diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-23 07:18:52 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-23 07:18:52 -0800 |
| commit | 9ee515cb992ad8ead40bee97bd1cf4df20d31ba6 (patch) | |
| tree | 680df009b445f01721e94f64db2f0ea6a1ab86d6 /old/64758-0.txt | |
| parent | 0ae1ae71566bfc6d780d92b863047451ae752ae3 (diff) | |
Diffstat (limited to 'old/64758-0.txt')
| -rw-r--r-- | old/64758-0.txt | 5259 |
1 files changed, 0 insertions, 5259 deletions
diff --git a/old/64758-0.txt b/old/64758-0.txt deleted file mode 100644 index ece3596..0000000 --- a/old/64758-0.txt +++ /dev/null @@ -1,5259 +0,0 @@ -The Project Gutenberg eBook of The Little Review, November 1914 (Vol. 1, -No. 8), 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, November 1914 (Vol. 1, No. 8) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: March 08, 2021 [eBook #64758] - -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, NOVEMBER 1914 -(VOL. 1, NO. 8) *** - - - - - THE LITTLE REVIEW - - - Literature Drama Music Art - - MARGARET C. ANDERSON - EDITOR - - NOVEMBER, 1914 - - Lyrics of an Italian Scharmel Iris - Zarathustra Vs. Rheims George Soule - The Cost of War Clarence Darrow - A Social Comedy Lawrence Langner - “The Immutable” Margaret C. Anderson - Poems Maxwell Bodenheim - The Spiritual Dangers of Writing Vers Libre Eunice Tietjens - Tagore’s “Union” Basanta Koomar Roy - War, the Only Hygiene of the World Marinetti - Noise George Burman Foster - The Birth of a Poem Maximilian Voloshin - Editorials - My Friend, the Incurable Ibn Gabirol - London Letter E. Buxton Shanks - New York Letter George Soule - The Theatre - Harold Bauer in Chicago Herman Schuchert - A Ferrer School in Chicago Rudolf von Liebich - The Old Spirit and the New Ways in Art William Saphier - Book Discussion - Sentence Reviews - The Reader Critic - - Published Monthly - - 15 cents a copy - - MARGARET C. ANDERSON, Publisher - Fine Arts Building - CHICAGO - - $1.50 a year - - Entered as second-class matter at Postoffice, Chicago. - - - - - THE LITTLE REVIEW - - - Vol. I - - NOVEMBER, 1914 - - No. 8 - - Copyright, 1914, by Margaret C. Anderson. - - - - - Lyrics of an Italian - - - SCHARMEL IRIS - - - The Forest of the Sky - - High in the forest of the sky - The stars and branches interlace; - As cloth-of-gold the fallen leaves lie - Where twilight-peacocks lord the place, - Spendthrifts of pride and grace. - - The grapes on vines are rubies red, - They burn as flame, when day is done. - The Dusk, brown Princess, turns her head - While sunset-panthers past her run - To caverns of the Sun. - - She throws cord-reins of sunbeams wrought, - About the sunset-panthers, fleet, - And rides them joyously, when caught, - Across the poppied fields of wheat— - Their hearts with terror beat. - - They reach the caverns of the Sun, - The raven-clouds above them fly; - Dame Night her tapestry’s begun. - High, o’er the forest of the sky - The moon, a boat, sails by. - - - Iteration - - My son is dead and I am going blind, - And in the Ishmael-wind of grief - I tremble like a leaf; - I have no mind for any word you say: - My son is dead and I am going blind. - - - April - - I loved her more than moon or sun— - There is no moon or sun for me; - Of lovely things to look upon, - The loveliest was she. - - She does not hear me, though I sing— - And, oh, my heart is like to break! - The world awakens with the Spring, - But she—she does not wake! - - - Scarlet—White - - (_Struck at the double standard_) - - The woman who is scarlet now - Was soul of whiteness yesterday; - A void is she wherein a man - May leave his lust to-day. - - ’Twas with the kiss Ischariot - A traitor bore her heart away; - Her body now is leased by men - That kneel at church to pray. - - - Three Apples - - I who am Giver of Life - Out of the cradle of dawn - Bring you this infant of song.