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} -.trnote .transnote { text-indent:0; text-align:center; font-weight:bold; } - -/* page numbers */ -a[title].pagenum { position: absolute; right: 1%; } -a[title].pagenum:after { content: attr(title); color: gray; background-color: inherit; - letter-spacing: 0; text-indent: 0; text-align: right; font-style: normal; - font-variant: normal; font-weight: normal; font-size: x-small; - border: 1px solid silver; padding: 1px 4px 1px 4px; - display: inline; } - -div.centerpic { text-align:center; text-indent:0; display:block; } -span.centerpic { display:inline-block; vertical-align:middle; } - -@media handheld { - body { margin-left:0; margin-right:0; } - div.frontmatter { max-width:inherit; } - - div.poem-container div.poem { display:block; margin-left:2em; } - - div.bookstores { max-width:inherit; } - div.bookstores div.row { display:block; } - div.bookstores div.column { display:block; width:inherit; padding-left:0; - padding-right:0; margin-left:2em; } - div.ads { max-width:inherit; border:0; border-top:1px solid black; } - div.ads * { padding:0; } - div.ads div.list-block .list { display:block; margin-left:2em; } - - a.pagenum { display:none; } - a.pagenum:after { display:none; } - - span.firstchar { clear:left; float:left; } - div.ads .fl { float:left; } - div.ads .fr { float:right; } -} - -</style> -</head> - -<body> - - -<pre> - -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. - - - - - - -</pre> - - -<div class="frontmatter chapter"> -<h1 class="title"> -<span class="smallcaps">The Little Review</span> -</h1> - -<p class="subt"> -<em>Literature Drama Music Art</em> -</p> - -<p class="ed"> -<span class="line1">MARGARET C. ANDERSON</span><br /> -<span class="line2">EDITOR</span> -</p> - -<p class="issue"> -APRIL, 1914 -</p> - - <div class="table"> -<table class="toc" summary="TOC"> -<tbody> - <tr> - <td class="col1">“The Germ”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-1">1</a></td> - </tr> - <tr> - <td class="col1">Rebellion</td> - <td class="col2">George Soule</td> - <td class="col_page"><a href="#page-3">3</a></td> - </tr> - <tr> - <td class="col1">Man and Superman</td> - <td class="col2">George Burman Foster</td> - <td class="col_page"><a href="#page-3">3</a></td> - </tr> - <tr> - <td class="col1">Lines for Two Futurists</td> - <td class="col2">Arthur Davison Ficke</td> - <td class="col_page"><a href="#page-8">8</a></td> - </tr> - <tr> - <td class="col1">A New Winged Victory</td> - <td class="col2">Margaret C. Anderson</td> - <td class="col_page"><a href="#page-9">9</a></td> - </tr> - <tr> - <td class="col1">Correspondence:</td> - <td class="col2"> </td> - <td class="col_page"> </td> - </tr> - <tr class="i"> - <td class="col1">Two Views of H. G. Wells</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-12">12</a></td> - </tr> - <tr class="i"> - <td class="col1">Rupert Brooke and Whitman</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-15">15</a></td> - </tr> - <tr class="i"> - <td class="col1">More About “The New Note”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-16">16</a></td> - </tr> - <tr> - <td class="col1">Sonnet</td> - <td class="col2">Sara Teasdale</td> - <td class="col_page"><a href="#page-17">17</a></td> - </tr> - <tr> - <td class="col1">Sonnet</td> - <td class="col2">Eunice Tietjens</td> - <td class="col_page"><a href="#page-18">18</a></td> - </tr> - <tr> - <td class="col1">The Critics’ Critic</td> - <td class="col2">M. H. P.</td> - <td class="col_page"><a href="#page-18">18</a></td> - </tr> - <tr> - <td class="col1">Women and the Life Struggle</td> - <td class="col2">Clara E. Laughlin</td> - <td class="col_page"><a href="#page-20">20</a></td> - </tr> - <tr> - <td class="col1">“Change”</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-24">24</a></td> - </tr> - <tr> - <td class="col1">The Poetry of Alice Meynell</td> - <td class="col2">Llewellyn Jones</td> - <td class="col_page"><a href="#page-25">25</a></td> - </tr> - <tr> - <td class="col1">An Ancient Radical</td> - <td class="col2">William L. Chenery</td> - <td class="col_page"><a href="#page-28">28</a></td> - </tr> - <tr> - <td class="col1">Equal Suffrage: The First Real Test</td> - <td class="col2">Henry Blackman Sell</td> - <td class="col_page"><a href="#page-30">30</a></td> - </tr> - <tr> - <td class="col1">Education of Yesterday and Today</td> - <td class="col2">William Saphier</td> - <td class="col_page"><a href="#page-31">31</a></td> - </tr> - <tr> - <td class="col1">Some Book Reviews</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-33">33</a></td> - </tr> - <tr> - <td class="col1">New York Letter</td> - <td class="col2">George Soule</td> - <td class="col_page"><a href="#page-46">46</a></td> - </tr> - <tr> - <td class="col1">William Butler Yeats to American Poets</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-47">47</a></td> - </tr> - <tr> - <td class="col1">Letters to the Little Review</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-49">49</a></td> - </tr> - <tr> - <td class="col1">The Best Sellers</td> - <td class="col2"> </td> - <td class="col_page"><a href="#page-55">55</a></td> - </tr> -</tbody> -</table> - </div> - <div class="table"> - <div class="footer"> -<p class="pricel"> -25 cents a copy -</p> - -<p class="pub"> -THE LITTLE REVIEW<br /> -Fine Arts Building<br /> -CHICAGO -</p> - -<p class="pricer"> -$2.50 a year -</p> - - </div> - </div> -</div> - -<div class="frontmatter chapter"> -<p class="tit"> -<a id="page-1" class="pagenum" title="1"></a> -<span class="smallcaps">The Little Review</span> -</p> - - <div class="table"> - <div class="issue"> -<p class="vol"> -Vol. I -</p> - -<p class="issue"> -APRIL, 1914 -</p> - -<p class="number"> -No. 2 -</p> - - </div> - </div> -<p class="cop"> -Copyright, 1914, by Margaret C. Anderson. -</p> - -</div> - -<h2 class="article1" id="chapter-0-1"> -“The Germ” -</h2> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">n</span> 1850 an astounding thing happened -in England. A little group -of artists and poets, known as the Pre-Raphaelite -Brotherhood, began the publication -of a magazine. It was to be -given over to “thoughts towards nature -in poetry, literature, and art”; and it -was called <em>The Germ</em>. -</p> - -<p> -The idea was Dante Gabriel Rossetti’s, -who was then just twenty-two years old. -Thomas Woolner, of the same age, and -Holman Hunt and Millais, both somewhere -in the neighborhood of twenty, -were dragged willingly into the plan. -William Michael Rossetti, aged nineteen, -was made editor; James Collinson -and Frederick George Stephens were -added to the four original P. R. B.’s; -John Lucas Tupper, Ford Madox -Brown, Walter Howell Deverell, William -Cave Thomas, John Hancock, and Coventry -Patmore were intimately connected -with the project; and Christina, then -eighteen, offered her poems for publication -therein. -</p> - -<p> -<em>The Germ</em> was published for four -months, and then it died. Like all serious -things it could find no immediate audience; -like all revolutionary things it -was called juvenile and regarded with -shyness; and like all original and beautiful -things it has managed to stay very -much alive. For, in 1899, a limited -edition of <em>The Germ</em> in facsimile was -brought out, and William Michael Rossetti -wrote an extensive introduction for -it in which he described minutely the -whole glorious undertaking. It is these -facsimiles that we have been looking -through with such awe, and which tell -such an interesting story. -</p> - -<p> -Here was a league of “unquiet and -ambitious young spirits, bent upon making -a fresh start of their own, and a -clean sweep of some effete respectabilities.” -On the night of December 19, -1849, when the first issue of the magazine -was impending, they met in Dante -Rossetti’s studio at 72 Newman Street to -discuss a change of title. <em>The P. R. B. -Journal and Thoughts Towards Nature</em> -(the “extra-peculiar” suggestion of -Dante, according to his brother) had -been discarded, and Mr. Cave Thomas -had drawn up a list of sixty-five possibilities, -among them <em>The Seed</em>, <em>The -Scroll</em>, <em>The Harbinger</em>, <em>First Thoughts</em>, -<em>The Sower</em>, <em>The Truth-Seeker</em>, <em>The -Acorn</em>, and <em>The Germ</em>. The last was decided -upon and the first issue came out -about the first of January. Seven hundred -copies were printed and about two -hundred sold. This wasn’t encouraging, -so the second issue was limited to five -hundred; but it sold even less well than -the first, and the P. R. B.’s were at the -end of their resources. Then the printing-firm -came to the rescue and undertook -the responsibility of two more numbers. -The title was changed to <em>Art and -Poetry, being Thoughts towards Nature, -conducted principally by Artists</em>; but “all -<a id="page-2" class="pagenum" title="2"></a> -efforts proved useless.... People would -not buy <em>The Germ</em>, and would scarcely -consent to know of its existence. So the -magazine breathed its last, and its obsequies -were conducted in the strictest -privacy.” -</p> - -<p> -It did attract some critical attention, -however. <em>The Critic</em> wrote: “We cannot -contemplate this young and rising -school in art and literature without the -most ardent anticipation of something -great to grow from it, something new -and worthy of our age, and we bid them -godspeed upon the path they have adventured.” -Others remarked that the -poetry in <em>The Germ</em> was all beautiful, -“marred by not a few affectations—the -genuine metal, but wanting to be purified -from its dross”; “much of it of extraordinary -merit, and equal to anything -that any of our known poets could write, -save Tennyson....” -</p> - -<p> -Well—the situation demands a philosopher. -We might undertake the rôle -ourselves, except that we’re too near the -situation, having just started a magazine -with certain high hopes of our own. -</p> - -<p> -On the cover of each issue of <em>The -Germ</em> appeared this poem by William -Rossetti, the mastery of which, some one -said, would require a Browning Society’s -united intellects: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">When whoso merely hath a little thought</p> - <p class="verse1">Will plainly think the thought which is in him—</p> - <p class="verse1">Not imaging another’s bright or dim,</p> - <p class="verse">Not mangling with new words what others taught;</p> - <p class="verse">When whoso speaks, from having either sought</p> - <p class="verse1">Or only found,—will speak, not just to skim</p> - <p class="verse1">A shallow surface with words made and trim,</p> - <p class="verse">But in that very speech the matter brought:</p> - <p class="verse">Be not too keen to cry—“So this is all!—</p> - <p class="verse1">A thing I might myself have thought as well,</p> - <p class="verse">But would not say it, for it was not worth!”</p> - <p class="verse1">Ask: “Is this truth?” For is it still to tell</p> - <p class="verse1">That be the theme a point or the whole earth,</p> - <p class="verse">Truth is a circle, perfect, great or small?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Patmore’s <em>The Seasons</em>, Christina Rossetti’s -<em>Dream Land</em>, Dante’s <em>My Sister’s -Sleep</em> and <em>Hand and Soul</em>, Woolner’s -<em>My Beautiful Lady</em> and <em>Of My Lady in -Death</em>, Tupper’s <em>The Subject in Art</em>, -William Rossetti’s <em>Her First Season</em>, and -a long review of Clough’s <em>Bothic of -Toper-na-fuosich</em> make up the first number. -In the others are <em>The Blessed Damozel</em>, -Christina’s <em>An End</em> and <em>A Pause of -Thought</em>, Patmore’s <em>Stars and Moon</em>, -John Orchard’s <em>Dialogue on Art</em>, and -many other things of value, concluding -with a review of Browning’s <em>Christmas -Eve and Easter Day</em>, in which William -Rossetti establishes with elaborate seriousness, -through six pages of solemn and -awesome sentences, that “Browning’s -style is copious and certainly not other -than appropriate”; that if you <em>will</em> understand -him, you shall. -</p> - -<p> -All this came to our mind the other -day when some one accused us of being -“juvenile.” What hideous stigma was -thereby put upon us? The only grievous -thing about juvenility is its unwillingness -to be frank; it usually tries to -appear very, very old and very, very -wise. <em>The Germ</em> was quite frankly -young; otherwise it could not have been -so full of death poetry, for it is youth’s -most natural affectation to steep itself -in death. But <em>The Germ</em> might have -been even more “juvenile” and so -avoided some of the heavy, sumptuous -sentences in that Browning review. It -would have gained in readableness without -any possible sacrifice of beauty or -truth. In their poetry the Pre-Raphaelites -were as simple and spontaneous as -children; in their criticism they were -rhetorical. Our sympathy is somehow -very strongly with the spontaneity—whatever -dark juvenile crimes it may be -guilty of—in the eyes of those who -merely look but do not see. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-2"> -<a id="page-3" class="pagenum" title="3"></a> -Rebellion -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Soule</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Sing me no song of the wind and rain—</p> - <p class="verse">The wind and the rain are better.</p> - <p class="verse">I’ll swing to the road on the gusty plain</p> - <p class="verse">Without any load,</p> - <p class="verse">And shatter your fetter.</p> - </div> - <div class="stanza"> - <p class="verse">And when you sing of the strange, bright sea,</p> - <p class="verse">I’ll leave your dark little singing</p> - <p class="verse">For the plunging shore where foam leaps free</p> - <p class="verse">And long waves roar</p> - <p class="verse">And gulls go winging.</p> - </div> - <div class="stanza"> - <p class="verse">Sorrow-dark ladies you’ve dreamed afar;</p> - <p class="verse">I stay not to hear their praises.</p> - <p class="verse">But here is a woman you cannot mar,</p> - <p class="verse">In life arrayed;</p> - <p class="verse">Her spirit blazes.</p> - </div> - <div class="stanza"> - <p class="verse">I shall not stiffen and die in your songs,</p> - <p class="verse">Flatten between your pages,</p> - <p class="verse">But trample the earth and jostle the throngs,</p> - <p class="verse">Try out life’s worth—</p> - <p class="verse">And burst all cages!</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-3"> -Man and Superman -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Burman Foster</span> -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">n</span> his voluptuous vagabondage -Rousseau at length halted at Paris, -where he managed to worry through -some inconstant years. The thing that -saved the day for him was the fragment -of a pamphlet that blew across his path -in one of his rambles, announcing a -prize to be awarded by the Academy of -Dijon for the best answer to an -extraordinary question. Had the renascence -of the arts and sciences ennobled -morals? That was a flash of lightning -which lit up a murky night and helped -this bewildered and lonely wanderer to -get his bearings. Thoughts came to -him demoniacally which shaped his -entire future and won him no small place -in the history of humanity. -</p> - -<p> -Answer is “No!” said Rousseau. -And his answer was awarded the -academic prize. -</p> - -<p> -It seems strange that the history of -his times sided with Rousseau’s “No.” -Certainly it was the first fiery meteor -<a id="page-4" class="pagenum" title="4"></a> -of the French revolution. It pronounced -the first damnatory sentence upon a -culture that had already reached the -point of collapse. In his own body and -soul Rousseau had bitterly experienced -the curse of this culture. It was -largely responsible for his heart’s abnormal -yearning whose glow was consuming -him. Instead of ennobling morals this -culture had inwardly barbarized man. -Then it galvanized and painted the outside -of life. And then life became a -glittering lie. -</p> - -<p> -Thus Rousseau became prophet in -this desert of culture, and called men -to repentance. “Back from culture to -nature,” was his radical cry; back from -what man has made out of himself to -what nature meant him to be. Nature -gave man free use of his limbs; culture -has bound them with all sorts of bindings, -until he is stiff, and short-winded, -and crippled. According to nature man -lives his own life; man is what he seems -and seems what he is; according to culture -he is cunning, and crafty, and -mendacious. -</p> - -<p> -The eighteenth-century man of culture -hearkened with attentive soul to the -dirge in which one of its noblest sons -vented his tortured heart. The melancholy -music bruised from this prophet’s -heart silenced the wit and ridicule of -even a Voltaire, who wanted to know, -however, whether “the idea was that -man was to go on all fours again.” In -a few decades the feet of revolutionary -Frenchmen were at the door ready, with -few and short prayers, to bear to its last -abode that culture whose moral worth -even a French Academy had called in -question, and for whose moral condemnation -had awarded the first prize. -</p> - -<p> -Now it is our turn! What is the good -of our culture? Such is the query of -a host of people who know nothing -thereof save the wounds it has inflicted -upon them—a host of people who face -our culture with the bitter feeling that -they have created it with the sweat of -their brows, but have not been permitted -to taste its joys. Such, too, is the query -of others who, satiated with its beneficence, -have been its pioneers,—a John -Stuart Mill, political economist, who -doubts whether all our cultural progress -has mitigated the sufferings of a single -human being; a Huxley, naturalist, who -finds the present condition of the larger -part of humanity so intolerable today -that, were no way of improvement to be -found, he would welcome the collision -of a kindly comet that would smash our -petty planet into smithereens. -</p> - -<p> -Also, there is your proletariat. And -there is your culture on summits far -out of his reach. The more inaccessible -it is, shining there with a radiance that -never falls upon him, the less does he -reflect that all is not gold that glitters. -Then there is your philanthropist, foremost -in culture of mind and heart, -surveying the masses far beneath him, -in the slime and grime of life, and -doubting at last whether any labor of -love can lift men up to where he thinks -men ought to be; whether, after all, it -can bring joy to men who are sick and -sore with the load of life. -</p> - -<p> -Not to be partial, one may magnanimously -cite your philistine also—the -man of “the golden mean,” the “man of -sanity,” as mediocrity has ever brand-marked -itself, who “hates <em>ultra</em>.” For -the life of him your philistine cannot -understand how a “reasonable” man can -have any doubt about our culture. Does -he not read in his favorite newspaper how -gloriously we have progressed? Does -he not encore the prodigious achievements -of our technique? Has he not -heard his crack spellbinder orate on the -<a id="page-5" class="pagenum" title="5"></a> -cultural felicity that follows our flag? -Down with the disloyalty of highbrow -doubters! -</p> - -<p> -Now it was from an entirely different -side, indeed it was from an entirely -different standpoint, that Friedrich -Nietzsche contemplated modern culture, -particularly the national culture of the -German Fatherland. What horrified -him was not simply the <em>content</em>, but the -<em>criterion</em>, of our culture. He sharply -scrutinized the <em>ideals</em> which we set ourselves -in our culture. He found not -simply our achievements but our ideals, -<em>ourselves</em> even, so inferior, so vulgar, -so contemptible, that he began to doubt -whether even the Germans could be recognized -as a culture people or not. -Hence Nietzsche became the most ruthless -iconoclast of our culture. Unlike the -majority, unlike the scholars, the philanthropists, -the philistines, Nietzsche was -not moved by the misery of the masses, -by the great social need of our time. -He did not regret that the boon of our -culture was shared by so few, inasmuch -as, in his opinion, this boon was of very -doubtful value. He found our life so -barbarous, so culture-hostile, that he -still missed the first elements of a true -culture among us. -</p> - -<p> -Hence Nietzsche lunged against <em>status -quo</em>. He did what he himself called -“<em>unzeitmässig</em>,” untimely. He flung a -question, more burning than any other, -into our time—more burning than even -the social question, constituting indeed -the main part of that question. It was -the question as to how <em>man</em> fared in this -culture—the question as to what <em>man</em> -got out of it and as to what it got out -of man. -</p> - -<p> -Never before had this question been -put as Nietzsche put it. We should -recall that Nietzsche was not one of -those who had experienced the extremes -of either plenty or want, nor was he -one of those who filled the wide space -between the two. To him, the pessimism -of the discontented and the optimism of -the fortunate and the satisfied were alike -superficial, if not impertinent. It was not -a question of “happiness” at all. In -bitter, biting sarcasm he says, with reference -to the English utilitarian “happiness -morality”: “I do not seek my -happiness; only an Englishman seeks -his happiness; I seek my <em>work</em>.” -</p> - -<p> -No; his was a question which his conscience -put to culture. Was it a “culture -of the <em>earth</em>, or of <em>man</em>?” Here -Nietzsche probes home. And he alone -did it. The most diverse censors of our -time had not seen and said that no matter -how desirable, no matter how gloriously -conceived the new order of things -might be, <em>man</em> must be the decisive -thing; <em>man</em> must tip the scales. It was -this that went against the grain. Mightier -machines, larger cities, better apartments, -bigger schools, what was the good -of it all, <em>et id omne genus</em>, if new and -greater men did not arise? So said -Nietzsche. And he said it with high -scorn to a generation which had forgotten -that man is not for “culture,” but -culture for man; of man, by man, for -man. -</p> - -<p> -Every people seems to pass through a -period in which it is obsessed with the -idea that the causes of popular prosperity -are at once motive and criterion of -culture; that the natural laws of economics -are the universally valid norms of -the ebb and flow of human values; that a -balance on the balance sheet to the good, -the satisfactoriness of the statistics of -exports and imports to the wishes of the -interested parties, are an occasion for -jubilation over the ascent which life has -compassed. Harbor some scruple as to -whether the jubilation be warranted or -<a id="page-6" class="pagenum" title="6"></a> -not, and you are at once pilloried as a -pessimist and a malcontent. And yet had -there been no Nietzsche there would still -remain Cicero’s warning: “Woe to a -people whose wealth grows but whose -men decay.” But there was a Nietzsche, -and he dared to call even his Fatherland -Europe’s “flat country”—flat was a -hard word for a land that could once -boast of so many poets and thinkers. -But now the flatter the better! But now -no peaks to scale, no yawning abysses on -whose edges one grows dizzy! Nothing -a single step removed from the ordinary, -the conventional! Now heights -and depths, distinctions and distances, -these are valid in the world of quantity, -not of quality; of possession, not of being; -of tax tables, not of human essence -and human power! Now all men are -equal! But Nietzsche knew that if men -are equal they are not free; if free they -are not equal. With a fury and a fire -that literally consumed him, he dedicated -himself to the task of leading men -up out of this flatness, away from this -leveling—up to an appreciation of the -potential—not the actual—greatness -of man’s life. Greatness is not yet man’s -verity but his vocation, his true and -idiomatic destiny. Greatness? This is a -man’s strength of will; the unfolding of -a free personality. To say <em>I will</em> is to be -a man. All human values are embraced -in this <em>I will</em>. To produce men who can -say <em>I will</em> is at once the task and the test -of culture. This <em>I will</em> is the climax and -goal of man. In this <em>I will</em> vanishes -every fearsome and disquieting <em>I must</em>, -every compulsion of outer necessity. -Not the passive adjustment of man to -nature, but the active adjustment of -nature to man; nature outside of him -and nature inside of him—that is human -calling and human culture. Vanishes, -also, every <em>I ought</em>. Man refuses to be -ridden by a duty spook, but subordinates -even duty to himself. Duty, too, is for -the sake of man, not man for the sake of -duty. In the depths of his own being, -man reserves the sovereign right to speak -his <em>yes</em> and his <em>no</em> to duty. To his own -will he subjects all good and all evil -taught him by others, past or present, -and thus occupies a standpoint “beyond -good and evil.” Lord of the Sabbath? -Yes, but lord also of standards sanctified -by their antiquity; lord of all the standards -of life; lord of all that has been -written or thought or done. “And thou, -O lord, art more than they!” Thou—thou -alone—art central and supreme -and sacred and inviolable. “Bring forth -the royal diadem and crown him lord of -all!” -</p> - -<p> -But not yet! Alas, there are no such -lords, no such will-men, personality-men! -Such men are not <em>Gegenwartsmenschen</em>, -present day men, but <em>Zukunftsmenschen</em>, -future day men; not reality but task—our -task. That future man will surpass -present man as much as present man surpasses -the monkey which he in his development -has left behind. We are bridges -from monkey to superman. Superman! -In him at last, at last, all that is unliving, -unfree, withered and weak, all that is -sickly in man, shall be obliterated; and -all the forces that are great and creative -shall be unfolded and molded into cultural -values. -</p> - -<p> -This is the meaning of the superman -of Friedrich Nietzsche. Malice and -ignorance have vied—vainly we may -now hope—in caricaturing it. The way -to superman is the rugged, steep mountain -path up to conscious deed and -mighty achievement; not the gentle incline -down to stupid indulgence, indolent -disposition, enervating or bestial impulsive -life. Not that! Superman is precisely -the man who overcomes the man of -<a id="page-7" class="pagenum" title="7"></a> -today aweary of life and athirst for -death. -</p> - -<p> -This preaching of Superman might be -called Messianic. It is the bold faith -that we are not the last word of the Word -of life; it is the glad hope that the best -treasures, the greatest deeds, the supreme -goals of humankind are still in the -future. Nietzsche’s message is a breath -of spring blowing over the land proclaiming -the advent of an issue from the -womb of time of something greater, better -than anything we have been, than -anything we have called good or great; -the advent of a new day when our best -songs now will be our worst then; our -noblest thoughts now our basest then; -our highest achievements now, our poorest -by-products then. -</p> - -<p> -We shall usher in that day; superman -shall be our will, our deed! Superman -gives our life worth. Ours is the new, -exhilarating responsibility, swallowing -up and nullifying all the petty responsibilities -which fret us today. We have -to justify our lives to that great future, -to that coming one, to our children. -They, through us, must be greater, better, -freer, than all of us put together. -We are worth our contribution to the -achievement of future man. Nay, only -superman can justify the history of the -cosmos! Consider pre-human and sub-human -life, red in tooth and claw; consider -human life, often not much better -and sometimes much worse; consider ourselves, -our meanness and our mediocrity. -Is this all? Is this warrant for the long -human and pre-human story? Can you -escape the conviction that but for superman -the eternal gestation and agony of -cosmic maternity admits of no rational -vindication? -</p> - -<p> -Breed, then, with a view of breeding -supermen. Marriage? Let this be not -for ease, not for the propagation of -yourselves; the pushing of yourselves -into your children, parents, but for the -creation of something new, of superman! -Education? Not to assimilate the children -to us, to the past, but to free them -from us; not <em>Vaterland</em>, but <em>Kinderland</em>, -must be our concern. Children shall not -“sit at our feet” but stand upon our -shoulders, that they may have a freer and -broader sweep of the horizon. And in -our children we shall love the Coming -One, prepare the way for Superman, that -free, great man who shall have conquered -present petty man with all his slave instincts! -Such, at all events, are the -dreams of the great poetic and prophetic -philosopher of the German Fatherland -of today. -</p> - -<div class="filler"> -<p class="noindent"> -All great things have first to wander about -the earth as enormous and awe-inspiring caricatures.—Nietzsche -in <em>Beyond Good and Evil</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Plato will always be an object of admiration -and reverence to men who would rather see vast -images of uncertain objects reflected from -illuminated clouds, than representations of -things in their just proportions, measurable, -tangible, and convertible to household use.—Walter -Savage Landor in <em>Imaginary Conversations</em>, -Vol. 2. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Cultivation will breed in any man a certainty -of the uncertainty of his most assured convictions.