diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-02-04 11:31:02 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-02-04 11:31:02 -0800 |
| commit | a1c3d7d967cc233e1e208f1c9f7affe1fe46b954 (patch) | |
| tree | 9e85247fa7a54983b0fc13055609e51f8531a8ee /old/63809-0.txt | |
| parent | f3e04b0ea3057766d58f6f610a3c92b5e133541a (diff) | |
Diffstat (limited to 'old/63809-0.txt')
| -rw-r--r-- | old/63809-0.txt | 4708 |
1 files changed, 0 insertions, 4708 deletions
diff --git a/old/63809-0.txt b/old/63809-0.txt deleted file mode 100644 index 01d7133..0000000 --- a/old/63809-0.txt +++ /dev/null @@ -1,4708 +0,0 @@ -The Project Gutenberg EBook of The Little Review, June 1914 (Vol. 1, No. -4), by Margaret C. Anderson - -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 -will have to check the laws of the country where you are located before -using this ebook. - -Title: The Little Review, June 1914 (Vol. 1, No. 4) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: December 05, 2020 [EBook #63809] - -Language: English - -Character set encoding: UTF-8 - -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. - -*** START OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, JUNE 1914 (VOL. -1, NO. 4) *** - - - - - THE LITTLE REVIEW - - - Literature Drama Music Art - - MARGARET C. ANDERSON - EDITOR - - JUNE, 1914 - - "Incense and Splendor" The Editor - A Kaleidoscope Nicholas Vachel Lindsay - Futurism and Pseudo-Futurism Alexander S. Kaun - A Wonder-Child Violinist Margaret C. Anderson - The New Paganism DeWitt C. Wing - Gloria Mundi Eunice Tietjens - The Will to Live George Burman Foster - Keats and Fanny Brawne Charlotte Wilson - A New Woman from Denmark Marguerite Swawite - Editorials - New York Letter George Soule - Correspondence: - Miss Columbia: An Old-Fashioned Girl - Poetry to the Uttermost - Reflections of a Dilettante - The Immortality of the Soul - Book Discussion: - Dostoevsky--Pessimist? - The Salvation of the World à la Wells - The Unique James Family - The Immigrant's Pursuit of Happiness - De Morgan's Latest - - 25 cents a copy - - MARGARET C. ANDERSON, Publisher - Fine Arts Building - CHICAGO - - $2.50 a year - - - - - THE LITTLE REVIEW - - - Vol. I - - JUNE, 1914 - - No. 4 - - Copyright, 1914, by Margaret C. Anderson. - - - - - "Incense and Splendor" - - - MARGARET C. ANDERSON - -A young American novelist stated the other day that the American woman -is oversexed; that present-day modes of dress are all designed to -emphasize sex; and that it is high time for a reaction against sex -discussions, sex stories, and sex plays. - -But I think she's entirely mistaken. The American woman, speaking -broadly, is pathetically undersexed, just as she is undersensitive and -underintelligent. The last adjective will be disputed or resented; but -it's interesting once in a while to hear the thoughtful foreigner's -opinion of our intelligence. Tagore, for instance, said that he was -agreeably surprised in regard to the American man and astonished at the -stupidity of the American woman. As for our fiction and drama--we've had -much about sex in the last few years, some of it intensely valuable, -much of it intensely foolish; but it's quite too early to predict the -reaction. The really constructive work on the subject is yet to be done. - -And the pity of the whole thing is that the critics who keep lecturing -us on our oversexedness don't realize that what they're really trying to -get at is our poverty of spirit, our emotional incapacities, our -vanities, our pettinesses--any number of qualities which spring from -anything but too much sex. Nothing is safer than to say that the man or -woman of strong sex equipment is rarely vain or petty or mean or -unintelligent. But as a result of all this vague bickering, "sex" -continues to shoulder the blame for all kinds of shortcomings, and the -real root of the trouble goes untreated--even undiagnosed. One thing is -certain: until we become conscious that there's something very wrong -with our attitude toward sex, we'll never get rid of the hard, tight, -anæmic, metallic woman who flourishes in America as nowhere else in the -world. - -This doesn't mean the old Puritan type, to whom sex was a rotten, -unmentionable thing; nor does it mean the Victorian, who recognizes the -sex impulse only as a means to an end. They belong to the past too -definitely to be harmful. It means two newer types than these: the woman -who looks upon sex as something to be endured and forgiven, and the -woman who doesn't feel at all. - -The first type has a great (and by no means a secret) pride in her -spiritual superiority to the coarse creature she married, and a -never-dying hope that she can lead him up to her level. She talks a lot -about spirituality; she has her standards, and she knows how to classify -what she calls "sensuality"; she's convinced that she has married the -best man in the world, but--well, all men have this failing in common, -and the only thing one can do is to rise above it magnificently, with -that air of spiritual isolation which is her most effective weapon. Shaw -has hit her off on occasion, but he ought to devote a whole three acts -to her undoing; or perhaps an Ibsen would do it better, because tragedy -follows her path like some sinister shadow, as inevitably as those other -"ghosts" of his. The second type has no more capacity for love or sex -than she has for music or poetry--which is none at all. Like a polished -glass vase, empty and beautiful, she lures the man who loves her to a -kind of supreme nothingness. She will always tell you that marriage is -"wonderful"; and she urges all her friends to marry as quickly as -possible, for that's the only way to be perfectly happy. Marriage is -"wonderful" to her just as birth is "wonderful" in Charlotte Perkins -Gilman's satire: - - Birth comes. Birth-- - The breathing re-creation of the earth! - All earth, all sky, all God, life's sweet deep whole, - Newborn again to each new soul! - "Oh, are you? What a shame! Too bad, my dear! - How will you stand it, too. It's very queer - The dreadful trials women have to carry; - But you can't always help it when you marry. - Oh, what a sweet layette! What lovely socks! - What an exquisite puff and powder box! - Who is your doctor? Yes, his skill's immense-- - But it's a dreadful danger and expense!" - -It's all a powder-puff matter: marriage means new clothes, gifts, and a -house to play with. It gives her another chance to get something for -nothing--which is immoral. But the beauty of the situation is that the -immorality (thanks to our habits of not thinking straight) is so -perfectly concealed: it even appears that she is the one who does the -giving. As for any bother about sex, she'll soon put an end to that. And -so she goes on her pirate ways, luring for the sake of the lure, adding -her voice to the already swelled chorus which proclaims that truth and -beauty lodge in things as they are, not in things as they might or -should be. - -But, to return to the novelist's argument about clothes, the present -fashion for low necks and slit skirts has nothing to do with sex -necessarily. Its origin is in vanity--which may or may not have a -bearing upon sex. And of course it usually hasn't; for vanity is an -attribute of small natures, and sex is an attribute of great ones. - -There has never been a time when women had such an opportunity to be -beautiful physically. And they are taking advantage of it. Watch any -modern matinée or concert or shopping crowd carefully. There's something -about the new style that points to a finer naturalness, just as it is -more natural for men to wear clothes that follow the lines of their -bodies than to pad their shoulders and use twice too much cloth in their -trouser legs. The move of muscles through a close-fitting suit gives an -effect of strength and efficiency and animal grace that is superbly -healthy. And it is so with women, too. With the exception of the foolish -and unnecessary restrictions in walking women have such a splendid -chance to look straight, unhampered, direct, lithe. I don't know just -why, but I want to use the word "true" about the new clothes. They're so -much less dishonest than the old padded ways--the strange, perverted, -muffled methods. The old plan was built on the theory that the -suppression of nature is civilization; the new plan seems to be that a -recognition of nature is common sense. We may become Greek yet. By all -of which I'll probably be credited with supporting the silly indecencies -we see every day on the street--ridiculous, unintelligent manifestations -of the new freedom--instead of merely seeing in its wise expression a -bigger hope of truth. I think the preachers who are filling the -newspapers with hysterical protests about women's dress had better look -a little more closely at the real issue and stop confusing a fine -impulse with its inevitable abuses. - -But after all there's only one important thing to be said about sex in -its relation to a full life. Some day we're going to have a tremendous -revaluation of the thing known as feeling. We're going to realize that -the only person who doesn't err in relation to values is the artist; and -since the bigger part of the artist's equipment is simply the capacity -to feel, we're going to begin training a race of men toward a new ideal. -It shall be this: that nothing shall qualify as fundamentally "immoral" -except denial--the failure of imagination, of understanding, of -appreciation, of quickening to beauty in every form, of perceiving -beauty where custom or convention has dwarfed its original stature; the -failure to put one's self in the other person's place; the great, -ghastly failure of life which allows one to look but not to see, to -listen but not to hear--to touch but not to feel. - -The other night I heard Schumann's Des Abends--that summer-night elegy -of a thousand, thousand cadences--played near a place where trees were -stirring softly and grass smelling warm and cool; some one said -afterward that it was pretty.... The other day I heard a violin played -so throbbingly that it was like "what the sea has striven to say"; and -through it all a group of people talked, as though no miracle were -happening. Not very long after these two ---- (I can't find a noun), I -talked with some one who tried to convince me that the biggest and most -valiant person I know was--"well, not the sort one can afford to be -friends with." Somehow all three episodes immediately linked themselves -together in my mind. Each was a failure of the same type--a failure of -imagination, of feeling; the last one, at least, was tragedy; and it -will become impossible for people to fail that way only when they stop -failing in the first two ways. - -Not long ago I went into a music store and bought Tschaikowsky's Les -Larmes. It cost twenty-eight cents. I walked out so under the spell of -the immense adventure of living that I realized later how imbecile I -must have looked and why the clerk gazed at me so suspiciously. But I -had a song which had cost a man who knows what sorrow to write--a thing -of such richness that it meant experience to any one who could own it. -One of the world's big things for twenty-eight cents! And such things -happen every day! - -Sex is simply the quintessence of this type of feeling, plus a deeper -thing for which no words have been made. But we reach the wonder of the -utmost realization in just one way: by having felt greatly at every -step. - -"American artists know everything," said a young foreign sculptor -lately; "they know that much" (throwing out his arms wide), "but they -only feel that much!" (measuring an inch with his fingers). How can we -produce the great audiences that Whitman knew we needed in order to have -great poets, if we don't train the new generations to feel? How can we -prevent these crimes against love and sex--how put a stop to human waste -in all its hideous forms--if we don't recognize the new idealism which -means not to deny? - - - - - A Kaleidoscope - - - NICHOLAS VACHEL LINDSAY - - - Blanche Sweet--Moving-Picture Actress - - [After seeing the reel called Oil and Water.] - - Beauty has a throne-room - In our humorous town, - Spoiling its hobgoblins, - Laughing shadows down. - Dour musicians torture - Rag-time ballads vile, - But we walk serenely - Down the odorous aisle. - We forgive the squalor, - And the boom and squeal, - For the Great Queen flashes - From the moving reel. - - Just a prim blonde stranger - In her early day, - Hiding brilliant weapons, - Too averse to play; - Then she burst upon us - Dancing through the night, - Oh, her maiden radiance, - Veils and roses white! - With new powers, yet cautious, - Not too smart or skilled, - That first flash of dancing - Wrought the thing she willed:-- - Mobs of us made noble - By her strong desire, - By her white, uplifting - Royal romance-fire. - Though the tin piano - Snarls its tango rude, - Though the chairs are shaky - And the drama's crude, - Solemn are her motions, - Stately are her wiles, - Filling oafs with wisdom, - Saving souls with smiles; - Mid the restless actors - She is rich and slow, - She will stand like marble, - She will pause and glow, - Though the film is twitching - Keep a peaceful reign, - Ruler of her passion, - Ruler of our pain! - - - Girl, You Shall Mock No Longer - - You shall not hide forever, - I shall your path discern; - I have the key to Heaven, - Key to the pits that burn. - - Saved ones will help me, lost ones - Spy on your secret way-- - Show me your flying footprints - On past your death-bed day. - - If by your pride you stumble - Down to the demon-land, - I shall be there beside you, - Chained to your burning hand. - - If, by your choice and pleasure, - You shall ascend the sky, - I, too, will mount that stairway, - You shall not put me by. - - There, 'mid the holy people, - Healed of your blasting scorn, - Clasped in these arms that hunger, - Splendid with dreams reborn, - - You shall be mastered, lady, - Knowing, at last, Desire-- - Lifting your face for kisses-- - Kisses of bitter fire. - - - The Amaranth - - Ah, in the night, all music haunts me here ... - Is it for naught high Heaven cracks and yawns - And the tremendous amaranth descends - Sweet with glory of ten thousand dawns? - - Does it not mean my God would have me say:-- - "Whether you will or no, oh city young - Heaven will bloom like one great flower for you, - Flash and loom greatly, all your marts among?" - - Friends I will not cease hoping, though you weep. - Such things I see, and some of them shall come - Though now our streets are harsh and ashen-grey, - Though now our youths are strident, or are dumb. - - Friends, that sweet town, that wonder-town shall rise. - Naught can delay it. Though it may not be - Just as I dream, it comes at last, I know - With streets like channels of an incense-sea! - - - An Argument - - - I. The voice of the man who is impatient with visions and - Utopias. - - We find your soft Utopias as white - As new-cut bread, as dull as life in cells, - Oh scribes that dare forget how wild we are, - How human breasts adore alarum bells. - - You house us in a hive of prigs and saints - Communal, frugal, clean, and chaste by law. - I'd rather brood in bloody Elsinore - Or be Lear's fool, straw-crowned amid the straw. - - Promise us all our share in Agincourt. - Say that our clerks shall venture scorns and death. - That future ant-hills will not be too good - For Henry Fifth, or Hotspur, or Macbeth. - - Promise that through tomorrow's spirit-war - Man's deathless soul will hack and hew its way, - Each flaunting Cæsar climbing to his fate - Scorning the utmost steps of yesterday. - - And never a shallow jester any more. - Let not Jack Falstaff spill the ale in vain. - Let Touchstone set the fashions for the wise, - And Ariel wreak his fancies through the rain! - - - II. The Rhymer's reply. Incense and Splendor. - - Incense and splendor haunt me as I go. - Though my good works have been, alas, too few, - Though I do naught, High Heaven comes down to me - And future ages pass in tall review. - - I see the years to come as armies vast, - Stalking tremendous through the fields of time. - Man is unborn. Tomorrow he is born - Flamelike to hover o'er the moil and grime; - - Striving, aspiring till the shame is gone, - Sowing a million flowers where now we mourn-- - Laying new precious pavements with a song, - Founding new shrines, the good streets to adorn. - - I have seen lovers by those new-built walls - Clothed like the dawn, in orange, gold, and red; - Eyes flashing forth the glory-light of love - Under the wreaths that crowned each royal head. - - Life was made greater by their sweetheart prayers; - Passion was turned to civic strength that day-- - Piling the marbles, making fairer domes - With zeal that else had burned bright youth away. - - I have seen priestesses of life go by - Gliding in Samite through the incense-sea:-- - Innocent children marching with them there, - Singing in flowered robes--"the Earth is free!" - - While on the fair deep-carved, unfinished towers - Sentinels watched in armor night and day-- - Guarding the brazier-fires of hope and dream-- - Wild was their peace, and dawn-bright their array! - - - Darling Daughter of Babylon - - Too soon you wearied of our tears. - And then you danced with spangled feet, - Leading Belshazzar's chattering court - A-tinkling through the shadowy street. - With mead they came, with chants of shame, - Desire's red flag before them flew. - And Istar's music moved your mouth - And Baal's deep shames rewoke in you. - - Now you could drive the royal car: - Forget our Nation's breaking load:-- - Now you could sleep on silver beds-- - (Bitter and dark was our abode). - And so for many a night you laughed - And knew not of my hopeless prayer, - Till God's own spirit whipped you forth - From Istar's shrine, from Istar's stair. - - Darling daughter of Babylon-- - Rose by the black Euphrates flood-- - Again your beauty grew more dear - Than my slave's bread, than my heart's blood. - We sang of Zion, good to know, - Where righteousness and peace abide ... - What of your second sacrilege - Carousing at Belshazzar's side? - - Once, by a stream, we clasped tired hands-- - Your paint and henna washed away. - Your place (you said) was with the slaves - Who sewed the thick cloth, night and day. - You were a pale and holy maid - Toil-bound with us. One night you said:-- - "Your God shall be my God until - I slumber with the patriarch dead." - - Pardon, daughter of Babylon, - If, on this night remembering - Our lover walks under the walls - Of hanging gardens in the spring-- - A venom comes, from broken hope-- - From memories of your comrade-song, - Until I curse your painted eyes - And do your flower-mouth too much wrong. - - - I Went Down Into the Desert - - I went down into the desert - To meet Elijah-- - Or some one like, arisen from the dead. - I thought to find him in an echoing cave, - For so my dream had said. - - I went down into the desert - To meet John the Baptist. - I walked with feet that bled, - Seeking that prophet, lean and brown and bold. - I spied foul fiends instead. - - I went down into the desert - To meet my God, - By Him be comforted. - I went down into the desert - To meet my God - And I met the Devil in Red. - - I went down into the desert - To meet my God. - Oh Lord, my God, awaken from the dead! - I see you there, your thorn-crown on the ground-- - I see you there, half-buried in the sand-- - I see you there, your white bones glistening, bare, - The carrion birds a-wheeling round your head! - - - Encountered on the Streets of the City - - THE CHURCH OF VISION AND DREAM - - Is it for naught that where the tired crowds see - Only a place for trade, a teeming square, - Doors of high portent open unto me - Carved with great eagles, and with Hawthorns rare? - - Doors I proclaim, for there are rooms forgot - Ripened through æons by the good and wise: - Walls set with Art's own pearl and amethyst - Angel-wrought hangings there, and heaven-hued dyes:-- - - Dazzling the eye of faith, the hope-filled heart:-- - Rooms rich in records of old deeds sublime: - Books that hold garnered harvests of far lands - Pictures that tableau Man's triumphant climb: - - Statues so white, so counterfeiting life, - Bronze so ennobled, so with glory fraught - That the tired eyes must weep with joy to see, - And the tired mind in Beauty's net be caught. - - Come, enter there, and meet Tomorrow's Man, - Communing with him softly, day by day. - Ah, the deep vistas he reveals, the dream - Of Angel-bands in infinite array-- - - Bright angel-bands that dance in paths of earth - When our despairs are gone, long overpast-- - When men and maidens give fair hearts to Christ - And white streets flame in righteous peace at last! - - - The Stubborn Mouse - - The mouse that gnawed the oak-tree down - Began his task in early life, - He kept so busy with his teeth - He had no time to take a wife. - - He gnawed and gnawed through sun and rain, - When the ambitious fit was on, - Then rested in the sawdust till - A month in idleness had gone. - - He did not move about to hunt - The coteries of mousie-men; - He was a snail-paced stupid thing - Until he cared to gnaw again. - - The mouse that gnawed the oak-tree down - When that tough foe was at his feet-- - Found in the stump no angel-cake - Nor buttered bread, no cheese, nor meat-- - - The forest-roof let in the sky. - "This light is worth the work," said he. - "I'll make this ancient swamp more light"-- - And started on another tree! - - - The Sword-Pen of the Rhymer - - I'll haunt this town, though gone the maids and men - The darling few, my friends and loves today. - My ghost returns, bearing a great sword-pen - When far off children of their children play. - - That pen will drip with moonlight and with fire; - I'll write upon the church-doors and the walls; - And reading there, young hearts shall leap the higher - Though drunk already with their own love-calls. - - Still led of love, and arm in arm, strange gold - Shall find in tracing the far-speeding track - The dauntless war-cries that my sword-pen bold - Shall carve on terraces and tree-trunks black-- - - On tree-trunks black, 'mid orchard-blossoms white-- - Just as the phospherent merman, struggling home, - Jewels his fire-paths in the tides at night - While hurrying sea-babes follow through the foam. - - And, in the winter, when the leaves are dead - And the first snow has carpeted the street, - While young cheeks flush a healthful Christmas red, - And young eyes glisten with youth's fervor sweet-- - - My pen will cut in snow my hopes of yore, - Cries that in channelled glory leap and shine-- - My village gospel--living evermore - 'Mid those rejoicing loyal friends of mine. - - - - - Futurism and Pseudo-Futurism - - - ALEXANDER S. KAUN - -That Futurism is not a mere fad, a capricious bubble, is apparent from -the fact that after five years of stormy existence the movement does not -disappear or abate, but, on the contrary, continually gains soil and -spreads deep and wide over all fields of European art. The critics of -the new school no longer find it possible to dismiss it with a -contemptuous smile as a silly joke of over-satiated modernists, but they -either attack the Futurists with the vehemence and fury of a losing -combatant, or they discuss the doctrine earnestly and apprehensively. - -To set art free of the atavistic fetters of the old culture and -civilization, to imbue it with the nervous sensitiveness of our age, -have been the negative and positive aims of Futurism. It is absurd to -abide by the forms of Phydias and Æschylus in the days of radium and -aeroplanes. The influence of the old masterpieces is accountable for the -fact that of late humanity ceased to produce great works of art. It is -quite natural that the protest against the "historical burden" should -have originated in Italy, a country which, after having served for -centuries as a pillar of light, has so degenerated that in our times it -can boast only of such names as the saccharine Verdi and the pretentious -D'Annunzio. It is natural, I should like to add, that in this country -Futurism is still a foreign plant; for, fortunately or unfortunately, we -have