— - He has a golden tongue - And wings upon his feet. - - The apple of silver he holds - Once lay at the breast of the moon; - I give him an apple of gold - ’Twas forged in the fires of the sun; - This apple of copper I give - That Sunset concealed in her hair. - - When from the husk of dusk I shake the stars, - Down slumber’s vine I’ll send him dreams in dew, - And peace will overtake him like a song - Like thoughts of love invade a lover’s mind. - The spear-scars of the red world he will wear - As women in their hair may wear a rose. - - On the rosary of his days - He will say a prayer for your sake, - The hounds-o’-wonder will lie at his side, - And lick the dust-o’-the-world from his feet. - - The apple of silver will work him a charm - When under his pillow he lays it at night; - The apple of copper will warm his heart - When a heart he loves grows cold on his own; - The apple of gold will teach him a song - For children to sing when he blows on a reed; - The dew will hear and run to the sun, - The sun will whisper it in my ear, - And you, being dead, the song will hear. - - - - - Zarathustra Vs. Rheims - - - GEORGE SOULE - -Hauptmann and Rolland have quarreled about the war, Hæckel has -repudiated his English honorary degrees, and now Thomas Hardy has placed -on Nietzsche the responsibility for the destruction of the cathedral of -Rheims. The tragedy of nationalism, it seems, is not content with -ruining lives and art; it must also vitiate philosophy and culture. - -“Nietzsche and his followers, Treitschke, Von Bernhardi, and others,” -writes Hardy. In the next sentence he speaks of “off-hand assumptions.” -One is tempted to write, “Christ and his followers, Czar Nicholas, -Kaiser Wilhelm, and others!” - -Nietzsche has been claimed as a prophet by hereditary aristocrats, by -anarchists, by socialists, by artists, and by militarists. There is even -a book to prove that he who called himself “the Antichrist” was a -supporter of the Catholic Church. One suspects, however, that the Jesuit -who wrote it had a subtle sense of truth. - -The most fundamental truth about Nietzsche is that the torrent of his -inspiration is open to everyone who can drink of it. His value, his -quality, consist not in the fact that he said this or that, but that -life in him was strong and beautiful. This is true of all prophets; how -much more so, then, of the one who threw to the winds all stiffness of -orthodoxy and insisted on a transvaluation of all values! “O my soul, to -thy domain gave I all wisdom to drink, all new wines, and also all -immemorially old strong wines of wisdom,” said Zarathustra. - -But even in his teachings we can find no justification of the present -shame of Europe. It was Darwin who laid the foundation for the -philosophy of the survival of the fittest and the struggle for -existence. With the shallow inferences from these conceptions Nietzsche -had no patience. If the fittest survives, the fittest is not necessarily -the best. The brute force which makes for survival had no attraction for -Nietzsche. He called upon man’s will to make itself the deciding factor -in the struggle. When he argued for strength, he argued for the strength -of the beautiful and noble, not strength for its own sake. Of what avail -is a great individual to the world if he makes himself weak and -sacrifices himself to an inferior enemy? The French gunners who defended -the Cathedral of Rheims might justly claim the approval of Nietzsche. If -the Allies had turned the other cheek and allowed their countries to be -overrun by German militarism, they would then have proved themselves -Christian and truly anti-Nietzschean. - -Moreover, Nietzsche uncompromisingly opposed the supremacy of mere -numbers, the supremacy of non-spiritual values. He argued after the war -of 1870 that the victory of Prussian arms endangered rather than helped -Prussian culture. Culture is a thing of the spirit; it was undermined by -the tide of smug satisfaction in the triumph of militarism. - -“You say that a good cause will even justify war; I tell you that it is -the good war that justifies all causes,” wrote Nietzsche. It is the -logic of the newspaper paragrapher which makes this statement a -justification of militarism. _The good war_—what is that? It is the -quality of heroism, the unreckoning love of beauty, the pride of