of mechanics,</p> -<a id="page-16" class="pagenum" title="16"></a> - <p class="verse">The escaped youth, the rich person’s carriage, the fop, the eloping couple,</p> - <p class="verse">The early marketman, the hearse, the moving of furniture into town, the return back from town,</p> - <p class="verse">They pass—I also pass—anything passes—none may be interdicted;</p> - <p class="verse">None but are accepted—none but are dear to me.</p> - <p class="verse"><em>Mon enfant!</em> I give you my hand!</p> - <p class="verse">I give you my love more precious than money;</p> - <p class="verse">I give you myself before preaching or law;</p> - <p class="verse">Will you give me yourself? Will you come travel with me?</p> - <p class="verse">Shall we stick by each other as long as we live?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Beside this, doesn’t the <em>Menelaus and -Helen</em> seem like an orchid?—a very -beautiful, rich orchid, to be sure, but not -of the Whitman family. -</p> - -<p class="sign"> -<span class="smallcaps">George Soule.</span> -</p> - -<h3 class="section" id="subchap-0-6-3"> -More About the “New -Note” -</h3> - -<p class="noindent"> -The idea of “the new note” might -be worked out more fully, but after all -little or nothing would be gained by -elaboration. Given this note of craft -love all the rest must follow, as the spirit -of self-revelation, which is also a part of -the new note, will follow any true -present-day love of craft. You will remember -we once discussed Coningsby -Dawson’s <em>The Garden Without Walls</em>. -What I quarreled with in that book was -that the writer looked outside of himself -for his material. Even realists have done -this—as, for example, Howells; and to -that extent have failed. The master -Zola failed here. Why do we so prize the -work of Whitman, Tolstoy, Dostoevsky, -Twain, and Fielding? Is it not because -as we read we are constantly saying to -ourselves, “This book is true. A man -of flesh and blood like myself has lived -the substance of it. In the love of his -craft he has done the most difficult of -all things: revealed the workings of his -own soul and mind”? -</p> - -<p> -To get near to the social advance for -which all moderns hunger, is it not necessary -to have first of all understanding? -How can I love my neighbor if I do not -understand him? And it is just in the -wider diffusion of this understanding -that the work of a great writer helps -the advance of mankind. I would like -to have you think much of this in your -attitude toward all present-day writers. -It is so easy for them to bluff us from -our position, and I know from my own -experience how baffling it is constantly -to be coming upon good, well-done work -that is false. -</p> - -<p> -In this connection I am tempted to -give you the substance of a formula I -have just worked out. It lies here before -me, and if you will accept it in the -comradely spirit in which it is offered I -shall be glad. It is the most delicate and -the most unbelievably difficult task to -catch, understand, and record your own -mood. The thing must be done simply -and without pretense or windiness, for -the moment these creep in your record is -no longer a record, but a mere mass of -words meaning nothing. The value of -such a record is not in the facts caught -and recorded but in the fact of your having -been able truthfully to make the record—something -within yourself will tell -you when you have not done it truthfully. -I myself believe that when a man -can thus stand aside from himself, recording -simply and truthfully the inner -workings of his own mind, he will be -prepared to record truthfully the workings -of other minds. In every man or -woman dwell dozens of men and women, -and the highly imaginative individual -will lead fifty lives. Surely this can be -<a id="page-17" class="pagenum" title="17"></a> -said if it can be said that the unimaginative -individual has led one life. -</p> - -<p> -The practice of constantly and persistently -making such a record as this -will prove invaluable to the person who -wishes to become a true critic of writing -in the new spirit. Whenever he finds -himself baffled in drawing a character -or in judging one drawn by another, -let him turn thus in upon himself, trusting -with child-like simplicity and honesty -the truth that lives in his own mind. -Indeed, one of the great rewards of living -with small children is to watch their -faith in themselves and to try to emulate -them in this art. -</p> - -<p> -If the practice spoken of above is -followed diligently, a kind of partnership -will in time spring up between the -hand and the brain of the writer. He -will find himself becoming in truth a -cattle herder, a drug clerk, a murderer, -for the benefit of the hand that is writing -of these, or the brain that is judging -the work of another who has written of -these. -</p> - -<p> -To be sure this result will not always -follow, and even after long and patient -following of the system one will run into -barren periods when the brain and the -hand do not co-ordinate. In such a -period it seems to me the part of wisdom -to drop your work and begin again -patiently making a record of the workings -of your own mind, trying to put -down truthfully those workings during -the period of failure. I would like to -scold every one who writes, or who has -to do with writing, into adopting this -practice, which has been such a help and -such a delight to me. -</p> - -<p class="sign"> -<span class="smallcaps">Sherwood Anderson.</span> -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-7"> -To E -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Sara Teasdale</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">The door was opened and I saw you there</p> - <p class="verse">And for the first time heard you speak my name,</p> - <p class="verse">Then like the sun your sweetness overcame</p> - <p class="verse">My shy and shadowy mood; I was aware</p> - <p class="verse">That joy was hidden in your happy hair,</p> - <p class="verse">And that for you love held no hint of shame;</p> - <p class="verse">My eyes caught light from yours, within whose flame</p> - <p class="verse">Humor and passion have an equal share.</p> - </div> - <div class="stanza"> - <p class="verse">How many times since then have I not seen</p> - <p class="verse">Your great eyes widen when you talk of love,</p> - <p class="verse">And darken slowly with a far desire;</p> - <p class="verse">How many times since then your soul has been</p> - <p class="verse">Clear to my gaze as curving skies above,</p> - <p class="verse">Wearing like them a raiment made of fire.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-8"> -<a id="page-18" class="pagenum" title="18"></a> -To S -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Eunice Tietjens</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">From my life’s outer orbit, where the night</p> - <p class="verse">That bounds my knowledge still is pierced through</p> - <p class="verse">By far-off singing planets such as you,</p> - <p class="verse">Whose faint, sweet voices come to me like light</p> - <p class="verse">In disembodied beauty, keen and bright,—</p> - <p class="verse">From this far orbit to my nearer view</p> - <p class="verse">You came one day, grown tangible and true</p> - <p class="verse">And warm with sympathy and fair with sight.</p> - </div> - <div class="stanza"> - <p class="verse">Then I who still had loved your distant voice,</p> - <p class="verse">Your songs, shot through with beauty and with tears</p> - <p class="verse">And woven magic of the wistful years,</p> - <p class="verse">I felt the listless heart of me rejoice</p> - <p class="verse">And stir again, that had lain stunned so long,</p> - <p class="verse">Since I had you, yourself a living song.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-9"> -The Critics’ Critic -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Agnes Repplier on Popular Education</span> -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">hrough</span> all of Miss Repplier’s -latest essays in <em>The Atlantic</em> runs a -note of appeal for the sterner virtues, -which she thinks are in danger of dying -out under modern conditions. So persistently -is this note, admirable in itself, -sounded, that we wonder if it doesn’t -hark back a bit to Sparta, and the casting -away of the unfit. When it comes -to the question of an education broad -enough to fit the needs of every child, we -may all pause and take a deep breath. -We may not approve of a school of -moving pictures, advocated by Judge -Lindsey, and yet we may not wish to go -to the other extreme of severe discipline -advocated by Miss Repplier. If only all -children were of exactly the same type, -so that the same kind of schooling would -suffice for all their needs! Or even if -they could come from the same kind of -homes with more or less similar ideals! -</p> - -<p> -Let us hear what she and Mr. Lindsey -have to say about Tony—(Tony is a -boy who does not like school as it is at -present organized). “Mr. Edison is -coming to the rescue of Tony,” says -Judge Lindsey. “He will take him away -from me and put him in a school that is -not a school at all but just one big game.... -There will be something moving, -something doing at that school all the -time. When I tell him about it Tony -shouts ‘Hooray for Mr. Edison!’ right -<a id="page-19" class="pagenum" title="19"></a> -in front of the battery, just as he used -to say ‘To hell wid de cop!’” On the -other hand:—“The old time teacher,” -says Miss Repplier, “sought to spur the -pupil to keen and combative effort, rather -than beguile him into knowledge with -cunning games and lantern slides.... -The old time parent set a high value on -self discipline and self control.” -</p> - -<p> -But can she believe for one moment -that Tony’s parents ever dreamed of -“setting a high value on self discipline -and self control?” Or that Tony’s sister -was taught to “read aloud with correctness -and expression, to write notes with -propriety and grace, and to play backgammon -and whist?” ... -</p> - -<p> -<em>Figurez-vous!</em> And so, if we can reach -little Tony’s darkened vision by the simple -method of moving pictures, keep him -off the streets until he learns at least not -to become a hardened criminal—are we -not that much to the good? Tony will -never, never be ambassador to the court -of St. James (or if he is going to be, -he’ll be it in spite of movies!) but he may -be a fairly honest, happy fruit vendor -some day, instead of No. 207 in a cell. -Useless to cite the dull boys in school, -who absolutely refused pedagogic training -and later blazed their way—luminaries—through -the world, when once -they had found the work that interested -them. To interest, stimulate, and arouse -is the prelude to work; and precious few -kiddies, except those who don’t really -need it, do enough work that they dislike -to strengthen their little characters. But -even if they do, are those who will not -to have nothing? -</p> - -<p> -Of course, education is a thing that -can’t be disposed of in a few well meaning -phrases. Miss Repplier may be -right, too, in what she says of the education -of Montaigne. You remember he -learned to talk Latin under a tutor, at an -early age, in much the same way that our -modern young ones learn French and -German. -</p> - -<p> -“All the boy gained by the most elaborate -system ever devised for the saving -of labor,” she says, “was that he over-skipped -the lower forms in school. What -he lost was the habit of mastering his -prescript lessons, which he seems to have -disliked heartily.” But how does any -one know that that was all he gained? -I should hardly select Montaigne as my -model, if I were trying to point out the -ill effects of any particular type of education. -Besides, whatever its effect may -have been on him, I should hate to lose -the mental picture of the little lad Latinizing -with the “simple folk of Perigord.” -Charming little lad, and wonderful old -father, doing his best to elevate and help -his boy. No, decidedly; whatever Miss -Repplier may do to dispose of Tony -and his ilk, I am glad she had nothing -whatever to do with the education of -Montaigne! -</p> - -<h3 class="section" id="subchap-0-9-1"> -<span class="smallcaps">The Little Review</span> -</h3> - -<p class="noindent"> -Since it appears to be my duty to read -all the critical journals and dissect their -contents for these columns, I can’t in -good faith neglect <span class="smallcaps">The Little Review</span>. -I have just devoured the first issue. What -can I say about the superb “announcement”? -I agree ardently with it. It -needed to be said; the magazine needed -to be born. There’s no quarrel between -art and life except where one or the other -is kept back of the door. Anyone with a -keen appreciation of art can’t help appreciating -life too, and Mrs. Jones who -runs away from her husband can’t fairly -stand for “life.” Besides, why should -anybody object to a thing because it’s -transitorial? Everything is transitorial. -It must either grow or perish. -</p> - -<p> -Mr. Wing’s criticism of <em>Mr. Faust</em> is -<a id="page-20" class="pagenum" title="20"></a> -admirable—direct, unpretentious, sound. -But you must let me register a slight objection -to Dr. Foster’s Nietzsche article. -It seems to me there’s just too much enthusiasm -to be borne by what he actually -says. When I came to the end of -that third paragraph on page fifteen I -sneaked back to Galsworthy’s letter and -found an answering twinkle in its eye. I -felt like going up to Dr. Foster with a -grin, putting my hand on his shoulder -and saying, “My dear man, a candidate -for major prophet doesn’t need political -speeches. It is really not half so important -that we unregenerate should give -three cheers for him as that we should -live his truth. Won’t you forget a little -of this sound and fury and tell us as simply -as you can just what it is that you -want us to do?” -</p> - -<p> -I went from his article with the impression -that here was a man who was -very enthusiastic about Mr. Nietzsche. -I’m sure that’s not the impression Dr. -Foster intended to make. But I have a -feeling that pure enthusiasm wasting itself -in little geysers is intrinsically ridiculous. -Enthusiasm should grow trees -and put magic in violets—and that -can’t be done with undue quickness, or in -any but the most simple way. Nobody -cares about the sap except for what it -does. And, anyhow, it always makes me -savage to be orated at, or told that my -soul will be damned if I don’t admit the -particular authority of Mr. Jehovah or -Mr. Nietzsche or Mr. anybody else. -</p> - -<p> -That’s all by the way, however, and -the impression of the magazine as a -whole is clear, true, swift. Its impact -can’t be forgotten. You haven’t attained -your ideal—which is right; but -you’ve done so well you’ll have to -scratch to keep up the speed,—which is -right, too. -</p> - -<p class="sign"> -<span class="smallcaps">M. H. P.</span> -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-10"> -Women and the Life Struggle -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Clara E. Laughlin.</span> -</p> - -<p class="book"> -<em>The Truth About Women</em>, by C. Gasquoine Hartley (Mrs. Walter M. Gallichan). -[Dodd, Mead & Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">M</span><span class="postfirstchar">rs.</span> Gallichan has not told the whole -truth about woman; but she has told as -much of it as has been told by any one -writer except Olive Schreiner; and although -she has made no important discovery, -educed no brilliant new conclusion, -she has summarized the best of all -that has been said in a book which can -scarcely fail to render notable service. -</p> - -<p> -It is interesting to recall how the truth -about women has been disclosed. The -voice of Mary Wollstonecraft, crying in -the wilderness, in 1792, pleaded that “if -woman be not prepared by education to -become the companion of man, she will -stop the progress of knowledge; for -truth must be common to all.” Yet -it was nearly sixty years before -Frederick Denison Maurice was able to -open Queen’s College, and give a few -English women the opportunity of an -education. (In America, Mary Lyon -had already broken ground for the -higher education of her countrywomen.) -</p> - -<p> -Here and there, in those days, an intrepid -female declared herself a believer -in woman’s rights; but her pretensions -were scarcely honored to the point even -of ridicule. Women were inferior creatures, -designed and ordered by God to -be subordinate to men. Didn’t everything -go to prove it? And, indeed, -nearly everything seemed to! -</p> - -<p> -In 1861, several scholarly gentlemen -<a id="page-21" class="pagenum" title="21"></a> -in Europe were delving in fields of research -where they were destined to upturn -facts of great interest to the -inferior sex. One of these was John -Stuart Mill, whose impassioned protest -against the subjection of women was -then being written, although it was not -published until eight years later. Another -was Henry Maine, who was disclosing -some significant things about the -ancient law on which our modern laws -are founded. Another was Lecky, who -was gathering material for his <em>History -of European Morals, from Augustus -to Charlemagne</em>, and—incidentally—discovering -that “natural history of -morals” wherewith he was to shock the -world in 1869. But two of the others -were searching back of Augustus—“back” -of him both in point of time -and also in degree of civilization. One -of these was Bachofen, a German, who -published, in 1861, <em>Das Mutterrecht</em>, -in which he made it clear that women -had not always been subordinate, dependent, -but among primitive peoples -had been the rulers of their race. McLennan’s -<em>Primitive Marriage</em>, published -in 1865, brought prominently to British -thinkers this quite-new contention of -woman as a creature born to rule, but -defrauded and degraded. -</p> - -<p> -Then, in 1871, Darwin startled the -world with <em>The Descent of Man, and -Selection in Relation to Sex</em>; and those -who accepted his theory of evolution -had to revise all their previous notions -about the relations of the sexes. -</p> - -<p> -During the next quarter-century -many minds were busy with this wholesale -revision of ideas, but nothing signal -was set forth until Charlotte Stetson—working -with the historical data of -Maine and Mill and Lecky and their -followers, with the ethnological data of -Bachofen and McLennan, and many -more, and with the natural history of -morals as Darwin and Wallace and -Huxley and their school disclosed it—declared -that the enslavement of women -was economic in its origin and in its final -analysis. This was not the whole truth, -but it was so important a part of the -whole that the book <em>Women and Economics</em> -may be said to have given the -most productive stimulus the feminist -movement had had since <em>The Descent of -Man</em>. -</p> - -<p> -Scores, almost hundreds, of books -dealing with some phase or other of -woman’s history, appeared in the next -few years. But while many of them -were valuable, and some were all but -invaluable, none of them was epoch-marking -until Olive Schreiner put forth -her magnificent fragment on <em>Woman -and Labor</em>, the chapter on Parasitism -being the noblest and most pregnant -thing that any student of woman has -given to the world. Olive Schreiner saw -much further into the question of women -and economics than Charlotte Stetson -knew how to see. She has a greater -vision. She perceives that women are -ennobled by what they do—just as men -are—and that they are degraded by -being denied creative, productive labor—not -by being denied the full reward -of their toil. -</p> - -<p> -Mrs. Gallichan does not advance upon -the contribution of Mrs. Schreiner, as -Mrs. Schreiner did upon that of Mrs. -Stetson; but she had less opportunity to -do so: Mrs. Schreiner did not leave so -much for some one else to say. But Mrs. -Gallichan has summarized all that has -been said more fully than any other -writer has done; and she has done it so -interestingly, so ably, that she deserves -grateful praise. -</p> - -<p> -Her book has three sections: the biological, -the historical, and the modern. -</p> - -<div class="excerpt"> -<p class="noindent"> -<a id="page-22" class="pagenum" title="22"></a> -Let no one resent or think useless an analogy -between animal love-matings and our own. In -tracing the evolution of our love-passions from -the sexual relations of other mammals, and back -to those of their ancestors, and to the humbler, -though scarcely less beautiful, ancestors of -these, we shall discover what must be considered -as essential and should be lasting, and what is -false in the conditions and character of the -sexes today; and thereby we shall gain at once -warning in what directions to pause, and new -hope to send us forward. We shall learn that -there are factors in our sex-impulses that require -to be lived down as out-of-date and no longer -beneficial to the social needs of life. But encouragement -will come as, looking backwards, -we learn how the mighty dynamic of sex-love -has evolved in fineness, without losing in intensity, -how it is tending to become more mutual, -more beautiful, more lasting. -</p> - -</div> - -<p class="noindent"> -Two suggestions which Mrs. Gallichan -makes in the biological section are especially -striking. One is derived from the -bee, and one from the spider. The bee, -she reminds us, belongs -</p> - -<div class="excerpt"> -<p class="noindent"> -to a highly evolved and complex society, which -may be said to represent a very perfected and -extreme socialism. In this society the vast majority -of the population—the workers—are -sterile females, and of the drones, or males, only -a very few at the most are ever functional. -Reproduction is carried on by the queen-mother ... -specialized for maternity and incapable -of any other function.... I have little -doubt that something which is at least analogous -to the sterilization of the female bees is present -among ourselves. The complexity of our social -conditions, resulting in the great disproportion -between the number of the sexes, has tended to -set aside a great number of women from the -normal expression of their sex functions. -</p> - -</div> - -<p class="noindent"> -The danger to society, when maternity -shall be left to the stupid parasitic -women who are unable to exist as -workers, is pointed out by Mrs. Gallichan; -as is also that exaggerated form -of matriarchy which is realized among -the ants and bees. And she reminds -women who are workers, not mothers, -that in the bee-workers the ovipositor -becomes a poisoned sting. She warns -women not to become like the sterile -bees; but she warns them also against -state endowment of motherhood. And -she does not suggest how the great -excess of women are to become mothers -without reorganizing society. -</p> - -<p> -The second example she cites in warning, -the common spider, whose courtship -customs Darwin described in <em>The -Descent of Man</em>, is “a case of female -superiority carried to a savage conclusion.” -And from this female who ruthlessly -devours her lover, Mrs. Gallichan -deduces a theory for “many of those -wrongs which women have suffered at -the hands of men. Man, acting instinctively, -has rebelled, not so much, I think, -against woman as against this driving -hunger within himself, which forces him -helpless into her power.” -</p> - -<p> -The stages by which parasitism was -transferred from the male to the female -still need some elucidation—like the -stages by which marriage passed from -endogamy to exogamy. But Mrs. Gallichan’s -suggestion about the male preserving -himself by appearing as self-sufficient -and as dominant as he can, is -highly interesting. It will probably not -be long before we know a great deal -more of this. -</p> - -<p> -In the historical section of her book, -Mrs. Gallichan devotes four admirable -chapters to the mother-age civilization, -and four others to the position of women -in Egypt, Babylon, Greece, and Rome. -</p> - -<p> -Of immense significance is the relation -between the enviable status of women in -Egypt and that love of peace and of -peaceful pursuits which characterized -the Egyptian people. War, patriarchy, -and the subjection of women, have gone -hand in hand. Social organizations in -which might was right have minimized -the worth of women; those in which ingenuity, -resourcefulness, and ideality -<a id="page-23" class="pagenum" title="23"></a> -were set above brute force have given -women most justice. -</p> - -<p> -Mrs. Gallichan’s chapter on the women -of Athens and of Sparta is most suggestive. -So is that on the women of -Rome. -</p> - -<p> -In her modern section she discusses -women and labor: -</p> - -<div class="excerpt"> -<p class="noindent"> -The old way of looking at the patriarchal -family was, from one point of thought, perfectly -right and reasonable as long as every woman -was ensured the protection of, and maintenance -by, some man. Nor do I think there -was any unhappiness or degradation involved -to women in this co-operation of the old days, -where the man went out to work and the -woman stayed to do work at least equally -valuable in the home. It was, as a rule, a -co-operation of love, and in any case it -was an equal partnership in work. But -what was true once is not true now. We are -living in a continually changing development -and modification of the old tradition of the relationship -of woman and man.... The -women of one class have been forced into labor -by the sharp driving of hunger. Among the -women of the other class have arisen a great -number who have turned to seek occupation -from an entirely different cause, the no less bitter -driving of an unstimulating and ineffective -existence, a kind of boiling-over of women’s -energy wasted, causing a revolt of the woman-soul -against a life of confused purposes, achieving -by accident what is achieved at all. Between -the women who have the finest opportunities -and the women who have none there is this -common kinship—the wastage not so much of -woman as of womanhood. -</p> - -</div> - -<p class="noindent"> -She considers “the women who have -been forced into the cheating, damning -struggle for life,” and urges that “the -life-blood of women, that should be given -to the race, is being stitched into our -ready-made clothes; washed and ironed -into our linen; poured into our adulterated -foods”; and so on. But her -reasoning in this chapter is not very -clear. Women, to avoid parasitism, must -work, and only a relatively small proportion -of them can now find in their -homes work enough to keep them self-sustaining. -Protest against the sweating -of women is not only philanthropic—it -is perfectly sound political economy. -Women workers not only should -be protected against long hours, unnecessary -risks, insanitary surroundings, -merciless nerve tension, and the computation -of their wages on a basis of their -assured ability to live partly by their -labor and partly by the legitimatized or -unlegitimatized sale of their sex; but -this <em>can</em>, and <em>must</em>, be done. Yet, when -all this has been accomplished, will Mrs. -Gallichan feel satisfied that the struggle -for life is not “cheating, damning,” if -owing to conditions we cannot regulate -that struggle fails also to comprehend -the struggle to give life, to reproduce? -</p> - -<div class="excerpt"> -<p class="noindent"> -It is because we are the mothers of men that -we claim to be free. -</p> - -</div> - -<p class="noindent"> -This is the keynote of her book. But -she is by no means clear in her mind as -to how the mothers of men are to maintain -themselves in a freedom which shall -be real, not merely conceded; nor as to -how the millions of women who, under -our monogamous societies, cannot be -permanently mated, are to justify their -struggle for existence by becoming -“mothers of men.” -</p> - -<p> -The something that Mrs. Gallichan -lacks, not in her retrospect so much as -in her previsioning, has been lacked by -many of the great investigators and -writers who have built up the magnificent -literature of evolution and evolutionary -philosophy: she has an admirable -survey of the “whenceness” of life -and love and labor, but a short-sighted, -astigmatic vision of its “whereuntoness.” -</p> - -<p> -If the sole purpose of life and love -and labor, among humans as among -lower animals, is to continue life, to -transmit the life-force, then indeed are -<a id="page-24" class="pagenum" title="24"></a> -those frustrated, futile creatures who -are cheated, or who cheat themselves, -out of rendering this one service to the -world which can justify them for having -lived in it. -</p> - -<p> -But if, as most of us believe, we are -more than just links in the human chain; -if we have a relation to eternity as -well as to history and to posterity, there -are splendid interpretations of our -struggles that Mrs. Gallichan does not -apprehend. If souls are immortal, life -is more than the perpetuation of species, -or even than the improvement of the -race; it is the place allotted to us for the -development of that imperishable part -which we are to carry hence, and through -eternity. And any effort of ours which -helps other souls to realize the best that -life can give, to seek the best that immortality -can perpetuate, may splendidly -justify our existence. -</p> - -<p> -Mrs. Gallichan’s conclusion about religion -is that it is an “opium” to which -women resort when they have no proper -outlet for their sex-impulses. “I am -certain,” she says, “that in us the religious -impulse and the sex impulse are -one.” And when she was able to satisfy -the sex impulse, she no longer had any -need of or interest in religion. -</p> - -<p> -The limitations this puts upon her -interpretation of life are too obvious to -need cataloging. And this is the reason -she signally fails to tell the whole of -the truth about woman. This is the -reason why the latter chapters of her -book, in which she writes of marriage -and divorce and prostitution, are of less -worth to the generality of readers than -the earlier ones; though this is not to -say that these chapters do not contain a -very great deal of vigorous thinking and -excellent suggestion. But to anyone -who holds that the continuance of life -is the principal justification for having -lived, yet deplores free love and state -endowment of mothers, there is inevitably -an appalling waste, for the elimination -of which she may well be staggered -to suggest a remedy. -</p> - -<p> -Mrs. Gallichan’s book is not constructive -in effect. But it is so excellently -analytical, as far as it goes, that it can -scarcely fail to provoke a great deal of -thought. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-11"> -“Change” -</h2> - -</div> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">here</span> is coming soon, to the Fine -Arts Theatre—that charming Chicago -home of the Irish Players and of “the -new note” in drama—a play with an -interesting title. It is called <em>Change</em>. -It is to be given by the Welsh Players—which -fact alone has a thrill in it. -But the theme is even more compelling. -</p> - -<p> -Two old God-fearing Welsh people -have denied themselves of comforts and -pleasures to give their sons an education. -Then, when they expect to reap the benefits -of the sacrifice, three unexpected and -awful things happen: the student son -has so fallen under the influence of -modern skepticism as to be forced to -abandon his father’s Calvinistic creed. -The second one has become soaked with -socialism and syndicalism. The third, -a chronic invalid, is a Christian and a -comfort; but he is killed, quite unnecessarily, -in a labor conflict instigated -by his brother. Then—the two old -people again, alone. What can a playwright -do with such a situation? Nothing, -certainly, to attract a “capacity -house.” But we shall be among the first -of that small minority who likes thinking -in the theatre to hear what Mr. Francis -has to say. His theme is tremendous. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-12"> -<a id="page-25" class="pagenum" title="25"></a> -The Poetry of Alice Meynell -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Llewellyn Jones</span> -</p> - -<p class="first"> -<span class="firstchar">N</span><span class="postfirstchar">ot</span> least among the stirring events -of our present poetical renaissance -are the publication of the collected editions -of the works of Alice Meynell and -Francis Thompson (Scribner). Spiritually -akin, mutually influencing one another -in material as in more subtle ways, -their poetry stands in vivid contrast to -the muse of our younger singers, the -makers of what English critics hail as a -new Georgian Age. That this difference -gives them an added significance, and not -as some critics have said, a lessened one, -is the burden of the present appreciation -of the poems of Alice Meynell. For -there is a tendency for the reader who -is intoxicated with poetic modernity to -reason somewhat after this fashion. -Here, he will say,—as indeed Mr. Austin -Harrison has said of Francis Thompson—is -a “reed pipe of neo-mediaevalism ... -a poet of the gargoyle,” not of -this modern world, and so neither in sympathy -of thought or melody with us of -the twentieth century, its free life and -<em>vers libre</em>. All this, of course, because, -Francis Thompson was—as is Mrs. -Meynell—a child of the Catholic -Church. Our supposititious reader will -continue to the effect that there is no -spiritual profit to be had in reading these -poets when the modern attitude is to be -found in such writers as W. W. Gibson, -Masefield, and Hardy. But in so arguing, -our reader will be entirely wrong as -to the facts, and mistaken in his whole -manner of approach to the realm of -poetic values. -</p> - -<p> -Mr. Max Eastman, in his charming -book, <em>The Enjoyment of Poetry</em>, lays -stress on the fact that poetry is not primarily -the registering of emotions but -the expression of keen realizations. A -mathematical concept may arouse an -emotion, but the poet makes the actual -emotion transmissible by his selective -power in picking out the focal point of -the experience by which it is aroused. -If poetry is essentially realization of life, -then we have no longer any excuse for -asking our poets to share our doctrinal -views before we consent to read them. -On the contrary, we should be more anxious -to read Mrs. Meynell than Mr. Gibson, -if we are modernists, for Mr. Gibson -may, conceivably, not be able to tell -us anything we have not already felt. -Mrs. Meynell, on the other hand, can inform -our feelings with fresh aspects of -experience, and she does so abundantly. -Her Catholicism is not mediaevalism, but, -in so far as it is translatable into her -poetry it is simply a vocabulary for -the expression of certain emotional realizations -of life which we modernists find -it very hard to express because we do not -have the necessary vocabulary. What -can be more modern than the doctrine of -the immanence of God and his abode in -man, that much-discussed “social gospel?” -Yet the following poem, not in -spite of but through its Catholic terminology, -heightens our realization of -brotherhood and dependence one upon -another. It is entitled <em>The Unknown -God</em>: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">One of the crowd went up,</p> - <p class="verse">And knelt before the Paten and the Cup,</p> - <p class="verse">Received the Lord, returned in peace, and prayed</p> - <p class="verse">Close to my side; then in my heart I said:</p> - </div> - <div class="stanza"> -<a id="page-26" class="pagenum" title="26"></a> - <p class="verse">“O Christ, in this man’s life—</p> - <p class="verse">This stranger who is Thine—in all his strife,</p> - <p class="verse">All his felicity, his good and ill,</p> - <p class="verse">In the assaulted stronghold of his will,</p> - </div> - <div class="stanza"> - <p class="verse">“I do confess Thee here,</p> - <p class="verse">Alive within this life; I know Thee near</p> - <p class="verse">Within this lonely conscience, closed away</p> - <p class="verse">Within this brother’s solitary day.</p> - </div> - <div class="stanza"> - <p class="verse">“Christ in his unknown heart,</p> - <p class="verse">His intellect unknown—this love, this art,</p> - <p class="verse">This battle and this peace, this destiny</p> - <p class="verse">That I shall never know, look upon me!</p> - </div> - <div class="stanza"> - <p class="verse">“Christ in his numbered breath,</p> - <p class="verse">Christ in his beating heart and in his death,</p> - <p class="verse">Christ in his mystery! From that secret place</p> - <p class="verse">And from that separate dwelling, give me grace.”</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The spectacle of a general communion -again gives Mrs. Meynell inspiration for -a poem whose last two stanzas apply -equally as well to the secular, evolutionary -view of salvation as they do to the -ecclesiastical view, and whose last stanza -is most suggestive in the light it throws -upon the puzzling discrepancy between -the littleness of man and the unlimited -material vast in which he finds himself a -floating speck: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">I saw this people as a field of flowers,</p> - <p class="verse">Each grown at such a price</p> - <p class="verse">The sum of unimaginable powers</p> - <p class="verse">Did no more than suffice.</p> - </div> - <div class="stanza"> - <p class="verse">A thousand single central daisies they,</p> - <p class="verse">A thousand of the one;</p> - <p class="verse">For each, the entire monopoly of day;</p> - <p class="verse">For each, the whole of the devoted sun.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Even so typically modern a philosopher -as Henri Bergson would find one of his -leading and rather baffling ideas beautifully -realized in one of Mrs. Meynell’s -sonnets. Matter, Bergson tells us, in all -its manifestations is moulded by a spiritual -push from behind it, so that the sensible -world is not a mosaic of atoms obeying -fixed laws but rather a cosmic -compromise between matter and spirit, a -<em>modus vivendi</em> the operation of which -would seem very different to us were our -viewpoint that of pure spirit. Says Mrs. -Meynell in <em>To a Daisy</em>: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Slight as thou art, thou art enough to hide</p> - <p class="verse1">Like all created things, secrets from me,</p> - <p class="verse1">And stand, a barrier to eternity.</p> - <p class="verse">And I, how can I praise thee well and wide</p> - </div> - <div class="stanza"> - <p class="verse">From where I dwell—upon the hither side?</p> - <p class="verse1">Thou little veil for so great mystery,</p> - <p class="verse1">When shall I penetrate all things and thee,</p> - <p class="verse">And then look back? For this I must abide,</p> - </div> - <div class="stanza"> - <p class="verse">Till thou shalt grow and fold and be unfurled</p> - <p class="verse">Literally between me and the world.</p> - <p class="verse1">Then I shall drink from in beneath a spring,</p> - </div> - <div class="stanza"> - <p class="verse">And from a poet’s side shall read his book.</p> - <p class="verse">O daisy mine, what shall it be to look</p> - <p class="verse">From God’s side even of such a simple thing?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The sense of what might, perhaps, be -called restrained paradox in that sonnet, -is frequently met with in Mrs. Meynell’s -writings, and it corresponds to aspects -of reality which the old religious phraseology -she has so freshly minted for us -is alone fitted to convey. <em>The Young -Neophyte</em> is a beautiful sonnet enshrining -the fatefulness of every human -action, the gift of the full flower which -is implicit in the gift of the smallest bud, -the preparation we are constantly making -for crises which are yet hidden in the -future. <em>Thoughts in Separation</em> also -deals with the paradoxical overcoming of -the handicaps of personal absence of our -friends through community of thought -and feeling. Not only are these paradoxes -in human psychology delicately -set forth by the poet, but those darker -ones of human work and destiny are consolingly -illuminated in such a poem as -<em>Builders of Ruins</em>—which does not depend -for its quality of consolation upon -anything foreign to its poetic truth. -</p> - -<p> -One poem in the book is, perhaps, -most remarkable for the light it throws -upon the sense in which the term poetic -truth may be used, and as showing the -<a id="page-27" class="pagenum" title="27"></a> -difference between the poetic, the realizable, -and, therefore, the true side of a -religion—the side Matthew Arnold was -so anxious to keep—and the mere theological -framework, always smelling of -unreality and always in need of renovation. -The poem may stand as a warning -against confusing real poetry—in -whose truth we need not be afraid to -trust because its author does not inhabit -our own thought world—with versified -theology. If all of Mrs. Meynell’s work -were like her <em>Messina, 1908</em>, then the -critic and reader who now mistakenly -shun her would be right. And the poem -is a curious commentary upon Mr. Eastman’s -insistence that poetry is realization. -For in her other poems the author -has presented those aspects of her religion -which are verifiable in experience. -Perhaps the quotations given above bear -out that point. But one aspect of religious -thought has now been pretty generally -abandoned, not because it has ever -been proven false, but because we have -never succeeded in realizing it for ourselves. -The God of orthodox church -theodicy never did “make good”; -Christ, the Saints, and even the very material -form of the cross itself had to -mediate between man and the divine. -And it is precisely in the one case in this -book where Mrs. Meynell tries to present -the governing rather than the immanent -God to us that she fails—as, if poetry -be realization, we should expect her to -fail. The first stanza of the poem addressed -to the Deity describes in a few -bold strokes the wreck of Messina, and -ends with the lines: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Destroyer, we have cowered beneath Thine own</p> - <p class="verse1">Immediate unintelligible hand.