been free of a burdensome heritage, and an iconoclastic movement -would appear quixotic. - -Started in Milan in the end of the year 1909, the movement has swept the -continent and has revolutionized art. Even conservative England feebly -echoes the battle-cry in the attempts of the Imagists. I do not intend -to prognosticate the future of Futurism; it is still in its infantile -stage, growing and developing with surprising leaps, continually taking -on new forms; but the present-day Futurism is abundant with quaint, -grotesque features approaching caricature; and some of them merit a few -words. - -The "parent" of Futurism and the present leader of Futurist poets, -Marinetti, is, to say the least, an unusual personality. His Boswell, -Tullia Pantea, describes his master's life in its minutest nuances and -chants dithyrambs to his wonderful achievements. We learn that Marinetti -was born in Egypt in voluptuous surroundings, his father being a -millionaire. From his childhood on he disposed of unlimited sums of -money. "At the age of eleven he knew a woman; at fifteen he edited a -literary magazine, Papyrus, printed on vellum paper; at seventeen he -fought a duel." We follow this enfant terrible to Paris where he -lavishly squanders his millions, fights duels, and faces the court for -his pornographic poems. He is sentenced to an eight weeks' imprisonment -for an exotic work which I shall not venture to quote, as it is too -repulsive to the English reader. Pantea further describes his master's -kingly palazzo in Milan, where "... at night in the bed-chamber -decorated with astonishing elegance and with mad extravagance meet the -most beautiful women of Italy and Europe." - -I quote these nauseatic details, for they help to explain the erotic -aroma of Marinetti's poems. Their erotism is morbid, aroused by -artificial "convulsions of sensuality," "imitation of madness," "a -cancan of dancing Death." Yet we cannot overlook the beauty of the -verses, their devilish rhythm, and enchanting mysticism. Some of his -early poems, more natural than his latest Words at Liberty, are -intoxicating with their mad exoticism. - -The following is one of his best-known poems, The Banjos of Despair: - - Elles chantent, les benjohs hystériques et sauvages, - comme des chattes énervées par l'odeur de l'orage. - Ce sont des nègres qui les tiennent - empoignées violemment, comme on tient - une amarre que secoue la bourrasque. - Elles miaulent, les benjohs, sous leurs doigts frénétiques, - et la mer, en bombant son dos d'hippopotame, - acclame leurs chansons par des flic-flacs sonores - et des renâclements. - -The hysteric and savage banjos that meow like cats maddened by the odor -of the storm; the sea which, swelling its back of a hippopotamus, -applauds their songs with its sonorous twick-twacks and snorts--I -understand the poet, I believe him. But, as I said, this is Marinetti's -early poetry. How far he has "progressed" you may judge from the -following quotation from his latest Words at Liberty, as it appears in -The London Times: - - INDIFFERENZA - DI 2 ROTONDITA SOSPESE - SOLE + PALLONE - FRENATI - s - p - i - r - a - c l - f o i - l l - a o d - m n i - m n - e e s - c - g d i - i i n - g t - a f i - n u l - t m l - i o e - villaggi turchi incendiati - grande T - rrrrrzzzonzzzzzzante d'ue monoplano bulgaro - + neve di manifesti. - -This "poem" is a description of a battle during the Turco-Bulgarian war; -the style is supposed to be "polychromatic, polymorphous, and -polyphonic, that may not only animalize, vegetalize, electrify, and -liquefy itself, but penetrate and express the essence and the atomic -life of matter." This is the dernier cri of Italian Futurism which -originated in a--draff-ditch. Here is Marinetti's own "electrified" -description of that memorable event: - - As usual we spent the night in our favorite café, which is - attended by the most elegant women. Some one suggested that we - take an automobile ride in the suburbs. We whirled over the - sleepy streets. Out of town. Deep darkness.... Moment of falling. - We are hurled into an abyss. Ecstasy.... - - Then--we are on the bottom of a ditch filled with malodorous - dregs. We drown in the mud. Mud covers the face, the body, mud - blinds the eyes, fills the mouth. - - Finally we succeed in getting out of the filthy ditch and we go - back to the city. But.... - - For a certain time there remained with us the taste of - rottenness; we could not get rid of the rotten odor that - permeated all pores of our bodies. In the moment of falling into - that ditch the idea of Futurism came into my head. On the same - night before dawn we wrote the entire first manifesto on - Futurism. - -Thus the new art was born under peculiar circumstances--"under the sign -of scandal"--and scandal became the tactics of Italian Futurists who -have professed their "delight in being hissed" and their contempt for -applause. - -A few points of that manifesto: - - We shall sing of the love of danger, the habit of energy and - boldness. Literature has hitherto glorified thoughtful - immobility, ecstasy of sleep; we shall extol aggressive movement, - feverish insomnia, the double quick step, the somersault, the box - on the ear, the fisticuff. - - There is no more beauty except in strife. We wish to glorify - war--the only purifier of the world--militarism, patriotism, the - destructive gesture of the anarchist, the beauty of Ideas that - kill, the contempt for women. - - We wish to destroy the museums, the libraries, to fight against - moralism and feminism, and all opportunistic and utilitarian - meannesses. - -This bombastic program has been heralded by the Italian Futurists ever -since 1909. Fortunately they went no further than threats, but they -strove to attract attention and in this they gloriously succeeded. - -Their attitude toward women was expressed in the motto: "Méprisez la -femme." Love for woman is an atavism and should be discarded into -archives. - - We chant hymns to the new beauty that has come into the world in - our days, a hymn to swiftness, a doxology to motion. - -Woman is justified in her existence inasmuch as she is a prostitute. -Sensuality for the sake of sensuality is extolled as the only stimulus -in human life,--its only aim. Otherwise human beings are of no -importance, at best as important as inanimate objects. - - The suffering of a man is of the same interest to us as the - suffering of an electric lamp, which, with spasmodic starts, - shrieks out the most heart-rending expressions of color. - -These aphorisms belong to the pen of Marinetti or to those of his -disciples, who are but pigmies in comparison with their leader. They -greeted the war with Turkey in Tripolitania enthusiastically, and -Marinetti joyously witnessed the splendor of "bayonets piercing human -bodies" and similar features of the great "health-giver"--war. At that -time he began the cycle of his pictorial poems recently published in the -Words at Liberty. Here is one of his early descriptions: - - A stream. A bridge. Plus artillery. Plus infantry. Plus trenches. - Plus cadavers. Dzang-bah-bakh. Cannon. Kha-kh-kha. Mitrailleuse. - Tr-r-r. Sh-sh-sh-sh. S-s-s-s-s-s. Bullets. Chill. Blood. Smoke. - -To complete the character of Marinetti I shall quote his article in The -London Daily Mail in which he states his "profound disgust for the -contemporary stage because it stupidly fluctuates between historic -reconstruction (pasticcio or plagiarism) and a minute, wearying, -photographic reproduction of actuality." - -His ideal is the smoking concert, circus, cabaret, and night-club as -"the only theatrical entertainment worthy of the true Futurist spirit." -"The variety theater is the only kind of theater where the public does -not remain static and stupidly passive, but participates noisily in -action." The variety show "brutally strips woman of all her veils, of -the romantic phrases, sighs, and sobs which mark and deform her. On the -other hand, it shows up all the most admirable animal qualities of -woman, her powers of attack and of seduction, of treachery, and of -resistance." - - The variety theater is, of course, antiacademical, primitive, and - ingenuous, and therefore all the more significant by reason of - the unforeseen nature of all its fumbling efforts.... The variety - theater destroys all that is solemn, sacred, earnest, and pure in - Art--with a big A. It collaborates with Futurism in the - destruction of the immortal masterpieces by plagiarizing them, - parodying them, and by retailing them without style, apparatus, - or pity. - -At this point I am ready to agree with the Russian critic, A. -Lunacharsky, who thus defines Marinetti: - - He combines in his personality the exoticism of an East-African - with the cynical blaguerie of a Parisian and the clownishness of - a Neapolitan. - -In connection with the foregoing it is curious to observe the pranks of -Marinetti's colleagues in the land of eternal contradictions--Russia. -The Russian Futurists, Ego-futurists, and Acmeists, vie with the -Italians in noisiness and eccentricity, and they have aroused an -extensive pro and con polemic. In the last issue of Russkaja Mysl there -is an interesting criticism of the Futurist poetry written by Valery -Brusov. This foremost poet, known on the continent as the Russian -Verhaeren, began his literary career some fifteen years ago with the -one-line "poem": "Oh, conceal thy pallid legs." This extremist is now -ranked by the Futurists among the reactionaries. Brusov is not hostile -to Futurism, although he opposes the contemporary bearers of its banner. -In a dialogue supposedly carried on between a Symbolist and a Futurist -Brusov makes the latter say: - - Tell me, what is poetry? The art of words, is it not? In what - else does it differ from music, from painting? The poet is the - artist of words: they are for him what colors are for the painter - or marble for your sculptors. We have determined to be artists of - words, and only of words, which means to fulfill the true - vocation of the poet. You, what have you done with the word? You - have transformed it into a slave, into a hireling, to serve your - so-called ideas! You have debased the word to a subservient rôle. - All of you, the realists as well as the symbolists, have used - words just as the "Academicians" have used colors. Those - understood not that the essence of painting is in the combination - of colors and lines, and they have strived to express through - colors and lines some meager ideas absolutely useless for - commonly known. You likewise have not understood that the essence - of poetry lies in the combination of words, and you have - mutilated them by forcing them to express your thoughts borrowed - from the philosophers. The futurists are the first to proclaim - the true poetry, the free, the real freedom of words. - -And so, since words have become enslaved and carry, unfortunately, -within them the ballast of established notions and conceptions, the -Futurists experiment in liberating the words of their accepted meanings -by creating new words, weird combinations of syllables, skilful -arrangements of sounds which defy translation. For the benefit of that -part of mankind which does not understand Russian the Futurists invented -a "universal tongue" which consists exclusively of single vowels. Here -is a specimen under the title Heights. I give the original letters and -their English transliteration. - - [Cyrillic: e u yu] -- yeh oo you - [Cyrillic: i a o] -- ee ah oh - [Cyrillic: o a] -- oh ah - [Cyrillic: o a e e i e ya] -- oh ah yeh yeh ee yeh yah - [Cyrillic: o a] -- oh ah - [Cyrillic: e u i e u] -- yeh oo ee yeh oo - [Cyrillic: i e e] -- ee yeh yeh - [Cyrillic: i i y i e i i y] -- ee ee eh ee yeh ee ee eh - -Do you feel the heights? The poet does, however, and he proclaims in his -defense: "The more subjective is truth, the more objective is the -subjective objectivity." - - * * * * * - -Brusov's point of view is expressed in the impassioned words of the -historian of literature who appears at the end of the above-mentioned -dialogue: - - In the new poetry, that is, in the poetry of the last centuries, - one observes a definite shifting of two currents. One school puts - forward the primary importance of the content, the other--that of - form; later the same tendencies are repeated in the two - successive schools. Pseudo-Classicism, as a school, placed above - all form not the "what" but the "how." The content they borrowed - from the ancients and then performed the task most important in - their eyes--the elaboration of that material. The Romanticists, - in contra-distinction to the Pseudo-Classicists, insisted first - of all on the content. They admired the middle ages, their - yearning for an ideal, their religious aspirations. Of course, - the Romanticists contributed their did this, so to speak, - casually, while actually they neglected the form of their verses; - recall, if you will, the frolics of Musset or the carelessness of - the poems of Novalis. The Parnassians once more proclaimed the - primariness of form. "Reproachless verse" became their motto. It - was they who declared that in poetry not the "what" was - important, but the "how," and it was none other than Théophile - Gautier who invented the formula "art for the sake of art." The - Symbolistic school again revived the content. All this was in - reality not so simple, schematic, rectilineal, as I expressed it. - To be sure, all true poets have endeavored to bring into harmony - both content and form, but I have in view the prevailing tendency - of the poetic school as a whole. If my point of view is correct, - then it is natural to expect that there is to come a new school, - replacing the Symbolists, which will once more consider form of - primary importance. At the appearance of a new school the - doctrine of the old corresponding school becomes more subtle, - more poignant, more extreme. The Parnassians went further than - their progenitors, the Pseudo-Classicists. It is natural then to - foresee that the new coming school will in its cult of form go - further than the Parnassians. As such a school, destined to take - the place of Symbolism, I consider Futurism. Its historic rôle is - to establish the absolute predominance of form in poetry, and to - repudiate any content in it. - -The weak point of Futurism appears to be, as is the case with every -revolutionary movement, the fact that alongside with the true fighters -for new horizons straggle parasitic marauders, that on the heels of the -sincere searchers of artistic truth tread nonchalantly buffoons and -charlatans. The number of the latter is so great that the true prophets -drown in the vast slough, and the public sees but the caricature side of -the movement. Take for instance, the Post-Impressionist and the Futurist -painters. Any unbiased and open-minded observer will admit that many of -them, like Odilon Redon, Duchamp, Picasso, Chabaud, even Matisse, have -created works which, whether you like them or not, possess the sure -criterion of art: they stir you, arouse your thoughts and emotions. Yet -how easy it is to smuggle into their midst colossal nonsense and -counterfeit can be judged from the following episode: - -A group of young painters in Paris decided to arouse public opinion -against the unrestricted accessibility of the Independent Salon by -proving that among the exponents of the exhibition such an "independent" -artist as a donkey could find a place. The editors of Fantasio undertook -to assist them in carrying out their plan. A manifesto was issued of -which I quote a few pearls: - - To art-critics: To painters: To the public: - - A manifesto of the school of the Excessivists. Hurrah! - Brother-Excessivists, hurrah! Masters splendid and renascent, we - are on the eve of various exhibitions of banal and stereotypical - paintings. Let us smash, then, the palettes of our forefathers; - let us set fire of Joy to the pseudo-masterpieces, and let us - establish great canons destined to rule art henceforward. - - The canon is contained in one word: L'excessivisme. - - "Excess in everything is a defect," once said a certain ass. We - proclaim the reverse: excess at all times, in everything, is the - absolute power. The sun can never be too ardent, the sky too - blue, the sea-perspective too ruby, darkness too black, as there - can never be heroes too valiant or flowers too fragrant. - -Down with contours, down with half-tones, down with craft! -Instead--dazzling and resplendent colors! And so on. Bombastic phrases -borrowed from Marinetti and his colleagues. The manifesto is signed -Joachim Raphael Boronali. Boronali is the anagram of Aliboron--the -French word for donkey. The jesters later explained that they intended -by the euphony of an Italian name "to arouse with more certainty the -admiration of the crowd." - -The next step was to procure the services of Lolo, an old donkey well -known to the artists on Montmartre, as its stable is at the cabaret -Lapin Agile. The following procedure is immortalized in an official -protocol, the most unique document in the annals of art: - - Protocol (Procès-verbal de constat). On the 8th of March, before - me, Paul Henri Brionne, magistrate of the civil court of Paris, - in my office on rue du Faubourg Montmartre, 33, appeared M. - ----,[1] of the periodical Fantasio, whose residence is in Paris, - boulevard Poissonière, 14, and declared: - - "Every year there takes place an exhibition of various works of - drawing, painting, and sculpture under the name of the Salon of - the Independent Artists; - - "This exhibition is open for all painters, and unfortunately, - alongside with productions of high value there figure ridiculous - works that have no signs of art; - - "In order to show to what extent any work can be accepted in that - exhibition, to the detriment of the meritorious productions, he - intends to send there in the name of Fantasio, a picture the - author of which would be a donkey. The picture will be entered in - the catalogue under the title Et le soleil s'endormit sur - l'Adriatique, and signed J. R. Boronali; - - "For said reasons he asks me to be present at the painting of - said picture in order to witness the process and draw an official - report about it." - - Having consented to the request, I went in the company of Messrs. - ----, the editors of Fantasio, to the cabaret du Lapin Agile, - where in front of said establishment Messrs. ---- set up a new - canvas on a chair that took the place of an easel. In my presence - they arranged paints--blue, green, yellow, and red; to the - tail-extremity of the donkey, which belongs to the owner of the - cabaret Lapin Agile, was tied a paint-brush. - - Then the donkey was brought to the canvas, and M. ---- upholding - the brush and the tail of the beast allowed her to daub in all - directions taking care only of changing the paints on the brush. - - I assured myself that the picture presented various tones passing - from blue into green and from yellow into red without - constituting anything definite and resembling nothing. - - When the work had been finished, in my presence the picture and - author were photographed. - - In testimony of the aforesaid I have written and issued this - protocol for legal use. - - P. BRIONNE. - - [Footnote 1: The names were not revealed.] - -From the photograph it may be seen that the donkey had been teased with -some appetizing food held before his mouth, to which tantalization the -so-called Boronali responded with the wags of his "tail-extremity," -according to the phraseology of the solemn document. - -The picture then having been taken to the Salon, Monsieur Boronali was -asked to pay his membership fee, and thenceforward his name figured -among those of Matisse, Rousseau, Le Fauconnier, and other great. To the -astonishment of the Fantasio group, their prank remained unnoticed for -some time; the critics spoke of Boronali's work along with the other -pictures, and the manifesto of the Excessivists was but slightly -commented upon. In a series of sensational articles and piquant stories -The Fantasio finally succeeded in drawing general attention to their -chef d'oeuvre. The Paris press, as well as the foreign, opened a hot -discussion on the significance of Boronali's work in a serious tone. -Only the Kölnische Zeitung in a review of the manifesto and the picture -carefully remarked, "If it is not a carnival joke"--referring to the -manifesto but not doubting the authenticity of Boronali's canvas. True, -the title of the picture seemed mystifying: why The Sun Asleep over the -Adriatic, when there were neither sun nor sea? The Gazette de France -ridiculed the title. The New York Herald, endeavoring to justify the -name of the picture, suggested that the sun was asleep beneath the -Adriatic--an ingenious hypothesis. The Revue des Beaux-Arts gave a -detailed and scholarly account of the picture, but found in it nothing -extraordinary in comparison with the other Independents. The hardest -blow to Boronali's genius was dealt by De l'Art Ancien et Moderne, which -accused him of being banal. "Among the cosmopolite crowd, along with -Messrs. Ghéon, Klingsor, Jamet ... struts the sheer banality of M. -Boronali." - -The scandal that took place after the mystificators had revealed their -trick is of secondary importance. What looms out of this incident is the -dangerously vague line of demarcation between what is true art and what -is mere daubery in Futurism. - -The Gaulois summed up the affair in a few significant words: - - The scholastics had maintained that "It is much easier for the - ass to disprove than it is for the philosopher to assert." But - here came an ass and proved something in spite of all the - philosophers of the world. He has proved--not a priori but a - posteriori--that the most manifest daubery may pass as a picture - in the eyes of those who accept the non-real, the improbable, and - the absurd for new art. - - Thought uttered becomes an untruth.