the -soul in its own strength and purity. It is the opponent of mere -contentment and sluggishness. It is the militant virtue which has -inspired great souls since the beginning of the world; it is the hope of -future man. If a cause is not justified by the good war what can be said -for it? It is a pathetic absurdity to think that Nietzsche would have -found the good war in the present struggle for territory and commercial -supremacy. No, gentlemen of letters, fight the Kaiser if you must, but -do not aim your clods at the prophets in your hasty partisanship! - -For it is in this very Nietzsche and his good war that mankind will now -find its spirit of hope. We who see that wars of gunpowder are evil, we -who intend to abolish them, cannot do so by denying our own strength and -appealing helplessly to some external power in the sky. We must say with -Zarathustra, - -“How could I endure to be a man, if man were not also the composer, the -riddle-reader, and the redeemer of chance! - -“To redeem what is past, and to transform every ‘It was’ into ‘Thus -would I have it!’ that only do I call redemption! - -“Will—so is the emancipator and joy-bringer called: thus have I taught -you, my friends!” - - - In _Ecce Homo_ the word “German” has become something like his - worst term of abuse. He believes only in French culture; all - other culture is a misunderstanding. In his deepest instincts - Nietzsche asserts to be so foreign to everything German, that the - mere presence of a German “retards his digestion.” German - intellect is to him indigestion. If he has been so enthusiastic - in his devotion to Wagner, this was because in Wagner he honored - the foreigner, because in him he saw the incarnate protest - against all German virtues, the “counter-poison” (he believed in - Wagner’s Jewish descent). He allows the Germans no honor as - philosophers: Leibnitz and Kant were “the two greatest clogs upon - the intellectual integrity of Europe.” No less passionately does - he deny to the Germans all honor as musicians: “A German _cannot_ - know what music is. The men who pass as German musicians are - foreigners, Slavs, Croats, Italians, Dutchmen, or Jews.” He - abhors the “licentiousness” of the Germans in historical matters: - “History is actually written on Imperial German and Antisemitic - lines, and Mr. Treitschke is not ashamed of himself.” The Germans - have on their conscience every crime against culture committed in - the last four centuries (they deprived the Renaissance of its - meaning; they wrecked it by the Reformation). When, upon the - bridge of two centuries of decadence, a _force majeure_ of - genius and will revealed itself, strong enough to weld Europe - into political and economic unity, the Germans finally with their - “Wars of Liberation,” robbed Europe of the meaning of Napoleon’s - existence, a prodigy of meaning. Thus they have upon their - conscience all that followed, nationalism, the _névrose - nationale_ from which Europe is suffering, and the perpetuation - of the system of little states, of petty politics.—_George - Brandes in “Friedrich Nietzsche.”_ - - - - - The Cost of War - - - CLARENCE DARROW - -Along with the many other regrets over the ravages of war is the sorrow -for the destruction of property. As usual, those who have nothing to -lose join in the general lamentation. There is enough to mourn about in -the great European Holocaust without conjuring up imaginary woes. So far -as the vast majority of people is concerned, the destruction of property -is not an evil but a good. - -The lands and houses, the goods and merchandise and money of the world -are owned by a very few. All the rest in some way serve that few for so -much as the law of life and trade permit them to exact. At the best, -this is but a small share of the whole. All the property destroyed by -war belongs to the owners of the earth; it is for them that wars are -fought, and it is they who pay the bills. When the war is over, the -property must be re-created. This, the working men will do. In this -re-building, they will work for wages. Then, as