—Samuel -Butler in <em>Life and Habit</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Knowledge is in an inchoate state as long as -it is capable of logical treatment; it must be -transmitted into that sense or instinct which -rises altogether above the sphere in which words -can have being at all, otherwise it is not yet -vital.—Samuel Butler in <em>Life and Habit</em>. -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-4"> -<a id="page-8" class="pagenum" title="8"></a> -Lines for Two Futurists -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Arthur Davison Ficke</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse2">Why does all of sharp and new</p> - <p class="verse">That our modern days can brew</p> - <p class="verse">Culminate in you?</p> - </div> - <div class="stanza"> - <p class="verse2">This chaotic age’s wine</p> - <p class="verse">You have drunk—and now decline</p> - <p class="verse">Any anodyne.</p> - </div> - <div class="stanza"> - <p class="verse2">On the broken walls you stand,</p> - <p class="verse">Peering toward some stony land</p> - <p class="verse">With eye-shading hand.</p> - </div> - <div class="stanza"> - <p class="verse2">Is it lonely as you peer?</p> - <p class="verse">Do you never miss, in fear,</p> - <p class="verse">Simple things and dear,</p> - </div> - <div class="stanza"> - <p class="verse2">Half-remembered, left behind?</p> - <p class="verse">Or are backward glances blind</p> - <p class="verse">Here where the wind</p> - </div> - <div class="stanza"> - <p class="verse2">Round the outposts sweeps and cries—</p> - <p class="verse">And each distant hearthlight dies</p> - <p class="verse">To your peering eyes?...</p> - </div> - <div class="stanza"> - <p class="verse2">I too stand where you have stood;</p> - <p class="verse">And the fever fills my blood</p> - <p class="verse">With your cruel mood.</p> - </div> - <div class="stanza"> - <p class="verse2">Yet some backward longings press</p> - <p class="verse">On my heart: yea, I confess</p> - <p class="verse">My soul’s heaviness.</p> - </div> - <div class="stanza"> - <p class="verse2">Me a homesick tremor thrills</p> - <p class="verse">As I dream how sunlight fills</p> - <p class="verse">My familiar hills.</p> - </div> - <div class="stanza"> - <p class="verse2">Me the yesterdays still hold—</p> - <p class="verse">Liegeman still unto the old</p> - <p class="verse">Stories sweetly told.</p> - </div> - <div class="stanza"> -<a id="page-9" class="pagenum" title="9"></a> - <p class="verse2">Into that profound unknown</p> - <p class="verse">Where the earthquake forces strown</p> - <p class="verse">Shake each pilèd stone</p> - </div> - <div class="stanza"> - <p class="verse2">Look; and exultance smites</p> - <p class="verse">Me with joy; the splintered heights</p> - <p class="verse">Call me with fierce lights.</p> - </div> - <div class="stanza"> - <p class="verse2">But a piety still dwells</p> - <p class="verse">In my bones; my spirit knells</p> - <p class="verse">Solemnly farewells</p> - </div> - <div class="stanza"> - <p class="verse2">To safe halls where I was born—</p> - <p class="verse">To old haunts I leave forlorn</p> - <p class="verse">For this perilous morn.</p> - </div> - <div class="stanza"> - <p class="verse2">Yet I come! I cannot stay!</p> - <p class="verse">Be it bitter night, or day</p> - <p class="verse">Glorious,—your way</p> - </div> - <div class="stanza"> - <p class="verse2">I must tread; and on the walls,</p> - <p class="verse">Where this flame-swept future calls</p> - <p class="verse">To fierce miracles,</p> - </div> - <div class="stanza"> - <p class="verse2">Lo, I greet you here! But me</p> - <p class="verse">Mock not lightly. I come free—</p> - <p class="verse">But with agony.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-5"> -A New Winged Victory -</h2> - -</div> - -<p class="book"> -<em>Angel Island</em>, by Inez Haynes Gillmore. -[Henry Holt and Company, New York.] -</p> - -<p class="first"> -<em><span class="firstchar">A</span><span class="postfirstchar">ngel</span> Island</em> is several rare things: -original, profound, flaming. It leaves -you with a gasping sense of having been -swept through the skies; and also with -that feeling of new life which comes with -a plunge into cold, deep seas. <em>Angel -Island</em> is a new kind of Winged Victory! -</p> - -<p> -Innumerable books have been written -about the conflict of the sexes, about the -emergence of the new woman. Most of -them are dull books. But Mrs. Gillmore’s -is beautiful and exciting. I kept -thinking as I read it: here is something -absolutely new, absolutely authentic; -something so full of vision and truth -that it’s like getting to the top of a -mountain for the sunrise. Its freshness -and its clearness are like cool morning -mists that the sun has shot through. -</p> - -<p> -But to discard vague phrases and get -to the story—for it is not a tract, but -a novel—or rather a poetic allegory—that -<a id="page-10" class="pagenum" title="10"></a> -that Mrs. Gillmore has written. Five -men of representative modern types—a -professor, a libertine, a soldier of -fortune, a “mere mutt-man,” and an -artist—are shipwrecked on a tropical -island. After a few days their attention -is caught by what appears to be huge -birds flying through the heavens. The -birds come nearer and prove to be -winged women! Then comes the story -of their wooing, their capture, their -ultimate evolution into what modern -women have decided they want to be: -humanists. -</p> - -<p> -However, this is going too fast. The -only way to appreciate <em>Angel Island</em> is -to be conscious of the art of it as you -read. Beginning with the shipwreck, -Mrs. Gillmore creates a series of brilliant -pictures that culminate in the flying -orgies of the bird-women. -</p> - -<div class="excerpt"> -<p class="noindent"> -... All this was intensified by the anarchy -of sea and sky, by the incessant explosion -of the waves, by the wind which seemed to -sweep from end to end of a liquefying universe, -by a downpour which threatened to beat their -sodden bodies to pulp, by all the connotation of -terror that lay in the darkness and in their unguarded -condition on a barbarous, semi-tropical -coast.... -</p> - -<p> -The storm, which had seemed to worry the -whole universe in its grip, had died finally but -it had died hard. On a quieted earth, the sea -alone showed signs of revolution. The waves, -monstrous, towering, swollen, were still marching -on to the beach with a machine-like regularity -that was swift and ponderous at the same -time.... Beyond the wave-line, under a -cover of foam, the jaded sea lay feebly palpitant -like an old man asleep.... -</p> - -<p> -They had watched the sun come up over the -trees at their back. And it was as if they had -seen a sunrise for the first time in their lives. -To them it was neither beautiful nor familiar; -it was sinister and strange. A chill, that was -not of the dawn but of death itself, lay over -everything. The morning wind was the breath -of the tomb, the smells that came to them from -the island bore the taint of mortality, the very -sun seemed icy. They suffered—the five survivors -of the night’s tragedy—with a scarifying -sense of disillusion with Nature.... -</p> - -<p> -The sun was racing up a sky smooth and clear -as gray glass. It dropped on the torn green sea -a shimmer that was almost dazzling; but there -was something incongruous about that—as -though Nature had covered her victim with a -spangled scarf. It brought out millions of -sparkles in the white sand; and there seemed -something calculating about that—as though -she were bribing them with jewels to forget.... -</p> - -<p> -Dozens of waves flashed and crashed their -way up the beach; but now they trailed an iridescent -network of foam over the lilac-gray -sand. The sun raced high; but now it poured a -flood of light on the green-gray water. The air -grew bright and brighter. The earth grew warm -and warmer. Blue came into the sky, deepened—and -the sea reflected it. Suddenly the world -was one huge glittering bubble, half of which -was the brilliant azure sky and half the burnished -azure sea. -</p> - -</div> - -<p class="noindent"> -All this is gorgeous enough—this -clear, vivid painting of nature. But -when Mrs. Gillmore turns her hand to -the supernatural, she is simply ravishing. -For instance: -</p> - -<div class="excerpt"> -<p class="noindent"> -The semi-tropical moon was at its full. Huge, -white, embossed, cut out, it did not shine—it -glared from the sky. It made a melted moonstone -of the atmosphere. It faded the few -clouds to a sapphire-gray, just touched here and -there with the chalky dot of a star. It slashed -a silver trail across a sea jet-black except where -the waves rimmed it with snow. Up in the -white enchantment, but not far above them, the -strange air-creatures were flying. They were -not birds; they were winged women! -</p> - -<p> -Darting, diving, glancing, curving, wheeling, -they interwove in what seemed the premeditated -figures of an aerial dance.... Their wings, -like enormous scimitars, caught the moonlight, -flashed it back. For an interval, they played -close in a group inextricably intertwined, a revolving -ball of vivid color. Then, as if seized -by a common impulse, they stretched, hand in -hand, in a line across the sky—drifted. The -moonlight flooded them full, caught glitter and -gleam from wing-sockets, shot shimmer and -sheen from wing-tips, sent cataracts of iridescent -color pulsing between. Snow-silver one, brilliant -green and gold another, dazzling blue the -next, luminous orange a fourth, flaming flamingo -scarlet the last, their colors seemed half liquid, -<a id="page-11" class="pagenum" title="11"></a> -half light. One moment the whole figure would -flare into a splendid blaze, as if an inner mechanism -had suddenly turned on all the electricity; -the next, the blaze died down to the fairy glisten -given by the moonlight. -</p> - -<p> -As if by one impulse, they began finally to fly -upward. Higher and higher they rose, still hand -in hand.... One instant, relaxed, they -seemed tiny galleons, all sails set, that floated -lazily, the sport of an aerial sea; another, supple -and sinuous, they seemed monstrous fish whose -fins triumphantly clove the air, monarchs of -that aerial sea. -</p> - -<p> -A little of this and there came another impulse. -The great wings furled close like blades -leaping back to scabbard; the flying-girls -dropped sheer in a dizzying fall. Half-way to -the ground, they stopped simultaneously as if -caught by some invisible air plateau. The great -feathery fans opened—and this time the men -got the whipping whirr of them—spread high, -palpitated with color. From this lower level, -the girls began to fall again, but gently, like -dropping clouds.... They paused an instant -and fluttered like a swarm of butterflies -undecided where to go.... Then they -turned out to sea, streaming through the air in -line still, but one behind the other. And for -the first time, sound came from them; they -threw off peals of girl-laughter that fell like -handfuls of diamonds. Their mirth ended in a -long, eerie cry. -</p> - -</div> - -<p class="noindent"> -To me, that is wonderful work—one -jeweled word after another. And it’s -sustained through the whole book. But -of course, after this first sense of ravishment -with her pictures, you touch upon -the deeper wonder of Mrs. Gillmore—her -ideas. There are enough ideas in -<em>Angel Island</em> to equip the women who -are fighting for selfhood with armour -that is absolutely hole proof. -</p> - -<p> -The winged women differ in type as -widely as the men; and each man chooses -very quickly the type that appeals to -him most. The libertine wants the big -blond one, whom they’ve named -“Peachy”; the professor likes Chiquita, -the very feminine, unintellectual one; -Billy, the mere man, falls violently and -reverently in love with the radiant Julia, -the leader of the group and the one -your interest centers in immediately. -Julia has a personality: she appears to -be “pushed on by some intellectual or -artistic impulse, to express by the symbols -of her complicated flight some theory, -some philosophy of life.” She seems -always to shine. She is a creator. In -short, Julia thinks. -</p> - -<p> -The men plan capture and finally accomplish -it by a time-honored method: -that of arousing the women’s curiosity. -Then follows a tragic episode when they -cut the captives’ wings, making flight -impossible. Of course, marriage is the -next step, and later, children are born -on Angel Island—little girl children -with wings, and boys without them. But -all this time Julia has refused to marry -Billy, though she’s in love with him. -Her only reason is that something tells -her to wait. -</p> - -<p> -Inevitably the women mourn the loss -of their wings; and just as they become -reconciled to a second-hand joy in their -daughters’ flights, Peachy’s husband -informs her that flying is unwomanly—that -woman’s place is in the home, -not in the air (!)—and that their -daughter must be shorn of her wings -as soon as she’s eighteen. -</p> - -<p> -What next? Rebellion, with Julia -shining gloriously as leader. She had -been waiting for this. And in ten pages -of profound, simple, magnificent talk—if -only every woman in the world would -read it!—she explains to the others that -they must learn to walk. Peachy objects, -because she dislikes the earth. -“There are stars in the air,” she argues. -“But we never reached them,” answers -Julia. The earth is a good place, and -they must learn to live in it. Besides, -their children will fly better for learning -to walk, and walk better for knowing -how to fly; and she prophesies that -<a id="page-12" class="pagenum" title="12"></a> -<em>then</em> will be born to one of them a boy -child with wings. -</p> - -<p> -The women hide and master the art -of walking. While they’re doing this -their poor wings have a chance to grow -a little, and by the time the men are -ready to capture and subdue them a -second time they have achieved a combination -of walking and flying that puts -them beyond reach. Then the men submit -... and Julia asks Billy to marry -her. -</p> - -<p> -That’s all, except one short chapter -about Julia. She has a son with wings! -And then she dies—radiant, white, goddess-woman, -whose life had been so fine -a thing. The beauty of it all simply -overwhelmed me. -</p> - -<p> -All of which points to several important -conclusions. First, that Mrs. -Gillmore is a poet and prophet of golden -values. Second, that prejudice is the -most foolish thing in the world. A general -prejudice against that obvious form -of comedy called farce might cause you -to miss <em>The Legend of Leonore</em>. And -a stubborn caution in regard to allegories—which, -I concede, generally <em>are</em> -unsubtle—might keep you from <em>Angel -Island</em>. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-6"> -Correspondence -</h2> - -</div> - -<h3 class="section" id="subchap-0-6-1"> -Two Views of H. G. Wells -</h3> - -<p class="noindent"> -I am just reading <em>The Passionate -Friends</em>, and every time I read anything -of Wells’s I wonder why it is I -don’t like him better. <em>The World Set -Free</em> that has been running in <em>The -Century</em> was intensely worth while, I -thought—really prophetic. One tasted -something almost divine; human nature -is capable of such wonderful undreamed -of things! It was like Tennyson prophesying -the Federation of the World, airships, -etc. Wells does seem inspired in -some ways. But every time I read any -of his novels—well, you remember I -have a distinct mid-Victorian flavor that -has to be reckoned with. I wasn’t -brought up in a minister’s family for -nothing! I suppose it’s what we used -to call our conscience. Mine isn’t much -good, alas; I sometimes think of it as -a little old Victorian lady. She sits in -the background of my consciousness and -knits and knits and nods her head. Meanwhile -I go blithely about, espousing all -sorts of causes and thinking out all sorts -of theories—imagining, you know, that -I’m perfectly free. Suddenly she wakes -up—she lays aside her knitting with a -determined air and says, “Mary Martha, -<em>what</em> are you thinking about! Stop that -right now; I’m ashamed of you.” And -she has authority, too, you know. I -stop. Ridiculous, isn’t it?—but so it is. -</p> - -<p> -And every time I read a Wells novel -my little old lady folds her hands and -sits up very primly and says, “Aha, -you’re reading something of that man’s -again. Well, I’m not asleep—I’m right -on the job and I know just what I think -of <em>him</em>.” So you see! And the worst—or -the best—of it is that I agree with -her. I can’t like him. I read along and -it’s all so reasonable—he’s so clever and -he <em>thinks</em>; but his conclusions are all so -weak—if he comes to any. One passage -in <em>The Passionate Friends</em> has made me -furious. How can a man who’s at all -worth while be so really wicked—(another -<a id="page-13" class="pagenum" title="13"></a> -word gone out of style). I mean -this: -</p> - -<div class="excerpt"> -<p class="noindent"> -It is manifestly true that for the most of us -free talk, intimate association, and any real -fellowship between men and women turns with -extreme readiness to love. And that being so, -it follows that under existing conditions the -unrestricted meeting and companionship of men -and women in society is a notorious sham, a -merely dangerous pretence of encounters. The -safe reality beneath those liberal appearances is -that a woman must be content with the easy -friendship of other women and of one man only, -letting a superficial friendship towards all other -men veil impassable abysses of separation, and -a man must in the same way have one sole -woman intimate.... To me that is an intolerable -state of affairs, but is reality. -</p> - -</div> - -<p class="noindent"> -Now can you suppose that is Wells’s -own reasoning that he puts into the -mouth of his unfortunate hero? Talk -about Edith Wharton being thin-lipped -in the pursuit of her heroines—that’s -a great deal better than being loose-lipped; -don’t you agree with me? It -may be true, and I rather think to some -extent it is true, that a man cannot have -an absorbing friendship with a woman -and not run the risk of falling in love. -But what does that prove? That he -should be allowed free rein and carry on -as many <em>liaisons</em> veiled under the name of -friendship as he chooses? Or unveiled, -rather, for Wells seems to want everything -in the open. He’s like a child -who says: Here’s a very dangerous beast -in a flimsy, inadequate cage. Frequently -he escapes from it and has to be put back -in. Let’s abolish the cage and let the -beast run about openly, doing what it -wants. And the good old-fashioned word -for that beast is lust, and it should be -caged; if the cage is getting more and -more inadequate it’s only a piece with -what Agnes Repplier calls our loss of -nerve. How I liked that article of hers! -What in the name of sense are we in this -world for if not to build up a character? -That’s all that amounts to anything, and -it comes from countless denials and -countless responses to duty. And what -Goethe said, some time ago, is still everlastingly -true: “<em><a id="corr-3"></a>Entbehren sollst -Du, sollst <a id="corr-4"></a>entbehren!</em>” (Deny yourself, -deny, deny.) He ought to know, too, -because he tried indulgence, goodness -knows, and knew the dregs at the bottom -of that cup. And I can’t forgive -Wells. He knows better than to let -people make all manner of experiment -with such things. They wouldn’t even -be happy; for happiness is built of stability, -loyalty, character, and again character. -My husband said, after reading -that passage in <em>The Passionate Friends</em>, -“The trouble with him and the class he -writes of is that they aren’t busy enough. -Let ’em work for a living, be interested -in something vitally for ten hours out of -the twenty-four, and they’ll forget all -about their neighbors’ wives and be content -with good men friends and casual -women friends.” -</p> - -<p> -The trouble lies with poor old human -nature, I guess, and the way it wants -what it cannot and ought not to have. -But Wells says all unreality is hateful -to him. Let’s tear down the barriers, -let’s show up for what we are. Poor -Smith wants something his neighbor has—well, -let’s give it to him, whether it’s -his neighbor’s success or his wife or his -happiness. Nature is still unbearably -ugly in lots of ways. When we can -train it to be unselfish and disinterested -then it will be time to tear down barriers. -</p> - -<p> -Lady Mary in <em>The Passionate Friends</em> -is an unconvincing character, too. I can -conceive of a woman who will take all -of a man’s possessions, giving him nothing -in return, not even fidelity, but I cannot -conceive of her justifying herself -unless she is an utter moral degenerate. -The danger of such writers as Wells is -<a id="page-14" class="pagenum" title="14"></a> -that they are plausible enough till you -look below the surface. He tries to represent -Lady Mary as charming, but she, -it seems to me, even more than modern -society which he arraigns, is “honeycombed -and rotten with evil.” -</p> - -<p class="sign"> -“M. M.” -</p> - -<p class="vspace noindent"> -The description of a “little old Victorian -lady” who sits in the background -of our consciousness and plays conscience -for us is charming; but.... She’s a -sweet-faced little lady to whom the universe -is as clear as crystal and as simple -as plane geometry. She is always knitting, -and what she knits is a fine web of -sentimentality with which to cover the -nakedness of truth—“for it is not -seemly, my dear, that anything, even -truth, should be naked.” -</p> - -<p> -This web of hers is as fine as soft -silk and as strong as chain mail. It’s -sticky, too. And it clothes truth so thoroughly -that she grows unrecognizable to -any but the most penetrating searcher—to -H. G. Wells, for instance. It’s natural -enough that the old lady should dislike -Wells, for he’s found her out; he’s -made the astonishing discovery that underneath -the web life is not sentimentally -simple. He discloses to her scandalized -eyes various unfortunate facts which she -has done her best to conceal, as for instance -the fact that there is such a thing -as sex. -</p> - -<p> -“Sex,” says Wells in effect in every -one of his novels, “is a disturbing element, -<em>the</em> disturbing element, in life. So -long as sex exists it is a physical impossibility -that life should be the sweetly -pretty parlor game our little Victorian -lady would have it.” -</p> - -<p> -Right here the husband of the little -lady has something to say: “The trouble -with him and the class he writes of,” he -announces, “is that they aren’t busy -enough. Let ’em work for a living, be -interested in something vitally for ten -hours out of the twenty-four, and they’ll -forget all about their neighbors’ wives -and be content with good men friends -and casual women friends.” This is an -excellent example of what Wells finds the -next most disturbing element in life—“muddle-headedness,” -the lack of ability -to think straight, to think things -through. “Let Wells be vitally interested -in something for ten hours of the twenty-four!” -Doesn’t he see that if Wells had -ever limited himself to ten hours of interest -he would be making shirts today? It -is because Wells works twenty-five hours -of the twenty-four at being “vitally interested -in something” that he is one of -the major prophets of our time. And the -thing in which he is interested is life itself, -the great unsolvable mystery, life -which extends below the simple, polished -surface that is all the Victorian lady -knows as the sea extends below its glassy -smoothness on a summer day. -</p> - -<p> -One of the greatest things that Wells -has done for some of us who came on him -young enough so that our minds did not -close automatically at his first startling -revelation, is this: he taught us to look -at life squarely, without moral cant, and -with a scientific disregard as to whether -it pleased us personally or not. We may -not always agree with him—very likely -we don’t—but at least we must face -the issue squarely and not take refuge -in the vague sentimentality and slushy -hopefulness of the Victorian lady. -</p> - -<p> -Wells states facts and very frequently -lets it go at that. Witness the shock this -method is to our little old lady. She -asks how anyone at all worth while can -be so “really wicked” as to write about -sex and society as he does. -</p> - -<p> -She admits that what he says is a fact, -<a id="page-15" class="pagenum" title="15"></a> -<em>but</em>—it sticks out like a jagged, untidy -rock from the smooth surface of things; -therefore it is wicked. As a matter of -fact that statement of his has no more -to do with morality, is no more wicked, -or virtuous, than the statement of a -physical fact—to say, for instance, that -glass breaks when hurled against a stone -wall. It is unfortunate, but it is not -“wicked.” -</p> - -<p> -No, the day of Victorianism is past. -We are slashing away the web, we are -learning to <em>think</em>. It is a slow and painful -process and we know not yet where -the struggle will end. But at least we -shall be nearer to the divine nakedness of -truth. If Wells has done nothing else -than to prove to us how much of our -thinking is dictated not by our own souls -but by the artificially-imposed sentimentality -of the “little old Victorian lady” -he has done a full man’s work. And we -who owe our emancipation largely to his -vision can never be too thankful to him. -</p> - -<p class="sign"> -<span class="smallcaps">Frances Trevor.</span> -</p> - -<h3 class="section" id="subchap-0-6-2"> -Rupert Brooke and Whitman -</h3> - -<p class="noindent"> -You treated Brooke in a masterly way -in the last issue. I saw many things I -hadn’t seen before, and understood the -<em>Wagner</em> better. But I disagree with you -in one way. -</p> - -<p> -The <em>Wagner</em> and the <em>Channel Passage</em> -are merely clever realistic satire—that’s -always worth while. But it’s the thought -behind the <em>Menelaus and Helen</em> sort of -thing that I don’t like. Of course there’s -no doubt that Helen grew wrinkled and -peevish. But to say that therefore Paris -in his grave was better off than Menelaus -living is just a bit decadent, isn’t it? -I’m forced to picture Brooke as the sort -of chap who couldn’t enjoy a good dinner -if he had to wash the dishes afterward:—instead -of regarding dishwashing -as a natural variety of living that -could be thoroughly enjoyable with -shirtsleeves and a pipe. I’m afraid he -wouldn’t play American football for fear -of getting his face dirty. He’s just a -bit finicky about life. He’s afraid to -commit himself for fear he’ll have to -endure something about which he can’t -weave golden syllables. That’s the reason -I don’t agree with you about Whitman -liking all of him. Whitman was -frank about the whole world, dirt and -all, and he accepted it enthusiastically. -Brooke writes about dirt in such a way -as to make it seem horrible. -</p> - -<p> -This poem of Whitman’s will prove -my point: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Afoot and light hearted, I take to the open road;</p> - <p class="verse">Healthy, free, the world before me,</p> - <p class="verse">The long brown path before me, leading wherever I choose.</p> - </div> - <div class="stanza"> - <p class="verse">Henceforth I ask not good fortune—I myself am good fortune;</p> - <p class="verse">Henceforth I whimper no more, postpone no more, heed nothing;</p> - <p class="verse">Strong and content I travel the open road.</p> - </div> - <div class="stanza"> - <p class="verse">The earth—that is sufficient;</p> - <p class="verse">I do not want the constellations any nearer,</p> - <p class="verse">I know they are very well where they are;</p> - <p class="verse">I know they suffice for those who belong to them.</p> - </div> - <div class="stanza"> - <p class="verse">Still, here I carry my old delicious burdens;</p> - <p class="verse">I carry them, men and women—I carry them with me wherever I go.</p> - <p class="verse">I swear it is impossible for me to get rid of them;</p> - <p class="verse">I am filled with them and I will fill them in return.</p> - </div> - <div class="stanza"> - <p class="verse">You road I enter upon and look around! I believe that you are not all that is here;</p> - <p class="verse">I believe that much unseen is also here.</p> - </div> - <div class="stanza"> - <p class="verse">Here the profound lesson of reception, neither preference nor denial;</p> - <p class="verse">The black and his woolly head, the felon, the diseased, the illiterate person, are not denied;</p> - <p class="verse">The birth, the hasting after the physician; the beggar’s tramp, the drunkard’s stagger, the laughing party of mechanics,</p> -<a id="page-16" class="pagenum" title="16"></a> - <p class="verse">The escaped youth, the rich person’s carriage, the fop, the eloping couple,</p> - <p class="verse">The early marketman, the hearse, the moving of furniture into town, the return back from town,</p> - <p class="verse">They pass—I also pass—anything passes—none may be interdicted;</p> - <p class="verse">None but are accepted—none but are dear to me.</p> - <p class="verse"><em>Mon enfant!</em> I give you my hand!</p> - <p class="verse">I give you my love more precious than money;</p> - <p class="verse">I give you myself before preaching or law;</p> - <p class="verse">Will you give me yourself? Will you come travel with me?</p> - <p class="verse">Shall we stick by each other as long as we live?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Beside this, doesn’t the <em>Menelaus and -Helen</em> seem like an orchid?