--Thaddeus Tutchev. - - - - - A Wonder-Child Violinist - - - MARGARET C. ANDERSON - -The wonder-child is not so much a "wonder" in Europe as in this country. -"At seven, yes--even up to eleven, perhaps," a young German violinist -who began to concertize at six once told me. "But after that--there are -so many and they all play so beautiful! So it is more common there and -people think not so much of it." And she went on to tell me, with the -most wistful seriousness, how at twelve she had felt suddenly so -oppressed with age and weariness that for two years she had wanted not -to play at all. She described it as a period when she wanted to "stop -feeling and run in the country all day and be only with animals." - -But on the whole her theory seemed to be that it was the simplest thing -in the world for a child to play well--better, in some ways, than he -will ever play later on; and very likely it's true. The newer -psychologists have given us enough reason to think so. - -It still comes with something of a shock to us here, however; and when -we started for The Chicago Little Theatre one night two weeks ago to -hear Master Ruby Davis, aged twelve, give a violin recital, it was with -the most excited anticipations. I had never heard a child play the -violin. Surely disappointment was inevitable.... - -A little boy walked quietly out on to the stage, smiling. (I heard -afterward that some one had asked him if it didn't frighten him to face -all those people. "Oh, no," he said, "I'm going to play my violin!") He -had on a little soft white shirt and knickerbockers. His hair was almost -auburn and curled away from his forehead; his eyes were blue and his -skin the softest white. His hands were the long, slender, "artistic" -type rather than the blunt, heavy type which is quite as common among -first-rate violinists. "Antoine"--that was all I could think. - -And then he lifted his bow and swung into the Haendel Sonata in A with -all the assurance of a master. It was only a matter of seconds until you -knew that he could not disappoint--ever: he knew how to feel! A musician -may commit all the crimes in the musical universe, or he may play so -flawlessly that you marvel; but none of it matters particularly. A -phrase will tell you whether he is an artist--the way the notes rise or -fall or seem to be gathered up into that subtle thing which is the -difference between efficient Playing and Music by the grace of God. - -Ruby Davis makes Music. And how he loved doing it! He played a -Canzonetta by Ambrosia, and the Jarnefelt Berceuse, and other difficult -things like the Pugnani Praeludium, and that Motto Perpetuo of Ries, -beside the regulation Cavatina and the Dvorák Humoresque--every one of -them, in spite of small deficiencies that will be corrected, with a -quality that is genius. As nearly as I can register it this is the -picture of him I shall remember: - -A little slender, eager, swaying body, and a great violin above which -his face seemed worshipping. His eyes turned deep blue as flowers when -he raised his head for some lovely soaring tone or dropped it on his -instrument over some deep G string melody. His mouth was the saddest -little mouth I've ever seen, and somehow you could watch the music -coursing through his cheek bones. His right foot kept moving gently -inside his shoe, always in perfect time. - - - - - The New Paganism - - - DEWITT C. WING - -One of the momentous achievements of applied science is the convincing -demonstration that the earth is a living thing. It is as truly a live -organism as any of the animals of which it is the mother. Life could not -have been evolved by or from it if there had not been life in it. We do -not require an inexplicable miracle to account for the evolution of man; -we can trace his pedigree back to an ancestry with fins and gills, and -of course it stretches far beyond that comparatively recent stage in his -development. From the beginning of the world conditions have steadily -grown more favorable to the habitation of the earth by the higher -animals. Since man is a part of the earth, what he himself has done to -bring about this auspicious change may be credited to the mind or life -resident in the earth. Then there is essential goodness in the -earth--which is not saying that there is no evil in it. The world is a -better place for a man to live in now than it was when his ancestors -occupied dismal caves. It is no illusion that, design or no design, the -cosmic urge has been toward goodness, by which I mean an increasingly -hospitable dwelling-place for men. There have been recessions, and there -will be others, but, apart from faith and hope, established facts compel -the man who understands them to declare his absolute and unalterable -certainty that the inexorable law of life's becoming greater than it is -cannot be nullified. So that, regardless of all poverty and misery, of -all that is unlovely, of all the blind and passionate class hatreds and -sex quibbles, the man who really thinks must think hopefully. There is -indeed the most ample justification of optimism. - -The world is God, and the man who worships it the new pagan. He comes -off the same stock as the old pagans, who were called heathens--because -they were not Christians. They were, in fact, the classic earth-lovers, -and, hence, more truly the sons of God than the crusaders who, directed -by an anthropomorphic Deity, tortured and killed them. The new pagan, -who not only feels, smells, hears, and sees the earth, but comprehends -the established scientific facts about it, finds a keener and larger -delight and satisfaction in it than his forefathers could experience. He -loves it with his heart and his mind. Having this attitude toward it, he -wishes to serve it, prompted by the same motive which actuates him when -he serves his immediate father and mother. - -Ruskin was sure that his beautiful England was desecrated when steel -rails were laid across its green fields and factory smoke contaminated -the golden air; he canonized the landscape, and when it changed, his -heart ached. He was an artist, not a prophet. The industrialism that he -hated disseminated his written appreciations of beauty. Machinery is the -extension of man's personality and power; the instrument with which he -is realizing the bounties and the Fatherhood of God. At present it is -too much an end in itself instead of a means toward nobler results, but -tomorrow will see the needed adjustment. Wherefore the new pagan is not -saddened but gladdened at the sight of factories and the development of -commerce. The awful carnage which commercialism entails is the price -which we have been fated to pay for experience. Through commerce we are -paving the way for the action of the world-mind--the collective thought -of men. Collective thinking precludes socialism as well as -individualism, and brings in humanism. The increasing complexity of -civilizations symbolizes the enlarged intricacy of human life. -Experience and consciousness are expanded by the maze of external detail -through which a child in a modern state passes to maturity. The -extension of a more highly organized civilization into every habitable -region of the earth, and commercial and intellectual communication among -all nations, will synthesize the thought of the world. Toward this goal -every vital movement is directed, whether consciously or unwittingly. -The germ of life was the original leaven, and it will leaven the whole -lump. That races and states should disappear does not matter; if human -life as a whole were to vanish the birth-labor that the world has begun -would be retarded but not abandoned. Man would return in a few billion -years. If not, a higher animal would; man himself is on the long way to -ever-new heights. He has climbed up out of the sea, and with the birth -of reason in his brain he began to ascend into loftier realms. The power -of reason is a late acquisition, but it has provided the wondrous -banquet at which the modern pagan feasts. It has enabled him literally -to soar and revel in high, thin air. - -All the fine arts are subsidiary to and dependent upon material -progress, and the primal source of well-being is the soil. Man is a land -animal, and he must have access to the land with the same freedom that a -babe enjoys at its mother's breast; otherwise he will be stunted and -dwarfed. The earth is the Old Mother, yielding an abundance of food for -all her children. More reason and more consciousness on their part will -induce them to share it with one another, not like unreasoning pigs but -like reasoning men. The "new freedom" means eventually the accessibility -of the earth to every man. In the meantime the biggest business at hand -is to build soils as well as schools; to keep the land full of sap; to -extend mechanism into the arts of agriculture; to unify the thought and -purpose of city and country. All this will follow the world-mindedness -that is being developed by industrialism and internationalism. - -All constructive thought and action must deal not less with the city but -more and more with the country--the land. Typical cities are sapping the -wealth of life that grows up round them. The obsessed man in the market -place needs the poise and power of the shepherd on the hill. The only -true and durable magnificence of a state lies in the equitable use of -its natural resources. No man who has thought profoundly wants to own -land, but the majority of men do want to use it. That ought to be every -man's privilege, for every man is in some fashion a lover of the verdant -earth. But even the millions of us who are landless, because a few men -legally own the earth, have occasional esthetic accesses to it, and if -we passionately loved its beauty we should hasten the day of its release -by an uneconomic monopoly. An intelligent love of the earth as a living -thing is at the bottom of the dynamic impulse of man to be forever -becoming. - -And as these lovely days of wanton greenness steal like fairies into the -secret recesses of his child-heart, man has a sense of eternal kinship -with - - ... that small untoward class which knows the divine call of the - spirit through the brain, and the secret whisper of the soul in - the heart, and for ever perceives the veils of mystery and the - rainbows of hope upon our human horizons; which hears and sees, - and yet turns wisely, meanwhile, to the life of the green earth, - of which we are part, to the common kindred of living things, - with which we are at one--is content, in a word, to live, because - of the dream that makes living so mysteriously sweet and - poignant; and to dream, because of the commanding immediacy of - life. - - - - - Gloria Mundi - - - EUNICE TIETJENS - - In what dim, half imagined place - Does the Titanic lie to-day, - Too deep for tide, too deep for spray, - In night and saltiness and space? - - Oh, quiet must the sea-floor be! - And very still must be the gloom - Where in each well-appointed room - The splendor rots unto the sea. - - Through crannies in the shattered decks - The sea-weed thrusts pale finger-tips, - And in the bottom's jagged rips - With ghostly hands it waves and becks. - - The mirrors in the great saloons - Sleep darkly in their gilt and brass - Save when the silent fishes pass - With eyes like phosphorescent moons. - - On painted walls are slimy things, - And strange sea creatures, lithe and cool, - Spawn in the marble swimming pool - And shall, a thousand springs. - - For as it is, so it shall be, - Untouched of time till Doom appears, - Too deep for days, too deep for years - In the salt quiet of the sea. - - - - - The Will to Live - - - GEORGE BURMAN FOSTER - -Like the sense for the true, the good, the holy, the esthetic sense is -elementary. Man comes to himself as man in all alike. Without the -effectuation of his peculiar artistic impulse, man, the born artist, -could not find the real consecration and dignity of the human. Indeed, -the worth of all human culture depends upon the sense for the beautiful. -As religion is not restricted to some fragment of our experience but -informs the whole, so culture requires that life shall be beautiful down -to the commonplace and homely things of the daily round. The new -program, to which this modern insight points, means a rebirth of our -entire moral and social life. - -Why is it, then, that those who vocationally and constantly worship in -the sanctuary of art--the priests in this sanctuary--often so easily and -singularly fail in the consecration which the worship of beauty is -supposed to supply to the human personality? The lives of those whose -calling it is to exhibit and exemplify the beautiful, why are they often -so very ugly, so bereft of lovable emotions? The shortcomings of the -artist, why do we count among these the pettiest and the basest known to -man? To be specific, why do we speak almost proverbially of an artistic -vanity, an artistic sensitiveness, an artistic envy or jealousy? If we -answered, "Because the shadows of the 'human all too human' seem so dark -in the golden light of the artistic calling," that would be true, but it -would not be the whole truth. Does not the professional occupation of -oneself with art involve a danger to character? To live constantly in -the world of the emotions, to fable and fantasy and dream, in all this -there is so easily something weak, not to say "effeminate" and sickly, -and hence enervating. Of great spirits this is true often enough--how -much more of the lesser who sophistically find warrant in the weakness -of the great for the greatness of their weakness! For instance, they -have heard of "inspiration"--something not under the control of the -artist, something that must "come upon him," but only when the divine -hour strikes, as it struck at the pentecostal "outpouring" of the -"spirit" upon the early Christians. Hence no care for a thousand -things--in both cases--for which other men must care! Hence a standard -of life different from that by which other men live! To be outwardly -different from others, to set oneself above others, that is to be -artistic. Because some great artists are different from other people in -moods and manners and morals, it is naïvely concluded that to emulate -the latter is to be the former, and right merrily does the emulation go -on. It must be a grief to a real artist, this culture of the eccentric -head and the more eccentric heart. Therefore we need a man to free us -from these eccentricities, a man to lift us above these caricatures -because he has himself put them beneath his feet. This man is Friedrich -Nietzsche. - -The sickness and the soundness of life, both these were in Nietzsche. In -his demand for an artistic culture he put his finger upon the wound of -present humanity. This demand was accepted, the meaning of the demand -was lost sight of. This was the fatality--as if Nietzsche required a new -artistic culture only, and not at the same time a new life culture! -Beauty the form of life indeed, but strength, will, deed, the -content--that was the brave burden of the prophet's message. - -Nietzsche was born into a time that marked the climax of a more than -millennial cultus of Death. The old songs of death as bridge of sunset -into the eternal day of Bliss, songs of earthly lamentation and heavenly -yearning and anticipation, these no longer came from the heart, to be -sure; though still sung, the voices of "the faithful" grew ever thinner -and thinner; and the songs were a monument of past piety rather than a -witness to a present. Like vice, this earth which was once "a monster of -so frightful mien" was first endured, then pitied, then embraced--and -even wedded by man; its sufferings were healed and its delights enjoyed. -The pain, the pleasure of earth, what does it mean? man's heart again -asked as it asked in happy Greece long ago. But as time went by, the -human mind was bruised and broken over this question, until it concluded -that all we call life is a great illusion. And back and behind this -life, with its tumult and fitful fever, there is the "vasty deep" of the -infinite nothing. Life is a cheat. And now there is Weltschmerz, -Lebenschmerz--simply a naturalistic form of the old ecclesiastical -longing for death. It said the same "No!" to life that the old church -song said--it, too, valued the day of death higher than the day of -birth; it, too, urged that, since life is intrinsically evil, the cure -of the evil is to live as little as possible. - -Into such a world Friedrich Nietzsche was born, breathed its atmosphere, -was himself once drunk upon its drugged drinks. The preacher of this -modern yearning for Nirvana,--i.e., not metaphysical non-existence but -psychological desirelessness,--was Schopenhauer as well as his disciple -von Hartmann. This is the worst possible world, croaked Schopenhauer; -No, moaned von Hartmann, it is not the worst possible world, it is the -best possible world, but it is worse than none! And once Nietzsche -called Schopenhauer his teacher--went forth as an enthusiastic apostle -of the message of passive resignation to the inevitable sorry scheme of -things, nay, of the message that the world is the work of an anguished -god seeking redemption from the infinite misery of existence by the -infinite negation of life. - -And surely the anguish of Nietzsche fitted him, as no other, to be -partner in distress of this anguished god. Surely he, if anyone, could -say, To this end was I born and for this purpose came I into the world, -to bear witness--to the body of this death. From his mother's womb was -he set apart to suffer. Endowed with a transcendent and super-abundant -fulness of spirit, every fresh and forceful impulse of his personality -he felt as an indictment of the inexorable pitiless limitations within -which his best innermost life was imprisoned. He was a voice crying in -the wilderness, not only to men, but to himself. Each new flash of light -which illumined his inner eye let him see the graves upon which he was -treading, and revealed those who claimed to be alive in the mask of the -death to which they had succumbed. In the abounding wealth of youth he -felt a mortal sickness getting its grip upon him. As life dragged on, he -felt more and more the hell tortures of pain from which he had to wring -his work every hour of his existence. - -Who would have the effrontery to cast a stone at this man had he flung -down his arms into one of those graves, and cried with an old -philosopher: This may all be very well for the gods, but not for me! But -he did not lay down his arms! Freed from all encumbrances of conscience -and debilitating sense of sin which had paralyzed the Christian, and -from the Schopenhauer Welt- und Lebenanschauung, he welcomed all that -life had to offer and went unhesitatingly toward the universal goal of -annihilation with a blithe and unregretting spirit. Entertaining no -illusions about indeterminism or free-will or immortality, he rejoiced -in his strength, seized with avidity the passing moment, and fell -fighting to the last. He spoke his courageous "Yes!" to life, while -Schopenhauer, with his money and his mistress, and all the world beside, -were crying to him to say "No!" For this we must thank him. In this we -find an antidote to present-day tendencies to sink the individual in the -multitude, to subordinate men to institutions, and to apotheosize -mediocrity. Nietzsche met pain with a power which transformed even death -into life, and turned the day of his death even into a festival of the -soul. He taught himself and he taught others to believe in that power, -which alone is great,--to believe in the Power of the Will! Nietzsche, -like Jesus, proclaimed the inestimable worth of the individual man, saw -for him vast and glorious possibilities, sought the regeneration of -society through the regeneration of the individual. Both committed the -fortunes of the cause to which they devoted their lives to individuals -and not to masses of men. Both believed that the best was yet to be. -Both believed in the inwardness, the self-dependence, and the autonomy -of personality. Neither ever side-stepped or flinched. - -Today we are suffering from impuissant personality, from cowardice, from -weakness of the will. Taming the great wild strong instincts, making -them small and weak, choking them, so that man can will nothing or do -nothing great and original and special--this is what we call -civilization. A comfortable existence, this is the final end of life, -according to this civilization. No conflict, no danger, for these menace -comfort! Not to know the comfort of a calm, safe existence from which -you can look down upon the struggles in a neck-breaking life far -below--that is barbarism indeed! And is not this comfort a virtue, -buttressed by moral principles at that? So buttressed, one's slumbers -are not disturbed. And may not one add to this virtue of comfort that -other cardinal virtue of hatred of all that keeps matters stirred up, -all that causes unrest, that causes sleepless nights and stormy days? -What the man of civilization hates he calls "bad," what he loves he -calls "good." Accordingly, as Nietzsche saw and said, the weak are the -"good" people, the brave and the strong are the "bad." Accordingly, -also, it is comfortable to be "moral." All one needs is to attune one's -life to the "common run," to quarantine against every profound -disturbance, to steal by every dangerous abyss of life. And if powers -stir in man which do not amiably submit to taming, why, "morality" may -be used as a whip to lash these insubordinate stirrings into subjection. -And if the living heart crouches into submission under the lash, why, -such crouching is called "virtue," and the daring to resist and escape -the lash, this of course is "vice." In a word, the most will-less is the -most virtuous. Thus--such was Nietzsche's uncanny insight--"moral laws" -are devices for disciplining the will into weakness! "Morality" is a -poison with which man is inoculated, so that his strength may be -palsied. "Morality" is itself death to a man, a will to weakness, a -destruction of the will, while life is a will to power, a will to -self-affirmation. - -Every virtue has its double, easily confounded with it, in reality the -exact opposite of it. Take meekness, peaceableness. It is a virtue which -the cowardly, the over-cautious, arrogate to themselves--those who duck -and bow and bend so as to give no offense, and to conjure up no violent -conflict. Yet to be peaceable and meek is in truth supreme strength, -having one's own stormy heart under control, and being absolutely sure -of power over the militant spirits of men. Humility is a sign at once of -smallness and of greatness. Patience is at once a lazy lassitude and an -active steadfast strength. Chastity may be reduced vitality, fear of -disease, fear of being found out, lack of opportunity, slavery to -respectability, poverty, or it may be temperance and self-control in -satisfying sex-needs. And so on. Every virtue may arise because a man is -too weak for the opposite. And this virtue which walks the path of -virtue because it lacks the courage and the strength not to do so, this -complacent, harmless, untempted virtue, men make the universal criterion -of all virtue, the codex of their morality. Today still the pharisee, -not the publican, the son who stupidly ate his fill in his father's -house, not the "prodigal" who hungered in the far country, heads the -scroll of the virtuous. To fear and flee vice, or to "pass a law," this -is the current solution of morality, dinged into us from youth up, not -to confront vice, battle with it, conquer and coerce it! - -So misunderstood Nietzsche thought. He thought that the morality of -"virtuous people" was, in fact, a foe of life, that the virtue of the -weak was a grave for the virtue of the strong, and that, consequently -the consciences of men must be aroused so that they could see the whole -abomination of this, their virtue, of which they were so proud. To -bridle and tame men is not to ennoble them; to make men too weak and -cowardly for vice is not to make them strong and brave for the good. -This anxious and painful slipping and winding and twisting between -virtue and vice, this cannot be the fate of the future, the eternal -destiny of man; this is to make man the eternal slave of man; to damn -him in his innermost and idiomatic life to the lot of the eternal slave. -Virtue and vice are values which men mint, stamps which men imprint upon -their ever-changing conduct, not eternal values, born of life itself, -sanctioned by the law of life itself. As time goes on tables of old -values become sins. To obey them, to have the law outside and not inside -us, is "to fall from grace" indeed. A law of life cannot be on paper, -for paper is not living. Life must be the law of life. Life must -interpret and reveal life. And life must be the criterion of life. What -makes us alive, and strong, and mighty of will, is on that account good; -what brings death and weakness, foulness and feebleness of will is bad. -The courage which in the most desperate situation of life, in the most -labyrinthan aberration of thought, dares to wring a new strength to -live, is good; all pusillanimity, all over-mastery by pain, all collapse -under the burden of life, all disappointing desert of the censure, "O ye -of little faith, why are ye fearful?"