now, the rate of wages -will be fixed by the law of demand and supply—the demand and supply of -those who toil. The war will create more work and less workmen. -Therefore labor can and will get a greater share of its production than -it could command if there was less work and more workmen. The wages must -be paid from the land and money and other property left when the war is -done. This will still be in the hands of the few, and these few will be -compelled to give up a greater share. The destruction of property, -together with its re-creation means only a re-distribution of wealth—a -re-distribution in which the poor get a greater share. It is one way to -bring about something like equality of property—a cruel, wasteful, and -imperfect way, but still a way. That the equality will not last does not -matter, for in the period of re-construction the workman will get a -larger share and will live a larger life. - -As the war goes on, the funds for paying bills will be met in the old -way by selling bonds. These too will be paid by the owners of the earth. -True, the property from which the payment comes must be produced by -toil, but if the bonds that must be paid from the fruits of labor had -never been issued this surplus would not have gone to labor, but would -have been absorbed by capital. This is true for the simple reason that -the return to labor is not fixed by the amount of production, the rate -of taxation, the price of interest and rents, but by the supply and -demand of labor, and nothing else. - -If labor shall sometime be wise enough, or rather instinctive enough to -claim all that it produces, it will at the same time have the instinct -or wisdom to leave the rulers’ bonds unpaid. - -But all of this is far, far away; in determining immediate effects we -must consider what is, not what should be. And the jobless and -propertyless can only look upon the destruction of property as giving -them more work and a larger share of the product of their labor. Chicago -was never so prosperous, or wages so high, as when her people were -re-building it from the ashes of a general conflagration. San Francisco -found the same distribution of property amongst its workmen after the -earthquake and the fire had laid it waste, and her people were called -upon to build it up anew. - -Carlyle records that during the long days of destruction in the French -Revolution the people were more prosperous and happy than they had ever -been before. True, the Guilotin was doing its deadly work day after day, -but its victims were very few. The people got used to the guilotin, and -heeded it no more than does the crowd heed a hanging in our county jail, -when they gayly pass in their machines. - -After the first shock was over, during the four years of our Civil War, -wages were higher, men were better employed, production greater, and -distribution more equal than it had been at any time excepting in the -extreme youth of the Republic. Then land was free. - -Then again, this world has little to destroy. After centuries of -so-called civilization, the human race has not accumulated enough to -last a year should all stop work. The world lives, and always has lived, -from hand to mouth. This is not because of any trouble in producing -wealth, but because things are made not to use, but to sell. And the -wages of the great mass of men does not permit them to buy or own more -than they consume from day to day. - -It is for this reason that half the people do not really work; that the -market for labor is fitful and uncertain, and never great enough; and -that all are poor. After a devastation like a great war, the need of -re-creating will turn the idle and the shirkers into workmen, because -the rewards will be greater. This will easily and rapidly produce more -than ever before. From this activity, invention will contrive new -machines to compete with men, going once more around the same old -circle, until the world finds out that machines should be used to -satisfy human wants and not to build up profits for the favored few. - -One may often regret the