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The second stanza describes the missions -of mercy to the stricken city, and -ends: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse1">... our shattered fingers feel</p> - <p class="verse">Thy mediate and intelligible hand.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The essential weakness of this dependence -for poetic effect upon the two adjectives -and their negatives is no less -obvious than the weakness of the poet’s -attribution of such apparently impulsive -and then retractatory conduct to a God -whose ways must either be explicable in -terms of a human sense of order or not -made the subject of human discourse at -all. -</p> - -<p> -Mrs. Meynell describes herself in one -of these poems as a singer of a single -mood. Some of her critics have taken -her at her word and saved themselves -some trouble thereby in their task of -appreciation. But as a matter of fact, -she should not be taken at her own modest -estimate, for her one mood is such a -pervasive one, such a large and sane -mood, that it pays to look at more than -one aspect of life through its coloring. -And in truth, besides her better-known -poems which need no further mention -here, <em>The Lady Poverty</em> and <em>Renouncement</em>, -for example, there will be found -within the small compass of her beautifully-housed -collection of verse many -aspects of nature, all of them instinct -with a mystic shimmer of life, as well as -aspects of the innermost life of man -which it is given to few spirits to sing -in words—only, in fact, to those spirits -whose effort it is to make their poetry -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Plain, behind oracles ... and past</p> - <p class="verse">All symbols, simple; perfect, heavenly-wild,</p> - <p class="verse">The song some loaded poets reach at last—</p> - <p class="verse1">The kings that found a Child.</p> - </div> - </div> - </div> -</div> - -<div class="filler"> -<p class="noindent"> -To have the sense <a id="corr-7"></a>of creative activity is the -great happiness and the great proof of being -alive, and it is not denied to criticism to have -it; but then criticism must be sincere, simple, -flexible, ardent, ever widening its knowledge.—Matthew -Arnold in <em>Essays in Criticism</em> (First -Series). -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-13"> -<a id="page-28" class="pagenum" title="28"></a> -An Ancient Radical -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">William L. Chenery</span> -</p> - -<p class="book"> -<em>Euripides and His Age</em>, by Gilbert Murray. [Henry Holt and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> “conspiracy of silence” which -oppressed the youth of those of us who -were born in the late Victorian era never -seems more hateful than when some master -hand connects the present labors of -liberty with the strivings of the infinite -past. In some fashion the dominating -spirits of a generation ago contrived to -make the struggles for human freedom -appear as ugly isolated episodes without -precursors or ancestry. They forgot the -Shelleys and the Godwins and they even -denied the significance of the classic -forerunners of today’s ardent prophets. -</p> - -<p> -There were happy exceptions. Some -of us cherish the teachings of a Virginia -professor who, as far as the adolescent -capacities of his students permitted, -bridged the gap between Socrates’s free -questionings and the contemporary -yearnings for a world of uncompromising -justice and beauty. What that -Southern student did for his small band -of followers Gilbert Murray has long -been doing for the great world. His -present contribution belongs to that -satisfying series, <em>The Home University -Library</em>. Incidentally, one reflects that -this <em>Home University</em> is one of the few -institutions of learning which has completely -avoided the blinders so many are -complacently wearing. The Euripides -of Murray suggests to the author—and -to the reader, one may claim—both -Tolstoi and Ibsen. But, one hastens to -state, Professor Murray is too learned -and thoughtful a man to paint a revolutionary -Euripides such as <em>The Masses</em>—much -as one loves that exuberant Don -Quixote—would delight to honor and to -portray. His onset, however, catches us: -</p> - -<div class="excerpt"> -<p class="noindent"> -“Every man who possesses real vitality can -be seen as the resultant of two forces,” says -Murray. “He is first the child of a particular -age, society, convention; of what we may call in -one word a tradition. He is secondly, in one -degree or another, a rebel against that tradition. -And the best traditions make the best -rebels. Euripides is the child of a strong and -splendid tradition and is, together with Plato, -the fiercest of all rebels against it.... -Euripides, like ourselves, comes in an age of -criticism, following upon an age of movement -and action. And for the most part, like ourselves, -he accepts the general standards on -which the movement and action were based. He -accepts the Athenian ideals of free thought, -free speech, democracy, ‘virtue,’ and patriotism. -He arraigns his country because she -is false to them.” -</p> - -</div> - -<p class="noindent"> -The suffragist and the feminist movements -have recently brought the great -dramatist to his proper appreciation in -respect to women. Some of the passages -in the <em>Medea</em> are quoted as often in suffragist -campaigns as the words of Bernard -Shaw or of Olive Schreiner. This -Greek is sometimes said to be the first -literary man who understood women. -For that reason, as Professor Murray so -charmingly emphasizes, Euripides was -ever accounted a woman hater, despite -even the implications of his great chorus -which sings so nobly woman’s destined -rise as a power in the world. His statement -of the cause of barbarian woman -against a civilized man who has wronged -her is incomparably more contemporary -than <em>Madam Butterfly</em>, and with Murray -we may doubt “if ever the deserted one -has found such words of fire as Medea -<a id="page-29" class="pagenum" title="29"></a> -speaks.” And, as the author continues, -“Medea is not only a barbarian; she is -also a woman, and fights the horrible -war that lies, an eternally latent possibility, -between woman and man. Some -of the most profound and wounding -things said both by Medea and Jason -might almost be labelled in a book of -extracts ‘Any Wife to Any Husband’ -or ‘Any Husband to Any Wife.’” -</p> - -<p> -The change which came over the spirit -of Euripides’s vision, as Athens itself -was transformed by empire lust from the -first glories of Pericles, suggest again -the purifying satire of our ablest moderns. -War is hateful and the picture -which the Attic dramatist drew of the -horrors of dying Troy leave little to the -present imagination. Euripides accordingly -became as popular in imperialistic -Athens as was Bebel among the Kaiser’s -ministers. Murray interprets this phase -magnificently. He concludes: “This -scene, with the parting between Andromache -and the child which follows, seems -to me perhaps the most heartrending in -all the tragic literature of the world. -After rising from it one understands -Aristotle’s judgment of Euripides as the -‘most tragic of the poets.’” One has -only to recall the brave gentleness of -Hector’s wife, described first in Homeric -words, to agree with the present author. -</p> - -<p> -On the purely critical side Professor -Murray’s words are vastly important. -Especially valuable is his discussion of -the chorus and the <em>deus ex machina</em> concerning -which so much error has been -taught since Horace wrote on the art -of poetry. But this small book is not -designed for those whose interest in -Greek drama is technical. It is Euripides, -the philosopher; Euripides, the -satirist of his times; Euripides, the -preacher of lofty virtues, the apostle of -new men and more righteous gods, who -concerns the great awakening world of -1914. The intellectual battles which -Euripides fought on behalf of Athens -have been waged again and often for the -millions who slumber and are content. -They are being fought now with an intensity -unprecedented. So it brings -courage and it brings calm to realize -the continuity of the conflict, and to recall -the signal victories of the olden -days. Gilbert Murray’s achievements -are too numerous to permit praise. One -may only say now that the present book -is in line with the fine things of his -past; that by virtue of his labors the -world agony for liberty and justice and -beauty reveals new phases of the intrinsic -dignity and honor which have been its -possession since men desired better -things. -</p> - -<div class="filler"> -<p class="noindent"> -For those whose lives are chaotic personal -loves must also be chaotic; this or that passion, -malice, a jesting humor, some physical lust, -gratified vanity, egotistical pride, will rule and -limit the relationship and color its ultimate -futility.—H. G. Wells in <em>First and Last -Things</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Isn’t it possible to be pedantic in the demand -for simplicity? It’s a cry which, if I notice -aright, nature has a jaunty way of disregarding. -Command a rosebush in the stress of June to -purge itself; coerce a convolvulus out of the -paths of catachresis. Amen!—<em>Some Letters of -William Vaughn Moody.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-14"> -<a id="page-30" class="pagenum" title="30"></a> -Equal Suffrage: The First Real Test -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Henry Blackman Sell</span> -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> query of the anti-suffragist—“Will -the women really use suffrage -if they have it”—was rather -conclusively answered in the affirmative -at Chicago aldermanic elections on April -7, when equal suffrage was given its first -real test in an American city of first -rank. This election brought out many -interesting incidents which might be considered -as having “laboratory” value. -</p> - -<p> -It has been contended by the “antis” -that the women would be bad losers; -that they would not support the non-partisan -ideals which are becoming a -definite part of our “new patriotism”; -that the result of equal suffrage would -simply be one of double vote, wives voting -as their husbands decided; that the -women coming out in the first enthusiasm -of registration would not take the -same interest in the prosaic work at the -polls; that the fights against bad nominees -would result either in a duplication -of man-run campaigns, or in ineffective -and lady-like campaigns. -</p> - -<p> -The first of these contentions was -proved untrue to even the most casual -observer at the polls on election day. -The women were fighting uphill all the -way, and where the so-termed “suffrage -men” were slightly unpleasant in their -attitude towards the “antis,” the women -were all cheerfulness and all refreshing -encouragement. As one explained: “It -has been the most wonderful feeling, -working shoulder to shoulder with the -men in something that has really been -our duty all along.” -</p> - -<p> -Nine women candidates were up for -election and not one was chosen; and -yet, after talking with five defeated -women candidates and three defeated -men candidates, I concluded that the -women knew more about the philosophy -of politics and its sad uncertainties than -men who had been contesting for years. -</p> - -<p> -True, election to office is but a by-product -of political experience; it is -a most coveted by-product, nevertheless, -and when a woman like Marion Drake, -who ran a close race against Chicago’s -“bad” alderman, says, at the closing of -the polls, “I have not been elected, but -every minute of the time I have expended -has been worth while and I shall try -again at the next election,”—it shows -the right spirit and the fundamental -error in the assertion that women cannot -lose gracefully. -</p> - -<p> -Non-partisanism could be given no -real test, for these ideals seemed necessary -of application in only two or three -wards. In one—the twenty-first—an -alderman with a bad record was up for -re-election in opposition to a Republican -of no particular merit. The women got -together, with the aid of some of the -better men, and selected a non-partisan -candidate. This man was elected directly -through the efforts of the women who, -Republican, Democratic, and Progressive, -rallied in true non-partisan spirit -to his aid. -</p> - -<p> -As to the control of the women’s votes -by the men: it is interesting to note -that in the more intelligent wards there -was considerable variance between the -men and the women, while in the wards -of the poorer and less intellectually-inclined -portions of the city the votes -ran a great deal alike. -</p> - -<p> -The women came out in good numbers -<a id="page-31" class="pagenum" title="31"></a> -and, as a matter of fact, the masculine -vote was considerably higher than usual; -but even with this advantage, the registered -women outvoted the registered -men by a small per cent. -</p> - -<p> -The campaigns conducted by the various -women were distinctly different from -the ordinary political campaigns. They -were dignified, straightforward, strong, -and effective. Miss Drake, in her campaign -against John Coughlin, colloquially -and delicately known as “Bathhouse -John,”—the name originating from the -fact that the gentleman in question received -his political training as a mopper -and rubber in one of Chicago’s most -infamous bath houses,—made a direct -appeal, in a house to house, voter to -voter, canvass of her ward. In this -way she told over two-thirds of the -people of the “Bathhouse’s” territory -all about the gentleman, his ambitions, -his desires, and his insidious motives. -And while she was defeated, it must be -remembered that though Coughlin received -a sufficient plurality, he by no -means attained his boast:—“I’ll beat -that skirt by 8,000 votes.” In fact, -where his plurality at the last elections -was approximately eight to one, this -year it was less than two-and-a-half to -one, making an obvious deduction that -Miss Drake’s campaign was decidedly -successful even though she did not win. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-15"> -The Education of Yesterday and Today -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">William Saphier</span> -</p> - -<p class="book"> -<em>The Education of Karl Witte</em>, translated by Leo Wiener and edited by H. Addington Bruce. -[Thomas Y. Crowell Company, New York.] -</p> - -<p class="note"> -Mr. Saphier is a Roumanian who came to this country only a few years ago and learned English. -The following review is his first attempt at writing, and we print it just as it came to -us, hoping our readers will find it as interesting as we did. -</p> - -<p class="first"> -<span class="firstchar">F</span><span class="postfirstchar">rench,</span> Italian, English, Greek, and -German at the age of nine, a Ph.D. degree -at fourteen, a doctor of laws and -an appointment to the teaching staff of -the Berlin University at sixteen—these -were some of the achievements of Karl -Witte. Or shall I say of pastor Witte, -the father? For the boy had very little -to do with it: he was merely a piece of -putty in the able hands of a strong-willed -man who knew what he wanted and -how to get it. A child of ordinary abilities, -according to pastor Witte and others, -Karl absorbed an enormous amount -of knowledge in a comparatively short -time, as a result of a method of education -which began almost as soon as he -showed intelligence. -</p> - -<p> -The book, originally written about one -hundred years ago when scientific advice -on the subject was lacking, is a remarkable -document. It is full of useful information -and practical hints to parents -and people interested in the education of -children, even in this day of scientific -methods and conflicting authorities. But -as we might have expected, the discipline -reminds us a little of the German -“Kaserne.” The spilling of a little milk -on the tablecloth was punished by enforced -abstinence from all foods except -bread and salt. Punishment as a remedy -for an offense is always wrong, because -it does not prove the responsibility -of the act to the child. -</p> - -<p> -The spirit in which pastor Witte went -about his task is shown in the following -passage: -</p> - -<div class="excerpt"> -<p class="noindent"> -<a id="page-32" class="pagenum" title="32"></a> -The firmness in executing my purpose went -so far that even our house dog knew the emphasis -of the words: “I must work,” and -calmed down the moment we spoke these words -softly into his ears. Almost from the outset -this made an enormous impression on Karl. He -soon became accustomed to look upon his work -time as something sacred. -</p> - -</div> - -<p class="noindent"> -The development of intellectual and -moral courage, the most important qualities -any man or woman may possess, -were neglected, at least were not given -the attention they deserve. To inculcate -in the child a desire for liberty and social -equality, he overlooks entirely. -</p> - -<p> -The father is really the more remarkable -of the two. A product of the method -of education prevailing at the time, -he stands as a refutation of his own theories. -Pastor Witte conceived and carried -out an idea successfully. He did -something, at least theoretically, worth -while. The son died at eighty-three. -Now what difference would it have -made either to the boy or to the world if -his appointment to the teaching staff of -Berlin had come at a later date? Most -methods of education aim at the training -of the senses and the accumulation of -facts. While these are necessary, I think -the speed at which this is done is immaterial -to the child. -</p> - -<p> -Some of the finest men and women, -who made this a better world to live in, -had no scientific training in their childhood -or later. We need not go back to -history to find them. Maxime Gorky, -for instance, lost his parents before he -was four years old, and began to read -under the supervision of a cook at sixteen. -Jack London is another instance -that suggests itself readily to one’s mind. -</p> - -<p> -Of course these are exceptional people, -but take the thousands of able and -brainy men and women in labor organizations -and idealists in all walks of life. -Usually they had very little attention -from their parents, either because they -had no time or did not know enough. -These men and women who had to rub up -against the rough edges of our money-making -machinery and to stand squarely -on their feet facing this world and its -problems,—willing to lend a hand, yes, -even to give their lives for the betterment -of social and economic conditions—these -persons are worthy of the name. -</p> - -<p> -Now I don’t want to say anything -against the early training of children. -The kindergarten and all the methods of -early training in schools have come into -existence because there is a real need for -them. Parents, for many reasons, no -longer have the time to train their own -children; but we expect results from -education in general that cannot be -accomplished. -</p> - -<p> -What good are all the learning and -scientific facts that we have accumulated -up to now, if we don’t use them to make -our life richer and more beautiful? -Knowledge and ability are worthless if -there is no moral and intellectual courage -to back them up. Pastor Witte -thought the education of his son finished -when he reached the age of sixteen. -We today do things in the same spirit. -We get things done. Nothing slow -about us. The result, of course, is very -poor; nobody is satisfied. Our experts, -always ready with advice on any and -everything, tell us that what we need is -technical training to provide industry -with efficient help. These educators do -not see that the difficulty is not with -the child but with industrial conditions. -They are going to fit the child to this -misery called modern industry. But remove -the possibility of the unscrupulous -taking advantage of the inexperienced -and simple-minded, and many of the so-called -educational problems will disappear. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-16"> -<a id="page-33" class="pagenum" title="33"></a> -Some Book Reviews -</h2> - -</div> - -<h3 class="section" id="subchap-0-16-1"> -A New-Old Tagore Play -</h3> - -<p class="book"> -<em>Chitra: A Play in One Act</em>, by Rabindranath Tagore. -[The Macmillan Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">N</span><span class="postfirstchar">othing</span> is more irritating to a really -modern critic than to have to join in a -chorus of universal praise. It is particularly -irritating when the person acclaimed -is a Nobel prize winner, for surely -those of us who sit in private judgment -in secluded places ought to be able -to discern values subtler than the ones -open to the eyes of some mysterious -frock-coated and silk-hatted jury of professors -in Stockholm, or wherever it may -be. The very marrow in the bones of -criticism curdles at the thought of agreeing -with a popular award. -</p> - -<p> -But a certain native honesty and a distinct -desire to spread good news obliges -one, in the case of <em>Chitra</em>, to withhold -the amiable dissecting knife. The play -is far too beautiful to serve as a cadaver -for the illustration of either the anatomist’s -skill or the facts of anatomy. Let -it be confessed that this reviewer, who -was about to send the book back with a -refusal to review any work of Tagore, -found, after reading a few lines, that he -was forced to go on; and that having -once gone on, he preferred to write the -review rather than to give up the book. -</p> - -<p> -This play was written twenty-five -years ago, and belongs, therefore, to -that earlier strata of Tagore’s life which -is to the normal mind so much more -alluring than the latter detritus that -seems to have accumulated over him. His -later work appears to be old with the old -age of Asia and with the old age of himself. -Its fundamental feeling is the only -too familiar impulse to recline on the -bosom of a remote God. We who regard -this attitude as a perversion of manhood -will turn from it with relief to the earlier -writing, in which the very life-blood of -our own hearts seems quivering with -the intimations of a better-than-godlike -beauty. -</p> - -<p> -As I have suggested, there is very -little that can rationally be said about -this play <em>Chitra</em>. To indicate something -of the nature of so perfect a work is the -sole office that I can profitably perform. -</p> - -<p> -Chitra, daughter of a King who had -no sons, was brought up to live the life -and perform the activities of a man, with -a man’s hardness of frame and a man’s -directness of will. One day while hunting -in the forest, she found sleeping in -her path Arjuna, the great warrior of -the Kuru Clan. “Then for the first time -in my life I felt myself a woman, and -knew that a man was before me....” -Going to the gods of love, Chitra obtained -from them the gift of a perfect -and world-vanquishing beauty to last for -one year only; and returning to Arjuna -she overcame by this invincible weapon -the monastic vows which he had taken -upon himself, and swept him away into -the wild and glorious current of her year -of beauty. Thus the year begins: -</p> - -<div class="excerpt"> -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -At evening I lay down on a grassy bed -strewn with the petals of spring flowers, and -recollected the wonderful praise of my beauty -I had heard from Arjuna;—drinking drop by -drop the honey that I had stored during the -long day. The history of my past life, like -<a id="page-34" class="pagenum" title="34"></a> -that of my former existences, was forgotten. I -felt like a flower, which has but a few fleeting -hours to listen to all the humming of the -woodlands and then must lower its eyes from -the sky, bend its head, and at a breath give -itself up to the dust without a cry, thus ending -the short story of a perfect moment that has -neither past nor future. -</p> - -<p class="speaker"> -<em>Vasanta</em> (The God of Love) -</p> - -<p> -A limitless life of glory can bloom and spend -itself in a morning. -</p> - -<p class="speaker"> -<em>Madana</em> (The God of the Seasons) -</p> - -<p> -Like an endless meaning in the narrow span -of a song. -</p> - -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -The southern breeze caressed me to sleep. -From the flowering <em>malati</em> bower overhead -silent kisses dropped over my body. On my -hair, my breast, my feet, each flower chose a -bed to die on. I slept. And suddenly, in the -depth of my sleep, I felt as if some intense -eager look, like tapering fingers of flame, -touched my slumbering body. I started up and -saw the Hermit standing before me. The moon -had moved to the west, peering through the -leaves to espy this wonder of divine art wrought -in a fragile human frame. The air was heavy -with perfume; the silence of the night was -vocal with the chirping of crickets; the reflections -of the trees hung motionless in the lake; -and with his staff in his hand he stood, tall -and straight and still, like a forest tree. It -seemed to me that I had, on opening my eyes, -died to all realities of life and undergone a -dream birth into a shadow land. Shame slipped -to my feet like loosened clothes. I heard his -call—“Beloved, my most beloved!” And all -my forgotten lives united as one and responded -to it. I said, “Take me, take all I am!” And -I stretched out my arms to him. The moon set -behind the trees. Heaven and earth, time and -space, pleasure and pain, death and life merged -together in an unbearable ecstasy.... With -the first gleam of light, the first twitter of -birds, I rose up and sat leaning on my left -arm. He lay asleep with a vague smile about -his lips like the crescent moon in the morning. -The rosy-red glow of the dawn fell upon his -noble forehead. I sighed and stood up. I -drew together the leafy lianas to screen the -streaming sun from his face. I looked about -me and saw the same old earth. I remembered -what I used to be, and ran and ran like a deer -afraid of her own shadow, through the forest -path strewn with <em>shephali</em> flowers. I found a -lonely nook, and sitting down covered my face -with both hands, and tried to weep and cry. -But no tears came to my eyes. -</p> - -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Alas, thou daughter of mortals! I stole -from the divine storehouse the fragrant wine -of heaven, filled with it one earthly night to the -brim, and placed it in thy hand to drink—yet -still I hear this cry of anguish!... -</p> - -</div> - -<p class="noindent"> -A few words, a half dozen pages of -prose modulated to perform an office as -subtle as that of blank verse, give us the -exquisite essence of the year that follows; -and toward the end there steal into -it notes of the inadequacy which the -great warrior feels in this perfection, and -his desire for the old and harsher round -of human life. Thus the year ends: -</p> - -<div class="excerpt"> -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Tonight is thy last night. -</p> - -<p class="speaker"> -<em>Vasanta</em> -</p> - -<p> -The loveliness of your body will return tomorrow -to the inexhaustible stores of the spring. -The ruddy tint of thy lips, freed from the -memory of Arjuna’s kisses, will bud anew as -a pair of fresh asoka leaves, and the soft, -white glow of thy skin will be born again in -a hundred fragrant jasmine flowers. -</p> - -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -O gods, grant me this my prayer! Tonight, -in its last hour, let my beauty flash its brightest, -like the final flicker of a dying flame. -</p> - -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Thou shalt have thy wish. -</p> - -</div> - -<p class="noindent"> -And as it ends, and as Chitra realizes -that there is to fall from her that radiance -which has been, for a year, the sole -bond between her and her lover, and also -the sole barrier between the real her and -him, she finds that his profounder longing -has changed into a desire for the -companionship of that strong and eager -boy-woman that she was before her -transformation. -</p> - -<div class="excerpt"> -<p class="speaker"> -<a id="page-35" class="pagenum" title="35"></a> -<em>Chitra</em> (<em>cloaked</em>) -</p> - -<p> -My lord, has the cup been drained to the -last drop? Is this indeed the end? No; when -all is done something still remains, and that is -my last sacrifice at your feet. -</p> - -<p> -I brought from the garden of heaven flowers -of incomparable beauty with which to worship -you, god of my heart. If the rites are over, if -the flowers have faded, let me throw them out -of the temple (<em>unveiling in her original male -attire</em>). Now, look at your worshipper with -gracious eyes. -</p> - -<p> -I am not beautifully perfect as the flowers -with which I worshipped. I have many flaws -and blemishes. I am a traveller in the great -world-path, my garments are dirty, and my -feet are bleeding with thorns. Where should I -achieve flower-beauty, the unsullied loveliness of -a moment’s life? The gift that I proudly bring -you is the heart of a woman. Here have all -pains and joys gathered, the hopes and fears -and shames of a daughter of the dust; here love -springs up struggling toward immortal life. -Herein lies an imperfection which yet is noble -and grand. If the flower-service is finished, my -master, accept this as your servant for the days -to come! -</p> - -<p> -I am Chitra, the king’s daughter. Perhaps -you will remember the day when a woman came -to you in the temple of Shiva, her body loaded -with ornaments and finery. That shameless -woman came to court you as though she were a -man. You rejected her; you did well. My -lord, I am that woman. She was my disguise. -Then by the boon of gods I obtained for a -year the most radiant form that a mortal ever -wore, and wearied my hero’s heart with the -burden of that deceit. Most surely I am not -that woman. -</p> - -<p> -I am Chitra. No goddess to be worshipped, -nor yet the object of common pity to be brushed -aside like a moth with indifference. If you -deign to keep me by your side in the path of -danger and daring, if you allow me to share the -great duties of your life, then you will know -my true self. If your babe, whom I am nourishing -in my womb, be born a son, I shall myself -teach him to be a second Arjuna, and send him -to you when the time comes, and then at last -you will truly know me. Today I can only -offer you Chitra, the daughter of a king. -</p> - -<p class="speaker"> -<em>Arjuna</em> -</p> - -<p> -Beloved, my life is full. -</p> - -</div> - -<p class="sign"> -<span class="smallcaps">Arthur Davison Ficke.</span> -</p> - -<h3 class="section" id="subchap-0-16-2"> -An Unorthodox View of Burroughs -</h3> - -<p class="book"> -<em>Our Friend John Burroughs</em>, by Clara Barrus. -[Houghton Mifflin Company, Boston.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">hat</span> title engenders a resentment in -me, a sense of unfitness. It is an epitome -of a popular approval which has cheapened -the word “friendship.” If Walt -Whitman, John Muir, and Francis F. -Browne had jointly written of Burroughs, -the words “our friend” in the -title of their collaboration would have -been inevitable and nice. The common -disregard of so unimportant a matter as -this seems to be in the author’s opinion -exhibits the crass liberties which the public -is wont to take with personalities. -The result is that a great man may become -popular and useful before he is -understood. -</p> - -<p> -Burroughs happily is both read and -understood. His popularity therefore is -wholesome. But the mild and consistent -protest which his life has been and is -against the necessary artificialities in -which most of his “friends” live has -never drawn them into a comprehending, -practicing sympathy with it. He is read, -applauded, and envied—but not followed. -His softness and gentle unconcern -with affairs are the antitheses of -those dynamic qualities which confer -leadership and vitalize men’s impulses -and deeds. His urban admirers go to -the country to rusticate and picnic but -not to live a life like his. He does too -<a id="page-36" class="pagenum" title="36"></a> -much speculative thinking to give his attitude -toward the world an opportunity -to go home to his readers. -</p> - -<p> -Whitman, with a similar indifference -to a following, drives men into the open -road; Thoreau lures them to Walden -Ponds to repeat his experiment; Ik Marvel -persuades them to farm; David -Grayson charms city folk back to the -land, to anchor and live. Burroughs attracts -visitors to Slabsides. He is on the -verge of becoming an institution, a curiosity. -His life has been a personal success. -He is young in spirit and surprisingly -robust at nearly eighty years of -age—he is seventy-seven this month—and -I daresay that his obvious failure to -lead his readers towards country homes -of their own or seriously to interest them -in the art of simple living has never -given him the slightest pain. He has assumed -no responsibility for the ways of -the world. Nature is capable of working -out her own salvation during a future -eternity. A leaf on a tree does not quarrel -with or attempt to reform its personal -kin. It functions alone; the life -of which it is a part must take care of -horticultural sociology. Burroughs to -me acknowledges himself to be a leaf on -the great tree. That is exceedingly interesting; -but endow leaves with reason, -give them an expanding consciousness, -and their functions must change. Burroughs -would require to be more than a -predestinated leaf if his fellows were -leaves. -</p> - -<p> -By virtue of society’s struggle and industry, -in which Burroughs is not interested, -he has made of the world, so far as -he is concerned, a quiet, beautiful outdoor -cathedral, domed by the sky, its -chief priest being fed and clothed by the -slaves of productive industry in your -world and mine. With great respect and -admiration I pronounce him a sagacious -man, a clever leaf that has employed its -reason with remarkable personal advantage. -In Burroughs’ world the tragedies, -strife, and noise that we experience -do not exist; his cathedral is a by-product -and he is a modest beneficiary of -humanity’s work. In relation to the -masses of people it is as unreal as it is -unproductive of racial fitness to persist -in the world as most men know it. He -loves to dream, think, and write in his -cathedral; what is going on outside does -not disturb him. He revels in the leisure, -order, and security which the outsiders -have provided. He assures us that it is -pleasant and satisfying, and we honor -and reward him for the information, but -I should like to ask him whether the -largest freedom and selfhood that are -achievable apart from working, conflicting, -warring men are not themselves fundamentally -artificial. -</p> - -<p> -Burroughs does not seem to be sufficiently -alive to suspect that he has missed -something greater than personal contentment. -A reader of everything that -he has published, I never, until I read the -autobiographical sketches in this work, -felt the pity and unsocial contempt—not -for the man but for the type—which -I have here tried to express. -</p> - -<p class="sign"> -D. C. W. -</p> - -<h3 class="section" id="subchap-0-16-3"> -Another Masefield Tragedy -</h3> - -<p class="book"> -<em>The Tragedy of Pompey the Great</em>, by John Masefield. -[The Macmillan Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">C</span><span class="postfirstchar">reative</span> artist that he is, Masefield -moves forward into amazing clearness, -heightened by flashes of poetic light, the -scenes of nearly two thousand years ago -<a id="page-37" class="pagenum" title="37"></a> -in Rome. The fidelity of this tragedy to -the facts of history, and the remarkable -extent to which it reproduces the overwhelming -glory of a great struggle, are -new proofs of the author’s special affinity -with the sanguinary deeds of heroic -men. Masefield’s plays and narrative -poems give the element of tragedy something -of its old vividness and nobility in -art. Some of his phrases sound like the -fall of a guillotine. He is a master of -the magic of objectifying tremendous -unrealities. He hates feeble passions; -wanton courage and oaken physical -power in action are the big things that -he likes to ennoble with poetic treatment. -And his success is incomparable, so far -as his contemporaries are concerned. -</p> - -<p> -Masefield’s great characters, true to -the glossed facts of life, in crises exhibit -indwelling cave-men. His frankness and -honesty are themselves tragical. Life <em>is</em> -full of and inseparable from tragedy. -Pompey “saw a madman in Egypt. He -was eyeless with staring at the sun. He -said that ideas come out of the East, -like locusts. They settle on the nations -and give them life; and then pass on, -dying, to the wilds, to end in some scratch -on a bone, by a cave-man’s fire.” The -old warrior lies awake, thinking. “What -are we?” he asks Lucceius, and that -actor in a great play replies, “Who -knows? Dust with a tragic purpose. -Then an end.” Masefield surveys the -recorded history of the past, sees into -the heart of the present and exclaims, -“Tragedy!” And of course that is in -his own life; otherwise he could not see -it apart from himself. In sheer desperation -he endues dust with a “tragic purpose,” -but he does not believe so much as -he hopes that a “purpose” inheres in -that resultant of life, for in the big poem -with which he summarizes the record of -Pompey he says: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">And all their passionate hearts are dust,</p> - <p class="verse1">And dust the great idea that burned</p> - <p class="verse">In various flames of love and lust</p> - <p class="verse1">Till the world’s brain was turned.</p> - </div> - <div class="stanza"> - <p class="verse">God, moving darkly in men’s brains,</p> - <p class="verse1">Using their passions as his tool,</p> - <p class="verse">Brings freedom with a tyrant’s chains</p> - <p class="verse1">And wisdom with the fool.</p> - </div> - <div class="stanza"> - <p class="verse">Blindly and bloodily we drift,</p> - <p class="verse1">Our interests clog our hearts with dreams,</p> - <p class="verse">God make my brooding soul a rift</p> - <p class="verse1">Through which a meaning gleams.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -<em>The Tragedy of Pompey the Great</em>, -unlike any Shaw play or even <em>The Tragedy -of Nan</em>, is not good reading; its -short sentences, tragic with import, are -mere outlines. But they drive incarnate -reality into one’s soul. -</p> - -<p> -What was the tragedy of Pompey? -Well, it began hundreds of years before -he was born; he was the accidental embodiment -of it. He had earned security -and peace. He had aided Caesar in conquering -Gaul. “Caesar would never -have been anybody if Pompey hadn’t -backed him.” But that tyrant’s lust for -power provoked a civil war, and the end -was “a blind, turbulent heaving towards -freedom.” Pompey’s dream of freedom—his -conviction that power was in too -few hands—cost him his life. To him -Rome was inwardly “a great democratic -power struggling with obsolete laws.” -He declared that “Rome must be settled. -The crowd must have more power.” But -Pompey’s dream was shallow and human, -even if great, for, regarding the -“thought of the world” as of transcendent -importance, he asks, “For what else -are we fighting but to control the -thought of the world? What else -matters?” -</p> - -<p> -History seems to try to repeat itself. -Lentulus, fearing that they were losing -Rome, said to Pompey, “You have done -nothing.” The reply—“Wait”—has -<a id="page-38" class="pagenum" title="38"></a> -a modern sound. Pompey was preparing -to fight Caesar, but public opinion, -voiced by Metellus, excitedly demanded, -“but at once. Give him no time to win -recruits by success. Give them no time -here. The rabble don’t hesitate. They -don’t understand a man who hesitates.” -</p> - -<p> -That too might have been said by a -modern American newspaper, affecting to -speak for the crowd. -</p> - -<p> -Philip, beloved of the maiden Antistia, -is fanatically true to his master, whom -he would follow “To the desert. To the -night without stars. To the wastes of -the seas. To the two-forked flame.” To -him this blind devotion meant more than -Antistia’s love. “We shall have to put -off our marriage,” he said to her, and -she, speaking from the deep heart of the -mother, unachieved, answered: -</p> - -<div class="excerpt"> -<p class="noindent"> -Why, thus it is. We put off and put off till -youth’s gone, and strength’s gone, and beauty’s -gone. Till we two dry sticks mumble by the -fire together, wondering what there was in life, -when the sap ran.... When you kiss the dry -old hag, Philip, you’ll remember these arms -that lay wide on the bed, waiting, empty. -Years. You’ll remember this beauty. All this -beauty. That would have borne you sons but -for your master. -</p> - -</div> - -<p class="noindent"> -Whatever the fate of Pompey, Antistia’s -was the supreme tragedy. -</p> - -<p class="sign"> -<span class="smallcaps">DeWitt C. Wing.</span> -</p> - -<h3 class="section" id="subchap-0-16-4"> -A Net to Snare the Sun -</h3> - -<p class="book"> -<em>The World Set Free</em>, by H. G. Wells. -[E. P. Dutton and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">D</span><span class="postfirstchar">o</span> you remember the little verse of -Kipling’s in the <em>Just So Stories</em> about -the small person who kept so many serving -men -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">“One million Hows, two million Wheres,</p> - <p class="verse">And seven million Whys?”</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -There’s something very much like that -small person in a decidedly larger person -called H. G. Wells. For all the great -sweep and astonishing convincingness of -his later novels he still keeps the child-like -quality of asking startling questions -about everything in the universe. He -still wants to know: “Why can’t I catch -the sun, and what would happen if I -did?” -</p> - -<p> -In his last half dozen novels he has -been asking about various phases of our -modern society, politics, and the sex -question. But in this latest book, <em>The -World Set Free</em>, he goes back to a type -of question that interested him some -years ago, the type half fanciful and -half sociological that produced <em>In the -Days of the Comet</em>, <em>The Time Machine</em>, -and <em>When the Sleeper Wakes</em>. But this -book is not entirely like the earlier ones. -For one thing the science is for the first -time so nearly possible that it is almost -probable, and for another this book is -the work of an older, quieter soul with -less regard for externals and with more -faith in the ultimate high hope for mankind. -</p> - -<p> -What Wells has asked himself this -time is: “What would happen if man -were suddenly given command over an -unlimited amount of physical power?” -He brings this about by modern chemistry. -A scientist discovers a new theory -of matter which enables him to break -down metals by radio-activity and so -generate practically limitless power. The -first use the world makes of this power -is to go to war. We can hardly quarrel -with Wells for the improbability of this -because it sweeps the board so clear for -his reconstruction period, which is the -heart of the story. -</p> - -<p> -A strange story it is; one whose hero -<a id="page-39" class="pagenum" title="39"></a> -is mankind—mankind in the bulk, groping, -struggling, trying half blindly to -adapt himself to the new conditions, and -at last, after a desperate period of reconstruction, -coming out into the sunlight, -triumphant, clean, and at peace. Now -and then an individual is caught up for -an instant into the story, transfigured -for the moment by circumstances into a -mouthpiece for the mass of mankind,—a -scientist, a middle-class Englishman who -wrote his memoirs, the Slavic Fox, a -dying prophet of the later age,—but -for the most part it is just mankind who -speaks. Wells, by the great sweep and -vision of his ideas and the almost super-human -handling of the technical difficulties -of such an impersonal story, succeeds -in raising us for a moment out of -our personal selves so that we are completely -identified with the race, and view -its later successes with a serene and personal -pride. -</p> - -<p> -Each of us becomes a link in the great -chain of humanity that reaches from the -cave man through the “chuckle-headed -youth” to the dying professor, the men -who dreamed of snaring the sun in a net -and taming it to their hand. “Ye auld -red thing ...” we say with the chuckle-headed -youth, “We’ll have you <em>yet</em>!” -And the dying prophet cries for each -of us to the setting orb: -</p> - -<div class="excerpt"> -<p class="noindent"> -“Old Sun, I gather myself together out of -the pools of the individual that have held me -dispersed so long. I gather my billion thoughts -into science and my million wills into a common -purpose. Well may you slink down behind the -mountain from me, well may you cower....” -</p> - -</div> - -<p class="sign"> -<span class="smallcaps">Eunice Tietjens.</span> -</p> - -<h3 class="section" id="subchap-0-16-5"> -A $10,000 Novel -</h3> - -<p class="book"> -<em>Diane of the Green Van</em>, by Leona Dalrymple. -[The Reilly and Britton Company, Chicago.] -</p> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">bout</span> the middle of last December -Mr. F. K. Reilly sent a telegram to a -Miss Leona Dalrymple of Passaic, New -Jersey, in which he asked: “May I call -upon you Thursday afternoon?” The -telegram was the result of the $10,000 -prize contest which the Reilly and Britton -Company had planned early in the -year; and Miss Dalrymple had just been -announced as the winner by the three -judges—S. S. McClure, Ida Tarbell, -and George N. Madison. She knew nothing -of this, however, though she thought -Mr. Reilly’s telegram must mean an interest -in her work; so she replied calmly -that she would be pleased to see him on -Thursday. Then Mr. Reilly’s eyes begin -to twinkle, as he tells the story, for it is -rather a joke to set out on a journey -with a $10,000 check in your pocket for -an unsuspecting young woman. Even -when he explained to her and presented -the check she remained calm—though -she is only twenty-eight years old and -this was her first taste of real fame. She -told Mr. Reilly that she had another -novel which she hoped might interest -him—but he took the words out of her -mouth by saying that he had come prepared -to make a contract for it! -</p> - -<p> -So much for the latest of modern -fairy tales. <em>Diane of the Green Van</em> -is the prize-winning novel, and, despite -our first suspicion of it because of that -very fact, it proves to be a good one. -Miss Dalrymple loves the outdoors, and -her present story of an American girl -who goes jaunting in a van in the -Florida Everglades was suggested by a -newspaper clipping about an adventurous -<a id="page-40" class="pagenum" title="40"></a> -young Englishwoman who managed -to break away from conventions once a -year and roam the country in a gipsy -wagon. Not all “best sellers” have as -much real charm as this one. Perhaps -its freshness and spontaneity are due to -the fact that it had to be written in six -weeks for the contest. -</p> - -<p> -Miss Dalrymple has stated that her -purpose in writing novels is to “entertain -wholesomely through optimism and -romance.” Usually that type of purpose -is linked up with a sentimentality which -means being sweet at the expense of -truth. But this author is not that sort: -in expressing her dislike of sex stories, -for instance, she attributes their shortcomings -to treatment, not to material—“since -there is absolutely no subject -under the sun which may not be treated -with perfect good taste in a novel.” She -has also stated that in her opinion the -modern woman is over-sexed—a popular -though altogether wrong-headed view -which we mean some time to argue with -her in these columns. -</p> - -<h3 class="section" id="subchap-0-16-6"> -Slime and the Breath of Life -</h3> - -<p class="book"> -<em>The Russian Novel</em>, translated from the French of Le Vicomte E. M. de Vogüe by Colonel H. -A. Sawyer. -[George H. Doran Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">lthough</span> this book was written in -1886, its treatments of Pushkin, Gogol, -Turgeneff, Dostoevsky, and Tolstoy -are now first made accessible to the English -reader, and will still be worth his -attention. In fact one reads them with a -growing regret that the author, who died -in 1910, did not continue his interpretation -of the Russian spirit as the religious -and mystic tone of its nihilism gradually -faded and left us the bleaker outlook -of such men as Gorky. With Tolstoy, -however—“probably the greatest -demonstrator of life which has arisen -since Goethe”—the book closes. -</p> - -<p> -The author treats his subject from the -standpoint of a certain formula which he -finds to hold throughout the range of -that realism which succeeded the romanticism -of Pushkin—a romanticism which -disappeared in 1840. Thereafter there -grew up the great realistic school which -gives Russia the leadership of the world -in the field of realistic fiction—a leadership -due partly to the temperamental -standpoint of the Russian, adapted for -just the kind of work which the great -realistic novel involves, and partly to the -importance of the novel as the vehicle of -those ideas which the censor barred from -every other channel of expression. -</p> - -<p> -In the bible we are told that God made -man out of the slime of the earth and -breathed into him the breath of life. In -those words is the secret of the Russian -realistic novel. For the realism of his -own country the author of this work has -little praise. Because, he says, it lacked -that human sympathy which saw in man -not only the slime of the earth but the -breath of life, it is barren. -</p> - -<p> -Dickens, on the other hand, and -George Eliot gave to English realism a -standpoint which was moulded, nay, impregnated -through and through, with -the religion of that book to which Mary -Evans had renounced formal allegiance—the -Protestant bible. In fact, De -Vogüe goes so far as to say that some of -her writing, for instance “the meeting -between Dinah and Lisbeth,” is biblical -in the quality of its appeal, and might -<a id="page-41" class="pagenum" title="41"></a> -have been written by the hand that gave -us <em>Ruth</em>. -</p> - -<p> -This spirit, but without the Anglo-Saxon -hardness, is the spirit of Russian -realism. It has all the photographic accuracy, -the preocupation with all types -of life that distinguishes French realism; -but the preoccupation with the divine, -the mystical turning away from the -things of this world, is also present. The -sympathy of Gogol is intensified to painfulness -in Dostoevsky and is apotheosized -into a new religion of renunciation -in Tolstoy. -</p> - -<p> -And because (in contrast to the -French) the Russians “disentangled -themselves from these excesses, and like -the English gave realism a superior -beauty moved by the same moral spirit -of a compassion cleansed of all impurities -and glorified by the spirit of the gospels”—because -of this De Vogüe regards -Russian realistic literature as the -one force that can rejuvenate the literary -art of the European nations. -</p> - -<p> -The author writes with the authority -of long study and gives us a sufficient -basis for what we must now do ourselves—namely, -read comtemporary -Russian literature and ask ourselves -what it tells us; whether or not it tells us -that Christian realism is a contradiction -in terms. -</p> - -<p class="sign"> -<span class="smallcaps">Llewellyn Jones.</span> -</p> - -<h3 class="section" id="subchap-0-16-7"> -A Drama of the Two Generations -</h3> - -<p class="book"> -<em>Nowadays: A Contemporaneous Comedy in Three Acts</em>, by George Middleton. -[Henry Holt and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">S</span><span class="postfirstchar">ome</span> little theatre company ought to -send eight of its members on tour -through all the smaller cities of the country -in <em>Nowadays</em>. It would be the most -effective way in the world to awaken the -people of those slumbering places to the -really amazing revolutions in contemporary -life—and incidentally in the -contemporary theatre. For one thing, it -shows how parents and children are -gradually bridging the foolish gulf between -the generations—the gulf that -Shaw has called the degrading objection -of youth to age; for another, it reflects -the extraordinary renaissance that -has come to our theatre since the first -visit of the Irish Players. -</p> - -<p> -Mr. Middleton takes a typical small-town -family—a father, mother, son, -and daughter—and leads them through -a domestic crisis that has probably been -the sad lot of most modern families. The -daughter, like all proper young women, -has an ambition: she wants to be a -sculptor. The mother understands, having -had similar longings before she married -a man who made it his business to -suppress them. The father refuses to -listen to the daughter’s idea, and tells -her that if she goes to New York it will -be without his help. But she goes; and -the play opens with her first visit home. -The son, a weakling without ability of -any sort except to spend money and sow -wild oats, has also left home; but he has -managed to live very comfortably because -of a monthly allowance from his -father. The justice of the situation -harks back to the antique theory that -even a weak boy has more right to the -splendors of the world than a girl of -any type. -</p> - -<p> -Diana’s father refuses to think about -woman suffrage. “I don’t have to think -<a id="page-42" class="pagenum" title="42"></a> -about something I <em>feel</em>. I tell you, if we -had woman suffrage, women would all -vote like their husbands.” -</p> - -<p> -“They say it would double the ignorant -vote,” answers Diana’s friend, Peter, -the journalist, who has encouraged her -in rebelling. -</p> - -<p> -“He’s a good-natured old fossil,” -Peter says later to Diana. And when the -girl insists that she loves her father anyhow, -Peter says, “I love radishes, but -they don’t agree with me. If he had a -new idea he’d die of dropsy.” -</p> - -<p> -The result of Diana’s visit is to produce -certain rebellions in her mother, -who goes back to New York with her to -help make a home of that lonely little -flat, and to revive her own early ambitions -as a painter. Later the father succumbs -to the new order. It is all good “comedy”; -also it’s tremendously good thinking. -If only it could be read by all the -people who misunderstand the surging -modern spirit that is riding so bravely -through traditions and inheritances. -</p> - -<p> -But <em>Nowadays</em> has another value besides -that of its story. It is made of the -stuff of the new drama; it fulfills our demand -that the theatre shall give us the -truth about life in a simple way. However, -we shall talk more about this in -another issue. -</p> - -<h3 class="section" id="subchap-0-16-8"> -Our Mr. Wrenn and Us -</h3> - -<p class="book"> -<em>Our Mr. Wrenn</em>, by Sinclair Lewis. -[Harper and Brothers, New York.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> poverty of American workaday -criticism has rarely shown more threadbare -than in the fact that of all the reviews -of <em>Our Mr. Wrenn</em>, a first novel -by Sinclair Lewis, a new author, not one -has mentioned the idea under the book. -</p> - -<p> -They have been good reviews, too, as -reviews go. Many have praised the book, -have talked around it, described its characters, -attempted to classify it—under -names so various as Locke, Wells, and -Dickens. Yet so expected is the novel -that means nothing, and so dead is critical -vision, that no one has thought to -say “Here is a new American writer. -What is in his soul?” -</p> - -<p> -Let me prove the point. “Our Mr. -Wrenn” is a mouse-like little clerk in the -office of a New York novelty company. -He is called “Our Mr. Wrenn” in business -correspondence by the manager of -the firm. He is overshadowed by “the -job.” He lives uncomfortably in Mrs. -Zapp’s downtown boarding house. Because -the author can see, various figures -from the drab stream one meets in the -street are made human. Because the -author has whimsicality and scorn and -sympathy, the book has humor and satire -and pathos. All these things have been -noted by the critics. -</p> - -<p> -Mr. Wrenn is not always “Our.” He -becomes his own in the gorgeously illustrated -travel leaflets sent out by steamship -companies. Eventually he does go -to England on a cattle steamer. He is -“Bill Wrenn” and licks a tough. He -meets adventures—Istra, an over-fine -artist girl who likes him because he’s -real. In the end he pathetically sees her -soar above him and sails back to America, -where he goes into the office again, falls -in love with a sweet little lingerie-counter -clerk, marries, and “settles down.” All -these things the critics have told us. -</p> - -<p> -But Mr. Wrenn is at once glorious -and pathetic, not only because he says -“Gee!” when he has the emotions of a -<a id="page-43" class="pagenum" title="43"></a> -poet. It isn’t only the little things of -the book that twist our smiles. -</p> - -<p> -There is an epic conflict between Mr. -Wrenn of the job and Bill Wrenn of the -sunsets and the sea. Our Mr. Wrenn, -oppressed and bullied, scuttling out of -the way, not quite daring to think his -own thoughts or dream his own dreams, -not knowing quite enough to understand -the great things of the world—this man -is everywhere in New York, in America; -he is in our own souls. And when he musters -courage to become Bill Wrenn, when -he sets out on dangerous quests and loves -strange beauty, he becomes a conqueror -who rallies with him the great of history, -and stands on the high places of our own -spirits. -</p> - -<p> -Pitifully inadequate Bill Wrenn is, of -course. The lonely tragedy of that conventionally -“happy ending” has escaped -the critics. The drab, the commonplace, -creep over Bill again without his knowing -it. That’s the frightful part of it. -It’s very like what appears to happen to -everybody. Our Mr. Wrenn he is at the -end, sunk in comfort and forgetting his -flags in sunsets. -</p> - -<p> -It is a poignant, bitterly human novel. -After reading it in sympathy one cannot -lean back in satisfaction and write commonplaces. -It leads to understandings -and resolutions. When we learn to demand -such things of American writers, -their primary purpose will then cease -to be either to entertain or to “teach a -lesson.” -</p> - -<p class="sign"> -<span class="smallcaps">Gilbert Alden.</span> -</p> - -<h3 class="section" id="subchap-0-16-9"> -Lantern Gleams -</h3> - -<p class="book"> -<em>Little Essays in Literature and Life</em>, by Richard Burton. -[The Century Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">R</span><span class="postfirstchar">eaders</span> of <em>The Bellman</em> will welcome -in this permanent form many little lantern -gleams of thought that have been -shed athwart their path by this unacademically-minded -incumbent of a Minnesota -chair. -</p> - -<p> -Mr. Burton flashes his lamp fitfully -over a large area, and shows us loitering -spots as well as boggy ground it were -well to avoid. Opening his book at random, -we find here a hint on reading and -here a warning gleam over some political -or social morass. -</p> - -<p> -When the morass is a deep one, however, -we must not expect to sound its -depths with a lantern gleam, and so -sometimes Mr. Burton disappoints us. -Thus in discussing the individual and society -he merely tells us what we all know: -that we pay for the advantage of sociality, -of mutual comfort, and support -by the loss of individuality, by the -growth of a fear to do the thing that -commends itself to our best judgment. -But what must we do? Must we fill in -this particular morass by throwing in all -the individuals? Or will the individuals -be able to jump it? Mr. Burton is discreet -on such points. -</p> - -<p> -More satisfactory than that essay and -others like it are those on literature. -Under “Books and Men” the author deplores -the tendency which characterized -Chaucer (“Farewell my books and my -devotion”) of drawing an antithesis between -men and books, between literature -and life. Literature has its origin in -life and its apparent separation from it -is an accidental result of the printed -book method of spreading what used to -be spread by the human voice alone or in -chorus. -</p> - -<p class="sign"> -<span class="smallcaps">Illiam Dhone.</span> -</p> - -<h3 class="section" id="subchap-0-16-10"> -<a id="page-44" class="pagenum" title="44"></a> -About Nietzsche -</h3> - -<p class="book"> -<em>Nietzsche and Other Exponents of Individualism</em>, by Paul Carus. -[The Open Court Publishing Company, Chicago.] -</p> - -<p class="first"> -<span class="firstchar">E</span><span class="postfirstchar">xpositions</span> of Nietzsche are usually -written by uncritical disciples with little -knowledge of formal philosophy. In so -far as Nietzsche was a poet, some of -these productions may be of value in -spots, but in so far as Nietzsche was an -intellectual critic of life they are worthless. -</p> - -<p> -Dr. Carus writes from the standpoint -of a philosopher in the most formal -sense of that word. To him Nietzsche -the thundering voice of protest named -<em>Zarathustra</em> is of less importance than -Nietzsche the extreme nominalist. The -chief value of his work therefore is purely -informative. He will certainly not -send the philosophic debutante further -into the matter. -</p> - -<p> -Even from the purely informative -side, however, Dr. Carus’s work is delimited -by his own attitude, which is that -of the old time believer in the validity of -universals. Recurrence, uniformity, eternal -norms of things behind the changing -phenomena are the foundations of Dr. -Carus’s stated or implied world view. -</p> - -<p> -He therefore treats Nietzsche as simply -a forerunner of such, to him, mischievous -people as William James and -Henri Bergson. He takes great pains, -indeed, to show that there are many -Nietzsches, and among them he classes -George Moore, on the strength of extracts -from his <em>Confessions of a Young -Man</em>. Of more value than that is his -consideration of the philosophy of Stirner—mainly -because Stirner is not so -well known as Nietzsche, nor so well as -he deserves to be on his merits. -</p> - -<p> -One undoubted merit the book has, and -that is the industrious collection of personal -recollections of Nietzsche and of -Nietzsche portraits which Dr. Carus has -brought together in its pages. These -will give the book a positive value to the -Nietzsche enthusiast, while the sight of -Dr. Carus’s cool, scholastic temperament -trying to drench the burning bush of -Nietzsche will at least interest him. -</p> - -<p class="sign"> -<span class="smallcaps">Illiam Dhone.</span> -</p> - -<h3 class="section" id="subchap-0-16-11"> -Feminism and New Music -</h3> - -<p class="book"> -<em>Anthony the Absolute</em>, by Samuel Merwin. -[The Century Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">t</span> is interesting to watch the struggles -of an essentially chivalrous masculine -soul caught in the whirlpool of modern -feminism. Samuel Merwin, ever since -the old days of <em>A Short Line War</em> and -<em>Calumet K.</em>, written in collaboration with -Henry Kitchell Webster, has held -towards women the attitude of the -knight errant. Recently, as shown in -<em>The Citadel</em>, <em>The Charmed Life of Miss -Austin</em>, and even more strongly in this -latest book, <em>Anthony the Absolute</em>, he -has become a determined feminist. But -the attitude has not changed. Formerly -his hero laid at the feet of the lady of his -choice as much wealth, fame, and position -as he could acquire; this latest hero -gives her in the same spirit a career and -<a id="page-45" class="pagenum" title="45"></a> -the chance to develop her own personality. -Mr. Merwin says: “The man -who deliberately stops a woman’s growth—no -matter what his traditions; no -matter what his fears for her—is doing -a monstrous thing, a thing for which -he must some day answer to the God of -all life.” He is still the knight errant. -It is still man who permits woman to develop. -</p> - -<p> -None the less it is a very readable tale. -The male characters are all clearly and -convincingly drawn, not without humor. -The lady is a little nebulous, but very -charming. Illustrating the absoluteness -of Anthony and serving as an introduction -to the charming Heloise is an interesting -musical theme. The scene is laid -in China, where Anthony is studying -primitive music, and Heloise is able to -sing for him a perfect close-interval -scale, in eighth tones instead of the -“barbarous” half and whole tones of -the piano scale. -</p> - -<p> -Unfortunately Mr. Merwin has permitted -himself to be led by the exigencies -of a popular magazine, in which the -story appeared in serial form, into giving -the tale a certain meretricious air of -sex allurement which it fundamentally -does not possess. On the whole, except -in a certain technical facility in handling -the situations and sustaining the tension -of the plot, <em>Anthony the Absolute</em> is a -decided falling below the really splendid -standard of excellence which Mr. Merwin -set for himself in <em>The Citadel</em>. -</p> - -<p class="sign"> -<span class="smallcaps">Eunice Tietjens.</span> -</p> - -<div class="filler"> -<p class="noindent"> -Of all our funny little Pantheon the absurd -little god who gets the least of my service is -the one labeled “Personal Dignity.”—<em>Some -Letters of William Vaughn Moody.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-17"> -<a id="page-46" class="pagenum" title="46"></a> -New York Letter -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Soule</span> -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">s</span> it true that a Chicago woman’s -club recently declared any book to be -immoral which contains a character whom -you wouldn’t invite into your home to -meet your daughter? If so, the world is -to be congratulated, because all novels -except the <span class="smallcaps">Rollo Books</span> are labeled immoral, -and we needn’t worry any more -about the word. Provided, of course, -that the daughters of this particular -woman’s club are sheltered as carefully -as they should be, having been brought -up by such mothers. -</p> - -<p> -I’m afraid only authors and publishers -know just how threatening this fear of -“immoral” books is getting to be. The -most significant American novelist has -just written a masterful book which has -been declined by two at least of the oldest -and best publishing houses because it -is “too frank.” The men in charge want -to publish it; they think the world ought -to have a chance at it. But they are -afraid. And the author, unlike most authors -under similar circumstances, won’t -modify the book. He says he’ll wait -twenty-five years, if necessary, but he -won’t change a word. And yet, if -the book were published, some people -would accuse him of “pandering to -commercialism.” -</p> - -<p> -Don’t blame the publisher. Mitchell -Kennerley came near being fined hundreds -of dollars and sent to jail recently -for issuing <em>Hagar Revelly</em>—a serious -though by no means a great novel. -Anthony Comstock, who earns his living -by attempting to suppress anything -which he happens to consider immoral, is -likely at any time to pick out a good -piece of work for his thunderbolts—and -he is a government official in the post office -department. You can’t tell what he -is going to do next. Everybody remembers -his ill-advised censorship of Paul -Chabas’s delicate and inoffensive little -<em>September Morn</em>; yet in every cheap picture-store -window in New York there is -now displayed without protest a photograph -of a nude woman which makes no -pretense to art or beauty. -</p> - -<p> -Not many people know that six men -decide what Boston may or may not read. -<em>The Watch and Ward Society</em>, a group -of puritans backed up by the blue laws of -the state, have long been active in this -pharisaical undertaking and from time to -time have arrested booksellers. The -booksellers in self-defense have recently -formed a committee of three to act with -three members of this society. When a -new book comes along which anybody -“suspects,” it is put before the joint -committee, and if that decides against it, -Boston cannot buy it except by mail. -<em>The Devil’s Garden</em> only barely escaped, -because somebody had read to the end of -the book and labeled it “religious.” In -other words, it teaches a lesson. But the -same argument did not save Witter Bynner’s -<em>Tiger</em>. -</p> - -<p> -Magazine editors will tell you similar -facts by the hour. The <em>Metropolitan</em> -was recently held up by the post office because -it contained photographs of nude -statuary—from the winter exhibition of -the National Academy! -</p> - -<p> -We shall not rid ourselves of this -vicious situation by simply getting enraged -at the censors. The truth is, they -are too well entrenched in public opinion. -The people who enforce the law are -<a id="page-47" class="pagenum" title="47"></a> -ignorant postal clerks, clergymen of archaic -convictions, and lower court judges -of the tobacco-chewing, corner-saloon -type to whom any thought of sex is -necessarily nasty. But behind them is -the man who is always saying that such -and such a book or play “oughtn’t to be -allowed.” He is always wanting to protect -“the young,” or somebody else, although -he rarely reads books himself, -and probably would resent interference -with his own often vicious pleasures. His -mind is essentially rotten. He is incapable -of understanding the pure beauty of -the human body, because he has seen so -many “musical comedies.” He would be -shocked by the statement that passion is -a beautiful element of nature toward -which we should be reverent. He has a -sense of propriety, not so much about -what should be done as about what should -be said. And then there is the vast Florence -Barclay contingent, largely women, -who, because they don’t know what the -world is like, don’t want to know, and -don’t think anybody should be allowed to -know. -</p> - -<p> -The trouble with censorship is that we -always want it to apply to other people, -never to ourselves. It is our national -weakness that we try to prescribe conduct -by law, instead of seeing that the -individual is strong and truth-seeing, and -leaving conduct to take care of itself, allowing -ideas to fight their own battles. If -we must have a censorship, let it be in the -hands of the strong and intelligent. Let -us forbid all books which are not true. -Mental and moral fibre is really vitiated -by the Florence Barclay sort of thing. -People brought up on that are enemies -of light and progress. Their world is -an exercise-place for impossible ethics. -Their emotion is washed-out sentiment. -Courage and vigor are unknown to them. -And the worst of it is that their soft and -clinging hands are wrapped about the -rest of us, as they try to drag us down -from the rain-washed skies of the morning -to their stuffy hair-cloth religion and -pink-candy pleasures. -</p> - -<p> -The fight between the writers and the -censors is sure to grow bitter in the next -few years; both sides are getting more -determined every day. But such crises -are welcomed by the adventurous. We -shall end not only by riding over our -small opponents, but by carrying with -us an army awakened to the true issues -of art and life. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-18"> -William Butler Yeats to American Poets -</h2> - -</div> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> current number of <em>Poetry</em> prints -a speech that William Butler Yeats made -during his recent visit to Chicago, in -which he took occasion to warn his confreres -in America against a number of -besetting sins. He said, in part: -</p> - -<div class="excerpt"> -<p class="noindent"> -Twenty-five years ago a celebrated writer -from South Africa said she lived in the East -End of London because only there could she see -the faces of people without a mask. To this -Oscar Wilde replied that he lived in the West -End because nothing interested him but the -mask. After a week of lecturing I am too tired -to assume a mask, so I will address my remarks -especially to a fellow craftsman. For since -coming to Chicago I have read several times a -poem by Mr. Lindsay, one which will be in the -anthologies, <em>General Booth Enters Into Heaven</em>. -This poem is stripped bare of ornament; it has -an earnest simplicity, a strange beauty, and you -know Bacon said, “There is no excellent beauty -without strangeness.” ... -</p> - -<p> -I have lived a good many years and have read -many writers. When I was younger than Mr. -Lindsay, and was beginning to write in Ireland, -there was all around me the rhetorical poetry -<a id="page-48" class="pagenum" title="48"></a> -of the Irish politicians. We young writers rebelled -against that rhetoric; there was too much -of it and to a great extent it was meaningless. -When I went to London I found a group of -young lyric writers who were also against rhetoric. -We formed the Rhymers’ Club; we used -to meet and read our poems to one another, and -we tried to rid them of rhetoric. -</p> - -<p> -But now, when I open the ordinary American -magazine, I find that all we rebelled against in -those early days—the sentimentality, the rhetoric, -the “moral uplift”—still exists here. -Not because you are too far from England, but -because you are too far from Paris. -</p> - -<p> -It is from Paris that nearly all the great influences -in art and literature have come, from -the time of Chaucer until now. Today the -metrical experiments of French poets are overwhelming -in their variety and delicacy. The -best English writing is dominated by French -criticism; in France is the great critical mind. -</p> - -<p> -The Victorians forgot this; also, they forgot -the austerity of art and began to preach. When -I saw Paul Verlaine in Paris, he told me that -he could not translate Tennyson because he was -“too <em>Anglais</em>, too noble”—“when he should -be broken-hearted he has too many reminiscences.” -</p> - -<p> -We in England, our little group of rhymers, -were weary of all this. We wanted to get rid -not only of rhetoric but of poetic diction. We -tried to strip away everything that was artificial, -to get a style like speech, as simple as the -simplest prose, like a cry of the heart.... -</p> - -<p> -Real enjoyment of a beautiful thing is not -achieved when a poet tries to teach. It is not -the business of a poet to instruct his age. He -should be too humble to instruct his age. His -business is merely to express himself, whatever -that self may be. I would have all American -poets keep in mind the example of François -Villon. -</p> - -<p> -So you who are readers should encourage -American poets to strive to become very simple, -very humble. Your poet must put the fervor -of his life into his work, giving you his emotions -before the world, the evil with the good, -not thinking whether he is a good man or a bad -man, or whether he is teaching you. A poet -does not know whether he is a good man. If he -is a good man, he probably thinks he is a bad -man. -</p> - -<p> -Poetry that is naturally simple, that might -exist as the simplest prose, should have instantaneousness -of effect, provided it finds the right -audience. You may have to wait years for that -audience, but when it is found that instantaneousness -of effect is produced.... -</p> - -<p> -We rebelled against rhetoric, and now there is -a group of younger poets who dare to call us -rhetorical. When I returned to London from -Ireland, I had a young man go over all my work -with me to eliminate the abstract. This was an -American poet, Ezra Pound. Much of his work -is experimental; his work will come slowly, he -will make many an experiment before he comes -into his own. I should like to read to you two -poems of permanent value, <em>The Ballad of the -Goodly Fere</em> and <em>The Return</em>. This last is, I -think, the most beautiful poem that has been -written in the free form, one of the few in -which I find real organic rhythm. A great -many poets use <em>vers libre</em> because they think it -is easier to write than rhymed verse, but it is -much more difficult. -</p> - -<p> -The whole movement of poetry is toward pictures, -sensuous images, away from rhetoric, from -the abstract, toward humility. But I fear I am -now becoming rhetorical. I have been driven -into Irish public life—how can I avoid rhetoric? -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-19"> -<a id="page-49" class="pagenum" title="49"></a> -Letters to The Little Review -</h2> - -</div> - -<div class="letters"> -<p> -What an insouciant little pagan paper -you flourish before our bewildered eyes! -Please accept the congratulations of a -stranger. -</p> - -<p> -But you must not scoff at age, little -bright eyes, for some day you, too, -will know age; and you should not jeer -at robustness of form, slim one, for the -time may come when you, too, will find -the burdens of flesh upon you. Above -all, do not proclaim too loudly the substitution -of Nietzsche for Jesus of the -Little Town in the niche of your invisible -temple, for when you are broken and -forgotten there is no comfort in the -Overman. -</p> - -<p> -One thing more: Restraint is sometimes -better than expression. One who -has learned this lesson cannot refrain -from saying this apropos of the first -paragraphs in the criticism of <em>The Dark -Flower</em>. Do not give folk a chance to -misunderstand you. Being a woman, you -have to pay too high a price for moments -of high intellectual orgy. -</p> - -<p> -Forgive all this and go on valiantly. -</p> - -<p class="sign"> -<span class="smallcaps">Sade Iverson.</span><br /> -Chicago. -</p> - -<p> -I am greatly indebted for a copy of -<span class="smallcaps">The Little Review</span>. I take this -opportunity of stating that the publication -is one of the cleverest and best -things I have seen. It deserves success, -for it contains stuff which will compare -very favorably with the best that is -being written. -</p> - -<p class="sign"> -<span class="smallcaps">G. Frank Lydston.</span><br /> -Chicago. -</p> - -<p> -Will you allow me to congratulate you -on your magnificent effort in bringing -out <span class="smallcaps">The Little Review</span>? -</p> - -<p> -I have found it very refreshing after -having suffered for so long by reading -the so-called book review magazines that -have no right to more than passing notice. -</p> - -<p> -You have accomplished wonders, and -if your efforts of the future come up -to those put into the first number of <span class="smallcaps">The -Little Review</span>, your success is assured. -</p> - -<p> -The best wish I can offer is that its -path may be covered with roses and bordered -with the trees of prosperity. -</p> - -<p> -Again congratulating you, I am, with -every good wish, very truly yours, -</p> - -<p class="sign"> -<span class="smallcaps">Lee A. Stone, M. D.</span><br /> -Chicago. -</p> - -<p> -<span class="smallcaps">The Little Review</span> came this morning! -And I have read it all! And I -love it! Much more than I expected, to -be perfectly honest! I feared something -too radical—too modern—if that is -possible. If it had been like <em>The Masses</em>—well, -I can never express my contempt -for that sheet. But you’re perfectly -sane, intelligent, readable, and enthusiastic—gloriously -so! -</p> - -<p> -Your description of Kreisler is worth -much to me. It is precisely what I have -always felt about him. Paderewski, too. -But I think the Mason and Hamlin reference -a little too commercial. I realize -you want <span class="smallcaps">The Little Review</span> to be -straightforward, honest, intimate, etc., -but I fear that kind of thing will be -taken as advertisement and not as a -personal belief and enthusiasm. -</p> - -<p> -If I should never know anything more -<a id="page-50" class="pagenum" title="50"></a> -of Mr. George Soule than his sonnet and -New York letter I should have to like -him. The man who could feel and write -that last paragraph is a splendid type. -</p> - -<p> -But the whole thing is beautiful, and -worth while, whether you agree with it -all or not. A thousand congratulations! -</p> - -<p class="sign"> -<span class="smallcaps">Agnes Darrow.</span><br /> -Dayton, Ohio. -</p> - -<p class="note"> -[Of course our remarks about the Mason and -Hamlin violated all journalistic traditions. But -traditions are so likely to need violation, and -diplomacy and caution are such uninteresting -qualities! What we feel and tried to say about -that piano is that it’s as definitely a work of art -as good poetry or good music. Why not say so, -quite naturally? We know something of the -man who is responsible for its quality of tone; -he’s as authentic an artist as those musicians -who create on his foundations. Is there any -reason why such an achievement is not to be -mentioned in a journal that means to devote -itself to beauty? Is anything vital ever gained -by a cautious regard for “<em>on dit</em>”? Above -all, if one can discover no importance in -journalistic tradition of that type, why defer -to it?—<span class="smallcaps">The Editor.</span>] -</p> - -<p> -I haven’t got over your beautiful -magazine yet. Don’t let anybody keep -you from making it a truthful expression -of yourself—but you won’t. -</p> - -<p> -First of all, it’s beautifully made. You -couldn’t have done better typographically. -It’s the most <em>inviting</em> magazine -published. I like the color and the paper -label. -</p> - -<p> -Second, its spirit blows keen and with -a pure fragrance. If you can continue -to show such freshness you will have -gone far toward achieving the goal Mr. -Galsworthy urges—that “sleeping out -under the stars” which cleans our hearts -of all things artificial. -</p> - -<p> -With sincerest congratulations, -</p> - -<p class="sign"> -<span class="smallcaps">Henry S.</span><br /> -New York. -</p> - -<p> -I am very much pleased with the first -issue of <span class="smallcaps">The Little Review</span>. I am -very glad to know that such a thing -should be started, and it should be both a -cause and an effect of better times in -literature. I shall do everything I can -to make it better known. -</p> - -<p class="sign"> -<span class="smallcaps">William Lyon Phelps.</span><br /> -Yale University. -</p> - -<p> -When I found that the local bookstores -had sold out their first orders of -<span class="smallcaps">The Little Review</span> I was delighted; -for it meant folks were interested in the -fledgeling. The first number deserves the -praise and congratulations of everybody -interested in literature; everything in it -is fine, even unto the composition of the -“ad” pages. With its fresh, cheerful -note <span class="smallcaps">The Little Review</span> very fittingly -comes forth on the first day of Spring. -Long may it spread sweetness and light. -</p> - -<p class="sign"> -<span class="smallcaps">W. W. G.</span><br /> -Chicago. -</p> - -<p> -There are so many things that I admire -in the first issue of <span class="smallcaps">The Little -Review</span> that I find it difficult to decide -just where to begin. It was like taking -up a copy of the Preludes of <a id="corr-10"></a>Debussy -for the first time; after playing them -over and over again I found it difficult -to know whether it was what he said or -the way he said it which held the greater -charm for me. I congratulate you most -sincerely on the distinct personal quality -which is so evident in your magazine -and you may count upon me to rejoice -with you if it meets with anything like -the great success which it so distinctly -merits. -</p> - -<p class="sign"> -F. L. R.<br /> -Chicago. -</p> - -<p> -<a id="page-51" class="pagenum" title="51"></a> -Your new publication has just fallen -into my hands. The vital thing! -</p> - -<p> -I cannot begin to tell you what its -pulsating, teeming import means to me. -I know nothing today in magazine form -that will mean so much to busy, thinking -people. -</p> - -<p class="sign"> -<span class="smallcaps">Nannie C. Love.</span><br /> -Indianapolis. -</p> - -<p> -Please let me offer my sincerest congratulations -and my warmest wishes for -the continued success of <span class="smallcaps">The Little -Review</span>. There are numerous points in -the first issue that I should like to discuss -with you; I must warn you that you are -tempting your readers and must not -be surprised if you are overwhelmed -with letters, questioning, approving, and -criticising. -</p> - -<p> -The foreword strikes such a splendid -note! I hope no criticism will influence -you to change it. -</p> - -<p> -You agree, evidently, with the point -that <em>The Dark Flower</em> suggests a Greek -classic; so do I. But, conceding that, -how could you have been surprised that -countless people care nothing for it? -Don’t you know that the majority of -people in the world do not really “possess” -the Greek classics? Without the -background of the world’s thought, ages -ago, and its progress—unless we agree -with Alfred Russell Wallace that we have -made no progress—can’t you see that -<em>The Dark Flower</em> could genuinely startle -many people? So I beg for less sharpness -toward those who do not feel the -wonder of it. The tragedy is in their -lives. -</p> - -<p> -For just the same reason <em>Jean Christophe</em> -belongs to a few, comparatively. -If you had never before felt the power of -a great epic, could you really grasp this -one? Modern as we claim to be—and -independent—must there not be some -foundation? Oh dear!—I do want to -tell you why I think <em>Vanity Fair</em> is -greater than <em>Succession</em> and why Ysaye’s -music is inspired—when I listen, at -least. But one can’t go on forever. -</p> - -<p> -Since the “Critics’ Critic” expressed a -doubt about that quotation from Euripides -and since you insisted that it sounded -like a Gilbert Murray translation, you -may be glad to know that it is both. -But you quoted it wrong. It is from -<em>Aeolus</em>, a lost play, and this is the correct -version: -</p> - - <div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">This Cyprian,</p> - <p class="verse">She is a thousand, thousand changing things;</p> - <p class="verse">She brings more pain than any god; she brings</p> - <p class="verse">More joy. I cannot judge her. May it be</p> - <p class="verse">An hour of mercy when she looks on me.</p> - </div> - </div> - </div> - </div> -<p class="noindent"> -I do agree that “a million, million -changing things” is somehow more perfect; -I even agree now, though not at -first, with the order of attributes: “She -brings more joy than any god, she brings -more pain.” On a re-reading of <em>Aeolus</em> -I am taken with the way you misquoted -it. Joy was surely first in the Greek’s -life. And of course the human beauty -of the thing made me think immediately -of the way Mrs. Browning “struck off” -Euripides: -</p> - - <div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Our Euripides, the human,</p> - <p class="verse1">With his droppings of warm tears</p> - <p class="verse">And his touches of things common</p> - <p class="verse1">Till they rose to touch the spheres!</p> - </div> - </div> - </div> - </div> -<p class="sign"> -<span class="smallcaps">Katherine Tappert.</span><br /> -Davenport, Iowa. -</p> - -<p> -... I don’t know when I’ve read anything -so inspiring as that letter from -Galsworthy. Can’t all of you who are -helping to make the magazine arrange -to march up to it mentally and present -your “copy” for approval before you -decide to print it? -</p> - -<p> -I like the article on Paderewski and -the one about <em>The Dark Flower</em>. But do -be careful of “beauty” and “passion.” -<a id="page-52" class="pagenum" title="52"></a> -It’s easy to make them commonplace. -Also spare your adjectives a bit; you -don’t need an adjective for everything. -I realize that your abbreviations are -made in the interest of readableness, but -however informal you want to make it -you only succeed in sounding hideously -colloquial. It doesn’t read well, and it -makes me feel that you’re trying to -achieve through the style what ought to -be achieved quite simply through the material -itself. Not that I approve of -anything stilted, but you can easily overdo -the other side of it. And wouldn’t it -be better to leave some of the things unsigned? -People who don’t know that -the various Anderson contributors are -unrelated will think it’s rather a family -monopoly. -</p> - -<p> -The Ficke poems are exquisite; and -how I love Nicholas Vachel Lindsay’s! -Also I like the New York letter very -much, but George Soule’s <em>Major Symphony</em> -could just as well be unwritten. -Poetry has to be so much better than -that to be real poetry. Another thing: -I think your quotations from <em>Succession</em> -weren’t as efficient as you hoped. It’s a -book that can’t well be quoted except to -one who knows it. -</p> - -<p> -You wanted frankness, so here it is. -Otherwise, I have nothing but praise for -the whole glorious undertaking! -</p> - -<p class="sign"> -<span class="smallcaps">Lois Allen Peters.</span><br /> -Philadelphia. -</p> - -<p class="note"> -[Being a sister of the editor, Mrs. Peters -speaks her mind with a freedom that enchants -us. It also helps us—though we want to shake -her for one or two of those remarks. However—may -her letter serve as a model to timid but -opinionated readers!—<span class="smallcaps">The Editor.</span>] -</p> - -<p> -If you will allow me to be perfectly -frank about your first issue, I should like -to tell you that <span class="smallcaps">The Little Review</span> -seems rather too esthetic in tone and -spirit to avoid being “restrictive”—a -wish you expressed in your editorial. -There is not enough variety in it, for -one thing. For another, some of its -critical judgments are too personal—are -too largely temperamental judgments—to -be of any permanent value. You -seem to have set out to exploit personalities; -and there’s a juvenility in many of -the articles that I’m afraid you’ll all -blush for in ten years. -</p> - -<p class="sign"> -<span class="smallcaps">A Well-Meaning Critic.</span> -</p> - -<p> -The first number of <span class="smallcaps">The Little -Review</span> came as a delightful surprise -and I have enjoyed reading it. I particularly -appreciate the spirit of appreciation -running through the pages, -which I believe will be of inestimable -service to young writers, if you are able -to keep it up. -</p> - -<p class="sign"> -M. K.<br /> -New York. -</p> - -<p> -The Little Review looks very interesting. -I hope to have the pleasure -of reading it through very soon, but at -the moment my small sister is devouring -it and refuses absolutely to give it up. -If you are as successful in pleasing -women generally as you have been in -pleasing her you need have no fear for -the success of the magazine. -</p> - -<p class="sign"> -J. C. P.<br /> -New York. -</p> - -<p> -Professor Foster’s essay on <em>The -Prophet of a New Culture</em> is magnificent—a -soul-searching, heart-breaking bit -of writing, fiery and tragic. Nicholas -Vachel Lindsay’s <em>How a Little Girl -Danced</em> is a delightful thing—airy, -high-minded, and full of his burning -spirit. In fact, <span class="smallcaps">The Little Review</span> is -full of things that one reads with a keen -zest. -</p> - -<p class="sign"> -W. L. C.<br /> -Denver. -</p> - -<p> -<a id="page-53" class="pagenum" title="53"></a> -<span class="smallcaps">The Little Review</span> came to hand -promptly, but I was unable to read it -until last night. That is where I made -my first mistake, as I had been denying -myself a very pleasant two hours. My -second mistake was in having read it at -all, as it has now become one of those -eight or ten journals which are always -welcome and more or less necessary. Ten -journals each month (and some weeklies), -quietly yet insistently urging me -to take them up, are like those good -friends who tempt me with an outing in -Spring when work is crowding. So with -<span class="smallcaps">The Little Review</span>. It has with one -reading become a distinctly individual -friend. -</p> - -<p class="sign"> -W. M. L.<br /> -Philadelphia. -</p> - -<p> -Your <span class="smallcaps">Little Review</span> has just reached -me. I took it home for leisurely examination -on Sunday. I congratulate you -upon launching and hope that you’ll -meet no adverse trade winds in your -voyage. Its atmosphere is certainly anything -but editorial, and you’ve put -plenty of your own personality into it. -And what a delightfully charming letter -is that from Galsworthy! -</p> - -<p> -I should take sharp issue with you on -one or two slight points could I face you -across a lunch table, but as it is, I tuck -my differences away, with a sigh of envy -at your enthusiasm, and the sincere wish -that you may always keep it. -</p> - -<p> -With best wishes for your good luck. -</p> - -<p class="sign"> -<span class="smallcaps">Beatrice L. Miller.</span><br /> -Boston. -</p> - -<p> -I think your first number very interesting -indeed, and congratulate you on -your fine start. I am always delighted -with every new manifestation of the life -and enthusiasm in Chicago! -</p> - -<p> -With best wishes for your future. -</p> - -<p class="sign"> -<span class="smallcaps">Alice C. Henderson.</span><br /> -Chicago. -</p> - -<p> -... I’ve fallen in love with M. H. P., -“The Critics’ Critic.” She’s just the -sort of person I’d like to go and talk -with this afternoon. Please ask her to -write a letter properly sitting on Agnes -Repplier for her <em>Atlantic</em> essays. A very -delicate, cultured, polite little woman -sitting behind a tea-table in her aloof -apartment, and given over to well-bred -sneering at things she doesn’t know anything -about—that’s how I picture Miss -Repplier. -</p> - -<p class="sign"> -<span class="smallcaps">A Contributor.</span> -</p> - -<p> -<span class="smallcaps">The Little Review</span> is here, and I -have so enjoyed going over it. -</p> - -<p> -It is a great first number and sets a -pace that would have made most of us -breathless before we started; but anyone -can know it isn’t so with you, from that -last paragraph of your announcement. -It was lovely! -</p> - -<p> -I loved the Paderewski, too. Was -there anything more wonderful than the -glory of the Funeral March as he played -it the afternoon of his first recital here -this winter? I know you heard it from -the way you write of it. An emotion that -brings the tears and makes the sobs struggle -in the back of your throat is always -worth living through, and I wouldn’t -have missed it for worlds. -</p> - -<p> -With the best of good wishes. -</p> - -<p class="sign"> -<span class="smallcaps">Mabel Reber.</span><br /> -Chicago. -</p> - -<p> -I want to tell you how very good the -first issue of <span class="smallcaps">The Little Review</span> is. I -don’t know what the succeeding numbers -will be like, but you have set a <a id="corr-11"></a>pace in -this one that will demand some vigorous -effort to keep up. After that “gripping” -announcement no one will doubt -the real purpose of the <span class="smallcaps">Review</span> and the -fine optimism that is behind it. I don’t -have to believe everything you are going -to print, but if those who write it do, by -<a id="page-54" class="pagenum" title="54"></a> -all means keep them together. And <em>don’t</em> -let George Soule get away. -</p> - -<p> -It’s too early to make suggestions, but -I should say that Number One is well balanced -and very readable, and I like the -trick of throwing the light on from different -angles—like the Galsworthy and -Nietzsche discussions. The tone is high, -and I am quite sure I never read more -intelligent reviews anywhere. -</p> - -<p> -Good luck to <span class="smallcaps">The Little Review</span>! -</p> - -<p class="sign"> -<span class="smallcaps">J. D. Marney.</span><br /> -Springfield, Ill. -</p> - -<p> -Will you let me thank you for giving -me a very pleasant experience in reading -the first copy of <span class="smallcaps">The Little Review</span>? -There are many things in the first number -which arouse one’s interest, though -I am not sure that I would at all agree -in all the critical judgments which are -there pronounced. Anyway, you will -let me wish you all success, and wave -you my hand with the hope that <span class="smallcaps">The -Little Review</span> shall be the biggest review -in the country. -</p> - -<p class="sign"> -<span class="smallcaps">D. W. Wylie.</span><br /> -Iowa City, Iowa. -</p> - -<p> -Congratulations must be pouring in -on you from all sides, but I want, just -the same, to add my voice to the chorus -of “Bravos” that surrounds you. -</p> - -<p> -<span class="smallcaps">The Little Review</span> is a triumph. It -even outdoes my picture of it; and that -is saying much, for I have known it was -to be something exceptionally nice. -</p> - -<p> -It is a delight to look at, showing -somebody’s good personal taste; and the -contents—well, I like them <em>lots</em> more -than I could say adequately or put in -this space. -</p> - -<p> -Blessings on you and the heartiest -congratulations to all concerned in the -making of <span class="smallcaps">The Little Review</span>. -</p> - -<p class="sign"> -<span class="smallcaps">Margaret T. Corwin.</span><br /> -New Haven, Conn. -</p> - -<p> -I am pleased with its general appearance, -and the contents are inspiring—full -of the spirit of youth. I wish <span class="smallcaps">The -Little Review</span> every success. -</p> - -<p class="sign"> -<span class="smallcaps">Georgia M. Weston.</span><br /> -Geneva, Ill. -</p> - -<p> -The initial number of <span class="smallcaps">The Little -Review</span> has impressed me so favorably -that I want some of my friends also to -share in its appreciation. -</p> - -<p> -You surely have made a fine beginning -and, in my judgment, cannot do -better than to adopt as the creed of -<span class="smallcaps">The Little Review</span> the sound and encouraging -advice given in Mr. Galsworthy’s -inspiring letter. -</p> - -<p class="sign"> -<span class="smallcaps">Albert H. Loeb.</span><br /> -Chicago. -</p> - -<p> -From the first page to the last book -announcement I have read <span class="smallcaps">The Little -Review</span> with pride and delight. -</p> - -<p> -Its sincerity attracts me even more -than its obvious literary merit, and its -comprehensiveness and quality will appeal -to all who read at all—especially -to those who go below the surface. -</p> - -<p class="sign"> -<span class="smallcaps">Alethea F. Grimsley.</span><br /> -Springfield, Ill. -</p> - -<p> -Thank you so much for <span class="smallcaps">The Little -Review</span>! I liked it from the moment I -saw it, both outside and in. I like particularly -the personal note you put into -your writing. It’s as though you were -really talking to me and telling me how -you feel about <em>The Dark Flower</em> and -Paderewski and dear Little Antoine with -his bad room that was “pretty but stupid -for the sound.” -</p> - -<p> -With best wishes to you in your beautiful, -big undertaking. -</p> - -<p class="sign"> -<span class="smallcaps">Zetta Gay Whitson.</span><br /> -Chicago. -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-20"> -<a id="page-55" class="pagenum" title="55"></a> -The “Best Sellers” -</h2> - -</div> - -<p class="center"> -The following books, arranged in order of popularity, have been “bestsellers” -in Chicago during March: -</p> - -<div class="table"> -<table class="bestsellers" summary="Table-1"> -<tbody> - <tr> - <td class="col1">The Inside of the Cup</td> - <td class="col2">Winston Churchill</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">Diane of the Green Van</td> - <td class="col2">Leona Dalrymple</td> - <td class="col3">Reilly and Britton</td> - </tr> - <tr> - <td class="col1">Pollyanna</td> - <td class="col2">Eleanor Porter</td> - <td class="col3">L. C. Page</td> - </tr> - <tr> - <td class="col1">Laddie</td> - <td class="col2">Gene Stratton-Porter</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">T. Tembarom</td> - <td class="col2">Frances Hodgson Burnett</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">Sunshine Jane</td> - <td class="col2">Anne Warner</td> - <td class="col3">Little, Brown</td> - </tr> - <tr> - <td class="col1">The Woman Thou Gavest Me</td> - <td class="col2">Hall Caine</td> - <td class="col3">Lippincott</td> - </tr> - <tr> - <td class="col1">Cap’n Dan’s Daughter</td> - <td class="col2">Joseph C. Lincoln</td> - <td class="col3">Appleton</td> - </tr> - <tr> - <td class="col1">Passionate Friends</td> - <td class="col2">H. G. Wells</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Old Valentines</td> - <td class="col2">S. H. Havens</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Devil’s Garden</td> - <td class="col2">W. B. Maxwell</td> - <td class="col3">Bobbs-Merrill</td> - </tr> - <tr> - <td class="col1">The White Linen Nurse</td> - <td class="col2">Eleanor Abbott</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">When Ghost Meets Ghost</td> - <td class="col2">William DeMorgan</td> - <td class="col3">Henry Holt</td> - </tr> - <tr> - <td class="col1">The After House</td> - <td class="col2">Mary Roberts Rinehart</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Iron Trail</td> - <td class="col2">Rex Beach</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">The Dark Hollow</td> - <td class="col2">Anne Katherine Green</td> - <td class="col3">Dodd, Mead</td> - </tr> - <tr> - <td class="col1">The Rocks of Valpre</td> - <td class="col2">E. H. Dell</td> - <td class="col3">Putnam</td> - </tr> - <tr> - <td class="col1">The Light of Western Stars</td> - <td class="col2">Zane Gray</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Peg o’ My Heart</td> - <td class="col2">Hartley Manners</td> - <td class="col3">Dodd, Mead</td> - </tr> - <tr> - <td class="col1">The Dark Flower</td> - <td class="col2">John Galsworthy</td> - <td class="col3">Scribner</td> - </tr> - <tr> - <td class="col1">Daddy Long Legs</td> - <td class="col2">Jean Webster</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">It Happened in Egypt</td> - <td class="col2">C. N. and A. M. Williamson</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Darkness and Dawn</td> - <td class="col2">George Allan England</td> - <td class="col3">Small, Maynard</td> - </tr> - <tr> - <td class="col1">The Forester’s Daughter</td> - <td class="col2">Hamlin Garland</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Westways</td> - <td class="col2">S. Weir Mitchell</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">My Wife’s Hidden Life</td> - <td class="col2">Anonymous</td> - <td class="col3">Rand, McNally</td> - </tr> - <tr> - <td class="col1">Home</td> - <td class="col2">Anonymous</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">The Valley of the Moon</td> - <td class="col2">Jack London</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">The Harvester</td> - <td class="col2">Gene Stratton-Porter</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Gold</td> - <td class="col2">Stewart Edward White</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">A People’s Man</td> - <td class="col2">E. Phillips Oppenheim</td> - <td class="col3">Little, Brown</td> - </tr> - <tr> - <td class="col1">The Way Home</td> - <td class="col2">Basil King</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Martha by the Day</td> - <td class="col2">Julie M. Lippman</td> - <td class="col3">Holt</td> - </tr> - <tr> - <td class="col1">The Rosary</td> - <td class="col2">Florence Barclay</td> - <td class="col3">Putnam</td> - </tr> - <tr> - <td class="col1">Making Over Martha</td> - <td class="col2">Julie M. Lippman</td> - <td class="col3">Holt</td> - </tr> - <tr class="t"> - <td class="col1"><a id="page-56" class="pagenum" title="56"></a> </td> - <td class="col2">NON-FICTION</td> - <td class="col3"> </td> - </tr> - <tr> - <td class="col1">Crowds</td> - <td class="col2">Gerald Stanley Lee</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Alone in the Wilderness</td> - <td class="col2">Joseph Knowles</td> - <td class="col3">Small, Maynard</td> - </tr> - <tr> - <td class="col1">Autobiography</td> - <td class="col2">Theodore Roosevelt</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">What Men Live By</td> - <td class="col2">Richard C. Cabot</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Gardener</td> - <td class="col2">Rabindranath Tagore</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">The Modern Dances</td> - <td class="col2">Ellen Walker</td> - <td class="col3">Saul</td> - </tr> -</tbody> -</table> -</div> - -<p class="vspace center"> -<span class="smallcaps">The Little Review</span> is now on sale in the following bookstores: -</p> - -<div class="table"> - <div class="bookstores"> - <div class="row"> - <div class="column"> -<p class="stores"> -New York:<br /> -Brentano’s.<br /> -Vaughn and Gamme.<br /> -M. J. Whaley. -</p> - -<p class="stores"> -Chicago:<br /> -The Little Theatre.<br /> -McClurg’s.<br /> -Morris’s Book Shop.<br /> -Carson, Pirie, Scott and Company.<br /> -A. Kroch and Company.<br /> -Chandler’s Bookstore, Evanston.<br /> -W. S. Lord, Evanston. -</p> - -<p class="stores"> -Pittsburg:<br /> -Davis’s Bookshop. -</p> - -<p class="stores"> -Springfield, Mass.:<br /> -Johnson’s Bookstore. -</p> - - </div> - <div class="column"> -<p class="stores"> -Cleveland:<br /> -Burrows Brothers Company. -</p> - -<p class="stores"> -Detroit:<br /> -Macauley Brothers. -</p> - -<p class="stores"> -Minneapolis:<br /> -Nathaniel McCarthy’s. -</p> - -<p class="stores"> -Los Angeles:<br /> -C. C. Parker’s. -</p> - -<p class="stores"> -Omaha:<br /> -Henry F. Keiser. -</p> - -<p class="stores"> -Columbus, O.<br /> -A. H. Smythe’s. -</p> - - </div> - </div> - </div> -</div> - -<div class="ads chapter"> -<p class="ada"> -By John Galsworthy -</p> - -<p class="adb"> -The Dark Flower -</p> - -<p class="adp"> -<em>$1.35 net; postage extra.</em> -</p> - -<p> -This splendid story of love -which has drawn more attention -than anything else Mr. Galsworthy -ever wrote, is now in its -fourth large edition. -</p> - -<p> -The editor of the new <em>Little -Review</em> says of it: “Everything -John Galsworthy has done has -had its special function in making -‘The Dark Flower’ possible. -The sociology of ‘Fraternity,’ -the passionate pleading of ‘Justice’ -and ‘Strife,’ the incomparable -emotional experiments of ‘A -Commentary,’ the intellectuality -of ‘The Patrician’—all these -have contributed to the noble -simplicity of ‘The Dark Flower.’” -</p> - -<p class="ada"> -John Galsworthy’s Plays -</p> - -<p class="adb"> -The Fugitive -</p> - -<p class="adp"> -<em>60 cents net; postage extra.</em> -</p> - -<p> -“Mr. Galsworthy deals with -the problem of woman’s economic -independence, her opportunity -and preparation for self-support -outside the refuge of -marriage.... -</p> - -<p> -“‘The Fugitive’ is an admirable -piece of dramatic writing. -The undeviating exposition of the -situation in the first act is certainly -the best thing Mr. Galsworthy -has yet done in the dramatic -field.” -</p> - -<p class="attr"> -—<em>New York Tribune.</em> -</p> - -<p class="adb"> -The Pigeon -</p> - -<p class="ads"> -A Fantasy in Three Acts -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -The Eldest Son -</p> - -<p class="ads"> -A Domestic Drama in Three -Acts. -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -Justice -</p> - -<p class="ads"> -A Tragedy in Four Acts. -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -The Little Dream -</p> - -<p class="ads"> -An Allegory in Six Scenes -</p> - -<p class="adp"> -<em>50 cents net.</em> -</p> - -<p> -Three of these plays—“Justice,” -“The Little Dream,” and -“The Eldest Son”—have been -published in the more convenient -form of one volume, entitled -“Plays by John Galsworthy, -Second Series.” -</p> - -<p class="adp"> -<em>$1.50 net.</em> -</p> - -<p class="adb"> -My First Years as a Frenchwoman -1876-1879 -</p> - -<p class="ada"> -<span class="smallcaps">By Mary King Waddington</span>, author of “Letters of a Diplomat’s -Wife,” “Italian Letters of a Diplomat’s Wife,” etc. -</p> - -<p class="adp"> -<em>$2.50 net; postage extra.</em> -</p> - -<p> -The years this volume embraces were three of the most critical -in the life of the French Republic. Their principal events -and conspicuous characters are vividly described by an expert -writer who was within the inmost circles of society and diplomacy—she -was the daughter of President King of Columbia, and -had just married M. William Waddington, one of the leading -French diplomats and statesmen of the time. -</p> - -<p class="adb"> -Notes of a Son and Brother -</p> - -<p class="ada"> -<span class="smallcaps">By Henry James.</span> -</p> - -<p class="adp"> -<em>Illustrated. With drawings by</em> <span class="smallcaps">William James</span>. -<em>$2.50 net; postage extra.</em> -</p> - -<p> -Harvard, as it was in the days when, first William, and then -Henry, James were undergraduates, is pictured and commented -upon by these two famous brothers—by William James through -a series of letters written at the time. The book carries forward -the early lives of William and Henry, which was begun in “A -Small Boy and Others,” published a year ago. 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Postage extra. -</p> - -</div> - -<div class="ads chapter"> -<p class="c"> -<a id="page-58" class="pagenum" title="58"></a> -<em>The -$10,000 -Prize -Novel</em> -</p> - -<div class="centerpic"> -<img src="images/diane.jpg" alt="" /></div> - -<p class="hidden adb"> -<em>Diane -of the -Green Van</em> -</p> - -<p class="c"> -<em>The -Season’s -Great -Success</em> -</p> - -<p class="ada"> -<span class="underline"><em>By Leona Dalrymple</em></span> -</p> - -<p> -Viewed even in the critical light of the high -standard set for the winner of a ten-thousand-dollar -prize, “Diane of the Green Van” fully -measures up to the expectations of the novel-reading -public. -</p> - -<p> -This is why it heads the list of best sellers in -New York, Chicago, Philadelphia. The advertising -value of a big prize offer may account in -some degree for the heavy advance sale—although -the wholesale buyers ordered <em>after reading</em>. -Nothing but sheer merit can account for -the extremely large retail sale. Friend-to-friend -commendation is steadily increasing over-the-counter -demand. -</p> - -<p> -The judges—the readers—all gave “Diane” -first place among five hundred manuscripts, -many of them by first-class authors. The trade -has applauded the choice. Reviewers have called -“Diane of the Green Van” well worth the big -prize. -</p> - -<p> -We should like to be able to publish the list -of twenty or more successful writers who entered -stories. On reputation alone, their work -would have gone far; but we feel that the <em>story</em> -of “Diane” will go farther. -</p> - -<p> -“Here are expectation and enthusiasm -justified alike. It is a clear, clean, clever -romance.... It combines the love -and intrigue of the ‘Zenda’ tale with the -freedom of a Locke or Farnol story of -broad highways.”—<em>New York World.</em> -</p> - -<hr class="hr10" /> - -<p> -“Just what countless pleased readers -will devour with avidity.... Gracefully -written, vivid in style and suggestion.... -Bright and breezy and exciting.”—<em>Chicago -Record Herald.</em> -</p> - -<hr class="hr10" /> - -<p> -“The tale has unusual dramatic grip, -much brilliancy of dialogue.... It -is the sort of narrative that no one willingly -lays down until the last page has -been turned.”—<em>Philadelphia -North American.</em> -</p> - -<hr class="hr10" /> - -<p> -“The novel throbs with the youthful -joy of living and the enchantments of -summer hover over its pages. Everywhere -is there originality in the invention -of the incidents and subtlety in the delineation -of characters.”—<em>Chicago -Tribune.</em> -</p> - -<hr class="hr10" /> - -<p> -“A heroine whose fascination richly -merits study. A hero who will capture -the heart of the reader from the moment -of his first appearance.”—<em>Boston Globe.</em> -</p> - -<hr class="hr10" /> - -<p> -“So good a thing, a thing so romantic -and thrilling, we have not seen in—lo, -these many moons of story telling.”—<em>Louisville -Post.</em> -</p> - -<hr /> - -<p> -“Diane” is a tale with the freshness and spontaneity of youth, with the rich personality -of the author shining through its diverting pages. In its imagination and clever dialogue -and plot it strikes the keynote of popular appeal. At the same time, “Diane” has -all the essentials of lasting popularity. The publishers feel justified in predicting a -long journey for the Green Van and its charming young mistress. (<em>$1.35 net</em>) -</p> - -<hr /> - -<p class="ade"> -<b><em>Publishers The Reilly & Britton Co. Chicago</em></b> -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -<a id="page-59" class="pagenum" title="59"></a> -<em>A New “Frank Danby” and Other Spring Leaders</em> -</p> - -<p class="u ada"> -FRANK DANBY’S<br /> -<em>Finest and Most Powerful Work</em> -</p> - -<p class="adb"> -FULL SWING -</p> - -<p class="r"> -<em>Ready -April 30th</em> -</p> - -<p> -A book in whose rushing current glow two love stories of heart-gripping -interest, passion and tears are mingled in Frank Danby’s -masterly work, “Full Swing.” Vivid, forceful, rich in character-drawing -that challenges comparison with the best in English fiction—the -author has added a supreme touch to her book—a new type -of heroine, incredible as that may appear. A new type that -nevertheless is as credible as your oldest friend—who wins and -holds your heart through startling incidents that would wreck a -less powerful book with the doubt of their possibility. With -dramatic scenes in abundance throughout the book, the interest -increases steadily to the very end. No jaded reader, seeking a -new sensation in literature, will be able to lay down the volume -until the tale is finished. $1.35 net. Postage, extra. -</p> - -<p class="adb"> -The Full of the Moon -</p> - -<p class="ada"> -By <b>CAROLINE LOCKHART</b>, Illustrated in color, $1.25 net. Postage -extra. -</p> - -<p> -<em>JEANNETTE L. GILDER</em>, in the <em>Chicago Tribune</em>: -</p> - -<p> -“It would not surprise me if ‘The Full of the Moon’ proves to be the -most popular of Miss Lockhart’s novels, and if it does not ultimately find -its way to the stage I will be very much surprised, for it has all the elements -of popular drama in it.” -</p> - -<p class="adb"> -The Best Man -</p> - -<p class="ada"> -By <b>GRACE LIVINGSTON HILL LUTZ</b>, Illustrated in color. $1.25 -net. Postage extra. -</p> - -<p> -<em>NEW YORK TIMES</em>: -</p> - -<p> -“A romance of startling adventure. 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Ornamental -cloth, in a box, $5.00 net. -Postpaid. $5.25. -</p> - -<p> -A volume for the owner developing -his property, large or -small, for the amateur or professional -garden architect, for -the artist, student and nature -lover. -</p> - -<p class="adb"> -The Flower Finder -</p> - -<p class="ada"> -By <b>GEORGE LINCOLN -WALTON, M.D.</b> -</p> - -<p class="adp"> -590 illus. -Limp leather. $2.00 net. -Postage extra. -</p> - -<p> -<em>CLEVELAND PLAIN -DEALER</em>:—“What’s that -flower over there in the field? -You’ll find out in ‘The Flower -Finder’. Gives many color -charts and sketches; grouped -so that you can easily find -what you are looking for; is -bound in leather that permits -it to be slipped in the pocket.” -</p> - -<p class="adb"> -The Training of a Forester -</p> - -<p class="ada"> -By <b>GIFFORD PINCHOT</b>. -</p> - -<p> -8 illus. $1.00 net. Postage -extra. -</p> - -<p> -Just the book to put in the -hands of the young man who -loves outdoor life. Mr. Pinchot -has written an inspiring volume -on the profession which he has -brought so forcibly to public -attention. -</p> - -<p class="u ade"> -<b>J. B. LIPPINCOTT COMPANY</b><br /> -PUBLISHERS PHILADELPHIA -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -<a id="page-60" class="pagenum" title="60"></a> -<span class="underline">IMPORTANT NEW BOOKS</span> -</p> - -<p class="adb"> -<span class="underline">THE SOUTH AMERICAN TOUR</span> -</p> - -<p class="ada"> -<b>By Annie S. Peck</b> -</p> - -<p class="r ads"> -<b><em>Author of</em> -“A Search for the Apex of America”</b> -</p> - -<p class="ads"> -<em>With 87 illustrations mainly from photographs by the author.</em> -</p> - -<p> -This is the first guide to THE SOUTH AMERICAN TOUR which is -adequate and up-to-date in its treatment, dealing importantly with the -subject both in its commercial and pleasure aspects. -</p> - -<p class="r adp"> -<b><em>8vo. Net $2.50</em></b> -</p> - -<p class="adb"> -<span class="underline">A BOOKMAN’S LETTERS</span> -</p> - -<p class="ada"> -<b>By Sir W. Robertson Nicoll, M.A., LL.D.</b> -</p> - -<p> -These papers here collected, forty-eight in all, deal with various literary -personalities, problems and impressions and show Sir William Nicoll in -his most genial and leisured spirit. -</p> - -<p class="r adp"> -<b><em>Octavo. Net $1.75</em></b> -</p> - -<p class="adb"> -<span class="underline">ROBERT LOUIS STEVENSON’S EDINBURGH -DAYS</span> -</p> - -<p class="ada"> -<b>By E. Blantyre Simpson</b> -</p> - -<p> -The hitherto untold record of the boyhood days of Stevenson—the most -valuable recent contribution to Stevensoniana. -</p> - -<p class="r adp"> -<b><em>Fully illustrated. Octavo. Net $2.00</em></b> -</p> - -<p class="adb"> -<span class="underline">MADAME ROYALE</span> -</p> - -<p class="ada"> -<b>By Ernest Daudet</b> -</p> - -<p class="r ads"> -<b>Translated from the French by -Mrs. Rodolph Stawell</b> -</p> - -<p> -The story of Madame Royale, daughter of Louis XVI and Marie Antoinette, -covers the French Revolution, the tragic execution of her -parents, and the mystery of the lost Dauphin. Ernest Daudet tells -this story in a form which reads like fiction—impressionistic, racy—but -is no less truth. -</p> - -<p class="r adp"> -<b><em>Illustrated. Octavo. Net $3.50</em></b> -</p> - -<p class="adb"> -<span class="underline">MY FATHER: W. T. Stead</span> -</p> - -<p class="ada"> -<b>By Estelle W. Stead</b> -</p> - -<p> -<b>The Record of the Personal and Spiritual Experience of W. T. 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Net $2.00</em></b> -</p> - -<p class="adb"> -<span class="underline">THE NEW TESTAMENT:</span> A New Translation -</p> - -<p class="ada"> -<b>By James Moffatt, D.D., D.Litt.</b> -</p> - -<p> -Dr. Moffatt is one of the most distinguished living scholars of the Greek -New Testament. He is also a profound student of modern literature. -He has re-translated with the view of giving a modern literary version -which shall be verbally accurate in its equivalents for the Greek phrases. -It is a work which awakens enthusiasm by its distinguished choice of -language and which stirs up thought by its originality of rendering. -</p> - -<p class="r adp"> -<b><em>Small Quarto. 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HUEBSCH, Publisher, 225 Fifth avenue, New York -</p> - -<p class="h3 adh"> -SUBSCRIPTION BLANK -</p> - - <div class="form"> -<p class="u addr"> -<span class="smallcaps">The Little Review</span>,<br /> -Fine Arts Building, Chicago. -</p> - -<p> -<em>I enclose $2.50 for which please send me</em> <span class="smallcaps">The Little Review</span> <em>for one year, -beginning with the ............. issue. I also send the names and addresses of -persons who would like to receive specimen copies.</em> -</p> - -<p class="noindent u"> -_____________________<br /> -_____________________ ___________________________________<br /> -_____________________<br /> -_____________________ ___________________________________<br /> -_____________________<br /> -_____________________ ___________________________________ -</p> - - </div> -</div> - -<div class="trnote chapter"> -<p class="transnote"> -Transcriber’s Notes -</p> - -<p> -Advertisements were collected at the end of the text. -</p> - -<p> -The original spelling was mostly preserved. A few obvious typographical errors -were silently corrected. Further corrections are listed here (before/after): -</p> - - - -<ul> - -<li> -... true: “<span class="underline">Euch behren</span> sollst ...<br /> -... true: “<a href="#corr-3"><span class="underline">Entbehren</span></a> sollst ...<br /> -</li> - -<li> -... Du, sollst <span class="underline">eutbehren</span>!” (Deny yourself, ...<br /> -... Du, sollst <a href="#corr-4"><span class="underline">entbehren</span></a>!” (Deny yourself, ...<br /> -</li> - -<li> -... To have the sense <span class="underline">or</span> creative activity is the ...<br /> -... To have the sense <a href="#corr-7"><span class="underline">of</span></a> creative activity is the ...<br /> -</li> - -<li> -... up a copy of the Preludes of <span class="underline">Debessy</span> ...<br /> -... up a copy of the Preludes of <a href="#corr-10"><span class="underline">Debussy</span></a> ...<br /> -</li> - -<li> -... will be like, but you have set a <span class="underline">place</span> in ...<br /> -... will be like, but you have set a <a href="#corr-11"><span class="underline">pace</span></a> in ...<br /> -</li> -</ul> -</div> - - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Little Review, April 1914 (Vol. 1, -No. 2), by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, APRIL *** - -***** This file should be named 62634-h.htm or 62634-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/6/3/62634/ - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. 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