--all this is bad. It will be a new -day for man when he feels it wrong and immoral to lament his lot, to -whine, but right and moral to earn strength from pain, a will to labor -from temptation to die. Not the fear of the moral man to sin, but the -fear to be weak, so that one cannot do one's work in the world--that is -to be the fear in the future. The powerful will, nay, the will become -power itself, the fixed heart, the keyed and concentrated personality; -this means freedom from every slave yoke. And it means that life is no -longer at the mercy of capricious and contingent gain and loss, but a -King's Crown conquered in conflict with itself, with man, and with God. - - Also sprach Nietzsche-Zarathustra! - - - - - Keats and Fanny Brawne - - - BY CHARLOTTE WILSON - - He tried to pour the torrents of his love - Into a tiny vase; a trinket--smooth, - Pretty enough--but fit to hold a rose - Upon some shrewd collector's cabinet. - Toward that small moon the wild tides of his love - Reared up, and fell back, moaning; and he died - Asking his heart why love was agony. - - And she? She loved the best she could, I think, - And wondered sometimes--but not overmuch-- - At poor John's queer, unseemly violence. - - - - - A New Woman from Denmark - - - Marguerite Swawite - - Karen Borneman, by Hjalmar Bergström. [Mitchell Kennerley, New - York.] - -From the north, whence Ibsen's Nora challenged the world as far back as -1879, comes a fresh message of rebellion in the more radical figure of -Karen Borneman. In judging this play of Bergström's, which has but now -appeared in Edwin Björkman's translation, we must remember that it was -written in 1907--before we had grown so sophisticated concerning the -rebel woman in her infinite manifestations. And yet, because this -vanguard of a new morality is still a slender company, the addition of a -new member cannot fail to arouse a ripple of excitement in the watchful -rank and file. For that reason, as well as for some novel -characteristics of her own, Karen Borneman merits a word for herself. - -Bergström chose the most obvious method of contrast in projecting his -heroine upon a background of stringent restraint. Her father is Kristen -Borneman, a professor of theology whose chief interest in life is the -propagation of the principles contained in his magnum opus, Marriage and -Christian Morality. Her mother is an apparently submissive woman who -sometimes questions the edicts of her husband. Her brother, Peter, is an -adolescent youth, already awake to the conflict between the natural man -and the unnatural economic system, and seemingly bound for destruction. -Thora, her young sister, is already seeking out the clandestine outlet -for an excessive and dangerous sentimentality. Another sister, Gertrude, -has suffered a mental collapse and is confined in an insane asylum. -These children, the author seems to say, are the results of a chafing -restrictive discipline, and natural instincts gone wrong--a conclusion -weakened, not strengthened by over-illustration. When four of a family -of eight show signs of a similar abnormal development one suspects not -only the disciplinary system but the purity of their inheritance. - -Be that as it may, the chief protagonist, Karen, is quite a normal -person--except in the matter of courage, of which she possesses an -inordinate amount. But then all new women are courageous to a fault. She -is a woman of twenty-eight, mature, cultivated, and a successful -professional writer. Her most salient claim to consideration in the -early scenes of the play is her quiet assurance in the right of her -position. She voluntarily opens up her past to the professedly liberal -physician who seeks her hand. - -"Some years ago I--lived with a man.... You are a widower yourself. You -may regard me as a widow or--a divorced wife." - -And when he spurns her action as squalor, she indignantly replies, -"Doctor, how dare you. A phase of my life that at least to me is sacred, -and you cast reflections on it, that--" - -There is a brevity, a terseness, about her words that create greater -sense of her power than would any amount of emotional pyrotechnics. In -the later scene with her father she is equally as simple: - -"The sum and substance of it is this: I have been married twice.... I -mean that twice during my life--with years between--I have given myself, -body and soul, to the man I loved, firmly determined to remain faithful -to him unto death." Then follows the recital of the two love -affairs--the first with a brilliant but very poor journalist who died -prematurely, and the other with a sculptor, Strandgaard, whom she left -on the discovery of his faithlessness. - -Her vision is of a time of greater freedom for self-expression: - - "... the day will come when we, too, will demand it as our - right--demand the chance to live our own lives as we choose and - as we can, without being held the worse on that account. Of - course, I know that this is not an ideal, but merely a makeshift - meant to serve until at last a time comes which recognizes the - right of every human being to continue its life through the - race." - -Her justification is the characteristic one: - - "I have, after all, lived for a time during those few years of - youth that are granted us human beings only once in our lifetime, - and that will never, never come back again. What have these other - ones got out of their enforced duty and virtue except - bitterness--bitterness and emptiness? I have, after all, felt the - fullness of life within me while there was still time, and I - don't regret it!" - -The clash with her father whom she loves tenderly she accepts as -inevitable in spite of the pain it must bring them both. The ecstasy of -a great vision softens to the note of personal loss as she leaves him: - - "Yes--I do pity you, father! Don't think my heart is made of - stone. The sorrow I have done you cannot be greater than the one - I feel within myself at this moment, when perhaps I see you for - the last time! But how can I help that I am the child of a time - that you don't understand? We have never wanted to hurt each - other, of course--but I suppose it is the law of life, that - nothing new can come into the world without pain--" - -Because Karen advocates a course generally denoted by the term (of -wretched connotation) free love, she is not to be confused with those of -lesser fineness who are fighting at her side. For instance, with Stanley -Houghton's heroine in Hindle Wakes. Anyone who sees in Karen another -Fanny Hawthorne, has failed to understand Karen's position. She is a -woman of culture and of ideals in all matters of life, and especially in -that of the sex relationship. "I have given myself, ..." she says, "to -the man I loved, firmly determined to remain faithful to him unto -death." This is a far cry from Fanny's reply to Alan: "Love you? Good -heavens, of course not! Why on earth should I love you? You were just -someone to have a bit of fun with. You were an amusement--a lark." To -Karen the relationship is justified only by depth of passion, and she -entered it with as great a solemnity and glow of consecration as did -ever a serious woman a church-made marriage. To the many camp-followers -of "established" feminism, those who don or doff their principles with -the transient fashion,--to them Karen must seem a humorous, if not a -pitiable figure. For she dares to have beliefs and gallantly cleaves to -them. - -Karen, then, is a new woman in the sense that in the moment of crisis -she did not accept as inevitable the reply of convention, but weighed -her need against the law, and, finding the latter wanting, fulfilled her -need at the sacrifice of the law. On the other hand, she is not of those -who break laws for the intrinsic pleasure of destruction. - -"Of course," she admits, "it would have been ever so much more easy for -me if, while I was still young, some presentable man, with all his -papers in perfect order and a financially secure future, had come and -asked for me--" - -And she welcomes marriage with the good Doctor Schou in an attitude -unpleasantly reactionary: - - "... I believe every woman who has reached a certain age--and you - know I am twenty-eight--will, without hesitation, prefer a - limited but secure existence by the side of an honest man to the - most unlimited personal freedom." - -And worst of all, she, who throughout the play declares herself -unconvinced of guilt or stain, at the close of the first act becomes -quite mawkishly sentimental over Heine's pretty line, "May God forever -keep you so fair, and sweet, and pure." - -Because Karen exhibits these painful inconsistencies, she is no less -possible or real or worthwhile. We who know many women emerging in -diverse odd shapes from the travail of awakening have discovered just as -inconsistent a combination of precipitation and reaction; and thus will -it ever be until we have at length worked out our way to the most -serviceable harmony. It is for this very reason that Karen is -interesting: she is no superwoman, but our own imperfect sister. - -Of the other characters there is but one deserving special -comment--Karen's mother, who to me is the most remarkable person -Bergström has here created. She confesses to her husband that she has -known for three years that Karen had been living in Paris with -Strandgaard, but had kept the knowledge to herself because it had been -too late to interfere, and because she did not regard the calamity as -others would have in her place. From a terrible and bitter experience -with another daughter, Gertrude, who had gone insane through the abrupt -breaking off of a long engagement which had aroused primitive passion -and left it unfulfilled, Mrs. Borneman had reached a revolutionary -conclusion: - - "... from that day I have--after a careful consideration--done - what I could to let our children live the life of youth, sexually - and otherwise, in as much freedom as possible. The result of your - educational method, my dear Kristen, is our poor Gertrude, who is - now confined in an insane asylum, as incurable. The result of my - method is Karen, I suppose. I don't know if it is very sinful to - say so, but I feel much less burdened by guilt than I should if - conditions were reversed." - -When Karen, however, defends her course as an abstract ideal of "every -human being to continue its life through the race," and appeals to her -mother to understand, Mrs. Borneman retreats with, "I wash my hands of -it, Karen. I don't dare to think that far...." - -It was her motherhood that had forced upon her the courage to overlook -the law, and not any desire to throw over the old to set up a new law. -The glory of the new vision means nothing to her in comparison with her -husband's suffering to which she herself has added. She is the promise -of a new type--the awakened mother. - -As for the play as a whole, it appears to me that Mr. Bergström has -tried to say too much in the slight space of one short play, for he has -two distinct themes--the right of woman to love and life, and the -relationship between marriage and children. The first is the chief -theme, which is worked out in the story of Karen; the second is too -important to be employed as a subsidiary thread, and instead of adding -richness to the first it rather clutters and confuses it with -unnecessary baggage. Mrs. Borneman pities one of her sons because he -cannot afford to have children on his slender salary, and feels that her -other son is not justified in blindly bringing child after child into -the world, depending upon the rest of the family for their maintenance. -She asks her husband: - - "So it is not enough for two people to live together in mutual - love?" - - "No, Cecilia, that has nothing to do with marriage. What is so - inconceivably glorious about marriage is that, through it, God - has delegated His own creative power to us simple human - beings--that He has made us share His own divine omnipotence." - -The poor professor is made consistent to the point of absurdity, and the -main issue befogged, when he cries out to Karen: - - "And yet I could have forgiven you everything--your wantonness - and your defiance--if you had taken the consequences and had a - child! If you had had ten illegitimate children--better that than - none at all! But you have arrogantly defied the very commandments - of nature, which are nothing but the commandments of God!" - -Perhaps this matter was included for the sake of Karen's reply: - - "Do you think I am a perfect monster of a woman, who has never - felt the longing for a baby? Not me does your anger hit, but that - society which will not regard it as an inevitable duty to - recognize the right of every human being to have children--as a - right, mark you, and not as a privilege reserved for the richest - and the poorest. There are thousands of us to whom the right is - denied--thousands of men as well as women. But we, too, are human - beings, with love longings and love instincts, and we will not - let us be cheated out of the best thing that life holds!" - -Technically the play is not so perfect a thing as Mr. Björkman's -unbounded encomiums would make us believe. It opens, for instance, in -the good old fashion scorned by Ibsen--with the gossip of servants, who -are here engaged in laying the table instead of in the time-honored task -of dusting. The whole action is cast within some eight hours, thus -causing a use of coincidence to the straining point. The most -commendable feature of technique is the admirably sustained suspense: -the story of Gertrude overshadows the entire piece from the opening -scene to Mrs. Borneman's avowal in the last act. The powerful use of the -story as contrast to Karen's career is also unusual. - -And yet in spite of its faults--perhaps because of them--we have found -Karen Borneman the most stimulating play of the year. We hope one of our -two organizations dedicated to the drama will put it on in the near -future. - - When the ape lost his wits he became man.--Viacheslav Ivanov. - - - - - - - Galsworthy's Little Human Comedy - -No magazine that comes to this office is looked for more excitedly than -Harper's Weekly. Poetry and Drama is a quarterly event that keeps us in -a dignified intensity of expectation; and there are others. But Harper's -is a weekly adventure in the interest of which we haunt the postman. At -present it is featuring a series of sketches by Galsworthy--satirical -characterizations of those human beings who pride themselves on being -"different." Here is a man who knows himself for a philosopher; here is -an "artist"; here is one of those rare individualities so enlightened, -so superior, so removed, that there is only one label for him: "The -Superlative." - -But it is in The Philosopher that Galsworthy excels himself. It is -probably the most consummate satire that has appeared in the last -decade: - - He had a philosophy as yet untouched. His stars were the old - stars, his faith the old faith; nor would he recognize that there - was any other, for not to recognize any point of view except his - own was no doubt the very essence of his faith. Wisdom! There was - surely none save the flinging of the door to, standing with your - back against that door, and telling people what was behind it. - For though he did not know what was behind, he thought it low to - say so. An "atheist," as he termed certain persons, was to him - beneath contempt; an "agnostic," as he termed certain others, a - poor and foolish creature. As for a rationalist, positivist, - pragmatist, or any other "ist"--well, that was just what they - were. He made no secret of the fact that he simply could not - understand people like that. It was true. "What can they do save - deny?" he would say. "What do they contribute to the morals and - the elevation of the world? What do they put in place of what - they take away? What have they got, to make up for what is behind - that door? Where are their symbols? How shall they move and leave - the people?" "No," he said; "a little child shall lead them, and - I am the little child. For I can spin them a tale, such as - children love, of what is behind the door." Such was the temper - of his mind that he never flinched from believing true what he - thought would benefit himself and others. Amongst other things he - held a crown of ultimate advantage to be necessary to pure and - stable living. If one could not say: "Listen, children, there it - is, behind the door. Look at it, shining, golden--yours! Not now, - but when you die, if you are good."... If one could not say that, - what could one say? What inducement hold out?... - -This is merely the first paragraph. The rest is even better. Such an -analysis ought to extinguish the Puritan forever--except that he won't -understand it. He'll think it was aimed at his neighbor. He knows any -number of men like that.... - - - Knowledge or Prejudice - -A critic writes us that he finds no fault with freedom of speech, and -that Emma Goldman's disregard of ordinary moral laws and blasphemy of -religion do not destroy the fact that she exists. But such an article -about her as appeared in our last issue is well calculated to make us -appear absurd, he thinks; it sounds like the oration of some one who is -just beginning to discover the things that the world has known always; -and he closes with this deliciously naïve question: "Do you believe in -listening respectfully to advocates of free love, and, because of their -daring, applauding them?" - -Yes, we believe in listening respectfully to any sincere programme; we -believe that is the only way people get to understand things. We even -believe in listening seriously to insincere programmes, because the -insincere person usually thinks he is sincere and helps one to -understand even more. By doing all these things one is likely to reach -that altitude where "to understand all is to forgive all." - -As for "advocates of free love"--we recall the impatient comment of a -well-known woman novelist: "When will people stop using that silly, -superfluous phrase 'free love'? We don't talk about 'cold ice' or 'black -coal'!" - -And, though our applause was not confined to Emma Goldman's daring, as -our critic would probably concede, is not daring a thing worthy of -applause? Just as conflict is better than mediation, or suffering than -security, daring is so much more legitimate an attitude than -complacency. - -But it is that remark about "things the world has known always" which -exasperates us the most. The world has not known them always; it doesn't -know them now. It has heard of them vaguely--just to the point of -becoming prejudiced about them. And prejudice is the first element that -sneaks away when knowledge begins to develop. If the world represented -by our critic knew these things it might be roused to daring, too. - - - Rupert Brooke's Visit - -Rupert Brooke was in Chicago for a few days last month. One of the most -interesting things to us about his visit was that he so quickly -justified all the theories we have had about him since we first read his -poetry. First, that only the most pristine freshness could have produced -those poems that some people have been calling decadent; second, that -while he probably is "the most beautiful young man in England" it was -rather silly of Mr. Yeats to add that he is also "the wearer of the most -gorgeous shirts." Because Rupert Brooke doesn't wear gorgeous shirts; he -appears to have very little interest in shirts, as we expected. He is -too concerned with the big business of life and poetry. He is, as a very -astute young member of our staff suggested, somehow like the sea. - - - "Books and the Quiet Life" - -George Gissing has always had a peculiarly poignant place in our galaxy -of literary favorites, and nowhere have we loved him more than in that -little "autobiography" which he called The Private Papers of Henry -Ryecroft. The portions of that book which have to do specifically with -books and reading have been brought together by Mr. Waldo R. Browne and -published with Mr. Mosher's usual incomparable taste. - -A good many people have loved books as well as George Gissing did, -perhaps, but very few of them have been able to express that love like -this: - - The exquisite quiet of this room! I have been sitting in utter - idleness, watching the sky, viewing the shape of golden sunlight - upon the carpet, which changes as the minutes pass, letting my - eye wander from one framed print to another, and along the ranks - of my beloved books.... - - I have my home at last. When I place a new volume on my shelves, - I say: Stand there whilst I have eyes to see you; and a joyous - tremor thrills me.... - - For one thing, I know every book of mine by its scent, and I have - but to put my nose between the pages to be reminded of all sorts - of things.... - - I regard the book with that peculiar affection which results from - sacrifice ... in no drawing-room sense of the word. Dozens of my - books were purchased with money which ought to have been spent - upon what are called the necessities of life. Many a time I have - stood before a stall, or a bookseller's window, torn by conflict - of intellectual desire and bodily need. At the very hour of - dinner, when my stomach clamored for food, I have been stopped by - sight of a volume so long coveted, and marked at so advantageous - a price, that I could not let it go; yet to buy it meant pangs of - famine. My Heyne's Tibullus was grasped at such a moment. It lay - on the stall of the old book-shop in Goodge Street--a stall where - now and then one found an excellent thing among quantities of - rubbish. Sixpence was the price--sixpence! At that time I used to - eat my mid-day meal (of course, my dinner) at a coffee-shop in - Oxford Street, one of the real old coffee-shops, such as now, I - suppose, can hardly be found. Sixpence was all I had--yes, all I - had in the world; it would purchase a plate of meat and - vegetables. But I did not dare to hope that the Tibullus would - wait until the morrow, when a certain small sum fell due me. I - paced the pavement, fingering the coppers in my pocket, eyeing - the stall, two appetites at combat within me. The book was bought - and I went home with it, and as I made a dinner of bread and - butter I gloated over the pages. - - - - - New York Letter - - - GEORGE SOULE - -Hilaire Belloc is coming to America next fall for a lecturing tour. It -is well to take stock of him, so that we shall know what to expect. He -is clever, and a Catholic--that tells the whole story. We don't know -exactly how he will say it, but we know what he will say. Through -various smiling subtleties and paradoxes he will attack democracy, -feminism, socialism, individualistic rebellion of any kind. It is quite -possible that he will aim a few careless shots at Montessori, the -discussion of sex questions in public, Galsworthy, and Bernard Shaw. He -is a masculine, English, Agnes Repplier. He will entertain his -cultivated audiences, and give them the impression that he is very -modern and daring. - -It is curious how the thinking mind immediately discounts the testimony -of one who is known to have given his allegiance to an embracing -authority of any kind. Whether the authority in question is the Vatican, -Karl Marx, Business, Nietzsche, or Theodore Roosevelt, we know the man's -whole mind is likely to be colored with it, and that the evidence is -probably of less importance to him than his case. Yet there is always a -moral suspicion against the man who refuses to enroll himself under any -banner. He seems dead, inhuman, academic. March to the drums, salute the -colors, or admit there is no blood in you! It is good that most of -mankind does so. The strongest army (not necessarily the largest) will -win, and the battle must come for the sake of the victory. - -Therefore, let the radicals welcome Mr. Belloc as a good enemy. He -stands for a sincere, highly organized, and powerful propaganda which -cannot be ignored on the modern battlefield. On account of their worship -of authority the Catholics have a solidarity which no other movement can -boast. For the same reason they are doomed to an eternal enmity with -adventurous souls, those who fight for change of any kind. They seem -often to be in accord with advancing thinkers because they condemn -present conditions. But closer investigation will always show that -instead of pointing to the future they cling to the past. Mgr. Benson, -during his recent visit to New York, stated in private conversation that -present social conditions are intolerable. He went on to say that an -ideal society can be attained only under feudalism, with the church in -control. - -There will be no more danger from the Catholics than from any other army -as long as we know what they are fighting for, and are able to recognize -their irregular troops. - -But let there be no complacency among the enemies of the church on the -ground that it may not be really in the field, or has not artillery when -it gets there. Without investigation of any kind, I have heard of two -books attacking the church which were suppressed by their publishers at -the demand of Catholic authorities. In each case the weapon was a threat -to withdraw an extensive text book business from the house in