impulses that bring destruction of property, -but before any one mourns over the destruction of property, purely -because of its destruction, he should ask whose property it is. - - - - - Wedded: - - - A Social Comedy - - LAWRENCE LANGNER - - - CHARACTERS - - MRS. RANSOME. - JANET RANSOME: Her daughter. - REV. MR. TANNER: A Clergyman. - - - SCENE - -(The “best” parlor of the Ransomes’ house, in a cheap district of -Brooklyn. There is a profusion of pictures, ornaments, and miscellaneous -furniture. A gilded radiator stands in front of the fireplace. Table, -center, on which are some boxes and silver-plated articles arranged for -display. Over the door hangs a horseshoe. White flowers and festoons -indicate that the room has been prepared for a wedding. To the left is a -sofa, upon which lies the body of a dead man, his face covered with a -handkerchief. There is a small packing-case at his side, upon which -stand two lighted candles, a medicine bottle, and a tumbler. The blinds -are drawn.) - - - AT RISE - -(Janet, dressed in a white semi-bridal costume, is on her knees at the -side of the couch, quietly weeping. After a few moments the door opens, -admitting a pale flood of sunshine. The murmur of conversation in the -passage without is heard. Mrs. Ransome enters. She is an intelligent, -comfortable-looking middle-aged woman. She wears an elaborate dress of -light gray, of a fashion of some years previous, evidently kept for -special occasions. She is somewhat hysterical in manner and punctuates -her conversation with sniffles.) - -MRS. RANSOME. My dear child, now do stop cryin’. Won’t you stop cryin’? -Your Aunt Maud’s just come, and wants to know if she can see you. - -JANET. I don’t want to see her. I don’t want to see nobody. - -MRS. RANSOME. But your aunt, my dear— - -JANET. No, mother, not nobody. - -(_Mrs. Ransome goes to door and holds a whispered conversation with -somebody outside. She then returns, closing the door behind her, and -sits on chair close to Janet._) - -MRS. RANSOME. She’s goin’ to wait for your father. He’s almost crazy -with worry. All I can say is—thank God it was to have bin a private -wedding. If we’d had a lot of people here, I don’t know what I should -have done. Now, quit yer cryin’, Janet. I’m sure we’re doin’ all we can -for you, dear. (_Janet continues to weep softly._) Come, dear, try and -bear up. Try and stop cryin’. Your eyes are all red, dear, and the -minister’ll be here in a minute. - -JANET. I don’t want to see him, mother. Can’t you see I don’t want to -see nobody? - -MRS. RANSOME. I know, my dear. We tried to stop him comin’, but he says -to your father, he says, “If I can’t come to her weddin’, it’s my duty -to try to comfort your daughter”; and that certainly is a fine thing for -him to do, for a man in his position, too. And yer father—he feels it as -much as you do, what with the trouble he’s been to in buying all that -furniture for you and him, and one thing and another. He says that Bob -must have had a weak heart, an’ it’s some consolation he was took before -the weddin’ and not after, when you might have had a lot of children to -look after. An’ he’s right, too. - -JANET (_Talks to body_). Oh, Bob! Bob! Why did you go when I want you -so? - -MRS. RANSOME. Now, now! My poor girl. It makes my heart bleed to hear -you. - -JANET. Oh, Bob! I want you so. Won’t you wake up, Bob? - -MRS. RANSOME (_Puts her arms around Janet and bursts into sobs_). -There—you’re cryin’ yer eyes out. There—there—you’ve still got your old -mother—there—there—just like when you was a baby—there— - -JANET. Mother—I want to tell you something— - -MRS. RANSOME. Well, tell me, dear, what is it? - -JANET. You don’t know why me and Bob was goin’ to get married. - -MRS. RANSOME. Why you and Bob was goin’ to get married? - -JANET. Didn’t you never guess why we was goin’ to get married—sort of -_all of a sudden_? - -MRS. RANSOME. All of a sudden? Why, I never thought of it. (_Alarmed._) -There wasn’t nuthin’ wrong between you and him, was there? (_Janet weeps -afresh._) Answer me. There wasn’t nuthin’ wrong between you and him, was -there? - -JANET. Nuthin’ _wrong_. - -MRS. RANSOME. What do you mean, then? - -JANET. We was goin’ to get married—because we _had_ to. - -MRS. RANSOME. You mean yer goin’ to have a baby? - -JANET. Yes. - -MRS. RANSOME. Are you sure? D’ye know how to tell fer certain? - -JANET. Yes. - -MRS. RANSOME. Oh, Lor’! Goodness gracious! How could it have happened? - -JANET. I’m glad it happened—_now_. - -MRS. RANSOME. D’ye understand what it means? What are we goin’ to do -about it? - -JANET (_Through her tears_). I can’t help it. I’m glad it happened. An’ -if I lived all over again, I’d want it to happen again. - -MRS. RANSOME. You’d _want_ it to happen? Don’t you see what this means? -Don’t you see that if this gets out you’ll be disgraced ’till your dying -day? - -JANET. I’m glad. - -MRS. RANSOME. Don’t keep on sayin’ you’re glad. Glad, indeed! Have you -thought of the shame and disgrace this’ll bring on me an’ your father? -An’ after we’ve saved and scraped these long years to bring you up -respectable, an’ give you a good home. You’re glad, are you? You -certainly got a lot to be glad about. - -JANET. Can’t you understand, mother? We wasn’t thinking of you when it -happened—and now it’s all I have. - -MRS. RANSOME. Of course you wasn’t thinkin’ of us. Only of yourselves. -That’s the way it is, nowadays. But me and your father is the ones -that’s got to face it. We’re the ones that’s got to stand all the -scandal and talk there’ll be about it. Just think what the family’ll -say. Think what the neighbors’ll say. I don’t know what we done to have -such a thing happen to us. (_Mrs. Ransome breaks into a spell of -exaggerated weeping, which ceases as the door-bell rings._) There! -That’s the minister. God only knows what I’d better say to him. (_Mrs. -Ransome hurriedly attempts to tidy the room, knocking over a chair in -her haste, pulls up the blinds half-way and returns to her chair. There -is a knock at the door. Mrs. Ransome breaks into a prolonged howl._) -Come in. - -(_Enter Rev. Mr. Tanner. He is a stout, pompous clergyman, with a rich, -middle-class congregation and a few poorer members, amongst which latter -he numbers the Ransomes. His general attitude is kind but patronizing; -he displays none of the effusive desire to please which is his correct -demeanor towards his richer congregants. The elder Ransomes regard him -as their spiritual leader, and worship him along with God at a -respectful distance._) - -TANNER (_He speaks in a hushed voice, glancing towards the kneeling -figure of Janet_). Bear up, Mrs. Ransome. Bear up, I beg of you! (_Mrs. -Ransome howls more vigorously; Tanner is embarrassed._) This is very -distressing, Mrs. Ransome. - -MRS. RANSOME (_Between her sobs_). It certainly is kind of you to come, -Mr. Tanner, I’m sure. We didn’t expect to see you when my husband -’phoned you. - -TANNER. Where is your husband now? - -MRS. RANSOME. He’s gone to send some telegrams to Bob’s family, -sir—_his_ family. We’d planned to have a quiet wedding, sir, with only -me and her father and aunt, and then we was goin’ to have the rest of -the family in, this afternoon. - -TANNER. It’s a very sad thing, Mrs. Ransome. - -MRS. RANSOME. It’s fairly dazed us, Mr. Tanner. Comin’ on top of all the -preparation we’ve bin makin’ for the past two weeks, too. An’ her -father’s spent a pile o’ money on their new furniture an’ things. - -TANNER (_Speaking in an undertone_). Was he insured? - -MRS. RANSOME. No, sir, not a penny. That’s why it comes so hard on us -just now, havin’ the expense of a funeral on top of what we’ve just -spent for the weddin’. - -TANNER. Well, Mrs. Ransome, I’ll try to help you in any way I can. - -MRS. RANSOME. Thank you, Mr. Tanner. It certainly is fine of you to say -so. Everybody’s bin good to us, sir. She had all them presents given -her—most of them was from _my_ side of the family. - -TANNER. Did he have any relatives here? - -MRS. RANSOME. Not a soul, poor fellow. He came from up-state. That’s why -my husband’s gone to send a telegram askin’ his father to come to the -funeral. - -TANNER. How long will your husband be? (_He glanced at his watch._) - -MRS. RANSOME. I don’t think he’ll be more than half an hour. He’d like -to see you, if you could wait that long, I know. - -TANNER. Very well. I have an engagement later, but I can let that go if -necessary. - -(_Tanner and Mrs. Ransome sit down in front of the table._) - -MRS. RANSOME. It certainly is a great comfort havin’ you here, Mr. -Tanner. I feel so upset I don’t know what to say. - -TANNER. Bear up, Mrs. Ransome. You are not the greatest sufferer. Let me -say a few words to your daughter. (_He rises, goes to Janet, and places -his hand on her shoulder, but she takes no notice of him._) Miss -Ransome, you must try to bear up, too. I know how hard it is, but you -must remember it’s something that must come to all of us. - -MRS. RANSOME. She takes it so bad, Mr. Tanner, that the Lord should have -took him on their weddin’ mornin’. - -TANNER (_Returning to his chair_). We must not question, Mrs. Ransome, -we must not question. The Almighty has thought fit to gather him back to -the fold, and we must submit to His will. In such moments as these we -feel helpless. We feel the need of a Higher Being to cling to—to find -consolation. Time is the great healer. - -MRS. RANSOME. But to expect a weddin’ (_Sobs_) and find it’s a -funeral—it’s awful; (_Sobs_) and besides—Mr. Tanner, you’ve always been -good to us. We’re in other trouble, too. Worse—worse even than this. - -TANNER. In other trouble? - -MRS. RANSOME. Yes, much worse. I just can’t bear to think about it. - -TANNER. Your husband’s business? - -MRS. RANSOME. No, sir. It’s—I don’t know how to say it. It’s her and -him. - -TANNER. Her and him? - -MRS. RANSOME. Yes, sir—I’m almost ashamed to tell you. She’s goin’ to -have a baby. - -TANNER (_Astounded_). She’s going to be a mother? - -MRS. RANSOME. Yes. (_Sobs._) Oh, you don’t know how hard this is on us, -Mr. Tanner. We’ve always bin respectable people, sir, as you well know. -We’ve bin livin’ right here on this block these last ten years, an’ -everybody knows us in the neighborhood. Her father don’t know about it -yet. What he’ll say—God only knows. - -TANNER. I’m terribly sorry to hear this, Mrs. Ransome. - -MRS. RANSOME. I can forgive her, sir, but not him. They say we shouldn’t -speak ill of the dead—but I always was opposed to her marryin’ him. I -wanted her to marry a steady young fellow of her own religion, but I -might as well have talked to the wall, for all the notice she took of -me. - -TANNER. It’s what we have to expect of the younger generation, Mrs. -Ransome. Let me see—how long were they engaged? - -MRS. RANSOME. Well, sir, I suppose on and off it’s bin about three -years. He never could hold a job long, an’ me and her father said he -couldn’t marry her—not with our consent—until he was earnin’ at least -twenty dollars a week—an’ that was only right, considerin’ he’d have to -support her. - -TANNER. I quite agree with you. I’m sorry to see a thing of this sort -happen—and right in my own congregation, too. I’ve expressed my views -from the pulpit from time to time very strongly upon the subject, but -nevertheless it doesn’t seem to make much difference in this -neighborhood. - -MRS. RANSOME. I know it’s a bad neighborhood in some ways, sir. But you -got to remember they was going to get married, sir. If you’d bin here -only an hour earlier, Mr. Tanner, there wouldn’t have bin no disgrace. -(_Points to official-looking book lying on table._) Why, sir—there’s the -marriage register—Mr. Smith brought it down from church this morning—all -waiting for you to fix it. If you’d only come earlier, sir, they’d have -bin properly married, an’ there wouldn’t have bin a word said. - -TANNER. That’s true. They might have avoided the immediate disgrace, -perhaps. But you know as well as I do that _that_ isn’t the way to get -married. It isn’t so much a matter of disgrace. That means nothing. It’s -the principle of the thing. - -MRS. RANSOME (_Eagerly_). Oh, Mr. Tanner, do you mean it? Do you mean -that the disgrace of it means nothin’? - -TANNER. Well—not exactly nothing—but nothing to the principle of the -thing. - -MRS. RANSOME. An’ would you save her from the disgrace of it, if you -could, Mr. Tanner, if it don’t mean nothin’? - -TANNER. I’ll do anything I can to help you, within reason, Mrs. Ransome, -but how can I save her? - -MRS. RANSOME (_Eagerly pleading_). Mr. Tanner, if she has a child, as -she expects, you know that respectable people won’t look at us any more. -We’ll have to move away from here. We’ll be the laughing stock of the -place. It’ll break her father’s heart, as sure as can be. But if you -could fill in the marriage register as though they’d bin married, Mr. -Tanner, why, nobody’s to know that it isn’t all respectable and proper. -They had their license, and ring, and everything else, sir, as you know. - -TANNER (_Astounded_). _Me_ fill in the marriage register? Do you mean -that you want _me_ to make a fictitious entry in the marriage register? - -MRS. RANSOME. It wouldn’t be so very fictitious, Mr. Tanner. They’d have -bin married regular if you’d only come half an hour earlier. Couldn’t -you fill it in that they was married before he died, sir? - -TANNER. But that would be forgery. - -MRS. RANSOME. It would be a good action, Mr. Tanner—indeed, it would. -Her father an’ me haven’t done nothing to deserve it, but we’ll be -blamed for it just the same. It wouldn’t take you a minute to write it -in the register, Mr. Tanner. Look at all the years we’ve bin goin’ to -your church, and never asked you a favor before. - -TANNER. My good woman, I’m sorry; I’d like to help you, but I don’t see -how I can. In the first place, don’t you see that you’re asking me to -commit forgery? But what’s more important, you’re asking me to act -against my own principles. I’ve been preaching sermons for years, and -making a public stand too, against these hasty marriages that break up -homes and lead to the divorce court—or worse. The church is trying to -make marriage a thing sacred and apart, instead of the mockery it is in -this country today. I sympathize with you. I know how hard it is. But -for all I know, you may be asking me to help you thwart the will of God. - -MRS. RANSOME. The will of God? - -TANNER. Mind you, I don’t say that it is, Mrs. Ransome, but it may very -well be the Hand of the Almighty. Your daughter and her young man, as -she has confessed herself, have tried to use the marriage ceremony—a -_holy_ ceremony, mind you—to cover up what they’ve done. - -MRS. RANSOME. Oh, don’t talk like that before her, Mr. Tanner. - -TANNER. I’m sorry. I didn’t mean to hurt her feelings. I’m sorry I can’t -help you. It wouldn’t be _right_. - -MRS. RANSOME. But they was goin’ to get married, sir. You got to take -that into consideration. My girl ain’t naturally bad. It isn’t as though -she’d pick up any feller that happened to come along. Hundreds and -thousands do it, sir, indeed they do, and most of them much worse than -she and him, poor fellow. - -TANNER. Yes, there you are right. Thousands _do_ do it, and I’ve been -making a stand against it in this neighborhood for years. I may seem -hard, Mrs. Ransome, but I’m trying my best to be fair. I sincerely -believe that no minister of the Gospel should ever legalize or -condone—er—misconduct—that is, before marriage. - -MRS. RANSOME (_Pleading hard_). You can’t know what this means to us, -sir—or you’d pity us, indeed you would. Her father’ll take on somethin’ -dreadful when he hears about it. He’ll turn her out of the house, sir, -as sure as can be. You know him, sir. You know he’s too good a Christian -to let her stay here after she’s disgraced us all. And then, what’s to -become of her? She’ll lose her job, and who’ll give her another—without -a reference—an’ a baby to support? That’s how they get started on the -streets, sir (_Sobs_), an’ you know it as well as I do. - -TANNER. Yes, I know. I wish I could help you. It’s very distressing—but -we all have to do our duty as we see it. But I do pity you, indeed I do. -From the bottom of my heart. I’ll do anything I can for you—within -reason. - -MRS. RANSOME (_Almost hysterical, dragging Janet from the side of the -body_). