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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. Postage extra. - - Our Friend John Burroughs - - By Dr. CLARA BARRUS - - The increasing thousands of lovers of John Burroughs and his - writings will welcome this intimate book about the man, his life, - and his personality. A picturesque and vivid account of his - youth, written by Mr. Burroughs himself, is a prominent and - important feature. - - Illustrated. $2.00 net. Postage extra. - - Annals and Memoirs of the Court of Peking - - By J. O. P. BLAND and EDMUND BACKHOUSE - - "An extraordinarily vivid picture of life at the Court of Peking - from the middle of the sixteenth century down to our - day."--_London Truth._ - - "Of the importance to us today of understanding or endeavoring to - understand the Chinese, no one will entertain a doubt, and - therefore we heartily welcome a book like this in which the - attempt is made, and made, we believe, successfully, to trace - cause and effect back to the buried foundations of Chinese - philosophy and civilization and to look at things from the - Chinese point of view."--_London Globe._ - - Lavishly illustrated. $4.50 net. Postage extra. - - In the Old Paths - - By ARTHUR GRANT - - A series of delightful essays, by a popular English writer, which - recreate with charm and delicacy some of the great scenes of - literature. Using as a starting-point some poet, Mr. Grant writes - of the country in which he lived, or which lives in his work, and - allows a sensitive fancy to draw pictures of the past. - - Illustrated. $1.50 net. Postage extra. - - Thomas Wentworth Higginson: The Story of His Life - - By MARY THACHER HIGGINSON - - This intimate biography tells for the first time the full story - of the life of one of the most interesting of American soldiers - and writers. Fully illustrated from portraits, views of Colonel - Higginson's homes, friends, etc., and with facsimiles of - interesting manuscripts. - - Illustrated. $3.00 net. Postage extra. - - The Ministry of Art - - By RALPH ADAMS CRAM - - Among the subjects discussed are: Art as an Expression of - Religion, the Place of Fine Arts in Public Education, the - Significance of the Gothic Revival in American Architecture, - American University Architecture. - - These papers all embody and eloquently exploit that view of the - relation of mediæval ideals to modern life which has made the - author the most brilliant exponent of Gothic architecture in - America. - - $1.50 net. Postage extra. - - Elia W. Peattie's - - THE PRECIPICE - - "One of the most significant novels that have appeared this - season ... so absolutely true to life that it is hard to consider - it fiction."--_Boston Post._ - - "A book which men and women alike will be better for reading, of - which any true hearted author might be proud.... The author knows - life and human nature thoroughly, and she has written out of - ripened perceptions and a full heart."--_Chicago Record Herald._ - - "An intimate and sympathetic study of new-century womanhood ... - presents a profoundly interesting survey of the new social order - of things."--_Philadelphia North American._ - - With frontispiece. $1.35 net. Postage extra. - - _The $10,000 Prize Novel_ - - _Diane of the Green Van_ - - _The Season's Great Success_ - - _By Leona Dalrymple_ - - 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. - - 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 _after reading_. Nothing but sheer - merit can account for the extremely large retail sale. - Friend-to-friend commendation is steadily increasing - over-the-counter demand. - - 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. - - 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 _story_ of - "Diane" will go farther. - - "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."--_New York World._ - - "Just what countless pleased readers will devour with avidity.... - Gracefully written, vivid in style and suggestion.... Bright and - breezy and exciting."--_Chicago Record Herald._ - - "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."--_Philadelphia - North American._ - - "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."--_Chicago Tribune._ - - "A heroine whose fascination richly merits study. A hero who will - capture the heart of the reader from the moment of his first - appearance."--_Boston Globe._ - - "So good a thing, a thing so romantic and thrilling, we have not - seen in--lo, these many moons of story telling."--_Louisville - Post._ - - "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. (_$1.35 net_) - - *_Publishers The Reilly & Britton Co. Chicago_* - - - - - _A New "Frank Danby" and Other Spring Leaders_ - - - FRANK DANBY'S - _Finest and Most Powerful Work_ - - FULL SWING - - _Ready April 30th_ - - 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. 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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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