question. -Naturally, the parties to the matter have not been anxious to give it -publicity. A magazine which published an article displeasing to -Catholics received a letter threatening it with black-listing. There -appears to be a well organized and efficient church publicity bureau to -attend to these and other matters. A proposal was recently made by a -Catholic journal that priests in confessional impose as penance the -subscription to Catholic papers and the purchase of Catholic books, at -the same time warning the people against secular publications. This was -discussed with some approval by America, the New York Jesuit weekly, -which regretfully admitted, however, that in the end Catholic -publications must depend "mainly on their merit." We are likely to -ignore such mediæval methods until we find them obstructing some actual -movement of importance. They do obstruct such movements, however, -sometimes very annoyingly. - -All these methods are but the natural and blameless working of the -doctrine of intolerance. And perhaps their greatest danger is that their -temporary success will induce the opposing armies to use the same weapon -and so shackle themselves. The intolerance of the Puritan was a natural -result of his bitter struggle, yet it produced a century of aesthetic -darkness. The advanced opponents of the Puritan era are now uttering -pronunciamentos and personalities that are Archiepiscopal in their -intolerance. - -But, you say, intolerance is necessary in the soldier. He must hate his -enemy and seek not only to dislodge but to silence his opponent. Well, I -will admit that when the soldier is in battle he must shoot to kill. But -there is a new kind of soldier developing who is more valuable to man -than the old. He joins the army not so much because of the magic of the -colors as because of the necessity of the cause and its temporary -usefulness in serving the truth behind it. Just as he will not march to -war without reason, so he will stop fighting his immediate enemy when -his cause is won, and will not go on to bickering and pillage. He is -ready to enlist under a new banner at any moment when a new banner -represents a more glorious cause than the old. His General is not a god, -but a leader. His freedom of choice is always the biggest asset of his -strength. Therefore he cannot be intolerant. He is strong, hard, -efficient, relentless, but never pompous or slavish. How much time the -world has lost eliminating armies of strong men whose fatal fault was -excessive, unreasoning loyalty! - -That, after all, solves the riddle of my second paragraph. And if the -soldier must subordinate his cause to his truth, how much more so the -General and the King! The General has very little time to hate his -enemy. He must know their strength, study their methods, adopt the best -of their ideas, spy out the country, plan a campaign. He orders -slaughter not for revenge or hatred, but for success. Therefore it is of -supreme importance that his success be worth while. - -And the King, the man who selects the cause and fires men to battle. The -nearer he comes to an assertion of infallibility the surer is the final -defeat of his cause. If he will allow no room for change and growth, -change and growth will sweep him aside. We need big men who will not -enlist under colors, but are always pushing back the horizon of truth. -Distrust the leader who has found the final answer to the riddle. Some -day shall we not have a Messiah who shall begin by saying: "Do not found -in my name any church, cult, or school. If a man question my message, -listen to him closely and learn what truth he has. Always seek the new, -the more perfect. Always grow out from the fixed. So shall you begin a -race of Kings greater than I." - - - - - Correspondence - - - Miss Columbia: An Old-Fashioned Girl - -That the United States of America is young is a truism which needs no -stating, and unfortunately its youth is hopelessly fettered in the -strings of tradition. - -Ferrero says that aesthetic taste in America shows itself in bathrooms; -and certainly in plumbing we do seem to have a taste above that of the -rest of the world. In other things America fears originality and change -far more even than England does. Miss Columbia is a bright girl, sitting -in a schoolroom, with well-worn editions of the English classics on the -book-shelves. Miss Columbia writes verses and stories following the most -approved models; she succeeds rather well, but, after all, they are only -school essays. It seems impossible for Americans to have the courage to -admit that Life is as they see it. Hence the shallow and frivolous -optimism which hangs like an obscuring fog over practically all our -writing. It would be a convention were it not that we think we believe -it; it would be a conviction only that we never look at it close enough -to test it. The vogue, a year or two ago, of Mr. Robert Haven -Schauffler's Scum o' the Earth is a case in point. It deals with the -problem of immigration, not as it is, but as it might be if it were. The -poem is imitative as art, and false as life, but it flatters an existing -condition, and paints a sore to represent healthy flesh; wherefore -America hails it with content. Americans are afraid of Life, in the -Victorian manner. A Catholic said to me, some time ago: "Sex is dirty." -This sacrilege is a thoroughly Victorian sentiment, but sex alone does -not come under the ban; pain, squalor, and, above all, the fact that -virtue and effort frequently go unrewarded, are facts to which, in -America, one must shut one's eyes. Miss Columbia is very young, and her -gold must be minted before she recognizes it; in the matrix it looks -insignificant to her inexperienced eyes. - -Style is not manner, but personality. And the fact that our poets and -story writers keep to the old forms and expressions proves (does it -not?) that they have no inward urging which makes them find old molds -too cramping. - -In a play of George Cohan's, Broadway Jones, you have the best of -middle-class America--its good points and its limitations. Perhaps this -is even better brought out in his other play, Get-Rich-Quick -Wallingford. "Crude," you say; "childish!" Quite true, but entirely and -absolutely America. For the United States is governed by the Great God: -Mediocrity! The middle-class, or, as we call him, "the man in the -street," rules. Neither the gaunt simplicities of the lower class -(although we talk a great deal about the lower class), nor the -simplicities of the educated and intellectually alert, can leaven the -lump of self-satisfied commonplaceness. Not only don't we know, but we -don't want to know. An American writer, who had lived in Europe long -enough to forget the peculiar American temper, was sufficiently -ingenuous as to propose to the editor of one of our best-known magazines -a series of three articles on six contemporary French poets. They were -refused, because his clientèle did not care to read of things of which -they knew nothing. "They will know less than I," said the editor, "and I -have only heard of two of these names." - -We are a little better off as regards our musical taste, because music -is a universal language, and we can hear music in the "original," so to -say. In music, again, our output is more in accordance with the spirit -of the whole world. - -This does not mean that there are not good writers in America. There -are. But most of them write "dans le goût d'avant-hier." I am only -telling you that Miss Columbia is in her artistic 'teens, and is as -unimaginatively conventional as is the human animal at the same age. -And, again like the human animal, she was not so childish when she was a -baby. Paul Revere, riding across the Middlesex Fells to rouse the minute -men, was like any adult man on a job which he shrewdly suspects will -change the fate of nations. Poe and Whitman were not exactly childish. -But were Poe writing today, he would be told that his subjects were -"unimportant" and that he "lacked social consciousness." For we in -America are suffering from a pathological outlook on the world. Our -activities function along the line of preventive medicine for -communities. The richness and variety of personality is lost sight of in -the lump. We forget that admirable truth set forth in the poem beginning -"Little drops of water." - -And then, too, poor America is so many different kinds of persons and -places. What we are going to be lies on the lap of the Gods. But it -seems quite clear that, whatever it is, it will not be Anglo-Saxon. - -Go to any vaudeville theatre and you will see Americans -"turkey-trotting" to an intricately syncopated music we have dubbed -"rag-time." No European can dance it with just that zip and swing. It is -a purely American thing. Stop a minute! Do you realize that this is -America's first original contribution to the arts! Low or high, that is -not the point; it is America's own product, and for that reason I regret -to see the tango superseding it, although the tango is a better dance. I -am told by those who know, that dancing is the first art practised by -primitive peoples. I believe that in our "turkey-trotting" and -"rag-time" we have the earliest artistic gropings of a new race. Our -musicians scorn "rag-time," and it takes the clear eye of a Frenchman to -see its interest. Debussy has seen it in his Minstrels. - - AMY LOWELL. - - - Poetry to the Uttermost - -We are afraid. We are all horribly afraid. The seal of poetic propriety -is laid upon our lips, the burden of tradition bows us down. Crouched -and abject beneath the dominance of the slave-driver, gap-toothed -Custom, we set our shoulders to the toil--the useless toil--of dragging -through the mile-years of simoom-whipped sand the impassive statue of -Mediocrity. - -What, if the vulture scream above us, can we dare to tell the meaning of -its cry? Sharp will descend the whip of circumstance to warn that -otherwhere the nightingales are singing under a full-orbed moon and we -must sing of them. - -Does an all-reckless slave defy his Maker with a thunderbolt of -blasphemy, forged in the furnace of his agony? Straight comes the -penalty decreeing silence and neglect unless we chant apocalyptic -anodynes. - -If the challenge of the blood outbeats the clanging of the bonds and in -the glowing dusk man and woman cling to each other until the uttermost -is won, shall this be told in paean and in song? Not unless social usage -has been satisfied and it be ascertained that desire has given place to -design, that love has been exchanged for lucre, and that marriage has -been substituted for mating; then are we bidden cull from the -common-casket of permitted phrases the veil, the orange-flower wreath, -and all the weary paraphernalia of convention, and write an epithalamium -to the plaudits of the admiring throng. - -Rituals began in poetry. And since all rituals today have lost most of -their ancient power, serving to soothe and charm instead of to stir and -challenge, we look to the poetry of today to lay the web whereon the -rituals of the future shall be spun. Let not that web possess one strand -of mediocrity. Platitudinizing is no pattern for the future. If we are -fain to cry aloud, let our throats crack thereat; if we would hurl -defiance, let us not fear to charge after our javelins and find our -freedom in the breach ourselves have made. - -Every true poet has the uttermost within, if he or she will but give it -voice. Oh, poets of every craft, give of the uttermost! Better a single -cry like The Ballad of Reading Gaol, like Bianca, like When I am dead -and sister to the dust--to touch on a few moderns only--than a -lumber-loft of pretty and tuneful voicings of the themes that please but -do not satisfy. There are those of us who read whose blood runs hot and -red as well as yours. Dare, O you poets of every craft! Rise to the cry! -Your hearts are high and full of gallantry, the world is waiting to be -led by you to heights before unscaled. Shake cowardice away and dare! - - FRANCIS ROLT-WHEELER. - - - Reflections of a Dilettante - -All art is symbolical. A mere presentation of things as they are seen by -our physical eye is photography, not art. Yet there exists a Symbolistic -school in contradistinction to other currents such as Realism, -Impressionism, Neo-Romanticism, etc. Is not this a misnomer? Can we say, -for instance, that Beaudélaire's Fleurs du Mal were symbols, while -Goethe gave us but realistic reproductions of actual life? Should we -exclude Whitman from the Symbolists for the reason that his poems are -less fantastic, nearer to life than those of Poe? What about -Vereshchagin: was not his brush symbolistic because he adhered to -realistic methods? Obviously, an artist presents not objects but ideas, -and the symbolisticity of a certain work of art is rather a question of -method and degree. - -Perhaps we should differentiate artists according to their relationship -with and attitude towards the public. The realist--and under this -elastic term we may understand likewise the romanticist and the -impressionist--is definite in his interpretation of life, is outspoken -and clear in conveying his conceptions; he drags us unto his point of -view, makes us see through his eyes and take for granted his -impressions. He says to us: "Thus I see the world. Thus life and nature -are reflected in my mind. This is precisely what I mean; please do not -misinterpret me." We are bound to obey; the artist--provided he is a -real artist--forces upon us his eyeglasses, and we follow his -directions. - -The purely Symbolistic artist, on the other hand, grants freedom to the -public. Vague tones, dim outlines, abstract figures, imperceptible -moods, misty reflections, make his art unyielding to a definite -interpretation. All he imposes upon us is an atmosphere, into which we -are invited to come and co-create. Here is a canvas, here are colors, -here are moods; go ahead and make out of them what you like. We are thus -left to our own guidance; we are enabled to put our ego into the -artist's work, we are free to find in it whatever reflections we choose -and to form our own conceptions. If we succeed in solving the problem, -if we make the symbol live in our imagination, we experience the bliss -of creation; should we fail in our task, should the symbol remain -meaningless to us, we conclude that the given atmosphere is alien to our -mind. Music of all arts is the most symbolical. True, Wagner and Strauss -have endeavored to impose upon the listener leit-motifs, to dictate the -public an interpretation of specific tones, but they have failed in -their attempts to introduce a sort of a "key" to music; we remain -autonomous in "explaining" Siegfried and Don Quixote. - -Which of the methods is preferable? I should resent any narrow decision -on this point. A crystalline September day or a purple-crimson sunset, -how can we choose? We delight in both, but in one case we admire the -visible beauty, while in the other we make one step forward and -complement the seen splendor with strokes of our creative imagination. -Perhaps my non-partisanship is due to my dilettantism; as it is, I -approach a book or a picture with one scale: is it a work of art? If it -is, then any method is justifiable, no matter how differently it may -appeal to the individual taste. - -Yet--and there is no inconsistency in my statement--I do discriminate in -art productions in so far as my personal affections are concerned. Great -as my delight is in the arts of Tolstoi and Zola, of Rubens and Corot, -of Brahms and Massenet, of Pavlova and Karsavina, my mind is more akin -to the mystic utterances of Maeterlinck and Brusov, to the hazy -landscapes of Whistler and to the unreal women of Bakst, to the narcotic -music of Debussy and Rachmaninov, to the wavy rhythm of Duncan and St. -Denis. It is with them, with the latter, that I erect fantastic castles -of my own designs and find expression of my moods and whims. I may not -understand all of the Cubists and Futurists, but I owe them many new -thoughts and emotions which I had not realized before having seen the -new art. Schoenberg's pieces still irritate my conventional ear, but I -allow him credit for discovering new possibilities in the region of -sound interpretation. We, plain mortals, who are doomed to contemplate -art without having the gift to contribute to it, we are envious of -genius and crave for freedom in co-creating with the artist. Hence my -love for Bergson who appeals to the creative instinct of man; for him I -abandoned Nietzsche, my former idol: it is so much more pleasant and -feasible to be a creative being than to strive to become a perfect -super-being. - - ALEXANDER S. KAUN. - - - The Immortality of the Soul - -Bergson argues that there is a spiritual entity behind all science and -that it is impossible for scientists to go beyond a certain point in -developing a knowledge of whence we came. Clara E. Laughlin, in writing -a review of The Truth about Woman, by Mrs. Walter M. Gallichan, accuses -the writer of possessing a short-sighted, astigmatic vision of -"whereuntoness." She winds up her discussion with the sob of an ultra -religionist by accusing Mrs. Gallichan of having left out a most -important point in her discussion--that of the immortality of the soul. -To quote Miss Laughlin exactly: - - 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 perpetration 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. - -Very fortunately for the future of her book, Mrs. Gallichan ignores the -religionist except to say of religion, "I am certain that in us the -religious impulse and the sex impulse are one." - -Mrs. Gallichan's book is a scientific discussion of woman yesterday and -today, without any attempt at sentimentalism. Her analysis is perfect -and decidedly constructive. She goes back to prehistoric times and -discusses in scientific phraseology how woman has progressed through the -ages, and describes the part she has taken in establishing -civilizations. Nowhere does she forget that she is writing for posterity -and indulge in the petty foibles that are sometimes so noticeable in the -work of women who write on feminism. - - LEE A. STONE. - - [The question of whether whatever it is that is meant by the word - soul is immortal--immortal in the sense that it will live forever - in a realm of the spirit or the blessed--is answered - affirmatively by those who hold to the orthodox faith, is not - worth discussing by a rational man who is informed, and is - discussed by avowed or implied atheists with a fanatical - seriousness that destroys whatever force their main contention - may have. The legitimate domain of argument is limited; truth - that is verifiable by men here and now is its only content. As - regards what uncritical people call "immortality" serious - argumentation is absolutely impossible. Faith, quotations, and - personal desires are not arguments. Mrs. Gallichan's book is in - parts scientific, and is therefore of importance to thousands of - people whose religion is an achievement of courageous thinking - and living. To many excellent persons their professed belief in - what they term "immortality" is a kind of merciful necessity. - They crave and even invent assurances of it. To such persons - there is no argument against it. To persons who produce the - "negative" arguments there is no argument for it. And there you - are!--W. C. D.] - - - - - Book Discussion - - - Dostoevsky--Pessimist? - - The Possessed, by Fyodor Dostoevsky. [The Macmillan Company, New - York.] - -Shatov was an incorrigible idealist, with a keen satirical ability to -destroy his own ideals. He had made a god out of Verhovensky, the -leading figure in Dostoevsky's The Possessed. Verhovensky was, he -imagined, a god of selfish courage and supreme unconcern, the sort of -man whom everybody followed involuntarily. Shatov knew that his hero had -irreparably injured three women, one of them half-witted and -defenseless. That did not bother the idealist at all; it was "in -character." But when Verhovensky lied about it to avoid condemnation, -Shatov hit him a savage blow on the cheek and brooded for weeks over the -disappointment. The disappointment was deepened by the fact that -Verhovensky did not kill him for the blow. - -There is something characteristically Russian about that. It goes far to -explain Russian pessimism, and give the key to this very book. Your -Russian wants above all things to be logical. He will fasten upon an -idea and enshrine it in his holy of holies. He will relentlessly follow -the dictates of his idea though it lead him to insanity. There is -greatness in his attitude, also absurdity. Witness Tolstoy. And when he -recognizes his own absurdity he becomes gloomy and savage; there is no -escape from the vanity of the world, the spirit, and himself. - -I can imagine the mood of Dostoevsky when this book germinated in his -mind. He saw this trait in the people about him, he felt it in himself. -The intellectuals, each with his little theory, were steadily working -towards--nothing at all. The government with its elaborate systems for -economic improvement and individual repression, the revolutionary with -his scheming insincerity and chaotic program, were equally futile. The -women with their pathetic loves, the frivolous with their mad pursuit of -amusement, the great and the small, the sycophant and the rebel, were -all bitter failures. Suddenly it occurred to him--they are all mad in an -insane world, each in his way, one no more than another. I will vent my -disgust with these vermin in a book; I will show what they really are. -Like the madman who carefully traces out his meaningless labyrinth, I -will with the most painstaking psychology unravel their minds, and in so -doing I will find my release and my fiendish joy. The only thing lacking -in this madhouse is complete self-consciousness. That I will -furnish.