—a very -beautiful, rich orchid, to be sure, but not -of the Whitman family. -</p> - -<p class="sign"> -<span class="smallcaps">George Soule.</span> -</p> - -<h3 class="section" id="subchap-0-6-3"> -More About the “New -Note” -</h3> - -<p class="noindent"> -The idea of “the new note” might -be worked out more fully, but after all -little or nothing would be gained by -elaboration. Given this note of craft -love all the rest must follow, as the spirit -of self-revelation, which is also a part of -the new note, will follow any true -present-day love of craft. You will remember -we once discussed Coningsby -Dawson’s <em>The Garden Without Walls</em>. -What I quarreled with in that book was -that the writer looked outside of himself -for his material. Even realists have done -this—as, for example, Howells; and to -that extent have failed. The master -Zola failed here. Why do we so prize the -work of Whitman, Tolstoy, Dostoevsky, -Twain, and Fielding? Is it not because -as we read we are constantly saying to -ourselves, “This book is true. A man -of flesh and blood like myself has lived -the substance of it. In the love of his -craft he has done the most difficult of -all things: revealed the workings of his -own soul and mind”? -</p> - -<p> -To get near to the social advance for -which all moderns hunger, is it not necessary -to have first of all understanding? -How can I love my neighbor if I do not -understand him? And it is just in the -wider diffusion of this understanding -that the work of a great writer helps -the advance of mankind. I would like -to have you think much of this in your -attitude toward all present-day writers. -It is so easy for them to bluff us from -our position, and I know from my own -experience how baffling it is constantly -to be coming upon good, well-done work -that is false. -</p> - -<p> -In this connection I am tempted to -give you the substance of a formula I -have just worked out. It lies here before -me, and if you will accept it in the -comradely spirit in which it is offered I -shall be glad. It is the most delicate and -the most unbelievably difficult task to -catch, understand, and record your own -mood. The thing must be done simply -and without pretense or windiness, for -the moment these creep in your record is -no longer a record, but a mere mass of -words meaning nothing. The value of -such a record is not in the facts caught -and recorded but in the fact of your having -been able truthfully to make the record—something -within yourself will tell -you when you have not done it truthfully. -I myself believe that when a man -can thus stand aside from himself, recording -simply and truthfully the inner -workings of his own mind, he will be -prepared to record truthfully the workings -of other minds. In every man or -woman dwell dozens of men and women, -and the highly imaginative individual -will lead fifty lives. Surely this can be -<a id="page-17" class="pagenum" title="17"></a> -said if it can be said that the unimaginative -individual has led one life. -</p> - -<p> -The practice of constantly and persistently -making such a record as this -will prove invaluable to the person who -wishes to become a true critic of writing -in the new spirit. Whenever he finds -himself baffled in drawing a character -or in judging one drawn by another, -let him turn thus in upon himself, trusting -with child-like simplicity and honesty -the truth that lives in his own mind. -Indeed, one of the great rewards of living -with small children is to watch their -faith in themselves and to try to emulate -them in this art. -</p> - -<p> -If the practice spoken of above is -followed diligently, a kind of partnership -will in time spring up between the -hand and the brain of the writer. He -will find himself becoming in truth a -cattle herder, a drug clerk, a murderer, -for the benefit of the hand that is writing -of these, or the brain that is judging -the work of another who has written of -these. -</p> - -<p> -To be sure this result will not always -follow, and even after long and patient -following of the system one will run into -barren periods when the brain and the -hand do not co-ordinate. In such a -period it seems to me the part of wisdom -to drop your work and begin again -patiently making a record of the workings -of your own mind, trying to put -down truthfully those workings during -the period of failure. I would like to -scold every one who writes, or who has -to do with writing, into adopting this -practice, which has been such a help and -such a delight to me. -</p> - -<p class="sign"> -<span class="smallcaps">Sherwood Anderson.</span> -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-7"> -To E -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Sara Teasdale</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">The door was opened and I saw you there</p> - <p class="verse">And for the first time heard you speak my name,</p> - <p class="verse">Then like the sun your sweetness overcame</p> - <p class="verse">My shy and shadowy mood; I was aware</p> - <p class="verse">That joy was hidden in your happy hair,</p> - <p class="verse">And that for you love held no hint of shame;</p> - <p class="verse">My eyes caught light from yours, within whose flame</p> - <p class="verse">Humor and passion have an equal share.</p> - </div> - <div class="stanza"> - <p class="verse">How many times since then have I not seen</p> - <p class="verse">Your great eyes widen when you talk of love,</p> - <p class="verse">And darken slowly with a far desire;</p> - <p class="verse">How many times since then your soul has been</p> - <p class="verse">Clear to my gaze as curving skies above,</p> - <p class="verse">Wearing like them a raiment made of fire.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-8"> -<a id="page-18" class="pagenum" title="18"></a> -To S -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Eunice Tietjens</span> -</p> - -<div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">From my life’s outer orbit, where the night</p> - <p class="verse">That bounds my knowledge still is pierced through</p> - <p class="verse">By far-off singing planets such as you,</p> - <p class="verse">Whose faint, sweet voices come to me like light</p> - <p class="verse">In disembodied beauty, keen and bright,—</p> - <p class="verse">From this far orbit to my nearer view</p> - <p class="verse">You came one day, grown tangible and true</p> - <p class="verse">And warm with sympathy and fair with sight.</p> - </div> - <div class="stanza"> - <p class="verse">Then I who still had loved your distant voice,</p> - <p class="verse">Your songs, shot through with beauty and with tears</p> - <p class="verse">And woven magic of the wistful years,</p> - <p class="verse">I felt the listless heart of me rejoice</p> - <p class="verse">And stir again, that had lain stunned so long,</p> - <p class="verse">Since I had you, yourself a living song.</p> - </div> - </div> -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-9"> -The Critics’ Critic -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Agnes Repplier on Popular Education</span> -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">hrough</span> all of Miss Repplier’s -latest essays in <em>The Atlantic</em> runs a -note of appeal for the sterner virtues, -which she thinks are in danger of dying -out under modern conditions. So persistently -is this note, admirable in itself, -sounded, that we wonder if it doesn’t -hark back a bit to Sparta, and the casting -away of the unfit. When it comes -to the question of an education broad -enough to fit the needs of every child, we -may all pause and take a deep breath. -We may not approve of a school of -moving pictures, advocated by Judge -Lindsey, and yet we may not wish to go -to the other extreme of severe discipline -advocated by Miss Repplier. If only all -children were of exactly the same type, -so that the same kind of schooling would -suffice for all their needs! Or even if -they could come from the same kind of -homes with more or less similar ideals! -</p> - -<p> -Let us hear what she and Mr. Lindsey -have to say about Tony—(Tony is a -boy who does not like school as it is at -present organized). “Mr. Edison is -coming to the rescue of Tony,” says -Judge Lindsey. “He will take him away -from me and put him in a school that is -not a school at all but just one big game.... -There will be something moving, -something doing at that school all the -time. When I tell him about it Tony -shouts ‘Hooray for Mr. Edison!’ right -<a id="page-19" class="pagenum" title="19"></a> -in front of the battery, just as he used -to say ‘To hell wid de cop!’” On the -other hand:—“The old time teacher,” -says Miss Repplier, “sought to spur the -pupil to keen and combative effort, rather -than beguile him into knowledge with -cunning games and lantern slides.... -The old time parent set a high value on -self discipline and self control.” -</p> - -<p> -But can she believe for one moment -that Tony’s parents ever dreamed of -“setting a high value on self discipline -and self control?” Or that Tony’s sister -was taught to “read aloud with correctness -and expression, to write notes with -propriety and grace, and to play backgammon -and whist?” ... -</p> - -<p> -<em>Figurez-vous!</em> And so, if we can reach -little Tony’s darkened vision by the simple -method of moving pictures, keep him -off the streets until he learns at least not -to become a hardened criminal—are we -not that much to the good? Tony will -never, never be ambassador to the court -of St. James (or if he is going to be, -he’ll be it in spite of movies!) but he may -be a fairly honest, happy fruit vendor -some day, instead of No. 207 in a cell. -Useless to cite the dull boys in school, -who absolutely refused pedagogic training -and later blazed their way—luminaries—through -the world, when once -they had found the work that interested -them. To interest, stimulate, and arouse -is the prelude to work; and precious few -kiddies, except those who don’t really -need it, do enough work that they dislike -to strengthen their little characters. But -even if they do, are those who will not -to have nothing? -</p> - -<p> -Of course, education is a thing that -can’t be disposed of in a few well meaning -phrases. Miss Repplier may be -right, too, in what she says of the education -of Montaigne. You remember he -learned to talk Latin under a tutor, at an -early age, in much the same way that our -modern young ones learn French and -German. -</p> - -<p> -“All the boy gained by the most elaborate -system ever devised for the saving -of labor,” she says, “was that he over-skipped -the lower forms in school. What -he lost was the habit of mastering his -prescript lessons, which he seems to have -disliked heartily.” But how does any -one know that that was all he gained? -I should hardly select Montaigne as my -model, if I were trying to point out the -ill effects of any particular type of education. -Besides, whatever its effect may -have been on him, I should hate to lose -the mental picture of the little lad Latinizing -with the “simple folk of Perigord.” -Charming little lad, and wonderful old -father, doing his best to elevate and help -his boy. No, decidedly; whatever Miss -Repplier may do to dispose of Tony -and his ilk, I am glad she had nothing -whatever to do with the education of -Montaigne! -</p> - -<h3 class="section" id="subchap-0-9-1"> -<span class="smallcaps">The Little Review</span> -</h3> - -<p class="noindent"> -Since it appears to be my duty to read -all the critical journals and dissect their -contents for these columns, I can’t in -good faith neglect <span class="smallcaps">The Little Review</span>. -I have just devoured the first issue. What -can I say about the superb “announcement”? -I agree ardently with it. It -needed to be said; the magazine needed -to be born. There’s no quarrel between -art and life except where one or the other -is kept back of the door. Anyone with a -keen appreciation of art can’t help appreciating -life too, and Mrs. Jones who -runs away from her husband can’t fairly -stand for “life.” Besides, why should -anybody object to a thing because it’s -transitorial? Everything is transitorial. -It must either grow or perish. -</p> - -<p> -Mr. Wing’s criticism of <em>Mr. Faust</em> is -<a id="page-20" class="pagenum" title="20"></a> -admirable—direct, unpretentious, sound. -But you must let me register a slight objection -to Dr. Foster’s Nietzsche article. -It seems to me there’s just too much enthusiasm -to be borne by what he actually -says. When I came to the end of -that third paragraph on page fifteen I -sneaked back to Galsworthy’s letter and -found an answering twinkle in its eye. I -felt like going up to Dr. Foster with a -grin, putting my hand on his shoulder -and saying, “My dear man, a candidate -for major prophet doesn’t need political -speeches. It is really not half so important -that we unregenerate should give -three cheers for him as that we should -live his truth. Won’t you forget a little -of this sound and fury and tell us as simply -as you can just what it is that you -want us to do?” -</p> - -<p> -I went from his article with the impression -that here was a man who was -very enthusiastic about Mr. Nietzsche. -I’m sure that’s not the impression Dr. -Foster intended to make. But I have a -feeling that pure enthusiasm wasting itself -in little geysers is intrinsically ridiculous. -Enthusiasm should grow trees -and put magic in violets—and that -can’t be done with undue quickness, or in -any but the most simple way. Nobody -cares about the sap except for what it -does. And, anyhow, it always makes me -savage to be orated at, or told that my -soul will be damned if I don’t admit the -particular authority of Mr. Jehovah or -Mr. Nietzsche or Mr. anybody else. -</p> - -<p> -That’s all by the way, however, and -the impression of the magazine as a -whole is clear, true, swift. Its impact -can’t be forgotten. You haven’t attained -your ideal—which is right; but -you’ve done so well you’ll have to -scratch to keep up the speed,—which is -right, too. -</p> - -<p class="sign"> -<span class="smallcaps">M. H. P.</span> -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-10"> -Women and the Life Struggle -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Clara E. Laughlin.</span> -</p> - -<p class="book"> -<em>The Truth About Women</em>, by C. Gasquoine Hartley (Mrs. Walter M. Gallichan). -[Dodd, Mead & Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">M</span><span class="postfirstchar">rs.</span> Gallichan has not told the whole -truth about woman; but she has told as -much of it as has been told by any one -writer except Olive Schreiner; and although -she has made no important discovery, -educed no brilliant new conclusion, -she has summarized the best of all -that has been said in a book which can -scarcely fail to render notable service. -</p> - -<p> -It is interesting to recall how the truth -about women has been disclosed. The -voice of Mary Wollstonecraft, crying in -the wilderness, in 1792, pleaded that “if -woman be not prepared by education to -become the companion of man, she will -stop the progress of knowledge; for -truth must be common to all.” Yet -it was nearly sixty years before -Frederick Denison Maurice was able to -open Queen’s College, and give a few -English women the opportunity of an -education. (In America, Mary Lyon -had already broken ground for the -higher education of her countrywomen.) -</p> - -<p> -Here and there, in those days, an intrepid -female declared herself a believer -in woman’s rights; but her pretensions -were scarcely honored to the point even -of ridicule. Women were inferior creatures, -designed and ordered by God to -be subordinate to men. Didn’t everything -go to prove it? And, indeed, -nearly everything seemed to! -</p> - -<p> -In 1861, several scholarly gentlemen -<a id="page-21" class="pagenum" title="21"></a> -in Europe were delving in fields of research -where they were destined to upturn -facts of great interest to the -inferior sex. One of these was John -Stuart Mill, whose impassioned protest -against the subjection of women was -then being written, although it was not -published until eight years later. Another -was Henry Maine, who was disclosing -some significant things about the -ancient law on which our modern laws -are founded. Another was Lecky, who -was gathering material for his <em>History -of European Morals, from Augustus -to Charlemagne</em>, and—incidentally—discovering -that “natural history of -morals” wherewith he was to shock the -world in 1869. But two of the others -were searching back of Augustus—“back” -of him both in point of time -and also in degree of civilization. One -of these was Bachofen, a German, who -published, in 1861, <em>Das Mutterrecht</em>, -in which he made it clear that women -had not always been subordinate, dependent, -but among primitive peoples -had been the rulers of their race. McLennan’s -<em>Primitive Marriage</em>, published -in 1865, brought prominently to British -thinkers this quite-new contention of -woman as a creature born to rule, but -defrauded and degraded. -</p> - -<p> -Then, in 1871, Darwin startled the -world with <em>The Descent of Man, and -Selection in Relation to Sex</em>; and those -who accepted his theory of evolution -had to revise all their previous notions -about the relations of the sexes. -</p> - -<p> -During the next quarter-century -many minds were busy with this wholesale -revision of ideas, but nothing signal -was set forth until Charlotte Stetson—working -with the historical data of -Maine and Mill and Lecky and their -followers, with the ethnological data of -Bachofen and McLennan, and many -more, and with the natural history of -morals as Darwin and Wallace and -Huxley and their school disclosed it—declared -that the enslavement of women -was economic in its origin and in its final -analysis. This was not the whole truth, -but it was so important a part of the -whole that the book <em>Women and Economics</em> -may be said to have given the -most productive stimulus the feminist -movement had had since <em>The Descent of -Man</em>. -</p> - -<p> -Scores, almost hundreds, of books -dealing with some phase or other of -woman’s history, appeared in the next -few years. But while many of them -were valuable, and some were all but -invaluable, none of them was epoch-marking -until Olive Schreiner put forth -her magnificent fragment on <em>Woman -and Labor</em>, the chapter on Parasitism -being the noblest and most pregnant -thing that any student of woman has -given to the world. Olive Schreiner saw -much further into the question of women -and economics than Charlotte Stetson -knew how to see. She has a greater -vision. She perceives that women are -ennobled by what they do—just as men -are—and that they are degraded by -being denied creative, productive labor—not -by being denied the full reward -of their toil. -</p> - -<p> -Mrs. Gallichan does not advance upon -the contribution of Mrs. Schreiner, as -Mrs. Schreiner did upon that of Mrs. -Stetson; but she had less opportunity to -do so: Mrs. Schreiner did not leave so -much for some one else to say. But Mrs. -Gallichan has summarized all that has -been said more fully than any other -writer has done; and she has done it so -interestingly, so ably, that she deserves -grateful praise. -</p> - -<p> -Her book has three sections: the biological, -the historical, and the modern. -</p> - -<div class="excerpt"> -<p class="noindent"> -<a id="page-22" class="pagenum" title="22"></a> -Let no one resent or think useless an analogy -between animal love-matings and our own. In -tracing the evolution of our love-passions from -the sexual relations of other mammals, and back -to those of their ancestors, and to the humbler, -though scarcely less beautiful, ancestors of -these, we shall discover what must be considered -as essential and should be lasting, and what is -false in the conditions and character of the -sexes today; and thereby we shall gain at once -warning in what directions to pause, and new -hope to send us forward. We shall learn that -there are factors in our sex-impulses that require -to be lived down as out-of-date and no longer -beneficial to the social needs of life. But encouragement -will come as, looking backwards, -we learn how the mighty dynamic of sex-love -has evolved in fineness, without losing in intensity, -how it is tending to become more mutual, -more beautiful, more lasting. -</p> - -</div> - -<p class="noindent"> -Two suggestions which Mrs. Gallichan -makes in the biological section are especially -striking. One is derived from the -bee, and one from the spider. The bee, -she reminds us, belongs -</p> - -<div class="excerpt"> -<p class="noindent"> -to a highly evolved and complex society, which -may be said to represent a very perfected and -extreme socialism. In this society the vast majority -of the population—the workers—are -sterile females, and of the drones, or males, only -a very few at the most are ever functional. -Reproduction is carried on by the queen-mother ... -specialized for maternity and incapable -of any other function.... I have little -doubt that something which is at least analogous -to the sterilization of the female bees is present -among ourselves. The complexity of our social -conditions, resulting in the great disproportion -between the number of the sexes, has tended to -set aside a great number of women from the -normal expression of their sex functions. -</p> - -</div> - -<p class="noindent"> -The danger to society, when maternity -shall be left to the stupid parasitic -women who are unable to exist as -workers, is pointed out by Mrs. Gallichan; -as is also that exaggerated form -of matriarchy which is realized among -the ants and bees. And she reminds -women who are workers, not mothers, -that in the bee-workers the ovipositor -becomes a poisoned sting. She warns -women not to become like the sterile -bees; but she warns them also against -state endowment of motherhood. And -she does not suggest how the great -excess of women are to become mothers -without reorganizing society. -</p> - -<p> -The second example she cites in warning, -the common spider, whose courtship -customs Darwin described in <em>The -Descent of Man</em>, is “a case of female -superiority carried to a savage conclusion.” -And from this female who ruthlessly -devours her lover, Mrs. Gallichan -deduces a theory for “many of those -wrongs which women have suffered at -the hands of men. Man, acting instinctively, -has rebelled, not so much, I think, -against woman as against this driving -hunger within himself, which forces him -helpless into her power.” -</p> - -<p> -The stages by which parasitism was -transferred from the male to the female -still need some elucidation—like the -stages by which marriage passed from -endogamy to exogamy. But Mrs. Gallichan’s -suggestion about the male preserving -himself by appearing as self-sufficient -and as dominant as he can, is -highly interesting. It will probably not -be long before we know a great deal -more of this. -</p> - -<p> -In the historical section of her book, -Mrs. Gallichan devotes four admirable -chapters to the mother-age civilization, -and four others to the position of women -in Egypt, Babylon, Greece, and Rome. -</p> - -<p> -Of immense significance is the relation -between the enviable status of women in -Egypt and that love of peace and of -peaceful pursuits which characterized -the Egyptian people. War, patriarchy, -and the subjection of women, have gone -hand in hand. Social organizations in -which might was right have minimized -the worth of women; those in which ingenuity, -resourcefulness, and ideality -<a id="page-23" class="pagenum" title="23"></a> -were set above brute force have given -women most justice. -</p> - -<p> -Mrs. Gallichan’s chapter on the women -of Athens and of Sparta is most suggestive. -So is that on the women of -Rome. -</p> - -<p> -In her modern section she discusses -women and labor: -</p> - -<div class="excerpt"> -<p class="noindent"> -The old way of looking at the patriarchal -family was, from one point of thought, perfectly -right and reasonable as long as every woman -was ensured the protection of, and maintenance -by, some man. Nor do I think there -was any unhappiness or degradation involved -to women in this co-operation of the old days, -where the man went out to work and the -woman stayed to do work at least equally -valuable in the home. It was, as a rule, a -co-operation of love, and in any case it -was an equal partnership in work. But -what was true once is not true now. We are -living in a continually changing development -and modification of the old tradition of the relationship -of woman and man.... The -women of one class have been forced into labor -by the sharp driving of hunger. Among the -women of the other class have arisen a great -number who have turned to seek occupation -from an entirely different cause, the no less bitter -driving of an unstimulating and ineffective -existence, a kind of boiling-over of women’s -energy wasted, causing a revolt of the woman-soul -against a life of confused purposes, achieving -by accident what is achieved at all. Between -the women who have the finest opportunities -and the women who have none there is this -common kinship—the wastage not so much of -woman as of womanhood. -</p> - -</div> - -<p class="noindent"> -She considers “the women who have -been forced into the cheating, damning -struggle for life,” and urges that “the -life-blood of women, that should be given -to the race, is being stitched into our -ready-made clothes; washed and ironed -into our linen; poured into our adulterated -foods”; and so on. But her -reasoning in this chapter is not very -clear. Women, to avoid parasitism, must -work, and only a relatively small proportion -of them can now find in their -homes work enough to keep them self-sustaining. -Protest against the sweating -of women is not only philanthropic—it -is perfectly sound political economy. -Women workers not only should -be protected against long hours, unnecessary -risks, insanitary surroundings, -merciless nerve tension, and the computation -of their wages on a basis of their -assured ability to live partly by their -labor and partly by the legitimatized or -unlegitimatized sale of their sex; but -this <em>can</em>, and <em>must</em>, be done. Yet, when -all this has been accomplished, will Mrs. -Gallichan feel satisfied that the struggle -for life is not “cheating, damning,” if -owing to conditions we cannot regulate -that struggle fails also to comprehend -the struggle to give life, to reproduce? -</p> - -<div class="excerpt"> -<p class="noindent"> -It is because we are the mothers of men that -we claim to be free. -</p> - -</div> - -<p class="noindent"> -This is the keynote of her book. But -she is by no means clear in her mind as -to how the mothers of men are to maintain -themselves in a freedom which shall -be real, not merely conceded; nor as to -how the millions of women who, under -our monogamous societies, cannot be -permanently mated, are to justify their -struggle for existence by becoming -“mothers of men.” -</p> - -<p> -The something that Mrs. Gallichan -lacks, not in her retrospect so much as -in her previsioning, has been lacked by -many of the great investigators and -writers who have built up the magnificent -literature of evolution and evolutionary -philosophy: she has an admirable -survey of the “whenceness” of life -and love and labor, but a short-sighted, -astigmatic vision of its “whereuntoness.” -</p> - -<p> -If the sole purpose of life and love -and labor, among humans as among -lower animals, is to continue life, to -transmit the life-force, then indeed are -<a id="page-24" class="pagenum" title="24"></a> -those frustrated, futile creatures who -are cheated, or who cheat themselves, -out of rendering this one service to the -world which can justify them for having -lived in it. -</p> - -<p> -But if, as most of us believe, we are -more than just links in the human chain; -if we have a relation to eternity as -well as to history and to posterity, there -are splendid interpretations of our -struggles that Mrs. Gallichan does not -apprehend. If souls are immortal, life -is more than the perpetuation of species, -or even than the improvement of the -race; it is the place allotted to us for the -development of that imperishable part -which we are to carry hence, and through -eternity. And any effort of ours which -helps other souls to realize the best that -life can give, to seek the best that immortality -can perpetuate, may splendidly -justify our existence. -</p> - -<p> -Mrs. Gallichan’s conclusion about religion -is that it is an “opium” to which -women resort when they have no proper -outlet for their sex-impulses. “I am -certain,” she says, “that in us the religious -impulse and the sex impulse are -one.” And when she was able to satisfy -the sex impulse, she no longer had any -need of or interest in religion. -</p> - -<p> -The limitations this puts upon her -interpretation of life are too obvious to -need cataloging. And this is the reason -she signally fails to tell the whole of -the truth about woman. This is the -reason why the latter chapters of her -book, in which she writes of marriage -and divorce and prostitution, are of less -worth to the generality of readers than -the earlier ones; though this is not to -say that these chapters do not contain a -very great deal of vigorous thinking and -excellent suggestion. But to anyone -who holds that the continuance of life -is the principal justification for having -lived, yet deplores free love and state -endowment of mothers, there is inevitably -an appalling waste, for the elimination -of which she may well be staggered -to suggest a remedy. -</p> - -<p> -Mrs. Gallichan’s book is not constructive -in effect. But it is so excellently -analytical, as far as it goes, that it can -scarcely fail to provoke a great deal of -thought. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-11"> -“Change” -</h2> - -</div> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">here</span> is coming soon, to the Fine -Arts Theatre—that charming Chicago -home of the Irish Players and of “the -new note” in drama—a play with an -interesting title. It is called <em>Change</em>. -It is to be given by the Welsh Players—which -fact alone has a thrill in it. -But the theme is even more compelling. -</p> - -<p> -Two old God-fearing Welsh people -have denied themselves of comforts and -pleasures to give their sons an education. -Then, when they expect to reap the benefits -of the sacrifice, three unexpected and -awful things happen: the student son -has so fallen under the influence of -modern skepticism as to be forced to -abandon his father’s Calvinistic creed. -The second one has become soaked with -socialism and syndicalism. The third, -a chronic invalid, is a Christian and a -comfort; but he is killed, quite unnecessarily, -in a labor conflict instigated -by his brother. Then—the two old -people again, alone. What can a playwright -do with such a situation? Nothing, -certainly, to attract a “capacity -house.” But we shall be among the first -of that small minority who likes thinking -in the theatre to hear what Mr. Francis -has to say. His theme is tremendous. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-12"> -<a id="page-25" class="pagenum" title="25"></a> -The Poetry of Alice Meynell -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Llewellyn Jones</span> -</p> - -<p class="first"> -<span class="firstchar">N</span><span class="postfirstchar">ot</span> least among the stirring events -of our present poetical renaissance -are the publication of the collected editions -of the works of Alice Meynell and -Francis Thompson (Scribner). Spiritually -akin, mutually influencing one another -in material as in more subtle ways, -their poetry stands in vivid contrast to -the muse of our younger singers, the -makers of what English critics hail as a -new Georgian Age. That this difference -gives them an added significance, and not -as some critics have said, a lessened one, -is the burden of the present appreciation -of the poems of Alice Meynell. For -there is a tendency for the reader who -is intoxicated with poetic modernity to -reason somewhat after this fashion. -Here, he will say,—as indeed Mr. Austin -Harrison has said of Francis Thompson—is -a “reed pipe of neo-mediaevalism ... -a poet of the gargoyle,” not of -this modern world, and so neither in sympathy -of thought or melody with us of -the twentieth century, its free life and -<em>vers libre</em>. All this, of course, because, -Francis Thompson was—as is Mrs. -Meynell—a child of the Catholic -Church. Our supposititious reader will -continue to the effect that there is no -spiritual profit to be had in reading these -poets when the modern attitude is to be -found in such writers as W. W. Gibson, -Masefield, and Hardy. But in so arguing, -our reader will be entirely wrong as -to the facts, and mistaken in his whole -manner of approach to the realm of -poetic values. -</p> - -<p> -Mr. Max Eastman, in his charming -book, <em>The Enjoyment of Poetry</em>, lays -stress on the fact that poetry is not primarily -the registering of emotions but -the expression of keen realizations. A -mathematical concept may arouse an -emotion, but the poet makes the actual -emotion transmissible by his selective -power in picking out the focal point of -the experience by which it is aroused. -If poetry is essentially realization of life, -then we have no longer any excuse for -asking our poets to share our doctrinal -views before we consent to read them. -On the contrary, we should be more anxious -to read Mrs. Meynell than Mr. Gibson, -if we are modernists, for Mr. Gibson -may, conceivably, not be able to tell -us anything we have not already felt. -Mrs. Meynell, on the other hand, can inform -our feelings with fresh aspects of -experience, and she does so abundantly. -Her Catholicism is not mediaevalism, but, -in so far as it is translatable into her -poetry it is simply a vocabulary for -the expression of certain emotional realizations -of life which we modernists find -it very hard to express because we do not -have the necessary vocabulary. What -can be more modern than the doctrine of -the immanence of God and his abode in -man, that much-discussed “social gospel?” -Yet the following poem, not in -spite of but through its Catholic terminology, -heightens our realization of -brotherhood and dependence one upon -another. It is entitled <em>The Unknown -God</em>: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">One of the crowd went up,</p> - <p class="verse">And knelt before the Paten and the Cup,</p> - <p class="verse">Received the Lord, returned in peace, and prayed</p> - <p class="verse">Close to my side; then in my heart I said:</p> - </div> - <div class="stanza"> -<a id="page-26" class="pagenum" title="26"></a> - <p class="verse">“O Christ, in this man’s life—</p> - <p class="verse">This stranger who is Thine—in all his strife,</p> - <p class="verse">All his felicity, his good and ill,</p> - <p class="verse">In the assaulted stronghold of his will,</p> - </div> - <div class="stanza"> - <p class="verse">“I do confess Thee here,</p> - <p class="verse">Alive within this life; I know Thee near</p> - <p class="verse">Within this lonely conscience, closed away</p> - <p class="verse">Within this brother’s solitary day.</p> - </div> - <div class="stanza"> - <p class="verse">“Christ in his unknown heart,</p> - <p class="verse">His intellect unknown—this love, this art,</p> - <p class="verse">This battle and this peace, this destiny</p> - <p class="verse">That I shall never know, look upon me!</p> - </div> - <div class="stanza"> - <p class="verse">“Christ in his numbered breath,</p> - <p class="verse">Christ in his beating heart and in his death,</p> - <p class="verse">Christ in his mystery! From that secret place</p> - <p class="verse">And from that separate dwelling, give me grace.”</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The spectacle of a general communion -again gives Mrs. Meynell inspiration for -a poem whose last two stanzas apply -equally as well to the secular, evolutionary -view of salvation as they do to the -ecclesiastical view, and whose last stanza -is most suggestive in the light it throws -upon the puzzling discrepancy between -the littleness of man and the unlimited -material vast in which he finds himself a -floating speck: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">I saw this people as a field of flowers,</p> - <p class="verse">Each grown at such a price</p> - <p class="verse">The sum of unimaginable powers</p> - <p class="verse">Did no more than suffice.</p> - </div> - <div class="stanza"> - <p class="verse">A thousand single central daisies they,</p> - <p class="verse">A thousand of the one;</p> - <p class="verse">For each, the entire monopoly of day;</p> - <p class="verse">For each, the whole of the devoted sun.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -Even so typically modern a philosopher -as Henri Bergson would find one of his -leading and rather baffling ideas beautifully -realized in one of Mrs. Meynell’s -sonnets. Matter, Bergson tells us, in all -its manifestations is moulded by a spiritual -push from behind it, so that the sensible -world is not a mosaic of atoms obeying -fixed laws but rather a cosmic -compromise between matter and spirit, a -<em>modus vivendi</em> the operation of which -would seem very different to us were our -viewpoint that of pure spirit. Says Mrs. -Meynell in <em>To a Daisy</em>: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Slight as thou art, thou art enough to hide</p> - <p class="verse1">Like all created things, secrets from me,</p> - <p class="verse1">And stand, a barrier to eternity.</p> - <p class="verse">And I, how can I praise thee well and wide</p> - </div> - <div class="stanza"> - <p class="verse">From where I dwell—upon the hither side?</p> - <p class="verse1">Thou little veil for so great mystery,</p> - <p class="verse1">When shall I penetrate all things and thee,</p> - <p class="verse">And then look back? For this I must abide,</p> - </div> - <div class="stanza"> - <p class="verse">Till thou shalt grow and fold and be unfurled</p> - <p class="verse">Literally between me and the world.</p> - <p class="verse1">Then I shall drink from in beneath a spring,</p> - </div> - <div class="stanza"> - <p class="verse">And from a poet’s side shall read his book.</p> - <p class="verse">O daisy mine, what shall it be to look</p> - <p class="verse">From God’s side even of such a simple thing?</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The sense of what might, perhaps, be -called restrained paradox in that sonnet, -is frequently met with in Mrs. Meynell’s -writings, and it corresponds to aspects -of reality which the old religious phraseology -she has so freshly minted for us -is alone fitted to convey. <em>The Young -Neophyte</em> is a beautiful sonnet enshrining -the fatefulness of every human -action, the gift of the full flower which -is implicit in the gift of the smallest bud, -the preparation we are constantly making -for crises which are yet hidden in the -future. <em>Thoughts in Separation</em> also -deals with the paradoxical overcoming of -the handicaps of personal absence of our -friends through community of thought -and feeling. Not only are these paradoxes -in human psychology delicately -set forth by the poet, but those darker -ones of human work and destiny are consolingly -illuminated in such a poem as -<em>Builders of Ruins</em>—which does not depend -for its quality of consolation upon -anything foreign to its poetic truth. -</p> - -<p> -One poem in the book is, perhaps, -most remarkable for the light it throws -upon the sense in which the term poetic -truth may be used, and as showing the -<a id="page-27" class="pagenum" title="27"></a> -difference between the poetic, the realizable, -and, therefore, the true side of a -religion—the side Matthew Arnold was -so anxious to keep—and the mere theological -framework, always smelling of -unreality and always in need of renovation. -The poem may stand as a warning -against confusing real poetry—in -whose truth we need not be afraid to -trust because its author does not inhabit -our own thought world—with versified -theology. If all of Mrs. Meynell’s work -were like her <em>Messina, 1908</em>, then the -critic and reader who now mistakenly -shun her would be right. And the poem -is a curious commentary upon Mr. Eastman’s -insistence that poetry is realization. -For in her other poems the author -has presented those aspects of her religion -which are verifiable in experience. -Perhaps the quotations given above bear -out that point. But one aspect of religious -thought has now been pretty generally -abandoned, not because it has ever -been proven false, but because we have -never succeeded in realizing it for ourselves. -The God of orthodox church -theodicy never did “make good”; -Christ, the Saints, and even the very material -form of the cross itself had to -mediate between man and the divine. -And it is precisely in the one case in this -book where Mrs. Meynell tries to present -the governing rather than the immanent -God to us that she fails—as, if poetry -be realization, we should expect her to -fail. The first stanza of the poem addressed -to the Deity describes in a few -bold strokes the wreck of Messina, and -ends with the lines: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Destroyer, we have cowered beneath Thine own</p> - <p class="verse1">Immediate unintelligible hand.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The second stanza describes the missions -of mercy to the stricken city, and -ends: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse1">... our shattered fingers feel</p> - <p class="verse">Thy mediate and intelligible hand.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -The essential weakness of this dependence -for poetic effect upon the two adjectives -and their negatives is no less -obvious than the weakness of the poet’s -attribution of such apparently impulsive -and then retractatory conduct to a God -whose ways must either be explicable in -terms of a human sense of order or not -made the subject of human discourse at -all. -</p> - -<p> -Mrs. Meynell describes herself in one -of these poems as a singer of a single -mood. Some of her critics have taken -her at her word and saved themselves -some trouble thereby in their task of -appreciation. But as a matter of fact, -she should not be taken at her own modest -estimate, for her one mood is such a -pervasive one, such a large and sane -mood, that it pays to look at more than -one aspect of life through its coloring. -And in truth, besides her better-known -poems which need no further mention -here, <em>The Lady Poverty</em> and <em>Renouncement</em>, -for example, there will be found -within the small compass of her beautifully-housed -collection of verse many -aspects of nature, all of them instinct -with a mystic shimmer of life, as well as -aspects of the innermost life of man -which it is given to few spirits to sing -in words—only, in fact, to those spirits -whose effort it is to make their poetry -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Plain, behind oracles ... and past</p> - <p class="verse">All symbols, simple; perfect, heavenly-wild,</p> - <p class="verse">The song some loaded poets reach at last—</p> - <p class="verse1">The kings that found a Child.</p> - </div> - </div> - </div> -</div> - -<div class="filler"> -<p class="noindent"> -To have the sense <a id="corr-7"></a>of creative activity is the -great happiness and the great proof of being -alive, and it is not denied to criticism to have -it; but then criticism must be sincere, simple, -flexible, ardent, ever widening its knowledge.—Matthew -Arnold in <em>Essays in Criticism</em> (First -Series). -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-13"> -<a id="page-28" class="pagenum" title="28"></a> -An Ancient Radical -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">William L. Chenery</span> -</p> - -<p class="book"> -<em>Euripides and His Age</em>, by Gilbert Murray. [Henry Holt and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> “conspiracy of silence” which -oppressed the youth of those of us who -were born in the late Victorian era never -seems more hateful than when some master -hand connects the present labors of -liberty with the strivings of the infinite -past. In some fashion the dominating -spirits of a generation ago contrived to -make the struggles for human freedom -appear as ugly isolated episodes without -precursors or ancestry. They forgot the -Shelleys and the Godwins and they even -denied the significance of the classic -forerunners of today’s ardent prophets. -</p> - -<p> -There were happy exceptions. Some -of us cherish the teachings of a Virginia -professor who, as far as the adolescent -capacities of his students permitted, -bridged the gap between Socrates’s free -questionings and the contemporary -yearnings for a world of uncompromising -justice and beauty. What that -Southern student did for his small band -of followers Gilbert Murray has long -been doing for the great world. His -present contribution belongs to that -satisfying series, <em>The Home University -Library</em>. Incidentally, one reflects that -this <em>Home University</em> is one of the few -institutions of learning which has completely -avoided the blinders so many are -complacently wearing. The Euripides -of Murray suggests to the author—and -to the reader, one may claim—both -Tolstoi and Ibsen. But, one hastens to -state, Professor Murray is too learned -and thoughtful a man to paint a revolutionary -Euripides such as <em>The Masses</em>—much -as one loves that exuberant Don -Quixote—would delight to honor and to -portray. His onset, however, catches us: -</p> - -<div class="excerpt"> -<p class="noindent"> -“Every man who possesses real vitality can -be seen as the resultant of two forces,” says -Murray. “He is first the child of a particular -age, society, convention; of what we may call in -one word a tradition. He is secondly, in one -degree or another, a rebel against that tradition. -And the best traditions make the best -rebels. Euripides is the child of a strong and -splendid tradition and is, together with Plato, -the fiercest of all rebels against it.... -Euripides, like ourselves, comes in an age of -criticism, following upon an age of movement -and action. And for the most part, like ourselves, -he accepts the general standards on -which the movement and action were based. He -accepts the Athenian ideals of free thought, -free speech, democracy, ‘virtue,’ and patriotism. -He arraigns his country because she -is false to them.” -</p> - -</div> - -<p class="noindent"> -The suffragist and the feminist movements -have recently brought the great -dramatist to his proper appreciation in -respect to women. Some of the passages -in the <em>Medea</em> are quoted as often in suffragist -campaigns as the words of Bernard -Shaw or of Olive Schreiner. This -Greek is sometimes said to be the first -literary man who understood women. -For that reason, as Professor Murray so -charmingly emphasizes, Euripides was -ever accounted a woman hater, despite -even the implications of his great chorus -which sings so nobly woman’s destined -rise as a power in the world. His statement -of the cause of barbarian woman -against a civilized man who has wronged -her is incomparably more contemporary -than <em>Madam Butterfly</em>, and with Murray -we may doubt “if ever the deserted one -has found such words of fire as Medea -<a id="page-29" class="pagenum" title="29"></a> -speaks.” And, as the author continues, -“Medea is not only a barbarian; she is -also a woman, and fights the horrible -war that lies, an eternally latent possibility, -between woman and man. Some -of the most profound and wounding -things said both by Medea and Jason -might almost be labelled in a book of -extracts ‘Any Wife to Any Husband’ -or ‘Any Husband to Any Wife.’” -</p> - -<p> -The change which came over the spirit -of Euripides’s vision, as Athens itself -was transformed by empire lust from the -first glories of Pericles, suggest again -the purifying satire of our ablest moderns. -War is hateful and the picture -which the Attic dramatist drew of the -horrors of dying Troy leave little to the -present imagination. Euripides accordingly -became as popular in imperialistic -Athens as was Bebel among the Kaiser’s -ministers. Murray interprets this phase -magnificently. He concludes: “This -scene, with the parting between Andromache -and the child which follows, seems -to me perhaps the most heartrending in -all the tragic literature of the world. -After rising from it one understands -Aristotle’s judgment of Euripides as the -‘most tragic of the poets.’” One has -only to recall the brave gentleness of -Hector’s wife, described first in Homeric -words, to agree with the present author. -</p> - -<p> -On the purely critical side Professor -Murray’s words are vastly important. -Especially valuable is his discussion of -the chorus and the <em>deus ex machina</em> concerning -which so much error has been -taught since Horace wrote on the art -of poetry. But this small book is not -designed for those whose interest in -Greek drama is technical. It is Euripides, -the philosopher; Euripides, the -satirist of his times; Euripides, the -preacher of lofty virtues, the apostle of -new men and more righteous gods, who -concerns the great awakening world of -1914. The intellectual battles which -Euripides fought on behalf of Athens -have been waged again and often for the -millions who slumber and are content. -They are being fought now with an intensity -unprecedented. So it brings -courage and it brings calm to realize -the continuity of the conflict, and to recall -the signal victories of the olden -days. Gilbert Murray’s achievements -are too numerous to permit praise. One -may only say now that the present book -is in line with the fine things of his -past; that by virtue of his labors the -world agony for liberty and justice and -beauty reveals new phases of the intrinsic -dignity and honor which have been its -possession since men desired better -things. -</p> - -<div class="filler"> -<p class="noindent"> -For those whose lives are chaotic personal -loves must also be chaotic; this or that passion, -malice, a jesting humor, some physical lust, -gratified vanity, egotistical pride, will rule and -limit the relationship and color its ultimate -futility.—H. G. Wells in <em>First and Last -Things</em>. -</p> - -</div> - -<div class="filler"> -<p class="noindent"> -Isn’t it possible to be pedantic in the demand -for simplicity? It’s a cry which, if I notice -aright, nature has a jaunty way of disregarding. -Command a rosebush in the stress of June to -purge itself; coerce a convolvulus out of the -paths of catachresis. Amen!—<em>Some Letters of -William Vaughn Moody.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-14"> -<a id="page-30" class="pagenum" title="30"></a> -Equal Suffrage: The First Real Test -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">Henry Blackman Sell</span> -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> query of the anti-suffragist—“Will -the women really use suffrage -if they have it”—was rather -conclusively answered in the affirmative -at Chicago aldermanic elections on April -7, when equal suffrage was given its first -real test in an American city of first -rank. This election brought out many -interesting incidents which might be considered -as having “laboratory” value. -</p> - -<p> -It has been contended by the “antis” -that the women would be bad losers; -that they would not support the non-partisan -ideals which are becoming a -definite part of our “new patriotism”; -that the result of equal suffrage would -simply be one of double vote, wives voting -as their husbands decided; that the -women coming out in the first enthusiasm -of registration would not take the -same interest in the prosaic work at the -polls; that the fights against bad nominees -would result either in a duplication -of man-run campaigns, or in ineffective -and lady-like campaigns. -</p> - -<p> -The first of these contentions was -proved untrue to even the most casual -observer at the polls on election day. -The women were fighting uphill all the -way, and where the so-termed “suffrage -men” were slightly unpleasant in their -attitude towards the “antis,” the women -were all cheerfulness and all refreshing -encouragement. As one explained: “It -has been the most wonderful feeling, -working shoulder to shoulder with the -men in something that has really been -our duty all along.” -</p> - -<p> -Nine women candidates were up for -election and not one was chosen; and -yet, after talking with five defeated -women candidates and three defeated -men candidates, I concluded that the -women knew more about the philosophy -of politics and its sad uncertainties than -men who had been contesting for years. -</p> - -<p> -True, election to office is but a by-product -of political experience; it is -a most coveted by-product, nevertheless, -and when a woman like Marion Drake, -who ran a close race against Chicago’s -“bad” alderman, says, at the closing of -the polls, “I have not been elected, but -every minute of the time I have expended -has been worth while and I shall try -again at the next election,”—it shows -the right spirit and the fundamental -error in the assertion that women cannot -lose gracefully. -</p> - -<p> -Non-partisanism could be given no -real test, for these ideals seemed necessary -of application in only two or three -wards. In one—the twenty-first—an -alderman with a bad record was up for -re-election in opposition to a Republican -of no particular merit. The women got -together, with the aid of some of the -better men, and selected a non-partisan -candidate. This man was elected directly -through the efforts of the women who, -Republican, Democratic, and Progressive, -rallied in true non-partisan spirit -to his aid. -</p> - -<p> -As to the control of the women’s votes -by the men: it is interesting to note -that in the more intelligent wards there -was considerable variance between the -men and the women, while in the wards -of the poorer and less intellectually-inclined -portions of the city the votes -ran a great deal alike. -</p> - -<p> -The women came out in good numbers -<a id="page-31" class="pagenum" title="31"></a> -and, as a matter of fact, the masculine -vote was considerably higher than usual; -but even with this advantage, the registered -women outvoted the registered -men by a small per cent. -</p> - -<p> -The campaigns conducted by the various -women were distinctly different from -the ordinary political campaigns. They -were dignified, straightforward, strong, -and effective. Miss Drake, in her campaign -against John Coughlin, colloquially -and delicately known as “Bathhouse -John,”—the name originating from the -fact that the gentleman in question received -his political training as a mopper -and rubber in one of Chicago’s most -infamous bath houses,—made a direct -appeal, in a house to house, voter to -voter, canvass of her ward. In this -way she told over two-thirds of the -people of the “Bathhouse’s” territory -all about the gentleman, his ambitions, -his desires, and his insidious motives. -And while she was defeated, it must be -remembered that though Coughlin received -a sufficient plurality, he by no -means attained his boast:—“I’ll beat -that skirt by 8,000 votes.” In fact, -where his plurality at the last elections -was approximately eight to one, this -year it was less than two-and-a-half to -one, making an obvious deduction that -Miss Drake’s campaign was decidedly -successful even though she did not win. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-15"> -The Education of Yesterday and Today -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">William Saphier</span> -</p> - -<p class="book"> -<em>The Education of Karl Witte</em>, translated by Leo Wiener and edited by H. Addington Bruce. -[Thomas Y. Crowell Company, New York.] -</p> - -<p class="note"> -Mr. Saphier is a Roumanian who came to this country only a few years ago and learned English. -The following review is his first attempt at writing, and we print it just as it came to -us, hoping our readers will find it as interesting as we did. -</p> - -<p class="first"> -<span class="firstchar">F</span><span class="postfirstchar">rench,</span> Italian, English, Greek, and -German at the age of nine, a Ph.D. degree -at fourteen, a doctor of laws and -an appointment to the teaching staff of -the Berlin University at sixteen—these -were some of the achievements of Karl -Witte. Or shall I say of pastor Witte, -the father? For the boy had very little -to do with it: he was merely a piece of -putty in the able hands of a strong-willed -man who knew what he wanted and -how to get it. A child of ordinary abilities, -according to pastor Witte and others, -Karl absorbed an enormous amount -of knowledge in a comparatively short -time, as a result of a method of education -which began almost as soon as he -showed intelligence. -</p> - -<p> -The book, originally written about one -hundred years ago when scientific advice -on the subject was lacking, is a remarkable -document. It is full of useful information -and practical hints to parents -and people interested in the education of -children, even in this day of scientific -methods and conflicting authorities. But -as we might have expected, the discipline -reminds us a little of the German -“Kaserne.” The spilling of a little milk -on the tablecloth was punished by enforced -abstinence from all foods except -bread and salt. Punishment as a remedy -for an offense is always wrong, because -it does not prove the responsibility -of the act to the child. -</p> - -<p> -The spirit in which pastor Witte went -about his task is shown in the following -passage: -</p> - -<div class="excerpt"> -<p class="noindent"> -<a id="page-32" class="pagenum" title="32"></a> -The firmness in executing my purpose went -so far that even our house dog knew the emphasis -of the words: “I must work,” and -calmed down the moment we spoke these words -softly into his ears. Almost from the outset -this made an enormous impression on Karl. He -soon became accustomed to look upon his work -time as something sacred. -</p> - -</div> - -<p class="noindent"> -The development of intellectual and -moral courage, the most important qualities -any man or woman may possess, -were neglected, at least were not given -the attention they deserve. To inculcate -in the child a desire for liberty and social -equality, he overlooks entirely. -</p> - -<p> -The father is really the more remarkable -of the two. A product of the method -of education prevailing at the time, -he stands as a refutation of his own theories. -Pastor Witte conceived and carried -out an idea successfully. He did -something, at least theoretically, worth -while. The son died at eighty-three. -Now what difference would it have -made either to the boy or to the world if -his appointment to the teaching staff of -Berlin had come at a later date? Most -methods of education aim at the training -of the senses and the accumulation of -facts. While these are necessary, I think -the speed at which this is done is immaterial -to the child. -</p> - -<p> -Some of the finest men and women, -who made this a better world to live in, -had no scientific training in their childhood -or later. We need not go back to -history to find them. Maxime Gorky, -for instance, lost his parents before he -was four years old, and began to read -under the supervision of a cook at sixteen. -Jack London is another instance -that suggests itself readily to one’s mind. -</p> - -<p> -Of course these are exceptional people, -but take the thousands of able and -brainy men and women in labor organizations -and idealists in all walks of life. -Usually they had very little attention -from their parents, either because they -had no time or did not know enough. -These men and women who had to rub up -against the rough edges of our money-making -machinery and to stand squarely -on their feet facing this world and its -problems,—willing to lend a hand, yes, -even to give their lives for the betterment -of social and economic conditions—these -persons are worthy of the name. -</p> - -<p> -Now I don’t want to say anything -against the early training of children. -The kindergarten and all the methods of -early training in schools have come into -existence because there is a real need for -them. Parents, for many reasons, no -longer have the time to train their own -children; but we expect results from -education in general that cannot be -accomplished. -</p> - -<p> -What good are all the learning and -scientific facts that we have accumulated -up to now, if we don’t use them to make -our life richer and more beautiful? -Knowledge and ability are worthless if -there is no moral and intellectual courage -to back them up. Pastor Witte -thought the education of his son finished -when he reached the age of sixteen. -We today do things in the same spirit. -We get things done. Nothing slow -about us. The result, of course, is very -poor; nobody is satisfied. Our experts, -always ready with advice on any and -everything, tell us that what we need is -technical training to provide industry -with efficient help. These educators do -not see that the difficulty is not with -the child but with industrial conditions. -They are going to fit the child to this -misery called modern industry. But remove -the possibility of the unscrupulous -taking advantage of the inexperienced -and simple-minded, and many of the so-called -educational problems will disappear. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-16"> -<a id="page-33" class="pagenum" title="33"></a> -Some Book Reviews -</h2> - -</div> - -<h3 class="section" id="subchap-0-16-1"> -A New-Old Tagore Play -</h3> - -<p class="book"> -<em>Chitra: A Play in One Act</em>, by Rabindranath Tagore. -[The Macmillan Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">N</span><span class="postfirstchar">othing</span> is more irritating to a really -modern critic than to have to join in a -chorus of universal praise. It is particularly -irritating when the person acclaimed -is a Nobel prize winner, for surely -those of us who sit in private judgment -in secluded places ought to be able -to discern values subtler than the ones -open to the eyes of some mysterious -frock-coated and silk-hatted jury of professors -in Stockholm, or wherever it may -be. The very marrow in the bones of -criticism curdles at the thought of agreeing -with a popular award. -</p> - -<p> -But a certain native honesty and a distinct -desire to spread good news obliges -one, in the case of <em>Chitra</em>, to withhold -the amiable dissecting knife. The play -is far too beautiful to serve as a cadaver -for the illustration of either the anatomist’s -skill or the facts of anatomy. Let -it be confessed that this reviewer, who -was about to send the book back with a -refusal to review any work of Tagore, -found, after reading a few lines, that he -was forced to go on; and that having -once gone on, he preferred to write the -review rather than to give up the book. -</p> - -<p> -This play was written twenty-five -years ago, and belongs, therefore, to -that earlier strata of Tagore’s life which -is to the normal mind so much more -alluring than the latter detritus that -seems to have accumulated over him. His -later work appears to be old with the old -age of Asia and with the old age of himself. -Its fundamental feeling is the only -too familiar impulse to recline on the -bosom of a remote God. We who regard -this attitude as a perversion of manhood -will turn from it with relief to the earlier -writing, in which the very life-blood of -our own hearts seems quivering with -the intimations of a better-than-godlike -beauty. -</p> - -<p> -As I have suggested, there is very -little that can rationally be said about -this play <em>Chitra</em>. To indicate something -of the nature of so perfect a work is the -sole office that I can profitably perform. -</p> - -<p> -Chitra, daughter of a King who had -no sons, was brought up to live the life -and perform the activities of a man, with -a man’s hardness of frame and a man’s -directness of will. One day while hunting -in the forest, she found sleeping in -her path Arjuna, the great warrior of -the Kuru Clan. “Then for the first time -in my life I felt myself a woman, and -knew that a man was before me....” -Going to the gods of love, Chitra obtained -from them the gift of a perfect -and world-vanquishing beauty to last for -one year only; and returning to Arjuna -she overcame by this invincible weapon -the monastic vows which he had taken -upon himself, and swept him away into -the wild and glorious current of her year -of beauty. Thus the year begins: -</p> - -<div class="excerpt"> -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -At evening I lay down on a grassy bed -strewn with the petals of spring flowers, and -recollected the wonderful praise of my beauty -I had heard from Arjuna;—drinking drop by -drop the honey that I had stored during the -long day. The history of my past life, like -<a id="page-34" class="pagenum" title="34"></a> -that of my former existences, was forgotten. I -felt like a flower, which has but a few fleeting -hours to listen to all the humming of the -woodlands and then must lower its eyes from -the sky, bend its head, and at a breath give -itself up to the dust without a cry, thus ending -the short story of a perfect moment that has -neither past nor future. -</p> - -<p class="speaker"> -<em>Vasanta</em> (The God of Love) -</p> - -<p> -A limitless life of glory can bloom and spend -itself in a morning. -</p> - -<p class="speaker"> -<em>Madana</em> (The God of the Seasons) -</p> - -<p> -Like an endless meaning in the narrow span -of a song. -</p> - -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -The southern breeze caressed me to sleep. -From the flowering <em>malati</em> bower overhead -silent kisses dropped over my body. On my -hair, my breast, my feet, each flower chose a -bed to die on. I slept. And suddenly, in the -depth of my sleep, I felt as if some intense -eager look, like tapering fingers of flame, -touched my slumbering body. I started up and -saw the Hermit standing before me. The moon -had moved to the west, peering through the -leaves to espy this wonder of divine art wrought -in a fragile human frame. The air was heavy -with perfume; the silence of the night was -vocal with the chirping of crickets; the reflections -of the trees hung motionless in the lake; -and with his staff in his hand he stood, tall -and straight and still, like a forest tree. It -seemed to me that I had, on opening my eyes, -died to all realities of life and undergone a -dream birth into a shadow land. Shame slipped -to my feet like loosened clothes. I heard his -call—“Beloved, my most beloved!” And all -my forgotten lives united as one and responded -to it. I said, “Take me, take all I am!” And -I stretched out my arms to him. The moon set -behind the trees. Heaven and earth, time and -space, pleasure and pain, death and life merged -together in an unbearable ecstasy.... With -the first gleam of light, the first twitter of -birds, I rose up and sat leaning on my left -arm. He lay asleep with a vague smile about -his lips like the crescent moon in the morning. -The rosy-red glow of the dawn fell upon his -noble forehead. I sighed and stood up. I -drew together the leafy lianas to screen the -streaming sun from his face. I looked about -me and saw the same old earth. I remembered -what I used to be, and ran and ran like a deer -afraid of her own shadow, through the forest -path strewn with <em>shephali</em> flowers. I found a -lonely nook, and sitting down covered my face -with both hands, and tried to weep and cry. -But no tears came to my eyes. -</p> - -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Alas, thou daughter of mortals! I stole -from the divine storehouse the fragrant wine -of heaven, filled with it one earthly night to the -brim, and placed it in thy hand to drink—yet -still I hear this cry of anguish!... -</p> - -</div> - -<p class="noindent"> -A few words, a half dozen pages of -prose modulated to perform an office as -subtle as that of blank verse, give us the -exquisite essence of the year that follows; -and toward the end there steal into -it notes of the inadequacy which the -great warrior feels in this perfection, and -his desire for the old and harsher round -of human life. Thus the year ends: -</p> - -<div class="excerpt"> -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Tonight is thy last night. -</p> - -<p class="speaker"> -<em>Vasanta</em> -</p> - -<p> -The loveliness of your body will return tomorrow -to the inexhaustible stores of the spring. -The ruddy tint of thy lips, freed from the -memory of Arjuna’s kisses, will bud anew as -a pair of fresh asoka leaves, and the soft, -white glow of thy skin will be born again in -a hundred fragrant jasmine flowers. -</p> - -<p class="speaker"> -<em>Chitra</em> -</p> - -<p> -O gods, grant me this my prayer! Tonight, -in its last hour, let my beauty flash its brightest, -like the final flicker of a dying flame. -</p> - -<p class="speaker"> -<em>Madana</em> -</p> - -<p> -Thou shalt have thy wish. -</p> - -</div> - -<p class="noindent"> -And as it ends, and as Chitra realizes -that there is to fall from her that radiance -which has been, for a year, the sole -bond between her and her lover, and also -the sole barrier between the real her and -him, she finds that his profounder longing -has changed into a desire for the -companionship of that strong and eager -boy-woman that she was before her -transformation. -</p> - -<div class="excerpt"> -<p class="speaker"> -<a id="page-35" class="pagenum" title="35"></a> -<em>Chitra</em> (<em>cloaked</em>) -</p> - -<p> -My lord, has the cup been drained to the -last drop? Is this indeed the end? No; when -all is done something still remains, and that is -my last sacrifice at your feet. -</p> - -<p> -I brought from the garden of heaven flowers -of incomparable beauty with which to worship -you, god of my heart. If the rites are over, if -the flowers have faded, let me throw them out -of the temple (<em>unveiling in her original male -attire</em>). Now, look at your worshipper with -gracious eyes. -</p> - -<p> -I am not beautifully perfect as the flowers -with which I worshipped. I have many flaws -and blemishes. I am a traveller in the great -world-path, my garments are dirty, and my -feet are bleeding with thorns. Where should I -achieve flower-beauty, the unsullied loveliness of -a moment’s life? The gift that I proudly bring -you is the heart of a woman. Here have all -pains and joys gathered, the hopes and fears -and shames of a daughter of the dust; here love -springs up struggling toward immortal life. -Herein lies an imperfection which yet is noble -and grand. If the flower-service is finished, my -master, accept this as your servant for the days -to come! -</p> - -<p> -I am Chitra, the king’s daughter. Perhaps -you will remember the day when a woman came -to you in the temple of Shiva, her body loaded -with ornaments and finery. That shameless -woman came to court you as though she were a -man. You rejected her; you did well. My -lord, I am that woman. She was my disguise. -Then by the boon of gods I obtained for a -year the most radiant form that a mortal ever -wore, and wearied my hero’s heart with the -burden of that deceit. Most surely I am not -that woman. -</p> - -<p> -I am Chitra. No goddess to be worshipped, -nor yet the object of common pity to be brushed -aside like a moth with indifference. If you -deign to keep me by your side in the path of -danger and daring, if you allow me to share the -great duties of your life, then you will know -my true self. If your babe, whom I am nourishing -in my womb, be born a son, I shall myself -teach him to be a second Arjuna, and send him -to you when the time comes, and then at last -you will truly know me. Today I can only -offer you Chitra, the daughter of a king. -</p> - -<p class="speaker"> -<em>Arjuna</em> -</p> - -<p> -Beloved, my life is full. -</p> - -</div> - -<p class="sign"> -<span class="smallcaps">Arthur Davison Ficke.</span> -</p> - -<h3 class="section" id="subchap-0-16-2"> -An Unorthodox View of Burroughs -</h3> - -<p class="book"> -<em>Our Friend John Burroughs</em>, by Clara Barrus. -[Houghton Mifflin Company, Boston.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">hat</span> title engenders a resentment in -me, a sense of unfitness. It is an epitome -of a popular approval which has cheapened -the word “friendship.” If Walt -Whitman, John Muir, and Francis F. -Browne had jointly written of Burroughs, -the words “our friend” in the -title of their collaboration would have -been inevitable and nice. The common -disregard of so unimportant a matter as -this seems to be in the author’s opinion -exhibits the crass liberties which the public -is wont to take with personalities. -The result is that a great man may become -popular and useful before he is -understood. -</p> - -<p> -Burroughs happily is both read and -understood. His popularity therefore is -wholesome. But the mild and consistent -protest which his life has been and is -against the necessary artificialities in -which most of his “friends” live has -never drawn them into a comprehending, -practicing sympathy with it. He is read, -applauded, and envied—but not followed. -His softness and gentle unconcern -with affairs are the antitheses of -those dynamic qualities which confer -leadership and vitalize men’s impulses -and deeds. His urban admirers go to -the country to rusticate and picnic but -not to live a life like his. He does too -<a id="page-36" class="pagenum" title="36"></a> -much speculative thinking to give his attitude -toward the world an opportunity -to go home to his readers. -</p> - -<p> -Whitman, with a similar indifference -to a following, drives men into the open -road; Thoreau lures them to Walden -Ponds to repeat his experiment; Ik Marvel -persuades them to farm; David -Grayson charms city folk back to the -land, to anchor and live. Burroughs attracts -visitors to Slabsides. He is on the -verge of becoming an institution, a curiosity. -His life has been a personal success. -He is young in spirit and surprisingly -robust at nearly eighty years of -age—he is seventy-seven this month—and -I daresay that his obvious failure to -lead his readers towards country homes -of their own or seriously to interest them -in the art of simple living has never -given him the slightest pain. He has assumed -no responsibility for the ways of -the world. Nature is capable of working -out her own salvation during a future -eternity. A leaf on a tree does not quarrel -with or attempt to reform its personal -kin. It functions alone; the life -of which it is a part must take care of -horticultural sociology. Burroughs to -me acknowledges himself to be a leaf on -the great tree. That is exceedingly interesting; -but endow leaves with reason, -give them an expanding consciousness, -and their functions must change. Burroughs -would require to be more than a -predestinated leaf if his fellows were -leaves. -</p> - -<p> -By virtue of society’s struggle and industry, -in which Burroughs is not interested, -he has made of the world, so far as -he is concerned, a quiet, beautiful outdoor -cathedral, domed by the sky, its -chief priest being fed and clothed by the -slaves of productive industry in your -world and mine. With great respect and -admiration I pronounce him a sagacious -man, a clever leaf that has employed its -reason with remarkable personal advantage. -In Burroughs’ world the tragedies, -strife, and noise that we experience -do not exist; his cathedral is a by-product -and he is a modest beneficiary of -humanity’s work. In relation to the -masses of people it is as unreal as it is -unproductive of racial fitness to persist -in the world as most men know it. He -loves to dream, think, and write in his -cathedral; what is going on outside does -not disturb him. He revels in the leisure, -order, and security which the outsiders -have provided. He assures us that it is -pleasant and satisfying, and we honor -and reward him for the information, but -I should like to ask him whether the -largest freedom and selfhood that are -achievable apart from working, conflicting, -warring men are not themselves fundamentally -artificial. -</p> - -<p> -Burroughs does not seem to be sufficiently -alive to suspect that he has missed -something greater than personal contentment. -A reader of everything that -he has published, I never, until I read the -autobiographical sketches in this work, -felt the pity and unsocial contempt—not -for the man but for the type—which -I have here tried to express. -</p> - -<p class="sign"> -D. C. W. -</p> - -<h3 class="section" id="subchap-0-16-3"> -Another Masefield Tragedy -</h3> - -<p class="book"> -<em>The Tragedy of Pompey the Great</em>, by John Masefield. -[The Macmillan Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">C</span><span class="postfirstchar">reative</span> artist that he is, Masefield -moves forward into amazing clearness, -heightened by flashes of poetic light, the -scenes of nearly two thousand years ago -<a id="page-37" class="pagenum" title="37"></a> -in Rome. The fidelity of this tragedy to -the facts of history, and the remarkable -extent to which it reproduces the overwhelming -glory of a great struggle, are -new proofs of the author’s special affinity -with the sanguinary deeds of heroic -men. Masefield’s plays and narrative -poems give the element of tragedy something -of its old vividness and nobility in -art. Some of his phrases sound like the -fall of a guillotine. He is a master of -the magic of objectifying tremendous -unrealities. He hates feeble passions; -wanton courage and oaken physical -power in action are the big things that -he likes to ennoble with poetic treatment. -And his success is incomparable, so far -as his contemporaries are concerned. -</p> - -<p> -Masefield’s great characters, true to -the glossed facts of life, in crises exhibit -indwelling cave-men. His frankness and -honesty are themselves tragical. Life <em>is</em> -full of and inseparable from tragedy. -Pompey “saw a madman in Egypt. He -was eyeless with staring at the sun. He -said that ideas come out of the East, -like locusts. They settle on the nations -and give them life; and then pass on, -dying, to the wilds, to end in some scratch -on a bone, by a cave-man’s fire.” The -old warrior lies awake, thinking. “What -are we?” he asks Lucceius, and that -actor in a great play replies, “Who -knows? Dust with a tragic purpose. -Then an end.” Masefield surveys the -recorded history of the past, sees into -the heart of the present and exclaims, -“Tragedy!” And of course that is in -his own life; otherwise he could not see -it apart from himself. In sheer desperation -he endues dust with a “tragic purpose,” -but he does not believe so much as -he hopes that a “purpose” inheres in -that resultant of life, for in the big poem -with which he summarizes the record of -Pompey he says: -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">And all their passionate hearts are dust,</p> - <p class="verse1">And dust the great idea that burned</p> - <p class="verse">In various flames of love and lust</p> - <p class="verse1">Till the world’s brain was turned.</p> - </div> - <div class="stanza"> - <p class="verse">God, moving darkly in men’s brains,</p> - <p class="verse1">Using their passions as his tool,</p> - <p class="verse">Brings freedom with a tyrant’s chains</p> - <p class="verse1">And wisdom with the fool.</p> - </div> - <div class="stanza"> - <p class="verse">Blindly and bloodily we drift,</p> - <p class="verse1">Our interests clog our hearts with dreams,</p> - <p class="verse">God make my brooding soul a rift</p> - <p class="verse1">Through which a meaning gleams.</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -<em>The Tragedy of Pompey the Great</em>, -unlike any Shaw play or even <em>The Tragedy -of Nan</em>, is not good reading; its -short sentences, tragic with import, are -mere outlines. But they drive incarnate -reality into one’s soul. -</p> - -<p> -What was the tragedy of Pompey? -Well, it began hundreds of years before -he was born; he was the accidental embodiment -of it. He had earned security -and peace. He had aided Caesar in conquering -Gaul. “Caesar would never -have been anybody if Pompey hadn’t -backed him.” But that tyrant’s lust for -power provoked a civil war, and the end -was “a blind, turbulent heaving towards -freedom.” Pompey’s dream of freedom—his -conviction that power was in too -few hands—cost him his life. To him -Rome was inwardly “a great democratic -power struggling with obsolete laws.” -He declared that “Rome must be settled. -The crowd must have more power.” But -Pompey’s dream was shallow and human, -even if great, for, regarding the -“thought of the world” as of transcendent -importance, he asks, “For what else -are we fighting but to control the -thought of the world? What else -matters?” -</p> - -<p> -History seems to try to repeat itself. -Lentulus, fearing that they were losing -Rome, said to Pompey, “You have done -nothing.” The reply—“Wait”—has -<a id="page-38" class="pagenum" title="38"></a> -a modern sound. Pompey was preparing -to fight Caesar, but public opinion, -voiced by Metellus, excitedly demanded, -“but at once. Give him no time to win -recruits by success. Give them no time -here. The rabble don’t hesitate. They -don’t understand a man who hesitates.” -</p> - -<p> -That too might have been said by a -modern American newspaper, affecting to -speak for the crowd. -</p> - -<p> -Philip, beloved of the maiden Antistia, -is fanatically true to his master, whom -he would follow “To the desert. To the -night without stars. To the wastes of -the seas. To the two-forked flame.” To -him this blind devotion meant more than -Antistia’s love. “We shall have to put -off our marriage,” he said to her, and -she, speaking from the deep heart of the -mother, unachieved, answered: -</p> - -<div class="excerpt"> -<p class="noindent"> -Why, thus it is. We put off and put off till -youth’s gone, and strength’s gone, and beauty’s -gone. Till we two dry sticks mumble by the -fire together, wondering what there was in life, -when the sap ran.... When you kiss the dry -old hag, Philip, you’ll remember these arms -that lay wide on the bed, waiting, empty. -Years. You’ll remember this beauty. All this -beauty. That would have borne you sons but -for your master. -</p> - -</div> - -<p class="noindent"> -Whatever the fate of Pompey, Antistia’s -was the supreme tragedy. -</p> - -<p class="sign"> -<span class="smallcaps">DeWitt C. Wing.</span> -</p> - -<h3 class="section" id="subchap-0-16-4"> -A Net to Snare the Sun -</h3> - -<p class="book"> -<em>The World Set Free</em>, by H. G. Wells. -[E. P. Dutton and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">D</span><span class="postfirstchar">o</span> you remember the little verse of -Kipling’s in the <em>Just So Stories</em> about -the small person who kept so many serving -men -</p> - -<div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">“One million Hows, two million Wheres,</p> - <p class="verse">And seven million Whys?”</p> - </div> - </div> - </div> -</div> - -<p class="noindent"> -There’s something very much like that -small person in a decidedly larger person -called H. G. Wells. For all the great -sweep and astonishing convincingness of -his later novels he still keeps the child-like -quality of asking startling questions -about everything in the universe. He -still wants to know: “Why can’t I catch -the sun, and what would happen if I -did?” -</p> - -<p> -In his last half dozen novels he has -been asking about various phases of our -modern society, politics, and the sex -question. But in this latest book, <em>The -World Set Free</em>, he goes back to a type -of question that interested him some -years ago, the type half fanciful and -half sociological that produced <em>In the -Days of the Comet</em>, <em>The Time Machine</em>, -and <em>When the Sleeper Wakes</em>. But this -book is not entirely like the earlier ones. -For one thing the science is for the first -time so nearly possible that it is almost -probable, and for another this book is -the work of an older, quieter soul with -less regard for externals and with more -faith in the ultimate high hope for mankind. -</p> - -<p> -What Wells has asked himself this -time is: “What would happen if man -were suddenly given command over an -unlimited amount of physical power?” -He brings this about by modern chemistry. -A scientist discovers a new theory -of matter which enables him to break -down metals by radio-activity and so -generate practically limitless power. The -first use the world makes of this power -is to go to war. We can hardly quarrel -with Wells for the improbability of this -because it sweeps the board so clear for -his reconstruction period, which is the -heart of the story. -</p> - -<p> -A strange story it is; one whose hero -<a id="page-39" class="pagenum" title="39"></a> -is mankind—mankind in the bulk, groping, -struggling, trying half blindly to -adapt himself to the new conditions, and -at last, after a desperate period of reconstruction, -coming out into the sunlight, -triumphant, clean, and at peace. Now -and then an individual is caught up for -an instant into the story, transfigured -for the moment by circumstances into a -mouthpiece for the mass of mankind,—a -scientist, a middle-class Englishman who -wrote his memoirs, the Slavic Fox, a -dying prophet of the later age,—but -for the most part it is just mankind who -speaks. Wells, by the great sweep and -vision of his ideas and the almost super-human -handling of the technical difficulties -of such an impersonal story, succeeds -in raising us for a moment out of -our personal selves so that we are completely -identified with the race, and view -its later successes with a serene and personal -pride. -</p> - -<p> -Each of us becomes a link in the great -chain of humanity that reaches from the -cave man through the “chuckle-headed -youth” to the dying professor, the men -who dreamed of snaring the sun in a net -and taming it to their hand. “Ye auld -red thing ...” we say with the chuckle-headed -youth, “We’ll have you <em>yet</em>!” -And the dying prophet cries for each -of us to the setting orb: -</p> - -<div class="excerpt"> -<p class="noindent"> -“Old Sun, I gather myself together out of -the pools of the individual that have held me -dispersed so long. I gather my billion thoughts -into science and my million wills into a common -purpose. Well may you slink down behind the -mountain from me, well may you cower....” -</p> - -</div> - -<p class="sign"> -<span class="smallcaps">Eunice Tietjens.</span> -</p> - -<h3 class="section" id="subchap-0-16-5"> -A $10,000 Novel -</h3> - -<p class="book"> -<em>Diane of the Green Van</em>, by Leona Dalrymple. -[The Reilly and Britton Company, Chicago.] -</p> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">bout</span> the middle of last December -Mr. F. K. Reilly sent a telegram to a -Miss Leona Dalrymple of Passaic, New -Jersey, in which he asked: “May I call -upon you Thursday afternoon?” The -telegram was the result of the $10,000 -prize contest which the Reilly and Britton -Company had planned early in the -year; and Miss Dalrymple had just been -announced as the winner by the three -judges—S. S. McClure, Ida Tarbell, -and George N. Madison. She knew nothing -of this, however, though she thought -Mr. Reilly’s telegram must mean an interest -in her work; so she replied calmly -that she would be pleased to see him on -Thursday. Then Mr. Reilly’s eyes begin -to twinkle, as he tells the story, for it is -rather a joke to set out on a journey -with a $10,000 check in your pocket for -an unsuspecting young woman. Even -when he explained to her and presented -the check she remained calm—though -she is only twenty-eight years old and -this was her first taste of real fame. She -told Mr. Reilly that she had another -novel which she hoped might interest -him—but he took the words out of her -mouth by saying that he had come prepared -to make a contract for it! -</p> - -<p> -So much for the latest of modern -fairy tales. <em>Diane of the Green Van</em> -is the prize-winning novel, and, despite -our first suspicion of it because of that -very fact, it proves to be a good one. -Miss Dalrymple loves the outdoors, and -her present story of an American girl -who goes jaunting in a van in the -Florida Everglades was suggested by a -newspaper clipping about an adventurous -<a id="page-40" class="pagenum" title="40"></a> -young Englishwoman who managed -to break away from conventions once a -year and roam the country in a gipsy -wagon. Not all “best sellers” have as -much real charm as this one. Perhaps -its freshness and spontaneity are due to -the fact that it had to be written in six -weeks for the contest. -</p> - -<p> -Miss Dalrymple has stated that her -purpose in writing novels is to “entertain -wholesomely through optimism and -romance.” Usually that type of purpose -is linked up with a sentimentality which -means being sweet at the expense of -truth. But this author is not that sort: -in expressing her dislike of sex stories, -for instance, she attributes their shortcomings -to treatment, not to material—“since -there is absolutely no subject -under the sun which may not be treated -with perfect good taste in a novel.” She -has also stated that in her opinion the -modern woman is over-sexed—a popular -though altogether wrong-headed view -which we mean some time to argue with -her in these columns. -</p> - -<h3 class="section" id="subchap-0-16-6"> -Slime and the Breath of Life -</h3> - -<p class="book"> -<em>The Russian Novel</em>, translated from the French of Le Vicomte E. M. de Vogüe by Colonel H. -A. Sawyer. -[George H. Doran Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">A</span><span class="postfirstchar">lthough</span> this book was written in -1886, its treatments of Pushkin, Gogol, -Turgeneff, Dostoevsky, and Tolstoy -are now first made accessible to the English -reader, and will still be worth his -attention. In fact one reads them with a -growing regret that the author, who died -in 1910, did not continue his interpretation -of the Russian spirit as the religious -and mystic tone of its nihilism gradually -faded and left us the bleaker outlook -of such men as Gorky. With Tolstoy, -however—“probably the greatest -demonstrator of life which has arisen -since Goethe”—the book closes. -</p> - -<p> -The author treats his subject from the -standpoint of a certain formula which he -finds to hold throughout the range of -that realism which succeeded the romanticism -of Pushkin—a romanticism which -disappeared in 1840. Thereafter there -grew up the great realistic school which -gives Russia the leadership of the world -in the field of realistic fiction—a leadership -due partly to the temperamental -standpoint of the Russian, adapted for -just the kind of work which the great -realistic novel involves, and partly to the -importance of the novel as the vehicle of -those ideas which the censor barred from -every other channel of expression. -</p> - -<p> -In the bible we are told that God made -man out of the slime of the earth and -breathed into him the breath of life. In -those words is the secret of the Russian -realistic novel. For the realism of his -own country the author of this work has -little praise. Because, he says, it lacked -that human sympathy which saw in man -not only the slime of the earth but the -breath of life, it is barren. -</p> - -<p> -Dickens, on the other hand, and -George Eliot gave to English realism a -standpoint which was moulded, nay, impregnated -through and through, with -the religion of that book to which Mary -Evans had renounced formal allegiance—the -Protestant bible. In fact, De -Vogüe goes so far as to say that some of -her writing, for instance “the meeting -between Dinah and Lisbeth,” is biblical -in the quality of its appeal, and might -<a id="page-41" class="pagenum" title="41"></a> -have been written by the hand that gave -us <em>Ruth</em>. -</p> - -<p> -This spirit, but without the Anglo-Saxon -hardness, is the spirit of Russian -realism. It has all the photographic accuracy, -the preocupation with all types -of life that distinguishes French realism; -but the preoccupation with the divine, -the mystical turning away from the -things of this world, is also present. The -sympathy of Gogol is intensified to painfulness -in Dostoevsky and is apotheosized -into a new religion of renunciation -in Tolstoy. -</p> - -<p> -And because (in contrast to the -French) the Russians “disentangled -themselves from these excesses, and like -the English gave realism a superior -beauty moved by the same moral spirit -of a compassion cleansed of all impurities -and glorified by the spirit of the gospels”—because -of this De Vogüe regards -Russian realistic literature as the -one force that can rejuvenate the literary -art of the European nations. -</p> - -<p> -The author writes with the authority -of long study and gives us a sufficient -basis for what we must now do ourselves—namely, -read comtemporary -Russian literature and ask ourselves -what it tells us; whether or not it tells us -that Christian realism is a contradiction -in terms. -</p> - -<p class="sign"> -<span class="smallcaps">Llewellyn Jones.</span> -</p> - -<h3 class="section" id="subchap-0-16-7"> -A Drama of the Two Generations -</h3> - -<p class="book"> -<em>Nowadays: A Contemporaneous Comedy in Three Acts</em>, by George Middleton. -[Henry Holt and Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">S</span><span class="postfirstchar">ome</span> little theatre company ought to -send eight of its members on tour -through all the smaller cities of the country -in <em>Nowadays</em>. It would be the most -effective way in the world to awaken the -people of those slumbering places to the -really amazing revolutions in contemporary -life—and incidentally in the -contemporary theatre. For one thing, it -shows how parents and children are -gradually bridging the foolish gulf between -the generations—the gulf that -Shaw has called the degrading objection -of youth to age; for another, it reflects -the extraordinary renaissance that -has come to our theatre since the first -visit of the Irish Players. -</p> - -<p> -Mr. Middleton takes a typical small-town -family—a father, mother, son, -and daughter—and leads them through -a domestic crisis that has probably been -the sad lot of most modern families. The -daughter, like all proper young women, -has an ambition: she wants to be a -sculptor. The mother understands, having -had similar longings before she married -a man who made it his business to -suppress them. The father refuses to -listen to the daughter’s idea, and tells -her that if she goes to New York it will -be without his help. But she goes; and -the play opens with her first visit home. -The son, a weakling without ability of -any sort except to spend money and sow -wild oats, has also left home; but he has -managed to live very comfortably because -of a monthly allowance from his -father. The justice of the situation -harks back to the antique theory that -even a weak boy has more right to the -splendors of the world than a girl of -any type. -</p> - -<p> -Diana’s father refuses to think about -woman suffrage. “I don’t have to think -<a id="page-42" class="pagenum" title="42"></a> -about something I <em>feel</em>. I tell you, if we -had woman suffrage, women would all -vote like their husbands.” -</p> - -<p> -“They say it would double the ignorant -vote,” answers Diana’s friend, Peter, -the journalist, who has encouraged her -in rebelling. -</p> - -<p> -“He’s a good-natured old fossil,” -Peter says later to Diana. And when the -girl insists that she loves her father anyhow, -Peter says, “I love radishes, but -they don’t agree with me. If he had a -new idea he’d die of dropsy.” -</p> - -<p> -The result of Diana’s visit is to produce -certain rebellions in her mother, -who goes back to New York with her to -help make a home of that lonely little -flat, and to revive her own early ambitions -as a painter. Later the father succumbs -to the new order. It is all good “comedy”; -also it’s tremendously good thinking. -If only it could be read by all the -people who misunderstand the surging -modern spirit that is riding so bravely -through traditions and inheritances. -</p> - -<p> -But <em>Nowadays</em> has another value besides -that of its story. It is made of the -stuff of the new drama; it fulfills our demand -that the theatre shall give us the -truth about life in a simple way. However, -we shall talk more about this in -another issue. -</p> - -<h3 class="section" id="subchap-0-16-8"> -Our Mr. Wrenn and Us -</h3> - -<p class="book"> -<em>Our Mr. Wrenn</em>, by Sinclair Lewis. -[Harper and Brothers, New York.] -</p> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> poverty of American workaday -criticism has rarely shown more threadbare -than in the fact that of all the reviews -of <em>Our Mr. Wrenn</em>, a first novel -by Sinclair Lewis, a new author, not one -has mentioned the idea under the book. -</p> - -<p> -They have been good reviews, too, as -reviews go. Many have praised the book, -have talked around it, described its characters, -attempted to classify it—under -names so various as Locke, Wells, and -Dickens. Yet so expected is the novel -that means nothing, and so dead is critical -vision, that no one has thought to -say “Here is a new American writer. -What is in his soul?” -</p> - -<p> -Let me prove the point. “Our Mr. -Wrenn” is a mouse-like little clerk in the -office of a New York novelty company. -He is called “Our Mr. Wrenn” in business -correspondence by the manager of -the firm. He is overshadowed by “the -job.” He lives uncomfortably in Mrs. -Zapp’s downtown boarding house. Because -the author can see, various figures -from the drab stream one meets in the -street are made human. Because the -author has whimsicality and scorn and -sympathy, the book has humor and satire -and pathos. All these things have been -noted by the critics. -</p> - -<p> -Mr. Wrenn is not always “Our.” He -becomes his own in the gorgeously illustrated -travel leaflets sent out by steamship -companies. Eventually he does go -to England on a cattle steamer. He is -“Bill Wrenn” and licks a tough. He -meets adventures—Istra, an over-fine -artist girl who likes him because he’s -real. In the end he pathetically sees her -soar above him and sails back to America, -where he goes into the office again, falls -in love with a sweet little lingerie-counter -clerk, marries, and “settles down.” All -these things the critics have told us. -</p> - -<p> -But Mr. Wrenn is at once glorious -and pathetic, not only because he says -“Gee!” when he has the emotions of a -<a id="page-43" class="pagenum" title="43"></a> -poet. It isn’t only the little things of -the book that twist our smiles. -</p> - -<p> -There is an epic conflict between Mr. -Wrenn of the job and Bill Wrenn of the -sunsets and the sea. Our Mr. Wrenn, -oppressed and bullied, scuttling out of -the way, not quite daring to think his -own thoughts or dream his own dreams, -not knowing quite enough to understand -the great things of the world—this man -is everywhere in New York, in America; -he is in our own souls. And when he musters -courage to become Bill Wrenn, when -he sets out on dangerous quests and loves -strange beauty, he becomes a conqueror -who rallies with him the great of history, -and stands on the high places of our own -spirits. -</p> - -<p> -Pitifully inadequate Bill Wrenn is, of -course. The lonely tragedy of that conventionally -“happy ending” has escaped -the critics. The drab, the commonplace, -creep over Bill again without his knowing -it. That’s the frightful part of it. -It’s very like what appears to happen to -everybody. Our Mr. Wrenn he is at the -end, sunk in comfort and forgetting his -flags in sunsets. -</p> - -<p> -It is a poignant, bitterly human novel. -After reading it in sympathy one cannot -lean back in satisfaction and write commonplaces. -It leads to understandings -and resolutions. When we learn to demand -such things of American writers, -their primary purpose will then cease -to be either to entertain or to “teach a -lesson.” -</p> - -<p class="sign"> -<span class="smallcaps">Gilbert Alden.</span> -</p> - -<h3 class="section" id="subchap-0-16-9"> -Lantern Gleams -</h3> - -<p class="book"> -<em>Little Essays in Literature and Life</em>, by Richard Burton. -[The Century Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">R</span><span class="postfirstchar">eaders</span> of <em>The Bellman</em> will welcome -in this permanent form many little lantern -gleams of thought that have been -shed athwart their path by this unacademically-minded -incumbent of a Minnesota -chair. -</p> - -<p> -Mr. Burton flashes his lamp fitfully -over a large area, and shows us loitering -spots as well as boggy ground it were -well to avoid. Opening his book at random, -we find here a hint on reading and -here a warning gleam over some political -or social morass. -</p> - -<p> -When the morass is a deep one, however, -we must not expect to sound its -depths with a lantern gleam, and so -sometimes Mr. Burton disappoints us. -Thus in discussing the individual and society -he merely tells us what we all know: -that we pay for the advantage of sociality, -of mutual comfort, and support -by the loss of individuality, by the -growth of a fear to do the thing that -commends itself to our best judgment. -But what must we do? Must we fill in -this particular morass by throwing in all -the individuals? Or will the individuals -be able to jump it? Mr. Burton is discreet -on such points. -</p> - -<p> -More satisfactory than that essay and -others like it are those on literature. -Under “Books and Men” the author deplores -the tendency which characterized -Chaucer (“Farewell my books and my -devotion”) of drawing an antithesis between -men and books, between literature -and life. Literature has its origin in -life and its apparent separation from it -is an accidental result of the printed -book method of spreading what used to -be spread by the human voice alone or in -chorus. -</p> - -<p class="sign"> -<span class="smallcaps">Illiam Dhone.</span> -</p> - -<h3 class="section" id="subchap-0-16-10"> -<a id="page-44" class="pagenum" title="44"></a> -About Nietzsche -</h3> - -<p class="book"> -<em>Nietzsche and Other Exponents of Individualism</em>, by Paul Carus. -[The Open Court Publishing Company, Chicago.] -</p> - -<p class="first"> -<span class="firstchar">E</span><span class="postfirstchar">xpositions</span> of Nietzsche are usually -written by uncritical disciples with little -knowledge of formal philosophy. In so -far as Nietzsche was a poet, some of -these productions may be of value in -spots, but in so far as Nietzsche was an -intellectual critic of life they are worthless. -</p> - -<p> -Dr. Carus writes from the standpoint -of a philosopher in the most formal -sense of that word. To him Nietzsche -the thundering voice of protest named -<em>Zarathustra</em> is of less importance than -Nietzsche the extreme nominalist. The -chief value of his work therefore is purely -informative. He will certainly not -send the philosophic debutante further -into the matter. -</p> - -<p> -Even from the purely informative -side, however, Dr. Carus’s work is delimited -by his own attitude, which is that -of the old time believer in the validity of -universals. Recurrence, uniformity, eternal -norms of things behind the changing -phenomena are the foundations of Dr. -Carus’s stated or implied world view. -</p> - -<p> -He therefore treats Nietzsche as simply -a forerunner of such, to him, mischievous -people as William James and -Henri Bergson. He takes great pains, -indeed, to show that there are many -Nietzsches, and among them he classes -George Moore, on the strength of extracts -from his <em>Confessions of a Young -Man</em>. Of more value than that is his -consideration of the philosophy of Stirner—mainly -because Stirner is not so -well known as Nietzsche, nor so well as -he deserves to be on his merits. -</p> - -<p> -One undoubted merit the book has, and -that is the industrious collection of personal -recollections of Nietzsche and of -Nietzsche portraits which Dr. Carus has -brought together in its pages. These -will give the book a positive value to the -Nietzsche enthusiast, while the sight of -Dr. Carus’s cool, scholastic temperament -trying to drench the burning bush of -Nietzsche will at least interest him. -</p> - -<p class="sign"> -<span class="smallcaps">Illiam Dhone.</span> -</p> - -<h3 class="section" id="subchap-0-16-11"> -Feminism and New Music -</h3> - -<p class="book"> -<em>Anthony the Absolute</em>, by Samuel Merwin. -[The Century Company, New York.] -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">t</span> is interesting to watch the struggles -of an essentially chivalrous masculine -soul caught in the whirlpool of modern -feminism. Samuel Merwin, ever since -the old days of <em>A Short Line War</em> and -<em>Calumet K.</em>, written in collaboration with -Henry Kitchell Webster, has held -towards women the attitude of the -knight errant. Recently, as shown in -<em>The Citadel</em>, <em>The Charmed Life of Miss -Austin</em>, and even more strongly in this -latest book, <em>Anthony the Absolute</em>, he -has become a determined feminist. But -the attitude has not changed. Formerly -his hero laid at the feet of the lady of his -choice as much wealth, fame, and position -as he could acquire; this latest hero -gives her in the same spirit a career and -<a id="page-45" class="pagenum" title="45"></a> -the chance to develop her own personality. -Mr. Merwin says: “The man -who deliberately stops a woman’s growth—no -matter what his traditions; no -matter what his fears for her—is doing -a monstrous thing, a thing for which -he must some day answer to the God of -all life.” He is still the knight errant. -It is still man who permits woman to develop. -</p> - -<p> -None the less it is a very readable tale. -The male characters are all clearly and -convincingly drawn, not without humor. -The lady is a little nebulous, but very -charming. Illustrating the absoluteness -of Anthony and serving as an introduction -to the charming Heloise is an interesting -musical theme. The scene is laid -in China, where Anthony is studying -primitive music, and Heloise is able to -sing for him a perfect close-interval -scale, in eighth tones instead of the -“barbarous” half and whole tones of -the piano scale. -</p> - -<p> -Unfortunately Mr. Merwin has permitted -himself to be led by the exigencies -of a popular magazine, in which the -story appeared in serial form, into giving -the tale a certain meretricious air of -sex allurement which it fundamentally -does not possess. On the whole, except -in a certain technical facility in handling -the situations and sustaining the tension -of the plot, <em>Anthony the Absolute</em> is a -decided falling below the really splendid -standard of excellence which Mr. Merwin -set for himself in <em>The Citadel</em>. -</p> - -<p class="sign"> -<span class="smallcaps">Eunice Tietjens.</span> -</p> - -<div class="filler"> -<p class="noindent"> -Of all our funny little Pantheon the absurd -little god who gets the least of my service is -the one labeled “Personal Dignity.”—<em>Some -Letters of William Vaughn Moody.</em> -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-17"> -<a id="page-46" class="pagenum" title="46"></a> -New York Letter -</h2> - -</div> - -<p class="aut"> -<span class="smallcaps">George Soule</span> -</p> - -<p class="first"> -<span class="firstchar">I</span><span class="postfirstchar">s</span> it true that a Chicago woman’s -club recently declared any book to be -immoral which contains a character whom -you wouldn’t invite into your home to -meet your daughter? If so, the world is -to be congratulated, because all novels -except the <span class="smallcaps">Rollo Books</span> are labeled immoral, -and we needn’t worry any more -about the word. Provided, of course, -that the daughters of this particular -woman’s club are sheltered as carefully -as they should be, having been brought -up by such mothers. -</p> - -<p> -I’m afraid only authors and publishers -know just how threatening this fear of -“immoral” books is getting to be. The -most significant American novelist has -just written a masterful book which has -been declined by two at least of the oldest -and best publishing houses because it -is “too frank.” The men in charge want -to publish it; they think the world ought -to have a chance at it. But they are -afraid. And the author, unlike most authors -under similar circumstances, won’t -modify the book. He says he’ll wait -twenty-five years, if necessary, but he -won’t change a word. And yet, if -the book were published, some people -would accuse him of “pandering to -commercialism.” -</p> - -<p> -Don’t blame the publisher. Mitchell -Kennerley came near being fined hundreds -of dollars and sent to jail recently -for issuing <em>Hagar Revelly</em>—a serious -though by no means a great novel. -Anthony Comstock, who earns his living -by attempting to suppress anything -which he happens to consider immoral, is -likely at any time to pick out a good -piece of work for his thunderbolts—and -he is a government official in the post office -department. You can’t tell what he -is going to do next. Everybody remembers -his ill-advised censorship of Paul -Chabas’s delicate and inoffensive little -<em>September Morn</em>; yet in every cheap picture-store -window in New York there is -now displayed without protest a photograph -of a nude woman which makes no -pretense to art or beauty. -</p> - -<p> -Not many people know that six men -decide what Boston may or may not read. -<em>The Watch and Ward Society</em>, a group -of puritans backed up by the blue laws of -the state, have long been active in this -pharisaical undertaking and from time to -time have arrested booksellers. The -booksellers in self-defense have recently -formed a committee of three to act with -three members of this society. When a -new book comes along which anybody -“suspects,” it is put before the joint -committee, and if that decides against it, -Boston cannot buy it except by mail. -<em>The Devil’s Garden</em> only barely escaped, -because somebody had read to the end of -the book and labeled it “religious.” In -other words, it teaches a lesson. But the -same argument did not save Witter Bynner’s -<em>Tiger</em>. -</p> - -<p> -Magazine editors will tell you similar -facts by the hour. The <em>Metropolitan</em> -was recently held up by the post office because -it contained photographs of nude -statuary—from the winter exhibition of -the National Academy! -</p> - -<p> -We shall not rid ourselves of this -vicious situation by simply getting enraged -at the censors. The truth is, they -are too well entrenched in public opinion. -The people who enforce the law are -<a id="page-47" class="pagenum" title="47"></a> -ignorant postal clerks, clergymen of archaic -convictions, and lower court judges -of the tobacco-chewing, corner-saloon -type to whom any thought of sex is -necessarily nasty. But behind them is -the man who is always saying that such -and such a book or play “oughtn’t to be -allowed.” He is always wanting to protect -“the young,” or somebody else, although -he rarely reads books himself, -and probably would resent interference -with his own often vicious pleasures. His -mind is essentially rotten. He is incapable -of understanding the pure beauty of -the human body, because he has seen so -many “musical comedies.” He would be -shocked by the statement that passion is -a beautiful element of nature toward -which we should be reverent. He has a -sense of propriety, not so much about -what should be done as about what should -be said. And then there is the vast Florence -Barclay contingent, largely women, -who, because they don’t know what the -world is like, don’t want to know, and -don’t think anybody should be allowed to -know. -</p> - -<p> -The trouble with censorship is that we -always want it to apply to other people, -never to ourselves. It is our national -weakness that we try to prescribe conduct -by law, instead of seeing that the -individual is strong and truth-seeing, and -leaving conduct to take care of itself, allowing -ideas to fight their own battles. If -we must have a censorship, let it be in the -hands of the strong and intelligent. Let -us forbid all books which are not true. -Mental and moral fibre is really vitiated -by the Florence Barclay sort of thing. -People brought up on that are enemies -of light and progress. Their world is -an exercise-place for impossible ethics. -Their emotion is washed-out sentiment. -Courage and vigor are unknown to them. -And the worst of it is that their soft and -clinging hands are wrapped about the -rest of us, as they try to drag us down -from the rain-washed skies of the morning -to their stuffy hair-cloth religion and -pink-candy pleasures. -</p> - -<p> -The fight between the writers and the -censors is sure to grow bitter in the next -few years; both sides are getting more -determined every day. But such crises -are welcomed by the adventurous. We -shall end not only by riding over our -small opponents, but by carrying with -us an army awakened to the true issues -of art and life. -</p> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-18"> -William Butler Yeats to American Poets -</h2> - -</div> - -<p class="first"> -<span class="firstchar">T</span><span class="postfirstchar">he</span> current number of <em>Poetry</em> prints -a speech that William Butler Yeats made -during his recent visit to Chicago, in -which he took occasion to warn his confreres -in America against a number of -besetting sins. He said, in part: -</p> - -<div class="excerpt"> -<p class="noindent"> -Twenty-five years ago a celebrated writer -from South Africa said she lived in the East -End of London because only there could she see -the faces of people without a mask. To this -Oscar Wilde replied that he lived in the West -End because nothing interested him but the -mask. After a week of lecturing I am too tired -to assume a mask, so I will address my remarks -especially to a fellow craftsman. For since -coming to Chicago I have read several times a -poem by Mr. Lindsay, one which will be in the -anthologies, <em>General Booth Enters Into Heaven</em>. -This poem is stripped bare of ornament; it has -an earnest simplicity, a strange beauty, and you -know Bacon said, “There is no excellent beauty -without strangeness.” ... -</p> - -<p> -I have lived a good many years and have read -many writers. When I was younger than Mr. -Lindsay, and was beginning to write in Ireland, -there was all around me the rhetorical poetry -<a id="page-48" class="pagenum" title="48"></a> -of the Irish politicians. We young writers rebelled -against that rhetoric; there was too much -of it and to a great extent it was meaningless. -When I went to London I found a group of -young lyric writers who were also against rhetoric. -We formed the Rhymers’ Club; we used -to meet and read our poems to one another, and -we tried to rid them of rhetoric. -</p> - -<p> -But now, when I open the ordinary American -magazine, I find that all we rebelled against in -those early days—the sentimentality, the rhetoric, -the “moral uplift”—still exists here. -Not because you are too far from England, but -because you are too far from Paris. -</p> - -<p> -It is from Paris that nearly all the great influences -in art and literature have come, from -the time of Chaucer until now. Today the -metrical experiments of French poets are overwhelming -in their variety and delicacy. The -best English writing is dominated by French -criticism; in France is the great critical mind. -</p> - -<p> -The Victorians forgot this; also, they forgot -the austerity of art and began to preach. When -I saw Paul Verlaine in Paris, he told me that -he could not translate Tennyson because he was -“too <em>Anglais</em>, too noble”—“when he should -be broken-hearted he has too many reminiscences.” -</p> - -<p> -We in England, our little group of rhymers, -were weary of all this. We wanted to get rid -not only of rhetoric but of poetic diction. We -tried to strip away everything that was artificial, -to get a style like speech, as simple as the -simplest prose, like a cry of the heart.... -</p> - -<p> -Real enjoyment of a beautiful thing is not -achieved when a poet tries to teach. It is not -the business of a poet to instruct his age. He -should be too humble to instruct his age. His -business is merely to express himself, whatever -that self may be. I would have all American -poets keep in mind the example of François -Villon. -</p> - -<p> -So you who are readers should encourage -American poets to strive to become very simple, -very humble. Your poet must put the fervor -of his life into his work, giving you his emotions -before the world, the evil with the good, -not thinking whether he is a good man or a bad -man, or whether he is teaching you. A poet -does not know whether he is a good man. If he -is a good man, he probably thinks he is a bad -man. -</p> - -<p> -Poetry that is naturally simple, that might -exist as the simplest prose, should have instantaneousness -of effect, provided it finds the right -audience. You may have to wait years for that -audience, but when it is found that instantaneousness -of effect is produced.... -</p> - -<p> -We rebelled against rhetoric, and now there is -a group of younger poets who dare to call us -rhetorical. When I returned to London from -Ireland, I had a young man go over all my work -with me to eliminate the abstract. This was an -American poet, Ezra Pound. Much of his work -is experimental; his work will come slowly, he -will make many an experiment before he comes -into his own. I should like to read to you two -poems of permanent value, <em>The Ballad of the -Goodly Fere</em> and <em>The Return</em>. This last is, I -think, the most beautiful poem that has been -written in the free form, one of the few in -which I find real organic rhythm. A great -many poets use <em>vers libre</em> because they think it -is easier to write than rhymed verse, but it is -much more difficult. -</p> - -<p> -The whole movement of poetry is toward pictures, -sensuous images, away from rhetoric, from -the abstract, toward humility. But I fear I am -now becoming rhetorical. I have been driven -into Irish public life—how can I avoid rhetoric? -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-19"> -<a id="page-49" class="pagenum" title="49"></a> -Letters to The Little Review -</h2> - -</div> - -<div class="letters"> -<p> -What an insouciant little pagan paper -you flourish before our bewildered eyes! -Please accept the congratulations of a -stranger. -</p> - -<p> -But you must not scoff at age, little -bright eyes, for some day you, too, -will know age; and you should not jeer -at robustness of form, slim one, for the -time may come when you, too, will find -the burdens of flesh upon you. Above -all, do not proclaim too loudly the substitution -of Nietzsche for Jesus of the -Little Town in the niche of your invisible -temple, for when you are broken and -forgotten there is no comfort in the -Overman. -</p> - -<p> -One thing more: Restraint is sometimes -better than expression. One who -has learned this lesson cannot refrain -from saying this apropos of the first -paragraphs in the criticism of <em>The Dark -Flower</em>. Do not give folk a chance to -misunderstand you. Being a woman, you -have to pay too high a price for moments -of high intellectual orgy. -</p> - -<p> -Forgive all this and go on valiantly. -</p> - -<p class="sign"> -<span class="smallcaps">Sade Iverson.</span><br /> -Chicago. -</p> - -<p> -I am greatly indebted for a copy of -<span class="smallcaps">The Little Review</span>. I take this -opportunity of stating that the publication -is one of the cleverest and best -things I have seen. It deserves success, -for it contains stuff which will compare -very favorably with the best that is -being written. -</p> - -<p class="sign"> -<span class="smallcaps">G. Frank Lydston.</span><br /> -Chicago. -</p> - -<p> -Will you allow me to congratulate you -on your magnificent effort in bringing -out <span class="smallcaps">The Little Review</span>? -</p> - -<p> -I have found it very refreshing after -having suffered for so long by reading -the so-called book review magazines that -have no right to more than passing notice. -</p> - -<p> -You have accomplished wonders, and -if your efforts of the future come up -to those put into the first number of <span class="smallcaps">The -Little Review</span>, your success is assured. -</p> - -<p> -The best wish I can offer is that its -path may be covered with roses and bordered -with the trees of prosperity. -</p> - -<p> -Again congratulating you, I am, with -every good wish, very truly yours, -</p> - -<p class="sign"> -<span class="smallcaps">Lee A. Stone, M. D.</span><br /> -Chicago. -</p> - -<p> -<span class="smallcaps">The Little Review</span> came this morning! -And I have read it all! And I -love it! Much more than I expected, to -be perfectly honest! I feared something -too radical—too modern—if that is -possible. If it had been like <em>The Masses</em>—well, -I can never express my contempt -for that sheet. But you’re perfectly -sane, intelligent, readable, and enthusiastic—gloriously -so! -</p> - -<p> -Your description of Kreisler is worth -much to me. It is precisely what I have -always felt about him. Paderewski, too. -But I think the Mason and Hamlin reference -a little too commercial. I realize -you want <span class="smallcaps">The Little Review</span> to be -straightforward, honest, intimate, etc., -but I fear that kind of thing will be -taken as advertisement and not as a -personal belief and enthusiasm. -</p> - -<p> -If I should never know anything more -<a id="page-50" class="pagenum" title="50"></a> -of Mr. George Soule than his sonnet and -New York letter I should have to like -him. The man who could feel and write -that last paragraph is a splendid type. -</p> - -<p> -But the whole thing is beautiful, and -worth while, whether you agree with it -all or not. A thousand congratulations! -</p> - -<p class="sign"> -<span class="smallcaps">Agnes Darrow.</span><br /> -Dayton, Ohio. -</p> - -<p class="note"> -[Of course our remarks about the Mason and -Hamlin violated all journalistic traditions. But -traditions are so likely to need violation, and -diplomacy and caution are such uninteresting -qualities! What we feel and tried to say about -that piano is that it’s as definitely a work of art -as good poetry or good music. Why not say so, -quite naturally? We know something of the -man who is responsible for its quality of tone; -he’s as authentic an artist as those musicians -who create on his foundations. Is there any -reason why such an achievement is not to be -mentioned in a journal that means to devote -itself to beauty? Is anything vital ever gained -by a cautious regard for “<em>on dit</em>”? Above -all, if one can discover no importance in -journalistic tradition of that type, why defer -to it?—<span class="smallcaps">The Editor.</span>] -</p> - -<p> -I haven’t got over your beautiful -magazine yet. Don’t let anybody keep -you from making it a truthful expression -of yourself—but you won’t. -</p> - -<p> -First of all, it’s beautifully made. You -couldn’t have done better typographically. -It’s the most <em>inviting</em> magazine -published. I like the color and the paper -label. -</p> - -<p> -Second, its spirit blows keen and with -a pure fragrance. If you can continue -to show such freshness you will have -gone far toward achieving the goal Mr. -Galsworthy urges—that “sleeping out -under the stars” which cleans our hearts -of all things artificial. -</p> - -<p> -With sincerest congratulations, -</p> - -<p class="sign"> -<span class="smallcaps">Henry S.</span><br /> -New York. -</p> - -<p> -I am very much pleased with the first -issue of <span class="smallcaps">The Little Review</span>. I am -very glad to know that such a thing -should be started, and it should be both a -cause and an effect of better times in -literature. I shall do everything I can -to make it better known. -</p> - -<p class="sign"> -<span class="smallcaps">William Lyon Phelps.</span><br /> -Yale University. -</p> - -<p> -When I found that the local bookstores -had sold out their first orders of -<span class="smallcaps">The Little Review</span> I was delighted; -for it meant folks were interested in the -fledgeling. The first number deserves the -praise and congratulations of everybody -interested in literature; everything in it -is fine, even unto the composition of the -“ad” pages. With its fresh, cheerful -note <span class="smallcaps">The Little Review</span> very fittingly -comes forth on the first day of Spring. -Long may it spread sweetness and light. -</p> - -<p class="sign"> -<span class="smallcaps">W. W. G.</span><br /> -Chicago. -</p> - -<p> -There are so many things that I admire -in the first issue of <span class="smallcaps">The Little -Review</span> that I find it difficult to decide -just where to begin. It was like taking -up a copy of the Preludes of <a id="corr-10"></a>Debussy -for the first time; after playing them -over and over again I found it difficult -to know whether it was what he said or -the way he said it which held the greater -charm for me. I congratulate you most -sincerely on the distinct personal quality -which is so evident in your magazine -and you may count upon me to rejoice -with you if it meets with anything like -the great success which it so distinctly -merits. -</p> - -<p class="sign"> -F. L. R.<br /> -Chicago. -</p> - -<p> -<a id="page-51" class="pagenum" title="51"></a> -Your new publication has just fallen -into my hands. The vital thing! -</p> - -<p> -I cannot begin to tell you what its -pulsating, teeming import means to me. -I know nothing today in magazine form -that will mean so much to busy, thinking -people. -</p> - -<p class="sign"> -<span class="smallcaps">Nannie C. Love.</span><br /> -Indianapolis. -</p> - -<p> -Please let me offer my sincerest congratulations -and my warmest wishes for -the continued success of <span class="smallcaps">The Little -Review</span>. There are numerous points in -the first issue that I should like to discuss -with you; I must warn you that you are -tempting your readers and must not -be surprised if you are overwhelmed -with letters, questioning, approving, and -criticising. -</p> - -<p> -The foreword strikes such a splendid -note! I hope no criticism will influence -you to change it. -</p> - -<p> -You agree, evidently, with the point -that <em>The Dark Flower</em> suggests a Greek -classic; so do I. But, conceding that, -how could you have been surprised that -countless people care nothing for it? -Don’t you know that the majority of -people in the world do not really “possess” -the Greek classics? Without the -background of the world’s thought, ages -ago, and its progress—unless we agree -with Alfred Russell Wallace that we have -made no progress—can’t you see that -<em>The Dark Flower</em> could genuinely startle -many people? So I beg for less sharpness -toward those who do not feel the -wonder of it. The tragedy is in their -lives. -</p> - -<p> -For just the same reason <em>Jean Christophe</em> -belongs to a few, comparatively. -If you had never before felt the power of -a great epic, could you really grasp this -one? Modern as we claim to be—and -independent—must there not be some -foundation? Oh dear!—I do want to -tell you why I think <em>Vanity Fair</em> is -greater than <em>Succession</em> and why Ysaye’s -music is inspired—when I listen, at -least. But one can’t go on forever. -</p> - -<p> -Since the “Critics’ Critic” expressed a -doubt about that quotation from Euripides -and since you insisted that it sounded -like a Gilbert Murray translation, you -may be glad to know that it is both. -But you quoted it wrong. It is from -<em>Aeolus</em>, a lost play, and this is the correct -version: -</p> - - <div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">This Cyprian,</p> - <p class="verse">She is a thousand, thousand changing things;</p> - <p class="verse">She brings more pain than any god; she brings</p> - <p class="verse">More joy. I cannot judge her. May it be</p> - <p class="verse">An hour of mercy when she looks on me.</p> - </div> - </div> - </div> - </div> -<p class="noindent"> -I do agree that “a million, million -changing things” is somehow more perfect; -I even agree now, though not at -first, with the order of attributes: “She -brings more joy than any god, she brings -more pain.” On a re-reading of <em>Aeolus</em> -I am taken with the way you misquoted -it. Joy was surely first in the Greek’s -life. And of course the human beauty -of the thing made me think immediately -of the way Mrs. Browning “struck off” -Euripides: -</p> - - <div class="excerpt"> - <div class="poem-container"> - <div class="poem"> - <div class="stanza"> - <p class="verse">Our Euripides, the human,</p> - <p class="verse1">With his droppings of warm tears</p> - <p class="verse">And his touches of things common</p> - <p class="verse1">Till they rose to touch the spheres!</p> - </div> - </div> - </div> - </div> -<p class="sign"> -<span class="smallcaps">Katherine Tappert.</span><br /> -Davenport, Iowa. -</p> - -<p> -... I don’t know when I’ve read anything -so inspiring as that letter from -Galsworthy. Can’t all of you who are -helping to make the magazine arrange -to march up to it mentally and present -your “copy” for approval before you -decide to print it? -</p> - -<p> -I like the article on Paderewski and -the one about <em>The Dark Flower</em>. But do -be careful of “beauty” and “passion.” -<a id="page-52" class="pagenum" title="52"></a> -It’s easy to make them commonplace. -Also spare your adjectives a bit; you -don’t need an adjective for everything. -I realize that your abbreviations are -made in the interest of readableness, but -however informal you want to make it -you only succeed in sounding hideously -colloquial. It doesn’t read well, and it -makes me feel that you’re trying to -achieve through the style what ought to -be achieved quite simply through the material -itself. Not that I approve of -anything stilted, but you can easily overdo -the other side of it. And wouldn’t it -be better to leave some of the things unsigned? -People who don’t know that -the various Anderson contributors are -unrelated will think it’s rather a family -monopoly. -</p> - -<p> -The Ficke poems are exquisite; and -how I love Nicholas Vachel Lindsay’s! -Also I like the New York letter very -much, but George Soule’s <em>Major Symphony</em> -could just as well be unwritten. -Poetry has to be so much better than -that to be real poetry. Another thing: -I think your quotations from <em>Succession</em> -weren’t as efficient as you hoped. It’s a -book that can’t well be quoted except to -one who knows it. -</p> - -<p> -You wanted frankness, so here it is. -Otherwise, I have nothing but praise for -the whole glorious undertaking! -</p> - -<p class="sign"> -<span class="smallcaps">Lois Allen Peters.</span><br /> -Philadelphia. -</p> - -<p class="note"> -[Being a sister of the editor, Mrs. Peters -speaks her mind with a freedom that enchants -us. It also helps us—though we want to shake -her for one or two of those remarks. However—may -her letter serve as a model to timid but -opinionated readers!—<span class="smallcaps">The Editor.</span>] -</p> - -<p> -If you will allow me to be perfectly -frank about your first issue, I should like -to tell you that <span class="smallcaps">The Little Review</span> -seems rather too esthetic in tone and -spirit to avoid being “restrictive”—a -wish you expressed in your editorial. -There is not enough variety in it, for -one thing. For another, some of its -critical judgments are too personal—are -too largely temperamental judgments—to -be of any permanent value. You -seem to have set out to exploit personalities; -and there’s a juvenility in many of -the articles that I’m afraid you’ll all -blush for in ten years. -</p> - -<p class="sign"> -<span class="smallcaps">A Well-Meaning Critic.</span> -</p> - -<p> -The first number of <span class="smallcaps">The Little -Review</span> came as a delightful surprise -and I have enjoyed reading it. I particularly -appreciate the spirit of appreciation -running through the pages, -which I believe will be of inestimable -service to young writers, if you are able -to keep it up. -</p> - -<p class="sign"> -M. K.<br /> -New York. -</p> - -<p> -The Little Review looks very interesting. -I hope to have the pleasure -of reading it through very soon, but at -the moment my small sister is devouring -it and refuses absolutely to give it up. -If you are as successful in pleasing -women generally as you have been in -pleasing her you need have no fear for -the success of the magazine. -</p> - -<p class="sign"> -J. C. P.<br /> -New York. -</p> - -<p> -Professor Foster’s essay on <em>The -Prophet of a New Culture</em> is magnificent—a -soul-searching, heart-breaking bit -of writing, fiery and tragic. Nicholas -Vachel Lindsay’s <em>How a Little Girl -Danced</em> is a delightful thing—airy, -high-minded, and full of his burning -spirit. In fact, <span class="smallcaps">The Little Review</span> is -full of things that one reads with a keen -zest. -</p> - -<p class="sign"> -W. L. C.<br /> -Denver. -</p> - -<p> -<a id="page-53" class="pagenum" title="53"></a> -<span class="smallcaps">The Little Review</span> came to hand -promptly, but I was unable to read it -until last night. That is where I made -my first mistake, as I had been denying -myself a very pleasant two hours. My -second mistake was in having read it at -all, as it has now become one of those -eight or ten journals which are always -welcome and more or less necessary. Ten -journals each month (and some weeklies), -quietly yet insistently urging me -to take them up, are like those good -friends who tempt me with an outing in -Spring when work is crowding. So with -<span class="smallcaps">The Little Review</span>. It has with one -reading become a distinctly individual -friend. -</p> - -<p class="sign"> -W. M. L.<br /> -Philadelphia. -</p> - -<p> -Your <span class="smallcaps">Little Review</span> has just reached -me. I took it home for leisurely examination -on Sunday. I congratulate you -upon launching and hope that you’ll -meet no adverse trade winds in your -voyage. Its atmosphere is certainly anything -but editorial, and you’ve put -plenty of your own personality into it. -And what a delightfully charming letter -is that from Galsworthy! -</p> - -<p> -I should take sharp issue with you on -one or two slight points could I face you -across a lunch table, but as it is, I tuck -my differences away, with a sigh of envy -at your enthusiasm, and the sincere wish -that you may always keep it. -</p> - -<p> -With best wishes for your good luck. -</p> - -<p class="sign"> -<span class="smallcaps">Beatrice L. Miller.</span><br /> -Boston. -</p> - -<p> -I think your first number very interesting -indeed, and congratulate you on -your fine start. I am always delighted -with every new manifestation of the life -and enthusiasm in Chicago! -</p> - -<p> -With best wishes for your future. -</p> - -<p class="sign"> -<span class="smallcaps">Alice C. Henderson.</span><br /> -Chicago. -</p> - -<p> -... I’ve fallen in love with M. H. P., -“The Critics’ Critic.” She’s just the -sort of person I’d like to go and talk -with this afternoon. Please ask her to -write a letter properly sitting on Agnes -Repplier for her <em>Atlantic</em> essays. A very -delicate, cultured, polite little woman -sitting behind a tea-table in her aloof -apartment, and given over to well-bred -sneering at things she doesn’t know anything -about—that’s how I picture Miss -Repplier. -</p> - -<p class="sign"> -<span class="smallcaps">A Contributor.</span> -</p> - -<p> -<span class="smallcaps">The Little Review</span> is here, and I -have so enjoyed going over it. -</p> - -<p> -It is a great first number and sets a -pace that would have made most of us -breathless before we started; but anyone -can know it isn’t so with you, from that -last paragraph of your announcement. -It was lovely! -</p> - -<p> -I loved the Paderewski, too. Was -there anything more wonderful than the -glory of the Funeral March as he played -it the afternoon of his first recital here -this winter? I know you heard it from -the way you write of it. An emotion that -brings the tears and makes the sobs struggle -in the back of your throat is always -worth living through, and I wouldn’t -have missed it for worlds. -</p> - -<p> -With the best of good wishes. -</p> - -<p class="sign"> -<span class="smallcaps">Mabel Reber.</span><br /> -Chicago. -</p> - -<p> -I want to tell you how very good the -first issue of <span class="smallcaps">The Little Review</span> is. I -don’t know what the succeeding numbers -will be like, but you have set a <a id="corr-11"></a>pace in -this one that will demand some vigorous -effort to keep up. After that “gripping” -announcement no one will doubt -the real purpose of the <span class="smallcaps">Review</span> and the -fine optimism that is behind it. I don’t -have to believe everything you are going -to print, but if those who write it do, by -<a id="page-54" class="pagenum" title="54"></a> -all means keep them together. And <em>don’t</em> -let George Soule get away. -</p> - -<p> -It’s too early to make suggestions, but -I should say that Number One is well balanced -and very readable, and I like the -trick of throwing the light on from different -angles—like the Galsworthy and -Nietzsche discussions. The tone is high, -and I am quite sure I never read more -intelligent reviews anywhere. -</p> - -<p> -Good luck to <span class="smallcaps">The Little Review</span>! -</p> - -<p class="sign"> -<span class="smallcaps">J. D. Marney.</span><br /> -Springfield, Ill. -</p> - -<p> -Will you let me thank you for giving -me a very pleasant experience in reading -the first copy of <span class="smallcaps">The Little Review</span>? -There are many things in the first number -which arouse one’s interest, though -I am not sure that I would at all agree -in all the critical judgments which are -there pronounced. Anyway, you will -let me wish you all success, and wave -you my hand with the hope that <span class="smallcaps">The -Little Review</span> shall be the biggest review -in the country. -</p> - -<p class="sign"> -<span class="smallcaps">D. W. Wylie.</span><br /> -Iowa City, Iowa. -</p> - -<p> -Congratulations must be pouring in -on you from all sides, but I want, just -the same, to add my voice to the chorus -of “Bravos” that surrounds you. -</p> - -<p> -<span class="smallcaps">The Little Review</span> is a triumph. It -even outdoes my picture of it; and that -is saying much, for I have known it was -to be something exceptionally nice. -</p> - -<p> -It is a delight to look at, showing -somebody’s good personal taste; and the -contents—well, I like them <em>lots</em> more -than I could say adequately or put in -this space. -</p> - -<p> -Blessings on you and the heartiest -congratulations to all concerned in the -making of <span class="smallcaps">The Little Review</span>. -</p> - -<p class="sign"> -<span class="smallcaps">Margaret T. Corwin.</span><br /> -New Haven, Conn. -</p> - -<p> -I am pleased with its general appearance, -and the contents are inspiring—full -of the spirit of youth. I wish <span class="smallcaps">The -Little Review</span> every success. -</p> - -<p class="sign"> -<span class="smallcaps">Georgia M. Weston.</span><br /> -Geneva, Ill. -</p> - -<p> -The initial number of <span class="smallcaps">The Little -Review</span> has impressed me so favorably -that I want some of my friends also to -share in its appreciation. -</p> - -<p> -You surely have made a fine beginning -and, in my judgment, cannot do -better than to adopt as the creed of -<span class="smallcaps">The Little Review</span> the sound and encouraging -advice given in Mr. Galsworthy’s -inspiring letter. -</p> - -<p class="sign"> -<span class="smallcaps">Albert H. Loeb.</span><br /> -Chicago. -</p> - -<p> -From the first page to the last book -announcement I have read <span class="smallcaps">The Little -Review</span> with pride and delight. -</p> - -<p> -Its sincerity attracts me even more -than its obvious literary merit, and its -comprehensiveness and quality will appeal -to all who read at all—especially -to those who go below the surface. -</p> - -<p class="sign"> -<span class="smallcaps">Alethea F. Grimsley.</span><br /> -Springfield, Ill. -</p> - -<p> -Thank you so much for <span class="smallcaps">The Little -Review</span>! I liked it from the moment I -saw it, both outside and in. I like particularly -the personal note you put into -your writing. It’s as though you were -really talking to me and telling me how -you feel about <em>The Dark Flower</em> and -Paderewski and dear Little Antoine with -his bad room that was “pretty but stupid -for the sound.” -</p> - -<p> -With best wishes to you in your beautiful, -big undertaking. -</p> - -<p class="sign"> -<span class="smallcaps">Zetta Gay Whitson.</span><br /> -Chicago. -</p> - -</div> - -<div class="chapter"> - -<h2 class="article" id="chapter-0-20"> -<a id="page-55" class="pagenum" title="55"></a> -The “Best Sellers” -</h2> - -</div> - -<p class="center"> -The following books, arranged in order of popularity, have been “bestsellers” -in Chicago during March: -</p> - -<div class="table"> -<table class="bestsellers" summary="Table-1"> -<tbody> - <tr> - <td class="col1">The Inside of the Cup</td> - <td class="col2">Winston Churchill</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">Diane of the Green Van</td> - <td class="col2">Leona Dalrymple</td> - <td class="col3">Reilly and Britton</td> - </tr> - <tr> - <td class="col1">Pollyanna</td> - <td class="col2">Eleanor Porter</td> - <td class="col3">L. C. Page</td> - </tr> - <tr> - <td class="col1">Laddie</td> - <td class="col2">Gene Stratton-Porter</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">T. Tembarom</td> - <td class="col2">Frances Hodgson Burnett</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">Sunshine Jane</td> - <td class="col2">Anne Warner</td> - <td class="col3">Little, Brown</td> - </tr> - <tr> - <td class="col1">The Woman Thou Gavest Me</td> - <td class="col2">Hall Caine</td> - <td class="col3">Lippincott</td> - </tr> - <tr> - <td class="col1">Cap’n Dan’s Daughter</td> - <td class="col2">Joseph C. Lincoln</td> - <td class="col3">Appleton</td> - </tr> - <tr> - <td class="col1">Passionate Friends</td> - <td class="col2">H. G. Wells</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Old Valentines</td> - <td class="col2">S. H. Havens</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Devil’s Garden</td> - <td class="col2">W. B. Maxwell</td> - <td class="col3">Bobbs-Merrill</td> - </tr> - <tr> - <td class="col1">The White Linen Nurse</td> - <td class="col2">Eleanor Abbott</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">When Ghost Meets Ghost</td> - <td class="col2">William DeMorgan</td> - <td class="col3">Henry Holt</td> - </tr> - <tr> - <td class="col1">The After House</td> - <td class="col2">Mary Roberts Rinehart</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Iron Trail</td> - <td class="col2">Rex Beach</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">The Dark Hollow</td> - <td class="col2">Anne Katherine Green</td> - <td class="col3">Dodd, Mead</td> - </tr> - <tr> - <td class="col1">The Rocks of Valpre</td> - <td class="col2">E. H. Dell</td> - <td class="col3">Putnam</td> - </tr> - <tr> - <td class="col1">The Light of Western Stars</td> - <td class="col2">Zane Gray</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Peg o’ My Heart</td> - <td class="col2">Hartley Manners</td> - <td class="col3">Dodd, Mead</td> - </tr> - <tr> - <td class="col1">The Dark Flower</td> - <td class="col2">John Galsworthy</td> - <td class="col3">Scribner</td> - </tr> - <tr> - <td class="col1">Daddy Long Legs</td> - <td class="col2">Jean Webster</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">It Happened in Egypt</td> - <td class="col2">C. N. and A. M. Williamson</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Darkness and Dawn</td> - <td class="col2">George Allan England</td> - <td class="col3">Small, Maynard</td> - </tr> - <tr> - <td class="col1">The Forester’s Daughter</td> - <td class="col2">Hamlin Garland</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Westways</td> - <td class="col2">S. Weir Mitchell</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">My Wife’s Hidden Life</td> - <td class="col2">Anonymous</td> - <td class="col3">Rand, McNally</td> - </tr> - <tr> - <td class="col1">Home</td> - <td class="col2">Anonymous</td> - <td class="col3">Century</td> - </tr> - <tr> - <td class="col1">The Valley of the Moon</td> - <td class="col2">Jack London</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">The Harvester</td> - <td class="col2">Gene Stratton-Porter</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Gold</td> - <td class="col2">Stewart Edward White</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">A People’s Man</td> - <td class="col2">E. Phillips Oppenheim</td> - <td class="col3">Little, Brown</td> - </tr> - <tr> - <td class="col1">The Way Home</td> - <td class="col2">Basil King</td> - <td class="col3">Harper</td> - </tr> - <tr> - <td class="col1">Martha by the Day</td> - <td class="col2">Julie M. Lippman</td> - <td class="col3">Holt</td> - </tr> - <tr> - <td class="col1">The Rosary</td> - <td class="col2">Florence Barclay</td> - <td class="col3">Putnam</td> - </tr> - <tr> - <td class="col1">Making Over Martha</td> - <td class="col2">Julie M. Lippman</td> - <td class="col3">Holt</td> - </tr> - <tr class="t"> - <td class="col1"><a id="page-56" class="pagenum" title="56"></a> </td> - <td class="col2">NON-FICTION</td> - <td class="col3"> </td> - </tr> - <tr> - <td class="col1">Crowds</td> - <td class="col2">Gerald Stanley Lee</td> - <td class="col3">Doubleday, Page</td> - </tr> - <tr> - <td class="col1">Alone in the Wilderness</td> - <td class="col2">Joseph Knowles</td> - <td class="col3">Small, Maynard</td> - </tr> - <tr> - <td class="col1">Autobiography</td> - <td class="col2">Theodore Roosevelt</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">What Men Live By</td> - <td class="col2">Richard C. Cabot</td> - <td class="col3">Houghton Mifflin</td> - </tr> - <tr> - <td class="col1">The Gardener</td> - <td class="col2">Rabindranath Tagore</td> - <td class="col3">Macmillan</td> - </tr> - <tr> - <td class="col1">The Modern Dances</td> - <td class="col2">Ellen Walker</td> - <td class="col3">Saul</td> - </tr> -</tbody> -</table> -</div> - -<p class="vspace center"> -<span class="smallcaps">The Little Review</span> is now on sale in the following bookstores: -</p> - -<div class="table"> - <div class="bookstores"> - <div class="row"> - <div class="column"> -<p class="stores"> -New York:<br /> -Brentano’s.<br /> -Vaughn and Gamme.<br /> -M. J. Whaley. -</p> - -<p class="stores"> -Chicago:<br /> -The Little Theatre.<br /> -McClurg’s.<br /> -Morris’s Book Shop.<br /> -Carson, Pirie, Scott and Company.<br /> -A. Kroch and Company.<br /> -Chandler’s Bookstore, Evanston.<br /> -W. S. Lord, Evanston. -</p> - -<p class="stores"> -Pittsburg:<br /> -Davis’s Bookshop. -</p> - -<p class="stores"> -Springfield, Mass.:<br /> -Johnson’s Bookstore. -</p> - - </div> - <div class="column"> -<p class="stores"> -Cleveland:<br /> -Burrows Brothers Company. -</p> - -<p class="stores"> -Detroit:<br /> -Macauley Brothers. -</p> - -<p class="stores"> -Minneapolis:<br /> -Nathaniel McCarthy’s. -</p> - -<p class="stores"> -Los Angeles:<br /> -C. C. Parker’s. -</p> - -<p class="stores"> -Omaha:<br /> -Henry F. Keiser. -</p> - -<p class="stores"> -Columbus, O.<br /> -A. H. Smythe’s. -</p> - - </div> - </div> - </div> -</div> - -<div class="ads chapter"> -<p class="ada"> -By John Galsworthy -</p> - -<p class="adb"> -The Dark Flower -</p> - -<p class="adp"> -<em>$1.35 net; postage extra.</em> -</p> - -<p> -This splendid story of love -which has drawn more attention -than anything else Mr. Galsworthy -ever wrote, is now in its -fourth large edition. -</p> - -<p> -The editor of the new <em>Little -Review</em> says of it: “Everything -John Galsworthy has done has -had its special function in making -‘The Dark Flower’ possible. -The sociology of ‘Fraternity,’ -the passionate pleading of ‘Justice’ -and ‘Strife,’ the incomparable -emotional experiments of ‘A -Commentary,’ the intellectuality -of ‘The Patrician’—all these -have contributed to the noble -simplicity of ‘The Dark Flower.’” -</p> - -<p class="ada"> -John Galsworthy’s Plays -</p> - -<p class="adb"> -The Fugitive -</p> - -<p class="adp"> -<em>60 cents net; postage extra.</em> -</p> - -<p> -“Mr. Galsworthy deals with -the problem of woman’s economic -independence, her opportunity -and preparation for self-support -outside the refuge of -marriage.... -</p> - -<p> -“‘The Fugitive’ is an admirable -piece of dramatic writing. -The undeviating exposition of the -situation in the first act is certainly -the best thing Mr. Galsworthy -has yet done in the dramatic -field.” -</p> - -<p class="attr"> -—<em>New York Tribune.</em> -</p> - -<p class="adb"> -The Pigeon -</p> - -<p class="ads"> -A Fantasy in Three Acts -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -The Eldest Son -</p> - -<p class="ads"> -A Domestic Drama in Three -Acts. -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -Justice -</p> - -<p class="ads"> -A Tragedy in Four Acts. -</p> - -<p class="adp"> -<em>60 cents net.</em> -</p> - -<p class="adb"> -The Little Dream -</p> - -<p class="ads"> -An Allegory in Six Scenes -</p> - -<p class="adp"> -<em>50 cents net.</em> -</p> - -<p> -Three of these plays—“Justice,” -“The Little Dream,” and -“The Eldest Son”—have been -published in the more convenient -form of one volume, entitled -“Plays by John Galsworthy, -Second Series.” -</p> - -<p class="adp"> -<em>$1.50 net.</em> -</p> - -<p class="adb"> -My First Years as a Frenchwoman -1876-1879 -</p> - -<p class="ada"> -<span class="smallcaps">By Mary King Waddington</span>, author of “Letters of a Diplomat’s -Wife,” “Italian Letters of a Diplomat’s Wife,” etc. -</p> - -<p class="adp"> -<em>$2.50 net; postage extra.</em> -</p> - -<p> -The years this volume embraces were three of the most critical -in the life of the French Republic. Their principal events -and conspicuous characters are vividly described by an expert -writer who was within the inmost circles of society and diplomacy—she -was the daughter of President King of Columbia, and -had just married M. William Waddington, one of the leading -French diplomats and statesmen of the time. -</p> - -<p class="adb"> -Notes of a Son and Brother -</p> - -<p class="ada"> -<span class="smallcaps">By Henry James.</span> -</p> - -<p class="adp"> -<em>Illustrated. With drawings by</em> <span class="smallcaps">William James</span>. -<em>$2.50 net; postage extra.</em> -</p> - -<p> -Harvard, as it was in the days when, first William, and then -Henry, James were undergraduates, is pictured and commented -upon by these two famous brothers—by William James through -a series of letters written at the time. The book carries forward -the early lives of William and Henry, which was begun in “A -Small Boy and Others,” published a year ago. 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. -</p> - -<p class="adb"> -North Africa and the Desert -</p> - -<p class="adp"> -<span class="smallcaps">By George E. Woodberry.</span> <em>$2.00 net; postage extra.</em> -</p> - -<p> -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. -</p> - -<p class="ada"> -By HUDSON STUCK, D.D. -Archdeacon of the Yukon. -</p> - -<p class="adb"> -The Ascent of Denali (Mt. McKinley) -</p> - -<p class="adp"> -<em>With illustrations and maps</em> <em>$1.75 net; postage extra.</em> -</p> - -<p> -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. -</p> - -<p class="adb"> -Ten Thousand Miles with a Dog Sled -</p> - -<p class="adp"> -<em>With 48 illustrations, 4 in color.</em> <em>$3.50 net; postage extra.</em> -</p> - -<p> -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. -</p> - -<p class="s ade"> -Charles Scribner’s Sons -<span class="centerpic"><img src="images/scribner.jpg" alt="" /></span> -Fifth Avenue, New York -</p> - -</div> - -<div class="ads chapter"> -<div class="centerpic fl"> -<a id="page-57" class="pagenum" title="57"></a><img src="images/houghtonl.jpg" alt="" /></div> - -<div class="centerpic fr"> -<img src="images/houghtonr.jpg" alt="" /></div> - -<p class="h1 adh"> -SPRING PUBLICATIONS -</p> - -<p class="ade"> -HOUGHTON MIFFLIN COMPANY -</p> - -<p class="s ade"> -4 Park Street, Boston -<span class="c1914">1914</span> -16 E. 40th St., New York -</p> - -<p class="adb"> -George Borrow and His Circle -</p> - -<p class="r ada"> -By CLEMENT K. SHORTER -</p> - -<p> -“A treasure and a delight to admirers of Borrow.”—<em>London Athenæum.</em> “A sane book about a -sane and magnificently wholesome man.”—<em>London Daily Express.</em> -</p> - -<p class="r adp"> -With frontispiece. $3.00 net. Postage extra. -</p> - -<p class="adb"> -What Men Live By -</p> - -<p class="r ada"> -By RICHARD C. CABOT, M.D. -</p> - -<p> -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. -</p> - -<p class="r adp"> -$1.50 net. Postage extra. -</p> - -<p class="adb"> -Our Friend John Burroughs -</p> - -<p class="r ada"> -By Dr. CLARA BARRUS -</p> - -<p> -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. -</p> - -<p class="r adp"> -Illustrated. $2.00 net. Postage extra. -</p> - -<p class="adb"> -Annals and Memoirs of the Court of Peking -</p> - -<p class="r ada"> -By J. O. P. BLAND and EDMUND BACKHOUSE -</p> - -<p> -“An extraordinarily vivid picture of life at the Court of Peking from the middle of the sixteenth -century down to our day.”—<em>London Truth.</em> -</p> - -<p> -“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.”—<em>London Globe.</em> -</p> - -<p class="r adp"> -Lavishly illustrated. $4.50 net. Postage extra. -</p> - -<p class="adb"> -In the Old Paths -</p> - -<p class="r ada"> -By ARTHUR GRANT -</p> - -<p> -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. -</p> - -<p class="r adp"> -Illustrated. $1.50 net. Postage extra. -</p> - -<p class="adb"> -Thomas Wentworth Higginson: The Story of His Life -</p> - -<p class="r ada"> -By MARY THACHER HIGGINSON -</p> - -<p> -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. -</p> - -<p class="r adp"> -Illustrated. $3.00 net. Postage extra. -</p> - -<p class="adb"> -The Ministry of Art -</p> - -<p class="r ada"> -By RALPH ADAMS CRAM -</p> - -<p> -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. -</p> - -<p> -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. -</p> - -<p class="r adp"> -$1.50 net. Postage extra. -</p> - -<hr /> - -<p class="ada"> -Elia W. Peattie’s -</p> - -<p class="adb"> -THE PRECIPICE -</p> - -<p> -“One of the most significant novels that have appeared this season ... so absolutely -true to life that it is hard to consider it fiction.”—<em>Boston Post.</em> -</p> - -<p> -“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.”—<em>Chicago Record Herald.</em> -</p> - -<p> -“An intimate and sympathetic study of new-century womanhood ... presents a -profoundly interesting survey of the new social order of things.”—<em>Philadelphia -North American.</em> -</p> - -<p class="r adp"> -With frontispiece. $1.35 net. Postage extra. -</p> - -</div> - -<div class="ads chapter"> -<p class="c"> -<a id="page-58" class="pagenum" title="58"></a> -<em>The -$10,000 -Prize -Novel</em> -</p> - -<div class="centerpic"> -<img src="images/diane.jpg" alt="" /></div> - -<p class="hidden adb"> -<em>Diane -of the -Green Van</em> -</p> - -<p class="c"> -<em>The -Season’s -Great -Success</em> -</p> - -<p class="ada"> -<span class="underline"><em>By Leona Dalrymple</em></span> -</p> - -<p> -Viewed even in the critical light of the high -standard set for the winner of a ten-thousand-dollar -prize, “Diane of the Green Van” fully -measures up to the expectations of the novel-reading -public. -</p> - -<p> -This is why it heads the list of best sellers in -New York, Chicago, Philadelphia. The advertising -value of a big prize offer may account in -some degree for the heavy advance sale—although -the wholesale buyers ordered <em>after reading</em>. -Nothing but sheer merit can account for -the extremely large retail sale. Friend-to-friend -commendation is steadily increasing over-the-counter -demand. -</p> - -<p> -The judges—the readers—all gave “Diane” -first place among five hundred manuscripts, -many of them by first-class authors. The trade -has applauded the choice. Reviewers have called -“Diane of the Green Van” well worth the big -prize. -</p> - -<p> -We should like to be able to publish the list -of twenty or more successful writers who entered -stories. On reputation alone, their work -would have gone far; but we feel that the <em>story</em> -of “Diane” will go farther. -</p> - -<p> -“Here are expectation and enthusiasm -justified alike. It is a clear, clean, clever -romance.... It combines the love -and intrigue of the ‘Zenda’ tale with the -freedom of a Locke or Farnol story of -broad highways.”—<em>New York World.</em> -</p> - -<hr class="hr10" /> - -<p> -“Just what countless pleased readers -will devour with avidity.... Gracefully -written, vivid in style and suggestion.... -Bright and breezy and exciting.”—<em>Chicago -Record Herald.</em> -</p> - -<hr class="hr10" /> - -<p> -“The tale has unusual dramatic grip, -much brilliancy of dialogue.... It -is the sort of narrative that no one willingly -lays down until the last page has -been turned.”—<em>Philadelphia -North American.</em> -</p> - -<hr class="hr10" /> - -<p> -“The novel throbs with the youthful -joy of living and the enchantments of -summer hover over its pages. Everywhere -is there originality in the invention -of the incidents and subtlety in the delineation -of characters.”—<em>Chicago -Tribune.</em> -</p> - -<hr class="hr10" /> - -<p> -“A heroine whose fascination richly -merits study. A hero who will capture -the heart of the reader from the moment -of his first appearance.”—<em>Boston Globe.</em> -</p> - -<hr class="hr10" /> - -<p> -“So good a thing, a thing so romantic -and thrilling, we have not seen in—lo, -these many moons of story telling.”—<em>Louisville -Post.</em> -</p> - -<hr /> - -<p> -“Diane” is a tale with the freshness and spontaneity of youth, with the rich personality -of the author shining through its diverting pages. In its imagination and clever dialogue -and plot it strikes the keynote of popular appeal. At the same time, “Diane” has -all the essentials of lasting popularity. The publishers feel justified in predicting a -long journey for the Green Van and its charming young mistress. (<em>$1.35 net</em>) -</p> - -<hr /> - -<p class="ade"> -<b><em>Publishers The Reilly & Britton Co. Chicago</em></b> -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -<a id="page-59" class="pagenum" title="59"></a> -<em>A New “Frank Danby” and Other Spring Leaders</em> -</p> - -<p class="u ada"> -FRANK DANBY’S<br /> -<em>Finest and Most Powerful Work</em> -</p> - -<p class="adb"> -FULL SWING -</p> - -<p class="r"> -<em>Ready -April 30th</em> -</p> - -<p> -A book in whose rushing current glow two love stories of heart-gripping -interest, passion and tears are mingled in Frank Danby’s -masterly work, “Full Swing.” Vivid, forceful, rich in character-drawing -that challenges comparison with the best in English fiction—the -author has added a supreme touch to her book—a new type -of heroine, incredible as that may appear. A new type that -nevertheless is as credible as your oldest friend—who wins and -holds your heart through startling incidents that would wreck a -less powerful book with the doubt of their possibility. With -dramatic scenes in abundance throughout the book, the interest -increases steadily to the very end. No jaded reader, seeking a -new sensation in literature, will be able to lay down the volume -until the tale is finished. $1.35 net. Postage, extra. -</p> - -<p class="adb"> -The Full of the Moon -</p> - -<p class="ada"> -By <b>CAROLINE LOCKHART</b>, Illustrated in color, $1.25 net. Postage -extra. -</p> - -<p> -<em>JEANNETTE L. GILDER</em>, in the <em>Chicago Tribune</em>: -</p> - -<p> -“It would not surprise me if ‘The Full of the Moon’ proves to be the -most popular of Miss Lockhart’s novels, and if it does not ultimately find -its way to the stage I will be very much surprised, for it has all the elements -of popular drama in it.” -</p> - -<p class="adb"> -The Best Man -</p> - -<p class="ada"> -By <b>GRACE LIVINGSTON HILL LUTZ</b>, Illustrated in color. $1.25 -net. Postage extra. -</p> - -<p> -<em>NEW YORK TIMES</em>: -</p> - -<p> -“A romance of startling adventure. The action is rapid, everything -moves in a breathless whirl.” -</p> - -<p class="adb"> -The Red Emerald -</p> - -<p class="ada"> -By <b>JOHN REED SCOTT</b>, Illustrated in color. $1.25 net. Postage -extra. -</p> - -<p> -<em>PHILADELPHIA RECORD</em>: -</p> - -<p> -“As always, Mr. Scott exudes modernity, his dialogue scintillates.... -His viewpoint is that of a man of the world.... His courage falters not -even before Grundy, hence his vogue among the pleasure lovers. That -this is his best book many declare.” -</p> - -<p class="adb"> -Anybody But Anne -</p> - -<p class="ada"> -By <b>CAROLYN WELLS</b>, Illustrated in color. $1.25 net. Postage extra. -</p> - -<p> -<em>BOSTON HERALD</em>: -</p> - -<p> -“The character of Fleming Stone appears even more wonderful and -plausible than in Miss Wells’ earlier stories. The tale is a baffling one, and -the suspense is well sustained.” -</p> - -<p class="h2 adh"> -<span class="underline">OUTDOOR BOOKS</span> -</p> - -<div class="centerpic"> -<img src="images/i059.jpg" alt="" /></div> - -<p class="adb"> -The Practical -Book of Garden -Architecture -</p> - -<p class="ads"> -Fountains, Gateways, Pergolas, -Tennis Courts, Lakes -and Baths, Arches, Cascades, -Windmills, Temples, Spring -Houses, Bridges, Terraces, -Water Towers, etc., etc. -</p> - -<p class="ada"> -By <b>PHEBE WESTCOTT -HUMPHREYS</b>. -</p> - -<p class="adp"> -Frontispiece -in color. 120 illustrations -from actual examples -of Garden Architecture -and House surroundings. -Square octavo. Ornamental -cloth, in a box, $5.00 net. -Postpaid. $5.25. -</p> - -<p> -A volume for the owner developing -his property, large or -small, for the amateur or professional -garden architect, for -the artist, student and nature -lover. -</p> - -<p class="adb"> -The Flower Finder -</p> - -<p class="ada"> -By <b>GEORGE LINCOLN -WALTON, M.D.</b> -</p> - -<p class="adp"> -590 illus. -Limp leather. $2.00 net. -Postage extra. -</p> - -<p> -<em>CLEVELAND PLAIN -DEALER</em>:—“What’s that -flower over there in the field? -You’ll find out in ‘The Flower -Finder’. Gives many color -charts and sketches; grouped -so that you can easily find -what you are looking for; is -bound in leather that permits -it to be slipped in the pocket.” -</p> - -<p class="adb"> -The Training of a Forester -</p> - -<p class="ada"> -By <b>GIFFORD PINCHOT</b>. -</p> - -<p> -8 illus. $1.00 net. Postage -extra. -</p> - -<p> -Just the book to put in the -hands of the young man who -loves outdoor life. Mr. Pinchot -has written an inspiring volume -on the profession which he has -brought so forcibly to public -attention. -</p> - -<p class="u ade"> -<b>J. B. LIPPINCOTT COMPANY</b><br /> -PUBLISHERS PHILADELPHIA -</p> - -</div> - -<div class="ads chapter"> -<p class="h1 adh"> -<a id="page-60" class="pagenum" title="60"></a> -<span class="underline">IMPORTANT NEW BOOKS</span> -</p> - -<p class="adb"> -<span class="underline">THE SOUTH AMERICAN TOUR</span> -</p> - -<p class="ada"> -<b>By Annie S. Peck</b> -</p> - -<p class="r ads"> -<b><em>Author of</em> -“A Search for the Apex of America”</b> -</p> - -<p class="ads"> -<em>With 87 illustrations mainly from photographs by the author.</em> -</p> - -<p> -This is the first guide to THE SOUTH AMERICAN TOUR which is -adequate and up-to-date in its treatment, dealing importantly with the -subject both in its commercial and pleasure aspects. -</p> - -<p class="r adp"> -<b><em>8vo. Net $2.50</em></b> -</p> - -<p class="adb"> -<span class="underline">A BOOKMAN’S LETTERS</span> -</p> - -<p class="ada"> -<b>By Sir W. Robertson Nicoll, M.A., LL.D.</b> -</p> - -<p> -These papers here collected, forty-eight in all, deal with various literary -personalities, problems and impressions and show Sir William Nicoll in -his most genial and leisured spirit. -</p> - -<p class="r adp"> -<b><em>Octavo. Net $1.75</em></b> -</p> - -<p class="adb"> -<span class="underline">ROBERT LOUIS STEVENSON’S EDINBURGH -DAYS</span> -</p> - -<p class="ada"> -<b>By E. Blantyre Simpson</b> -</p> - -<p> -The hitherto untold record of the boyhood days of Stevenson—the most -valuable recent contribution to Stevensoniana. -</p> - -<p class="r adp"> -<b><em>Fully illustrated. Octavo. Net $2.00</em></b> -</p> - -<p class="adb"> -<span class="underline">MADAME ROYALE</span> -</p> - -<p class="ada"> -<b>By Ernest Daudet</b> -</p> - -<p class="r ads"> -<b>Translated from the French by -Mrs. Rodolph Stawell</b> -</p> - -<p> -The story of Madame Royale, daughter of Louis XVI and Marie Antoinette, -covers the French Revolution, the tragic execution of her -parents, and the mystery of the lost Dauphin. Ernest Daudet tells -this story in a form which reads like fiction—impressionistic, racy—but -is no less truth. -</p> - -<p class="r adp"> -<b><em>Illustrated. Octavo. Net $3.50</em></b> -</p> - -<p class="adb"> -<span class="underline">MY FATHER: W. T. Stead</span> -</p> - -<p class="ada"> -<b>By Estelle W. Stead</b> -</p> - -<p> -<b>The Record of the Personal and Spiritual Experience of W. T. STEAD.</b> -</p> - -<p> -An extraordinary light cast on the life of the great journalist who -ordered his life on direct messages from another world. -</p> - -<p class="r adp"> -<b><em>Octavo. Net $2.50</em></b> -</p> - -<p class="adb"> -<span class="underline">THINKING BLACK</span> -</p> - -<p class="r ads"> -<em>With many illustrations and maps.</em> -</p> - -<p class="ada"> -<b>By Dan Crawford, F.R.G.S.</b> -</p> - -<p> -Twenty-two Years Without a Break in the Long Grass of Central Africa. -A brilliant and original book which will take its place among the Classics -of the Missions. What Paton did for the New Hebrides, Cary for India, -and Mackey for Uganda, Crawford has done for Central Africa. -</p> - -<p class="r adp"> -<b><em>Octavo. Net $2.00</em></b> -</p> - -<p class="adb"> -<span class="underline">THE NEW TESTAMENT:</span> A New Translation -</p> - -<p class="ada"> -<b>By James Moffatt, D.D., D.Litt.</b> -</p> - -<p> -Dr. Moffatt is one of the most distinguished living scholars of the Greek -New Testament. He is also a profound student of modern literature. -He has re-translated with the view of giving a modern literary version -which shall be verbally accurate in its equivalents for the Greek phrases. -It is a work which awakens enthusiasm by its distinguished choice of -language and which stirs up thought by its originality of rendering. -</p> - -<p class="r adp"> -<b><em>Small Quarto. Net $1.50</em></b> -</p> - -<p class="h2 adh"> -FICTION -</p> - -<p class="adb"> -<span class="underline">EAST OF THE SHADOWS</span> -</p> - -<p class="ada"> -<b>By Mrs. Hubert Barclay</b> -</p> - -<p class="ads"> -<b><em>Author of “A Dream of Blue -Roses,” etc.</em></b> -</p> - -<p> -One of the most original love stories -that ever was penned—narrating a -woman’s power to restore romance. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="adb"> -<span class="underline">THE HOUR OF CONFLICT</span> -</p> - -<p class="ada"> -<b>By Hamilton Gibbs</b> -</p> - -<p> -The story of a man who achieved -the extraordinary through remorseful -recollection of early wrongdoing. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="adb"> -<span class="underline">GILLESPIE</span> -</p> - -<p class="ada"> -<b>By J. Macdougall Hay</b> -</p> - -<p> -A strong, daring, original piece of -work, which exhibits that rare but -unmistakable quality of permanency. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.40</em></b> -</p> - -<p class="adb"> -<span class="underline">A DOUBTFUL CHARACTER</span> -</p> - -<p class="ada"> -<b>By Mrs. Baillie-Reynolds</b> -</p> - -<p> -An enigmatic love-story by the -author of “Out of the Night,” “A -Make-Shift Marriage,” etc. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="adb"> -<span class="underline">ANOTHER MAN’S SHOES</span> -</p> - -<p class="ads"> -<b><em>A Mystery Novel</em></b> -</p> - -<p class="ada"> -<b>By Victor Bridges</b> -</p> - -<p> -Many a man leads a double life—this -man lived the life of a double in -a desperate attempt to cheat destiny. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="adb"> -<span class="underline">FORTITUDE</span> -</p> - -<p class="ada"> -<b>By Hugh Walpole</b> -</p> - -<p> -The novel that places Hugh Walpole -in the front rank of novelists today. -A story of inspiring courage. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.40</em></b> -</p> - -<p class="adb"> -<span class="underline">JEAN AND LOUISE</span> -</p> - -<p class="ada"> -<b>By Antonin Dusserre</b> -</p> - -<p class="ads"> -<b><em>From the French by John M. -Raphael with pen portrait of -the author by Marguerite Audoux, -author of “Marie Claire”</em></b> -</p> - -<p> -The chief claim of this novel is its -entire difference from all other -novels. It discovers a new territory -and exploring it with beauty and -tenderness, makes it appeal in the -delicacy and sweetness of its atmosphere -and character portraiture. -</p> - -<p class="r adp"> -<b><em>12mo. $1.20</em></b> -</p> - -<p class="adb"> -<span class="underline">DOWN AMONG MEN</span> -</p> - -<p class="ada"> -<b>By Will Levington Comfort</b> -</p> - -<p class="ads"> -<b><em>Author of “Routledge Rides -Alone”</em></b> -</p> - -<p> -The high-tide of Mr. Comfort’s art—bigger -than his previous novels. -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="adb"> -<span class="underline">THE STORY OF LOUIE</span> -</p> - -<p class="ada"> -<b>By Oliver Onions</b> -</p> - -<p> -The story of Louie, an experimenter -in Life, triumphantly completes -Oliver Onions’ remarkable trilogy -begun in “In Accordance With the -Evidence” and carried through -“The Debit Account.” -</p> - -<p class="r adp"> -<b><em>12mo. Net $1.25</em></b> -</p> - -<p class="h3 adh"> -<em>AT ALL BOOKSELLERS</em> -</p> - -<p class="u ade"> -<b>GEORGE H. DORAN COMPANY, New York<br /> -Publishers in America for HODDER & STOUGHTON</b> -</p> - -</div> - -<div class="ads chapter"> -<div class="centerpic fl"> -<a id="page-61" class="pagenum" title="61"></a><img src="images/i061.jpg" alt="" /></div> - -<p class="h1 adh"> -You Can Examine These Books<br /> -at Home -</p> - -<p> -Thanks to the Parcel Post they will come to your -door on approval. Look them over at your leisure -and return them if not satisfactory. -</p> - -<p class="c"> -<b><em>Use Coupon Below</em></b> -</p> - -<p class="adb"> -PENROD -</p> - -<p class="ada"> -By BOOTH TARKINGTON -</p> - -<p class="ads"> -<b>Author of “Monsieur Beaucaire,” “The Gentleman -From Indiana,” etc.</b> -</p> - -<p> -It you ever were a boy, if you ever had one, -or if you remember your scalawag brother -in those days when his last short pair of -trousers were fast becoming inadequate to his -needs, then the exploits of the unregenerate -Penrod will recall some of the most harrowing -yet amusing experiences of your life. When a -boy is a <em>real boy</em> there is nothing under heaven -in his class. JUST OUT. Really illustrated by -Gordan Grant. Net, $1.25. -</p> - -<p class="adb"> -ADE’S FABLES -</p> - -<p class="ada"> -By GEORGE ADE -</p> - -<p class="ads"> -<b>Author of “Fables in Slang,” “Knocking the -Neighbors,” etc.</b> -</p> - -<p> -“Fables in Slang” up to date. How “Tango -Teas,” “Buzzing Blondines” and “Speedy -Sprites” appear to George Ade, artist of whimsical -and amusing English. Illustrated by John -T. McCutcheon. Net $1.00. JUST OUT. -</p> - -<p class="adb"> -MY GARDEN DOCTOR -</p> - -<p class="ada"> -<b>By FRANCES DUNCAN</b> -</p> - -<p> -How a sickly lady gave up doctors and nostrums -for the cultivation of a garden, and how -in the end she was cured. A delightful little -romance. JUST OUT. Net $1.00. -</p> - -<p class="adb"> -THE MEXICAN PEOPLE; THEIR -STRUGGLE FOR FREEDOM -</p> - -<p class="ada"> -<b>By L. GUTIERREZ DE LARA and EDGCUMB -PINCHON</b> -</p> - -<p> -The first true expression of the voice of the -Mexican people. A history of the Revolution -written by a participator and a leader of the -movement. Illustrated. Net $1.50. JUST OUT. -</p> - -<p class="adb"> -The Carpenter and the -Rich Man -</p> - -<p class="ada"> -<b>By BOUCK WHITE</b> -</p> - -<p class="ads"> -<b>Author of “The Call of the Carpenter”</b> -</p> - -<p> -A book that puts Christ’s doctrine of the -immorality of the swollen fortune fairly up -to people of today and shows how impossible -it will be to stem the tide of social -unrest unless the movement is robbed of its -terrors by the application of Christ’s idea -of true fellowship. JUST OUT. Net $1.25. -</p> - -<p class="h3 adh"> -DOUBLEDAY. PAGE & COMPANY,<br /> -Garden City, New York. -</p> - -<p> -Gentlemen:—Please send me on approval by -parcel post the following books. It is understood -that if they do not prove satisfactory I may return -them, the bill for the same being cancelled. -</p> - -<p> -Name -</p> - -<p> -Address -</p> - -<p class="r"> -L. R.—4-14 -</p> - -<p class="adb"> -CHANCE -</p> - -<p class="ada"> -<b>By JOSEPH CONRAD</b> -</p> - -<p class="ads"> -<b>Author of “Youth,” “Typhoon,” etc.</b> -</p> - -<p> -“Chance” is a novel of the effect of circumstances -on character. In the case of -Flora de Barral, Chance was finally on her -side, though for a long time the reader is -left in thick and thrilling uncertainty. Although -we never see her face to face, but -only reflected, she is one of the most appealing -heroines in modern fiction. <em>New York -Times.</em> JUST OUT, net, $1.35. -</p> - -<p class="adb"> -A SON OF THE AGES -</p> - -<p class="ada"> -<b>By STANLEY WATERLOO</b> -</p> - -<p class="ads"> -<b>Author of “The Story of Ab,” etc.</b> -</p> - -<p> -The Darwinian theory in fiction. The story -of Scar, who, unlike common mortals, lives -through the ages and so traces the descent of -man. Illustrated by Craig Johns. Net $1.25. -JUST OUT. -</p> - -<p class="adb"> -ST. LOUIS: A CIVIC MASQUE -</p> - -<p class="ada"> -<b>By PERCY MACKAYE</b> -</p> - -<p> -The acting version of the masque, which is to -be performed in the latter part of May in connection -with the St. Louis pageant. Net $1.00. -Ready May 15th. -</p> - -<p class="adb"> -THE PANAMA CANAL -</p> - -<p class="ada"> -<b>By FREDERIC J. HASKIN</b> -</p> - -<p class="ads"> -<b>Author of “The American Government.”</b> -</p> - -<p> -The story of the Canal with Col. Goethals’s -O. K. A complete account of the great work -from its inception to its completion. Illustrated. -Net $1.35 JUST OUT. -</p> - -<p class="adb"> -AMERICA AND THE PHILIPPINES -</p> - -<p class="ada"> -<b>By CARL CROW</b> -</p> - -<p> -The story of the result of the sixteen years -American occupation of the islands, which shows -the success that has been achieved and opportunity -offered in our island possessions. JUST -OUT. Illustrated. Net $2.00. -</p> - -<p class="adb"> -Psychology and Social Sanity -</p> - -<p class="ada"> -<b>By HUGO MÜNSTERBERG</b> -</p> - -<p> -The closing link in Professor Münsterberg’s -popular books on the application of -modern psychology to the practical tasks of -life—how psychology can help us in settling -social problems and contribute to social -soundness. In it he discusses the sex problem, -socialism, our jury system, investors -and investments and other topics of public -interest. JUST OUT. Net $1.25. -</p> - -<p class="u ade"> -Doubleday, Page & Company<br /> -Garden City, New York -</p> - -</div> - -<div class="ads chapter"> -<div class="centerpic fl"> -<a id="page-62" class="pagenum" title="62"></a><img src="images/ruffo.jpg" alt="" /></div> - -<p class="h1 adh"> -TITTA<br /> -RUFFO -</p> - -<p class="h3 adh"> -THE WORLD’S<br /> -GREATEST BARITONE -</p> - -<p class="c"> -<em>Writes of the</em> -</p> - -<p class="h2 adh"> -Mason &<br /> -Hamlin -</p> - -<p class="u c cb s"> -THE MAJESTIC HOTEL COMPANY<br /> -BERL SEGAL<br /> -GENERAL MANAGER -</p> - -<div class="centerpic"> -<img src="images/majestic.jpg" alt="" /></div> - -<p class="r"> -Nov. 16, 1912. -</p> - -<p class="c u"> -Mason & Hamlin Piano Company,<br /> -New York, N. Y. -</p> - -<p class="addr"> -Gentlemen: -</p> - -<p> -The Mason & Hamlin Piano used by me during -my operatic engagement in this country -has been a source of great pleasure. -</p> - -<p> -Its beautiful singing tone is remarkable. -Such qualities for the vocalists or pianiste -must be a great inspiration. I know of no -piano that gives me so much satisfaction and -heartily recommend it to those of my profession. -</p> - -<p> -Mason & Hamlin should feel proud of their -great achievement in producing -those wonderful -instruments. -</p> - -<p class="sign"> -Sincerely yours,<br /> -<em>Titta Ruffo</em>. -</p> - -<p class="u ade"> -<span class="underline"><em>Cable Piano Company</em></span><br /> -<em>Wabash and Jackson</em> -</p> - -</div> - -<div class="ads chapter"> -<div class="centerpic fl"> -<a id="page-63" class="pagenum" title="63"></a><img src="images/mcclurg.jpg" alt="" /></div> - -<div class="centerpic fr"> -<img src="images/mcclurg.jpg" alt="" /></div> - -<p class="h1 adh"> -Some New McClurg Books -</p> - -<p class="adb"> -The Coming Hawaii -</p> - -<p class="ada"> -By JOSEPH KING GOODRICH -</p> - -<p> -Beginning with Captain Cook and even earlier navigators, the history of this -“Paradise of the Pacific” is briefly told. Descriptions of the character and life of the -natives and newcomers follow, and full space is given to the attractions of the islands -for tourists and settlers. The products, business and possibilities receive abundant -mention, and little worthy of interest is left untouched. The volume is a timely addition -to the “The World Today Series.” The statistics are up to date. Illustrated. -<b>Net $1.50</b> -</p> - -<p class="adb"> -Junipero Serra, His Life and His Work -</p> - -<p class="ada"> -By A. H. FITCH -</p> - -<p> -The present biography is an attempt to supply the need for a popular account of -the life and labors of the simple Franciscan monk, whose memory is reverenced and -honored by California. 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