--And so Dostoevsky logically and nobly followed his idea to its -insane conclusion. - -The fascinating result cannot be described in a paragraph. It is done, -of course, with consummate ability. Beginning the book is like walking -into a village of unknown people. They are real enough outwardly; you -don't know their nature or direction. Little by little you learn about -them, and begin to take sides. Long habit makes you pick favorites. This -man will be noble and successful; perhaps he is the hero. Suddenly you -begin to suspect that something is wrong. All things are not working -together for one end, as in well-regulated novels. Your favorites become -jumbled up with the others. The author doesn't give you a chance, -because he never shows you a cross-section of a mind. He merely tells -what the people do and say. You must draw your own conclusions as in -ordinary life. When you get used to this, you see an occasional -subtlety, a flash of sardonic laughter. Some of the people are not quite -right in their minds. And at length the truth dawns; the sane people are -even crazier than the others! This impression comes by sheer force of -magic; how the author creates it is inexplicable. But once you have it, -the fascination of following an idea obsesses you. And at the end it is -impossible to find any meaning or direction in the world. - -Of course, no such obsession can find a firm footing in the American -temperament. After a while it seems Russian and incredible. If you can't -answer Dostoevsky logically, you will abandon logic. But he has stirred -you up, and certain important conclusions rise to the surface. - -One is that it would be impossible to be such a pessimist unless one -looked for a good deal in the world, and looked for it rather sharply. -Idealism and courage began this course of thought. Isn't a big share of -our optimism shallow? Shouldn't we go a little deeper into things before -being so sure they are right? Another is that no living individual is -worth very much, after all. Our only salvation is in creating a nobler -race. And for that any sacrifice of present individuals is supremely -worth while. - -It is as if some inspired member of a negro tribe in central Africa had -suddenly awakened to the fact that his voodoo-worshipping friends were -not acting rationally. From their status the burden of his chant might -be horrible for its devilish revelations. But in our eyes he would be a -seer and a prophet. Why should he have considered the feelings of the -miserable savages? There is something more important than that! - - GEORGE SOULE. - - - The Salvation of the World à la Wells - - Social Forces in England and America, by H. G. Wells. [Harper and - Brothers, New York.] - -Like many philosophers, Mr. Wells is concerned mainly with the need of a -new human race. All profound reformers want that. The method of -achieving this desirable result is, however, the rock of turning. It -probably isn't necessary to say that our present reformer is not one of -those blind apostles of effortless immediacy. Such transmution was -respectable when Botany Bay was a popular seaside resort for radical -poets and philosophers. They of today realize something of the immensity -of the developmental process. Their hopes are often so remote that they -seem almost despair, but still time is trusted with a reliance on -science for the urge toward human perfectibility. Of such the leader is -H. G. Wells. - -Clearly the conviction that civilization needs a new race is well -founded. All ideals, all ideas, civilization, culture are and have -always been the products of a pitiful minority. The tendency at present -is toward making the desire of the majority supreme. The majority do not -cleave toward ideals--not even toward establishing their own glory. -Rousseau imagined that millions loved righteousness; Jefferson made such -beliefs the basis of the country's documents of incorporation. The -idealists were manifestly mistaken. Men have never been drawn toward the -ideals they have professed. Truth, justice, equality have never been -valued when sex, property, or power were opposed. The virtues came in -the early days from "Thus saith the Lord," and they come today, if they -come at all, from "Thus saith a Strong Man." - -Mr. Wells guesses that there are fifty thousand reading and thinking -persons in England--keepers of the citadel. The fifty thousand are -practically England. Perhaps his estimate is too low. John Brisben -Walker says that in the United States the number of persons able to -think independently about political and social matters has increased -from a few score to about two hundred and fifty thousand within thirty -years. The fact is, albeit, that the world has been fashioned always by -this very small minority. Furthermore the present creation is not one in -which there is reason for great pride. - -The essay on the Great State is especially fine in this connection. -Wells's idea of the Normal Social Life and of the constant divergence of -a minority is altogether clarifying for the watcher from any vantage, -but it is in his discussion of the labor unrest that the reader in -Colorado discovers the prophecies he most needs. For illustration this: - - The worker in a former generation took himself for granted; it is - a new phase when the toilers begin to ask, not one man here and - there, but in masses, in battalions, in trades: "Why, then, are - we toilers, and for what is it that we toil?" - -The ruling minority in Colorado has been confronted with this question -during the coal strike. So far no response has been given save the -impromptu utterances of a hideous rage and fright at the thought of -awakening workers. - -Wells answers his own questions. He replies as Colorado will sometime if -Colorado is to persist. It is in this tone: - - The supply of good-tempered, cheap labor--upon which the fabric - of our contemporary ease and comfort is erected--is giving out. - The spread of information and the means of presentation in every - class and the increase of luxury and self-indulgence in the - prosperous classes are the chief cause of that. In the place of - the old convenient labor comes a new sort of labor, reluctant, - resentful, critical, and suspicious. The replacement has already - gone so far that I am certain that attempts to baffle and coerce - the workers back to their old conditions must inevitably lead to - a series of increasingly destructive outbreaks, to stresses and - disorder culminating in revolution. It is useless to dream of - going on now for much longer upon the old lines; our - civilization, if it is not to enter upon a phase of conflict and - decay, must begin to adapt itself to the new conditions, of which - the first and foremost is that the wage earning laboring class, - consenting to a distinctive treatment and accepting life at a - disadvantage, is going to disappear. - -That is the truth which men hate most to hear. It is the doctrine which -"Mother" Jones preaches and for which she has been imprisoned regardless -of laws and constitutions. - -But this reasonableness of Wells appeals as little to the left wing of -the socialists as it does to conservatives. The I. W. W.'s have no -patience with the detailed delays suggested and Wells is as irritated -with the losses in civilization to which a violent revolution is likely -to lead. He sets forth his feeling in a discussion of the American -population, a curious phrase, necessary on account of his distaste for -the word people. In speaking of the possibility of a national -revolutionary movement as an arrest for the aristocratic tendency now so -pronounced he says: - - The area of the country is too great and the means of - communication between the workers in different parts inadequate - for a concerted rising or even for effective political action in - mass. In the worst event--and it is only in the worst event that - a great insurrectionary movement becomes probable--the - newspapers, magazines, telephones, and telegraphs, all the - apparatus of discussion and popular appeal, the railways, - arsenals, guns, flying machines, and all the materials of - warfare, will be in the hands of the property owners, and the - average of betrayal among the leaders of a class, not racially - homogeneous, embittered, suspicious, united only by their - discomforts and not by any constructive intentions, will - necessarily be high. - -It is true almost. There are always enough of the Gracchi family present -to supply the minimum number of weapons essential. To the truth of this -the revolutionary movement in Mexico is a witness and Colorado itself -could tell tales. - -Social Forces, a too collegiate title, sums up satisfactorily Wells's -important opinions. The book isn't really a whole: some of the essays -are journalistic and some are old. It lacks nearly everywhere the -fierceness of The Passionate Friends. In this book Wells is in his -dinner coat, comfortable and well fed. He is respectable--horrible -admission--but he is still prophetic. - -In a sense, too, Social Forces is a warehouse. There one may find stored -the rough materials which on occasion are hammered into the poignancies -of Marriage or Tono-Bungay. As a vista into a masterhand's workshop the -book has its intense psychological interest, but most of all it is text -for salvation of the world. - - WILLIAM L. CHENERY. - - - A Novelist's Review of a Novel - - Vandover and the Brute, by Frank Norris. [Doubleday, Page and - Company, New York.] - - "I told them the truth. They liked it or they didn't like it. - What had that to do with me? I told them the truth; I knew it for - the truth then, and I know it for the truth now."--FRANK NORRIS. - -It would seem inevitable that had Frank Norris lived he would have -rewritten Vandover and the Brute. In the book, as it was rescued from -the packing box that had been through the San Francisco fire and sent to -the publisher, there is much that would have been discarded by the later -Norris. Perhaps he would have thrown it all away and written a new story -with the same theme. He was a big man and he had the courage of bigness. -He could throw fairly good work into the waste-paper basket. The decay -of man in modern society, the slow growth in him of the brute that goes -upon all fours--what a big, terrible theme! What a book the later Norris -would have made of it! - -In the introduction by Charles G. Norris quotation is made from the -Frank Norris essay, The True Reward of the Novelist, in which this -sentence stands out: "To make money is not the province of the -novelist." Also it is suggested that the book was written under the -influence of Zola, and there is more than a hint of Zola's formula that -everything in life is material for literature in the way the job is -done. - -As it stands, Vandover wants cutting--cutting and something else. With -that said and understood, we are glad that the book has been rescued and -that it can stand upon our book shelves. American letters cannot know -and understand too much of the spirit of Frank Norris, and just at this -time when there is much talk of the new note and some little sincere -effort toward a return to truth and honesty in the craft of writing, it -is good to have this visit from the boy Norris. He was a brave lad, an -American writing man who lived, worked, and died without once putting -his foot upon the pasteboard road that leads to easy money. "The easy -money is not for us," he said and had the manhood to write and live with -that warning in his mind. He had craft-love. With a few more writers -working in his spirit we should hear less of the new note. Norris was -the new note. He was of the undying brotherhood. - -When Frank Norris wrote Vandover he was not the great artist he became, -but he was the great man; and that's why this book of his is worth -publishing and reading. The greater writer would have possessed a -faculty the boy who wrote this book had not acquired--the faculty of -selection. He would have been less intent upon telling truly unimportant -details and by elimination would have gained dramatic strength. - -Read Vandover therefore not as an example of the work of Norris the -artist but as the work of a true man. It will inspire you. Its very -rawness will show you the artist in the making. It will make you -understand why Frank Norris with Mark Twain will perhaps, among all -American writers, reach the goal of immortality. - - - The Immigrant's Pursuit of Happiness - - They Who Knock at Our Gates, by Mary Antin. [Houghton Mifflin - Company, Boston.] - -Shaking the Declaration of Independence in the face of all those opposed -to immigration in any form Mary Antin makes an impassioned appeal for -practically unrestricted immigration. Her motive is no doubt -praiseworthy, her enthusiasm and eloquence are admirable. She contrasts -the nature of our present-day immigrants with those who landed in the -Mayflower. The self-satisfied middle class attitude peeps through the -question: "Is immigration good for us?" - -And of course it is good. The immigrants do more than three-quarters of -our bituminous coal mining. They make seven-tenths of our steel. They do -four-fifths of our woolen, nine-tenths of our cotton-mill work, nearly -all our clothing, nearly all our sugar, eighty-five per cent of all -labor in the stock-yards. You cannot but come to the same conclusions as -Mary Antin: "Open wide our gates and set him on his way to happiness." - -On his way to happiness? One thinks of Lawrence, Massachusetts, where -immigrants are not exactly happy; or Paterson, New Jersey; or an -incident of this kind from Marysville, California, related by Inez -Haynes Gillmore in Harper's Weekly for April 4: "An English lad, the -possessor of a beautiful tenor voice, song leader of the hop pickers, -was walking along carrying a bucket of water. A deputy sheriff shot him -down." One thinks of the Michigan copper mines. Alexander Irvine told us -something about peonage in the South in his "Magyar." The New York East -Side with its 364,367[2] dark rooms and its "lung block with nearly four -thousand people, some four hundred of whom are babies. In the past nine -years alone this block has reported two hundred and sixty-five cases of -tuberculosis."[3] In Pittsburgh alone, according to The Literary Digest -of January 16, 1909, five hundred laborers are killed and an unknown -number injured every year in the steel industry. According to Dr. Peter -Roberts about eighty per cent of those suffering from rickets in Chicago -are Italians, Greeks, and Syrians. This disease is almost unknown in the -southern countries. The following is taken from an article by Henry A. -Atkinson in Harper's Weekly: - - The policy of the companies has been to exclude the more - intelligent, capable English-speaking laborers by importing large - numbers from southern Europe: Greeks, Slavonians, Bulgarians, - Magyars, Montenegrins, Albanians, Turks as well as - representatives from all of the Balkan states. The Labor Bureau - charges the large corporations of the state with hiring these - men--"because they can be handled and abused with impunity."... - Louis Tikas is dead. His body riddled with fifty-one shots from - rapid fire guns, lay uncared for twenty-four hours at Ludlow - where he had been for seven months the respected chief of his - Greek countrymen. He was shot while attempting to lead the women - and children to a place of safety. At least six women and fifteen - little children died with him. - -"Open wide our gates and set him on his way to happiness" says Mary -Antin. - -Sixty thousand illiterate women were admitted in 1911 to this country. -The president of The Woman's National Industrial League says in this -connection to the House Committee: "Syndicates exist in New York and -Boston for the purpose of supplying fresh young girls from immigrants -arriving in this country for houses of ill fame. Immigrants arriving in -New York furnish twenty thousand victims annually." Mr. Jacob Riis said -very recently: "Scarce a Greek comes here, man or boy, who is not under -contract. A hundred dollars a year is the price, so it is said by those -who know, though the padrone's cunning has put the legal proof beyond -their reach." - -But these are statistics, and Mary Antin is horrified by statistics -except when she can prove that "the average immigrant family of the new -period is represented by an ascending curve. The descending curves are -furnished by degenerate families of what was once prime American stock." -The "happiness" that those who knock at our gates run into once they -land in our mines, factories, sweatshops, department stores, etc., might -be traced further. The real question is this: Is immigration good for -the immigrant? In view of the above facts there is but one answer so far -as the illiterate and physically weak are concerned. Twisting of facts -out of a desire to reach certain conclusions will only harm the -immigrant and the inhabitants of this country. - -Mary Antin would have been Mary Antin in Russia, Turkey, or Aphganistan. -The weak and the illiterate are the ones who keep this question in the -foreground. Probably the only exception is the Russian Jew. He has no -country of his own and the New York East Side is a comparative -improvement over the Czar's empire. - - WILLIAM SAPHIER. - -[Footnote 2: Fifth Report of Tenement House Department, 1909. Page 102.] - -[Footnote 3: Ernest Poole:--A Handbook on the Prevention of -Tuberculosis.] - - - The Unique James Family - - Notes of a Son and Brother, by Henry James. [Charles Scribner's - Sons, New York.] - -Whatever the deprecators of Henry James's later manner may have to say -about the difficulties of his involved style there are some situations, -some plots, for which it is most happily suited. Was so haunting a ghost -story ever written as that truly horrible one which involved two -children--the name of which has unfortunately escaped me, for I should -like to recommend it for nocturnal perusal. And in The Golden Bowl the -gradual way you are led to perceive the wrong relationship between two -of the characters, which, had it been offered bluntly, with no five -degrees of approach and insinuation, would have lost half its mystery of -guilt. As he himself says, in the Notes of a Son and Brother, "I like -ambiguities, and detest great glares." - -Unfortunately, the style that is fitting to a slow unfolding of a -psychological situation does not lend itself well to biography. The -direct way is the only possible way there, if the reader is to keep an -unflagging interest, and the direct way is simply not possible for Henry -James. And one asks nothing more than to be told simply of the student -days at Switzerland and Germany, and the life afterward at Newport, just -as the Civil War was beginning or best of all throughout the story of a -united family--the four boys, little sister, father, mother, and aunt, -quite unlike, I imagine, any other family in the world. The quality of -the genius of the brothers seems to have sprung from the association -with a father as unlike as possible to the American father of today. He -did not influence them, we are told, by any power of verbal persuasion -to his own ideas. It was quite simply himself, his personality and -character, the way he lived life, that took hold upon his sons' -imagination. Of course that is the only way anyone ever is influenced, -but I think most parents do try the verbal persuasion as well. Henry -James says of his father: - - I am not sure, indeed, that the kind of personal history most - appealing to my father would not have been some kind that should - fairly proceed by mistakes, mistakes more human, more - associational, less angular, less hard for others, that is less - exemplary for them (since righteousness, as mostly understood, - was in our parents' view, I think, the cruellest thing in the - world) than straight and smug and declared felicities. The - qualification here, I allow, would be his scant measure of the - difference, after all, for the life of the soul, between the - marked achievement and the marked shortcoming. He had a manner of - his own of appreciating failure or of not, at least, piously - rejoicing in displayed moral, intellectual, or even material - economies, which, had it not been that his humanity, his - generosity, and, for the most part, his gaiety were always, at - the worst, consistent, might sometimes have left us with our - small saving, our little exhibitions and complacencies, rather on - our hands. - -Speaking of the "detached" feeling they had after returning from Europe -to settle in Newport, he says: - - I remember well how, when we were all young together, we had, - under pressure of the American ideal in that matter, then so - rigid, felt it tasteless and even humiliating that the head of - our little family was not in business.... - - Such had never been the case with the father of any boy of our - acquaintance; the business in which the boy's father gloriously - was stood forth inveterately as the very first note of our - comrade's impressiveness. We had no note of that sort to produce, - and I perfectly recover the effect of my own repeated appeal to - our parent for some presentable account of him that would prove - us respectable. Business alone was respectable--if one meant by - it, that is, the calling of a lawyer, a doctor, or a minister (we - never spoke of clergymen) as well; I think if we had had the Pope - among us we should have supposed the Pope in business, just as I - remember my friend Simpson's telling me crushingly, at one of our - New York schools, on my hanging back with the fatal truth about - our credentials, that the author of his being was in the business - of stevedore. That struck me as a great card to play--the word - was fine and mysterious; so that "What shall we tell them you - are, don't you see?" could but become on our lips at home a more - constant appeal. - -Very interesting are the occasional letters telling of Emerson and -Carlyle. Especially so to me are the side lights on Carlyle, as chiming -in somehow with the series of impressions I seem gradually to have -accumulated about him as time goes on. Perhaps it really isn't fair, as -a large amount of those impressions I feel sure I owe to Froude, but I -can't help wondering what our times, with modern surgery and -therapeutics, would have accomplished with Carlyle's indigestion, and -what resultant difference there would assuredly have been in his -philosophy. To quote from a letter of the elder Henry James: - - I took our friend M---- to see him [Carlyle], and he came away - greatly distressed and désillusionné, Carlyle having taken the - utmost pains to deny and descry and deride the idea of his having - done the least good to anybody, and to profess, indeed, the - utmost contempt for everybody who thought he had, and poor M---- - being intent on giving him a plenary assurance of this fact in - his own case. - -And again in a letter to Emerson: - - Carlyle nowadays is a palpable nuisance. If he holds to his - present mouthing ways to the end he will find no showman là-bas - to match him.... Carlyle's intellectual pride is so stupid that - one can hardly imagine anything able to cope with it. - -An earlier letter has this delicious bit about Hawthorne: - - Hawthorne isn't to me a prepossessing figure, nor apparently at - all an enjoying person.... But in spite of his rusticity I felt a - sympathy for him fairly amounting to anguish, and couldn't take - my eyes off him all dinner, nor my rapt attention.... It was - heavenly to see him persist in ignoring the spectral smiles--in - eating his dinner and doing nothing but that, and then go home to - his Concord den to fall upon his knees and ask his heavenly - Father why it was that an owl couldn't remain an owl and not be - forced into the diversions of a canary! - -And in the postscript of the same: - - What a world, what a world! But once we get rid of Slavery the - new heavens and the new earth will swim into reality. - -Which shows how much in earnest the Abolitionists really were--it was a -tenet of faith with them. Sad and strange and illuminating to us of a -later generation, who are now struggling for other abolitions of -slavery, and still hoping for a new world. - -I wish I could quote from the delightful letters of William James, but -they must be read entire, with the author's comments, to place them -correctly. Pending a biography of the man, these letters will be to many -readers the most interesting feature of the book. One of the most -magnificent things about the book, however,--if I may use a large word -for a large concept--is the spirit running through it of filial and -fraternal love, never expressed in so many words, but apparent -throughout, which makes, as I said before, the James family unique in -the history of American letters. - - - De Morgan's Latest - - When Ghost Meets Ghost, by William De Morgan. [Henry Holt and - Company, New York.] - -Whatever else I may say about De Morgan's new book, I absolutely refuse -to tell the number of its pages. Every other criticism begins or ends -with this uninteresting fact, and usually adds that it makes no -difference how long it is, since the writer's charm pervades it all. But -it does make a difference, and it is too trite to say we are so hurried -and nervous and given over to frivolity nowadays that we are unable to -read Dickens and Thackeray and Scott and De Morgan. There is a great -deal more to read, and a great deal more to do and to think about, than -ever there was in Thackeray's day. And if we are going to spend our time -reading countless pages (I very nearly told how many, after all!) we -want to be sure it is more worth while than anything else we can be -doing, or thinking, or reading. - -However, one can't say very well that he greatly admires a stork, or -would if he had a short beak and short legs. De Morgan's style is his -own, and he will tell the story his own way, though we all have a -quarrel with him for leaving the most interesting bits to a short -"Pendrift" at the end. Did Given's lover contemplate taking his East -Indian poison when the newspapers announced that she was to marry an -Austrian noble? Think of cutting that episode off in a few words, while -an entire chapter is devoted to a "shortage of mud" for little Dave and -Dolly, who were making a dyke in the street! But then, De Morgan doesn't -know how to stop when he begins to talk of children. How he loves them, -and all other helpless creatures! He can't speak even of kittens without -a touch of tenderness: - - Mrs. Lapping explained that she was using it (the basket) to - convey a kitten, born in her establishment, to Miss Druitt at - thirty-four opposite, who had expressed anxiety to possess it. It - was this kitten's expression of impatience with its position that - had excited Mrs. Riley's curiosity. "Why don't ye carry the - little sowl across in your hands, me dyurr?" she said, not - unreasonably, for it was only a stone's throw. Mrs. Topping added - that this was no common kitten, but one of preternatural - activities and possessed of diabolical, tentacular powers of - entanglement. "I would not undertake," said she, "to get it - across the road, ma'am, only catching hold. Nor if I got it safe - across, to onhook it, without tearing." Mrs. Riley was obliged to - admit the wisdom of the Janus basket. She knew how difficult it - is to be even with a kitten. - -It is bits like this that make Mr. De Morgan's story so long, and it is -bits like this that reconcile us to its length. I believe most readers -won't care greatly whether the two poor old sisters who have been -separated so many years ever do meet again. There is no feeling of -climax when they do--merely relief that the thing has finally been put -across. It was beginning to look as if it never would happen; and though -the reader himself, as I say, doesn't greatly care, he can see that De -Morgan does; he has apparently been doing his best to bring it about, -but the cantankerous ones just wouldn't let him. - -On the other hand, who can help loving Given o' the Towers--all -sweetness, beauty, and light? Only--isn't she really more of a -twentieth-century heroine than a Victorian young lady, with her crisp -decisiveness and air of being most ably able to look out for herself? -Truly Victorian, however, are our "slow couple"--Miss Dickenson and Mr. -Pellew. Miss Dickenson is thirty-six, and, by all Victorian standards, -quite out of the running. De Morgan is extremely apologetic for allowing -her to have a romance at this belated hour--her charms faded and gone. -But we are betting quite heavily on Miss Dickenson's chances for -happiness with the Hon. Mr. Pellew. The two were "good gossips," and -would always have topics of interest in common. - -The Pendrift at the end--quite the most fascinating part of the -book--tells us of the daughter of this union Cicely, by this time -sixteen years old. - -"You know," says the girl, Cis,--who is new and naturally knows things, -and can tell her parents,--"you know there is never the slightest reason -for apprehension as long as there is no delusion. Even then we have to -discriminate carefully between fixed and permanent delusions and----" - -"Shut up, Mouse!" says her father. "What's that striking?"... - -The young lady says, "Well, I got it all out of a book." - -One good reason for reading De Morgan is the fact that he is older than -the majority of his readers. We read so much, we hear so much acclaimed -that is written by children of twenty, whose experience of life must -necessarily be got, like Cicely's, "out of a book." The saying of De -Maupassant surely applies here--that the writer must sit down before an -object until he has seen it in the way that he alone can see it. De -Morgan has had the opportunity of seeing life, surely, and knowing what -most of it amounts to. The result is a large tolerance and tenderness -toward his fellow men. - - M. H. P. - - - The Economics of Social Insurance - - Social Insurance: With Special Reference to American Conditions, by - I. M. Rubinow. [Henry Holt and Company, New York.] - -The logic of events is rapidly forcing nation after nation into what has -hitherto been damned with the epithet paternalism. America, perhaps, is -the last important country in the world to face the problems raised by -the march of events in this direction. Social insurance, a thing -accomplished and a commonplace of government functioning in so many -countries, recently adopted in England, is, in this country, still a -novelty outside the university class room and the lecture halls of -fanatical demagogues who wish to upset the foundations of our civil -government and civilization--as the elder politicians express it when -their attention is drawn to these sinister activities of thought. - -The author of this book in fact was the first academic lecturer on the -subject to give a university course in the various forms which social -insurance has taken. These lectures he delivered before the New York -School of Philanthropy, and they are reprinted here in an extended form. - -After giving the philosophy of the matter, the underlying social -necessity for insurance, the author takes up the various forms of the -activity. Accident, disease, old age, and unemployment must all be -provided against, and the state, the employer, and the laborer may share -the burden among them, or the two latter may be relieved--as in various -types of non-contributory insurance. - -Of course the old school economist will ask why the latter two are not -relieved, and why the employe or private citizen is not just encouraged -to insure with a private corporation. The author's answer is that, even -if he were educated to the point of desiring to do that, he could not. A -man insures his house because the feeling of security is worth the small -premium he pays, even if that premium is larger than the actual risk -involved would warrant--larger by a sum equal to the cost and profits of -the business of the insurance company. But the poor man's chances of -loss of employment, accident, or sickness are so much greater in -proportion to the capitalized value of his job that he could never -afford to pay the premium necessary for a private company to take care -of him; while his old age could not be insured without taking all of his -earnings--and even then he might die before he reached it. - -The situation then is that an admitted necessity cannot be obtained -unless the state as a whole takes steps to attain it for all the members -of the state. How other states have done this, how type after type of -insurance has been evolved, and how these types may be adapted to -American practice is the burden of the present work. - -The author writes in a clear and non-technical manner, and makes no -extravagant claims for what some people may regard as a social panacea; -but he is confident that the full development of the idea of social -insurance will relieve the worst aspects of poverty--the aspects in -which poverty is not only a hardship, but a haunting spirit, sapping the -vitality of its victims until they are rendered socially useless. - - LLEWELLYN JONES. - - - Prose Poems of Ireland - - Red Hanrahan, by William Butler Yeats. New edition. [The - Macmillan Company, New York.] - -If you believe, with Chesterton, that "should the snap dragon open its -little pollened mouth and sing 'twould be no more wonderful a thing" -than that a solemn little blue egg should turn into a big happy -red-breasted bird; if you are of "the young men that dream dreams" or of -"the old men who have visions" the songs and the tales and the -wanderings and the mysteries of "Red" Owen Hanrahan will thrill you with -a sense of your real nearness to "something lovelier than Heaven." - -Such a group of tales of the people and by the people as Mr. Yeats has -gathered together in Red Hanrahan can be nothing if not a personal -matter. Frankly, I never saw a fairy, or a gnome, or a hobgoblin. I have -never even had a vision worth writing a book about; but I am young yet, -and if the gods continue to be kind.... In the meanwhile I shall grasp -the first opportunity to read Red Hanrahan in a deep woods, at -dusk--regardless of the optician's orders. - - H. B. S. - - - - - To William Butler Yeats - - - MARGUERITE O. B. WILKINSON - - As one, who, wandering down a squalid street, - Where dingy buildings crowd each other high, - Where all who pass have need to hurry by, - Saddened and parched and fighting through the heat, - Comes suddenly where pain and beauty meet, - And sees a stretch of fair, unsullied sky, - Covering a field of clover bloom, so I, - With heart prepared to find the contrast sweet - In seeking through a world of sordid prose, - Where use-stained words with huddled shoulders stand - In sullen, monumental, loveless rows, - Have found a sudden green and sunny land - Where you, O Poet, give us back lost wonder, - Leisure, sweet fields, clean skies to travel under! - - - - - Sentence Reviews - - - [Inclusion in this category does not preclude a more extended - notice.] - -The Titan, by Theodore Dreiser [John Lane Company, New York], will be -reviewed at length in the July issue. - -Clay and Fire, by Layton Crippen. [Henry Holt and Company, New York.] A -provocative philosophical discussion of the basal problem of religion by -an author who treats pessimism according to the homeopathic principle. -Reasonable hopes are made to seem hopeless. A morbid retrospectiveness -may, however, force thought into light, and the book leaves one in a -strange illumination effected by spiritual fire. - -At the Sign of the Van, by Michael Monahan. [Mitchell Kennerley, New -York.] These essays include The Log of the Papyrus with Other Escapades -in Life and Letters. Whether he is praising Percival Pollard, explaining -Whitman's cosmic consciousness--which he did to a Whitman Fellowship -gathering--or wistfully telling us how he would like to have had a look -in on the doings in Babylon, the amorous dallyings which Jeremiah -muckraked in the name of his Comstockean Jehovah, Michael Monahan is -always interesting even if he is not always as stormy as his designation -"the stormy petrel of literature" would indicate. In truth it would take -a number of birds of different species--but all pleasant ones--to make -up the tale of the qualities which this versatile essayist exhibits in -these pages. - -Aphrodite and Other Poems, by John Helston. [The Macmillan Company, New -York.] Mr. Helston does not write great poetry,--though he comes close -to very good poetry at times,--but he writes greatly about love. His -attitude is a refusal to divorce the spiritual from the earthly with -which we have a hearty sympathy. No franker love poetry has been -written, probably; but somehow we failed to find in it the sensuality -that its critics have discovered. It is richly pagan. - -Love of One's Neighbor, by Leonid Andreyev. [Albert and Charles Boni, -New York.] A very excellent translation of a one-act play which will -probably sell well, though coming from the author of The Seven Who Were -Hanged it seems a mere trifle. The translator, Thomas Seltzer, should be -urged to undertake the more worthy task of introducing Andreyev's really -great work to English-speaking readers. - -New Men for Old, by Howard Vincent O'Brien. [Mitchell Kennerley, New -York.] The first novel of a new young writer, especially when he is as -sincere as Mr. O'Brien and as deeply interested in the joy of Work, is a -matter of importance. The book has its obvious faults technically, even -psychologically, but it preaches socialism from an interesting -standpoint and makes good reading. - -Challenge, by Louise Untermeyer. [The Century Co., New York.] Virile and -ambitious songs of the present. Caliban in the Coal Mines, Any City, -Strikers, In the Subway, The Heretic, show that the poet is not a -shrinker from modern life. The title poem sounds the keynote: - - The quiet and courageous night, - The keen vibration of the stars - Call me, from morbid peace, to fight - The world's forlorn and desperate wars. - -John Ward, M.D., by Charles Vale. [Mitchell Kennerley, New York.] -Seneschal sentimentality with a "modern" plot woven about the -questionable science of eugenics. One of those irritating books in which -one reads page after page after page in the vain endeavor to find out -why Mitchell Kennerly spent his money on it. - -Forum Stories, selected by Charles Vale. [Mitchell Kennerley, New York.] -All these stories have appeared in The Forum since it came under Mr. -Kennerley's management, and they are all by American writers. They -represent the work not only of such well known writers as Reginald -Wright Kauffman, James Hopper, Margaret Widdemer, and John S. Reed--who -has a tense little narrative of the struggle toward land of two swimmers -wrecked in the Pacific Ocean--but the work of several lesser known but -promising authors. Among them is Miss Florence Kiper, of Chicago, who -writes under the title I Have Borne My Lord a Son a most penetrating -study of the psychology of motherhood. - -Papa, by Zoë Akins. [Mitchell Kennerley, New York.] A little play which -shows so much determination to be clever and very, very naughty that -it's almost a pity it doesn't succeed. - -Saint Louis: a Civic Masque, by Percy MacKaye. [Doubleday, Page and -Company, New York.] A valuable contribution to the dramatic "spirit" of -awakening civic intelligence. - -Great Days, by Frank Harris. [Mitchell Kennerley, New York.] Audacious, -vivid, gripping sex experiences of the son of an immoral English -innkeeper. The big rough brother of Three Weeks. - -Poems, by Walter Conrad Amberg. [Houghton Mifflin Company, Boston.] -Poems written with a sure and gentle delicacy that seems forgotten by -this generation of rude iconoclasts. - -The True Adventures of a Play, by Louis Evan Shipman. [Mitchell -Kennerley, New York.] The play is D'Arcy of the Guards and its author -tells in full the trials and tribulations--and the eventual -triumph--which met him from the moment when he offered to submit the -manuscript to E. H. Sothern, and that star told him to send it along. -Not only are the details of acceptances of plays, the incidental -negotiations and red tape described, but the making of costume plates, -the designing of the whole presentation, and the collaboration between -author, producer, and actors are told with such humor and documentary -fidelity to the actual transactions that the book will not only be -interesting to the general reader but indispensable to the tyro -playwright. - -Nova Hibernia, by Michael Monahan. [Mitchell Kennerley, New York.] -Competent, incisive studies, sketches, and lectures dealing with "Irish -poets and dramatists of today and yesterday"--Yeats, Synge, Thomas -Moore, Mangan, Gerald Griffin, Callahan, Doctor Maginn, Father Prout, -Sheridan, and others. - -The Pipes of Clovis, by Grace Duffie Boylan. [Little, Brown, and -Company, Boston.] A forester's son proficient on a magic pipe; a blue -and silver-gowned princess; the invasion of Swabia by the Huns away back -in the twelfth century, all woven into a romance for children and -grown-ups who still love the fairies. - -The Post Office, by Rabindranath Tagore. [The Macmillan Company, New -York.] A touching little idyll of a sick child who longs for a letter -from the king through the post office which he can see across the road. -And his dream comes true. Written in rhythmic prose. - -Sanctuary, by Percy MacKaye. [Frederick A. Stokes, New York.] A bird -masque performed in September, 1913, for the dedication of the bird -sanctuary of the Meriden Bird Club at Meriden, N. H. A defense of birds -and a defense of poetry. The theme is the conversion of a bird -slaughterer. The verse is full of "birdblithesomeness." - -Old World Memories, by Edward Lowe Temple. [The Page Company, Boston.] -The story of a summer vacation in Europe as naïve, as full of human -interest, disjoined history, and worthy indefinite advice as the after -dinner "post card tour" of a just-returned Cook's traveler. - - - - -Where the Little Review Is on Sale - - - New York: Brentano's. Vaughn & Gomme. - E. P. Dutton & Co. G. P. Putnam's Sons. - Wanamaker's. Max N. Maisel. - - Chicago: The Little Theatre. McClurg's. - Morris's Book Shop. University of Chicago - Press. Carson, Pirie, Scott & Co. A. Kroch - & Co. Radical Book Shop. Chandler's Bookstore, - Evanston. W. S. Lord, Evanston. - - Pittsburg: Davis's Bookshop. - - Cleveland: Burrows Brothers. Korner & Wood. - - Detroit: Macauley Bros. Sheehan & Co. - - Minneapolis: Nathaniel McCarthy's. - - San Francisco, Cal.: Paul Elder & Co. - A. M. Robertson's Bookstore. Emporium Book - Dept. - - Los Angeles: C. C. Parker's. - - Omaha: Henry F. Keiser. - - Columbus, O.: A. H. Smythe's. - - Dayton, O.: Rike-Kummler Co. - - Indianapolis, Ind.: Stewarts' Book Store. - The New York Store. The Kantz Stationary - Co. - - Denver, Colo.: Kendrick Bellamy Co. - - Louisville, Ky.: C. T. Deering & Co. - - New Haven, Conn.: E. P. Judd Co. - - Portland, Ore.: J. K. Gill Co. - - St. Louis, Mo.: Philip Roeder. - - Seattle, Wash.: Lowman, Hanford & Co. - - Spokane, Wash.: John W. Graham & Co. - - Philadelphia: Geo. W. Jacobs & Co. John - Wanamaker's. - - Rochester, N. Y.: Clarence Smith. - - Syracuse, N. Y.: Clarence E. Wolcott. - - Utica, N. Y.: John Grant. - - Buffalo, N. Y.: Otto Ulhrick Co. - - Washington, D. C.: Brentano's. - - St. Paul: St. Paul Book & Stationery Co. - - Cincinnati, O.: Stewart & Kidd. - - Providence, R. I.: Preston and Rounds. - - Oakland, Cal.: Smith Brothers. - - Houston, Tex.: Kolin Peliot. - - Dallas, Tex.: Smith & Lamar. - - Los Angeles, Cal.: Fowler Bros. - - Portland, Me.: Loring, Short & Harmon. - - Wilmington, Del.: Butler & Son. - - Sacramento, Cal.: Wm. Purnell. - - Salt Lake City, Utah.: Deseret Book & - News Co. - - - - - WRITER FOLKS - - - - SEND US YOUR MSS. - - Free criticism. Sales on commission. No reading fee. Please - enclose stamps to cover three mailings. - - ATELIER LITERARY BUREAU - VERNE DEWITT ROWELL, M. A., Director - Heal Building LONDON, ONTARIO, CANADA - - Life Histories of African Game Animals - - By THEODORE ROOSEVELT and EDMUND HELLER. With illustrations - from photographs and drawings by PHILIP R. GOODWIN, and - with forty faunal maps. 2 vols. - - $10.00 net; postage extra. - - The general plan of each chapter is first to give an account of - the Family, then the name by which each animal is known--English, - scientific and native; then the geographical range, the history - of the species, the narrative life-history, the distinguishing - characters of the species, the coloration, the measurements of - specimens, and the localities from which specimens have been - examined, accompanied with a faunal map. - - North Africa and the Desert - - By GEORGE E. WOODBERRY. - - $2.00 net; postage extra. - - This is one of that very small group of books in which a man of - genuine poetic vision has permanently registered the color and - spirit of a region and a race. It is as full of atmosphere and - sympathetic interpretation as any that have been written. - Chapters like that on "Figuig," "Tougourt," "Tripoli," and "On - the Mat"--a thoughtful study of Islam--have a rare beauty and - value. - - Ten Thousand Miles with a Dog Sled - - By HUDSON STUCK, D.D., author of "The Ascent of Denali." - - With 48 illustrations, 4 in color. $1.50 net; postage - extra. - - If you wish to 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. - - Memories of Two Wars - - By Brigadier General Frederick W. Funston - - A New Edition, Half the Former Price - - Illustrated, $1.50 Net. - - "A racy account of the author's experiences as a volunteer in the - last Cuban struggle for independence, and later, in the war with - Spain and its ensuing Filipino insurrection."--The Nation. - - "A real contribution to history. A vivacious, vigorous, intimate - account, entertaining, instructive, and impressive; a true - soldier's story."--The Outlook. - - The United States and Peace - - BY EX-PRESIDENT TAFT - - $1.00 net; postage extra. - - In this important book the former president of the United States, - combining both the view-point of one who has had a large and full - experience as a jurist and as chief executive, discusses such - topics as "The Monroe Doctrine, Its Limitations and - Implications," "Shall the Federal Government Protect Aliens in - Their Treaty Rights?" "Has the Federal Government Power to Enter - into General Arbitration Treaties?" and "The Federal Trend in - International Affairs." - - American Policy - - THE WESTERN HEMISPHERE IN ITS RELATION TO THE EASTERN - - By JOHN BIGELOW, Major U. S. Army, retired. Author of - "Mars-La-Tour and Gravelotte," "The Principles of - Strategy," and "Reminiscences of the Santiago - Campaigning," "The Campaign of Chancellorsville." With - map. - - $1.00; postage extra. - - An able and illuminating presentation of the development and - history of American policy in its relation to European nations. - - The American Japanese Problem - - By SIDNEY L. GULICK. Illustrated. - - $1.75 net; postage extra. - - The writer believes that "The Yellow Peril may be transformed - into golden advantage for us, even as the White Peril in the - Orient is bringing unexpected benefits to those lands." The - statement of this idea forms a part of a comprehensive and - authoritative discussion of the entire subject as set forth in - the title. The author has had a life of intimacy with both - nations, and is trusted and consulted by the governments of each. - - Charles Scribner's Sons - Fifth Avenue, New York - - De Morgan Again - and at His Best - - - - - WHEN GHOST MEETS GHOST - - - Third Large Printing - - 860 pages. $1.60 net. - - "He has returned to the style with which he surprised and - captivated the public. Another book like 'JOSEPH VANCE' and - 'ALICE.'"--New York Sun. - - "Thoroughly enjoyable.... The companionship of Mr. De Morgan, as - he speaks from every page of his novel, is a joy in - itself."--Boston Transcript. - - "All the essentials that make up an admirable and typical De - Morgan novel are here."--The Outlook. - - "A big, sane, eminently human story such as Mr. De Morgan has not - equalled since 'Joseph Vance.'"--The Bookman. - - Non-Fiction Just Ready - - CONINGSBY DAWSON'S FLORENCE ON A CERTAIN NIGHT AND OTHER - POEMS - - A notable edition to later-day verse by the author of "The Garden - Without Walls." - - $1.25 net. - - BARRETT H. CLARK'S THE CONTINENTAL DRAMA OF TODAY - - Outline suggestions of half-a-dozen pages or less for each play, - for the study of the greatest plays of the European dramatists - today. - - $1.35 net. - - WILLIAM BOYD'S FROM LOCKE TO MONTESSORI - - A critical and historical study of Dr. Montessori's method by an - educational authority. - - $1.25 net. - - SISTER NIVEDITA'S and DR. COOMARASWAMY'S MYTHS OF THE - BUDDHISTS and HINDUS - - With 32 illustrations in Four Colors by Nanda Lal Bose, A. N. - Tagore, K. Venkatappa, and other Indian artists under the - direction of Abanindro Nath Tagore. - - $4.50 net. - - "No better volume exists for anyone who wishes an introduction to - the study of Oriental literature. In stately and excellent - English we find summaries of practically all the important - religious documents of both Hinduism and Buddhism. The pictures - are equal to the very best examples of ancient Indian art."--The - English Review. - - L. MARSH-PHILLIPS ART AND ENVIRONMENT - - New, thoroughly revised and profusely illustrated edition. - - $2.25 net. - - A. L. RIDGER'S SIX YEARS A WANDERER - - Illustrated with photographs. - - $3.00 net. - - The author, a young man, tells what he saw of the world from - 1907-'12 traveling on his own hook over most of the civilized - world outside of Europe. - - N. JARINTZOFF'S RUSSIA: THE COUNTRY OF EXTREMES - - With 16 full-page illustrations. - - $4.00 net. - - Adopting a critical attitude towards several recent works on - Russia by English travellers, Madame Jarintzoff, a Russian who - has resided for some years in England, supplies from first-hand - knowledge accounts of various political and social crises, and - gives a picture of life in Russia today. - - HENRY HOLT AND COMPANY 34 West 33d St., NEW YORK - - - - - NEW BOOKS OF IMPORTANCE - - - LETTERS FROM A LIVING DEAD MAN. Written down by Elsa - Barker. - - $1.25 net. - - If you are at all interested in the problem of a Future Life, you - cannot afford to overlook this book. These letters, dictated to - Mrs. Barker by the spirit of a departed friend, are undoubtedly - the most remarkable contribution to "psychic" literature of - recent years. The volume, with its tone of optimism, its minute, - intimate account of life beyond the grave, is certain to be - widely discussed, and those who do not read it place themselves - at a certain disadvantage. Elsa Barker has given her absolute - assurance that the book is in no way "faked." - - SONGS OF THE DEAD END. By Patrick MacGill, author of "Songs - of a Navvy," etc. - - $1.25 net. - - The majority of these "songs" deal with the lives of the working - man, the day laborer who builds our houses and our railroads, - works in the mine and the ditch. The author has lived this life - and writes of it with power and feeling. He has grasped the wider - meaning of it all, made plain the essential nobility of labor, - the heroism and idealism of many of these men. In short, he has - done in verse for the working man what Constant Meunier did in - bronze. - - JOHN ADDINGTON SYMONDS. By Van Wick Brooks, author of "The - Wine of the Puritans." Frontispiece. - - $1.50 net. - - One of the more important biographies of the year, and yet it is - more than a mere biography, for Mr. Brooks attempts to place - Symonds in relation to the literary world of his own day and of - the present. He builds up a clear picture of Symonds' life, from - early days to the end. His book is uncrowded but not deficient, - clear and unsluggish but not too rapid. In short, it is itself - literature. - - THE MYSTERY OF PAIN. By James Hinton, author of "Life in - Nature," "The Place of the Physician," etc., etc. - - $1.00 net. - - This little book is a classic. It deals with pain in its - necessary, beneficial aspect. Hinton addressed it to the - sorrowful, to whom it assuredly brings comfort, but it will prove - interesting and helpful to all thinking men and women. It shows - how pain, if it could be recognized as development, and in a - sense as joy, would be as much welcomed as pleasure is now. We - are afraid of both, instead of recognizing them as two parts of - the development of the soul; neither is good alone, but as a - completion the one of the other. - - THE TRUE ADVENTURES OF A PLAY. By Louis Shipman. - Illustrated in colors and in black and white. - - $1.50 net. - - Perhaps you remember Henry Miller in "D'Arcy of the Guards." Its - author, Louis Shipman, has written this unique book about - "D'Arcy," in which he tells exactly what happened to the play - from the very first moment the manuscript left his hands. - Letters, contracts, telegrams, etc., are all given in full, and - there are many interesting illustrations, both in color and in - black and white. "The True Adventures of a Play" will prove of - almost inestimable value to all those who practise or hope to - practise the art of playwriting; and it abounds, furthermore, in - bits of fine criticism of the contemporary theatre. - - NOVA HIBERNIA. By Michael Monahan, author of "Adventures in - Life and Letters." - - $1.50 net. - - A book of delightful and informing essays about Irishmen and - letters by an Irishman. Some of the chapters are "Yeats and - Synge," "Thomas Moore," "Sheridan," "Irish Balladry," etc., etc. - - AT THE SIGN OF THE VAN. By Michael Monahan, author of - "Adventures in Life and Letters," etc. - - $2.00 net. - - Michael Monohan, founder of that fascinating little magazine, - "The Papyrus," is one of the most brilliant of present-day - American critics. He has abundant sympathy, insight, critical - acumen, and, above all, real flavor. His essays are all his own. - And into this Volume he has put much of his own life story. Then - there is a remarkable chapter on "Sex in the Playhouse," besides - papers on Roosevelt, O. Henry, Carlyle, Renan, Tolstoy, and - Arthur Brisbane, to mention but a few. "At the Sign of the Van" - is really a second, larger, and even finer book than "Adventures - in Life and Letters." - - For Sale at all Book Shops or from the Publisher - - MITCHELL KENNERLEY, Publisher - 32 West Fifty-Eighth Street, New York - - - - - FOR SUMMER READING - - - NEW MEN FOR OLD. By Howard Vincent O'Brien. - - $1.25 net. - - One of the finest first novels of many seasons. A book too that - for verity, passion and sincerity can bear comparison with the - best that America has produced. - - But make no mistake--this is a good story as well. A young - fellow, son of a wealthy Chicagoan, passes his time in Paris in - luxurious idleness. He is called home at his father's death. - Instead of receiving a fortune he finds himself penniless. - - That's the situation that faces Harlan Chandos at the opening of - "New Men for Old," the book tells the rest of the story. - - GREAT DAYS. By Frank Harris, author of "The Man Shakespeare," - "The Bomb," etc. - - $1.35 net. - - There is nothing of the problem-novel about this newest book by - Frank Harris. It is just a red-blooded gripping yarn. And when it - comes to holding your interest in the tale he tells, it is - doubtful if any living writer has Mr. Harris' mastery. "Great - Days" is set in the time of Napoleon--there are smugglers and - privateers and fighting and--by no means least--love. Bonaparte - is etched strikingly and vividly, and so is Charles Fox. - Emphatically a book for the Spring and Summer months. - - WHEN LOVE FLIES OUT O' THE WINDOW. By Leonard Merrick. - - $1.20 net. - - This, the latest of Leonard Merrick's novels to be published in - America, is a brilliant story of theatrical life. The scene - shifts rapidly from London to Paris, back again to London and - finally to New York. It's a very human tale and Meenie Weston and - Ralph Lingham with their ups and downs, their miseries and their - joys (but chiefly joys) will give every reader many hours of - pleasant entertainment. - - NOTHING ELSE MATTERS. By William Samuel Johnson, author of - "Glamourie." 12mo. - - $1.25 net. - - The scene of this novel is laid in Paris, and the characters are - for the most part students living the care-free life of the - Quartier Latin. There is an unusual but very lovable heroine in - Pruina, a dainty creature who will win friends wherever she goes. - "Nothing Else Matters" is in itself an interesting story, but it - may furthermore serve as a pleasant introduction to some of the - most delightful aspects of life in the French capital. - - JOHN PULITZER: Reminiscences of a Secretary. By Alleyne - Ireland. With eight illustrations. - - $1.25 net. - - This will prove a peculiarly attractive book to the average man - and woman. Mr. Ireland, who is a well-known member of the staff - of The New York World, was one of the half dozen private - secretaries who were constantly with Pulitzer, or "J. P.," as - they called him. In this book you see the very man, you learn how - he lived, what he read, and you get an idea of the vigor and - power that made The World the great paper it is. - - No ordinary biography this--but a tale that for sheer interest in - its telling leaves most fiction far behind. It is dedicated (by - permission) to Joseph Pulitzer's widow. - - FORUM STORIES. Selected by Charles Vale, author of "John Ward, - M. D." - - $1.50 net. - - Sixteen of the best stories that America can produce today. Each - by a different author. Among those represented are John Reed, - James Hopper, Reginald Wright Kauffman and Edwin Björkman. - - At all Book Stores or from the Publisher - - MITCHELL KENNERLEY, Publisher - 32 West Fifty-Eighth Street, New York - - - - - The Mosher Books - - - LATEST ANNOUNCEMENTS - - - I - - Billy: The True Story of a Canary Bird - - By MAUD THORNHILL PORTER - - 950 copies, Fcap 8vo. $1.00 net - - This pathetic little story was first issued by Mr. Mosher in a - privately printed edition of 500 copies and was practically sold - out before January 1, 1913. The late Dr. Weir Mitchell in a - letter to the owner of the copyright said among other things: - "Certainly no more beautiful piece of English has been printed of - late years." And again: "May I ask if this lady did not leave - other literary products? The one you print is so unusual in style - and quality and imagination that after I read it I felt convinced - there must be other matter of like character." - - - II - - Billy and Hans: My Squirrel Friends. A True History - - By W. J. STILLMAN - - 950 copies, Fcap 8vo. 75 cents net - - Reprinted from the revised London edition of 1907 by kind - permission of Mrs. W. J. Stillman. - - - III - - Books and the Quiet Life: Being Some Pages from The Private - Papers of Henry Ryecroft - - By GEORGE GISSING - - 950 copies, Fcap 8vo, 75 cents net - - To the lover of what may be called spiritual autobiography, - perhaps no other book in recent English literature appeals with - so potent a charm as "The Private Papers of Henry Ryecroft." It - is the highest expression of Gissing's genius--a book that - deserves a place on the same shelf with the Journals of De Guérin - and Amiel. For the present publication, the numerous passages of - the "Papers" relating to books and reading have been brought - together and given an external setting appropriate to their - exquisite literary flavor. - - Mr. Mosher also begs to state that the following new editions - are now ready: - - - I - - Under a Fool's Cap: Songs - - By DANIEL HENRY HOLMES - - 900 copies, Fcap 8vo, old-rose boards. $1.25 net - - For an Appreciation of this book read Mr. Larned's article in the - February Century. - - - II - - Amphora: A Collection of Prose and Verse chosen by the Editor - of The Bibelot - - 925 copies, Fcap 8vo, old-style ribbed boards. $1.75 net - - The Forum for January, in an Appreciation by Mr. Richard Le - Gallienne, pays tribute to this book in a most convincing manner. - - All books sent postpaid on receipt of price net. - - THOMAS B. MOSHER Portland, Maine - - - - - THE DRAMA - - - 736 Marquette Building - CHICAGO - - A QUARTERLY DEVOTED TO THE DEVELOPMENT OF A WIDE AND - INTELLIGENT INTEREST IN DRAMA - - Each issue of The Drama contains a translation of a complete - play. These plays, which are not otherwise accessible in English, - represent especially the leading dramatists of the continent. - Chosen as they are from various countries and from many schools, - they give one an introduction to the most significant features of - modern dramatic art. Plays by Giacosa, Donnay, Gillette, Tagore - and Andreyev have appeared recently. Forthcoming numbers will - bring out the work of Goldoni and Curel. - - In addition to the play and a discussion of the work of its - author, articles on all phases of drama keep the reader well - informed. Modern stagecraft, new types of theater building, - organizations for drama reform, "little theater" movements, - pageantry, the history of the drama, and all pertinent subjects - receive attention. Significant books on dramaturgy and other - drama publications of especial value are regularly and sincerely - reviewed. From time to time the developments of the year in - foreign art centers are considered. In no way other than through - The Drama can one so conveniently and attractively continue his - drama education and recreation. - - Single copies seventy-five cents - Yearly subscription, three dollars - - - - - The - Glebe - Monthly - - - A New Book of Permanent Literary Value - - The GLEBE publishes twelve or more complete books a year. It is - an attempt on the part of the editors and publishers to issue - books entirely on their own merit and regardless of their chance - for popular sale. Once a month--and occasionally more - frequently--the GLEBE brings out the complete work of one - individual arranged in book form and free from editorials and - other extraneous matter. - - Prominent among numbers for the year 1914 are Des Imagistes, an - anthology of the Imagists' movement in England, including Pound, - Hueffer, Aldington, Flint and others; essays by ELLEN KEY; a play - by FRANK WEDEKIND; collects and prose pieces by HORACE TRAUBEL; - and THE DOINA, translations by MAURICE AISEN of Roumanian - folksongs. The main purpose of the GLEBE is to bring to light the - really fine work of unknown men. These will appear throughout the - year. - - Single Copies 50c Subscription, $3 per year - - TRIAL SUBSCRIPTION FOUR MONTHS $1.00 - - Des Imagistes - - $1.00 net. Postpaid $1.10. - - An anthology of the youngest and most discussed school of English - poetry. Including selections by Ezra Pound, Ford Madox Hueffer, - Amy Lowell, Richard Aldington, Allen Upward, and others. - - "The Imagists are keenly sensitive to the more picturesque - aspects of Nature."--The Literary Digest. - - "... contains an infinite amount of pure beauty."--The Outlook - (London). - - "These young experimentalists are widening the liberties of - English poetry."--The Post (London). - - "It sticks out of the crowd like a tall marble monument."--The - New Weekly. - - Mariana - - BY JOSE ECHEGARAY - - Crash Cloth 75c net; 85c postpaid. - - Winner of the Nobel Prize, 1904. - - A drama in three acts and an epilogue. The master piece of modern - Spain's greatest writer. - - Love of One's Neighbor - - BY LEONID ANDREYEV - - Boards 40c postpaid. - - Author of "The Seven Who Were Hanged." - (Authorized translation by Thomas Seltzer.) - - A play in one act, replete with subtle and clever satire. - - The Thresher's Wife - - BY HARRY KEMP - - Boards 40c postpaid. - - A narrative poem of great strength and individuality. Undoubtedly - his greatest poem. Full of intense dramatic interest. - - Chants Communal - - BY HORACE TRAUBEL - - Boards $1.00 net; $1.10 postpaid. - - Inspirational prose pieces fired by revolutionary idealism and - prophetically subtle in their vision. The high esteem in which - Traubel's work is held is attested by the following unusual - commendations: - - Jack London: "His is the vision of the poet and the voice of the - poet." - - Clarence Darrow: "Horace Traubel is both a poet and a - philosopher. No one can say anything too good about him or his - work." - - George D. Herron: "It is a book of the highest value and beauty - that Horace Traubel proposes to give us, and I can only hope that - it will be read as widely and appreciatively as it more than - deserves to be; for it is with a joy that would seem extravagant, - if I expressed it, that I welcome 'Chants Communal.'" - - Not Guilty - - A Defence of the Bottom Dog - - BY ROBERT BLATCHFORD - - Cloth 50c. Paper 25c. - - A humanitarian plea, unequalled in lucidity and incontrovertible - in its logic. - - Our Irrational Distribution of Wealth - - BY BYRON C. MATHEWS - - Cloth $1.00 net. - - The author undertakes to show that the agencies which are used in - distributing the products of industry and are responsible for the - extremes in the social scale have never been adopted by any - rational action, but have come to be through fortuitous - circumstances and are without moral basis. The wage system, as a - means of distribution, is utterly inadequate to measure the - workers' share. The source of permanent improvement is found in - social ownership, which transfers the power over distribution - from the hands of those individuals who now own the instruments - of production to the hands of the people. - - ALBERT AND CHARLES BONI - PUBLISHERS AND BOOKSELLERS - NINETY-SIX FIFTH AVENUE, NEW YORK CITY - - - VOL. IV · Price 15 cents · NO. III - - - - - Poetry - - - A Magazine of Verse - - Edited by Harriet Monroe - - - JUNE, 1914 - - On Heaven Ford Madox Hueffer - Iron Carl Sandburg - The Falconer of God William Rose Benét - Poems Grace Hazard - Conkling - To the Mexican Nightingale--Ave Venezia--"I will not give - thee all my heart"--The Little Town. - Poems Wilfrid Wilson - Gibson - The Tram--On Hampstead Heath--A Catch for Singing. - Editorial Comment - "Too Far From Paris"--Mr. Hueffer and the Prose Tradition in - Verse--Notes. - - 543 Cass Street, Chicago - - Annual Subscription $1.50 - - - The Pre-eminence of the - - - - - Mason & Hamlin - - - During the musical season just closing, the Mason & Hamlin has - been heard more frequently in concerts and public recitals of - note than all other pianos. ¶ To scan but hurriedly a partial - list, is to be reminded of the greatest musical events of the - past season. - - Tetrazzini-Ruffo Concert - Melba-Kubelik Concert - Kneisel Quartet - Flonzaley Quartet - - Concerts of the Apollo Musical Club - Sinai Temple Orchestra - Sunday Evening Club - - Mary Angell - Harold Bauer - Simon Buchhalter - Mme. Clara Butt and Kennerley Rumford - Campanini Concerts - Lina Cavalieri - Viola Cole - Charles W. Clark - Julia Claussen - Armand Crabbe - Helen Desmond - Mae Doelling - Jennie Dufau - Hector Dufranne - Marie Edwards - Clarence Eidam - Amy Evans - Cecil Fanning - Carl Flesch - Albert E. Fox - - Heinrich Gebhard - Arthur Granquist - Glenn Dillard Gunn - George Hamlin - Jane Osborne-Hannah - Gustave Huberdeau - Margaret Keyes - Ruth Klauber - Georgia Kober - Hugo Kortschak - Winifred Lamb - Marie White Longman - Ethel L. Marley - Theodore Militzer - Lucien Muratore - Prudence Neff - Edgar A. Nelson - Marx E. Oberndorfer - Rosa Olitzka - Agnes Hope Pillsbury - Edna Gunnar Peterson - - Mabel Riegelman - Edwin Schneider - Henri Scott - Allen Spencer - Walter Spry - Lucille Stevenson - Sarah Suttel - Belle Tannenbaum - Mrs. B. L. Taylor - Maggie Teyte - Della Thal - Jacques Thibaud - Rosalie Thornton - Cyrena Van Gordon - Edmond Warnery - Clarence Whitehill - James S. Whittaker - Henrietta Weber - Carolina White - Meda Zarbell - Alice Zeppilli - - Official Piano of the North Shore Music Festival - Official Piano of the Boston Grand Opera Company - - Official Piano of the Chicago Grand Opera Company - Official Piano of the Philadelphia Grand Opera Company - - Mason & Hamlin - For sale only at the warerooms of the - Cable Piano Company - Wabash and Jackson - - If you want to read a clean, sweet, entertaining story--one that - will hold your interest from start to finish--buy a copy of - - - The $10,000.00 Prize Novel - - Here are expectation and enthusiasm justified alike.... A clear, - clean, clever romance.... It unrolls itself as smoothly and - vividly as the film of a motion-picture drama. - - --New York World. - - Miss Dalrymple has written a book that is extraordinary and of - great proportions.... It is a big book.... A stirring, - entertaining and consistently interesting romance. - - --Boston Globe. - - - Diane - of the - Green Van - - - By Leona Dalrymple - - Delightful Illustrations in Color By Reginald Birch - - A Popular Success--Over 100,000 Sold. Price, $1.35 Net - - Ready About June 10 - - Nancy the Joyous. - - A Novel of Pure Delight - - By Edith Stow - - We have never offered a book to the public in which we had more - confidence of popular favor than we have for Nancy the Joyous. It - is simply bound to make friends. - - A story of the Tennessee Mountains, where the sweet-scented, - colorful woodland flowers abound, and where whimsical, adorable - and humorous Nancy, 'midst the sunshine of gladness and delight, - gains the love of the simple mountaineers and learns the joy of - living and doing for others. - - Standard Novel Size. Beautiful cover and wrapper. - Frontispiece in color; decorative chapter headings. - - $1.00 Net - - Ready About June 20 - - The New Mr. Howerson - - An Interest-Compelling Novel - - By Opie Read - - It is over five years since the publication of a book by Opie - Read. He has worked for four years on The New Mr. Howerson, - putting into it his ripened views and the fulness of his art. It - was twice written with a pen, then turned into a play, before - being given its final revision. It is a masterful piece of work. - - A powerful story with a big theme, enlivened with the quaint - humor and philosophy that has made Opie Read famous. - - Standard Novel Size. 460 pages. Handsome binding and - striking red wrapper. - - $1.35 Net - - A Human Interest Edition of a Unique Book. The Publisher's - Story Edition of - - Miss Minerva and William Green Hill - - By Frances Boyd Calhoun - - One of the most delightful books ever published. First issued in - February, 1909, over 150,000 copies have been sold. Now on press - for the seventeenth time. - - Each copy of the new edition will be handsomely boxed and - contain an attractive brochure carrying a portrait of Mrs. - Calhoun, her biography, and the "Publishers' Story." Price - $1.00. - - Publishers Reilly & Britton Chicago - - - - - Houghton Mifflin Company's - Latest Books - - - Robert Herrick's New Novel - - CLARK'S FIELD - - "In this virile book, Mr. Herrick studies the part played by - 'unearned increment' in the life of a girl. A notable - contribution to American realistic fiction." - - "Mr. Herrick's fiction is a force for the higher civilization - which to be widely felt needs only to be widely known."--William - Dean Howells. - - "To define him is, in a way, to define the American people - itself. For among writers of recent times, living or dead, there - is hardly any one who, in my opinion, has come nearer deserving - the epithet 'national.'"--Edwin Bjorkman. - - $1.40 net. Postage extra. - - LETTERS OF A WOMAN HOMESTEADER - - By Elinore Pruitt Stewart - - These letters, regarded by the New York Evening Post as "the - literary discovery of the year," tell a connected story of - pioneer life, full of buoyancy and pluck and the spirit of - adventure. One of the most humorous, touching, and lively - documents in recent literature. - - Illustrated by N. C. Wyeth. $1.25 net. Postage extra. - - MEMOIRS OF YOUTH - - By Giovanni Visconti Venosta - - Translated by Rev. William Prall. With an Introduction by William - Roscoe Thayer - - These Memoirs, now translated into English, represent the - aristocratic attitude among the patriotic Italians, and give a - personal and vivid account of the abuses of Austrian and clerical - rule; of the outbreaks of 1848-50, their failure and cruel - repression. - - Illustrated. $4.00 net. Postage extra. - - THE MINISTRY OF ART - - By Ralph Adams Cram - - These papers all embody and eloquently exploit that view of the - relation of mediæval ideals to modern life which has made the - author the most brilliant exponent of Gothic architecture in - America. - - $1.50 net. Postage extra. - - RELIGIOUS CONFESSIONS AND CONFESSANTS - - By Anna Robeson Burr - - Readers of Mrs. Burr's able literary and psychological study of - "The Autobiography" will be in a measure prepared for the wealth - of material that she has brought together in her account of the - religious confession throughout the ages. - - $2.50 net. Postage extra. - - THE ART OF SPIRITUAL HARMONY - - By Wassili Kandinsky - - Translated from the German, with an introduction by M. T. H. - Sadler. Kandinsky gives a critical sketch of the growth of the - abstract ideal in art, forecasts the future of the movement, and - says in what way he considers Cubism to have failed in its - object. The fairness and generosity of his argument, together - with the interest of his own daring theories, will certainly - attract the English as it has attracted the German public, who - called for three editions of the book within a year of - publication. - - Illustrated, $1.75 net. Postage extra. - - 4 Park St. - Boston - - Houghton Mifflin Company - - 16 E. 40th St. - New York - - - - - Transcriber's Notes - - -Advertisements were collected at the end of the text. - -On page 16, there seems to be some text missing--perhaps a line--between -Of course, the Romanticists contributed their ... and ... did this, so -to speak, casually, while actually .... This has been left as in the -original since no other source for this text could be identified. - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. All other changes are shown here -(before/after): - - [p. 17]: - ... The cannon is contained in one word: L'excessivisme. ... - ... The canon is contained in one word: L'excessivisme. ... - - [p. 53]: - ... Forum Stories, selected by Charles Vail. ... - ... Forum Stories, selected by Charles Vale. ... - - [p. 53]: - ... writers as Reginal Wright Kauffman, James ... - ... writers as Reginald Wright Kauffman, James ... - - -*** END OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, JUNE 1914 (VOL. -1, NO. 4) *** - -***** This file should be named 63809-0.txt or 63809-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/8/0/63809/ - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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 will have to check the laws of the country where - you are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |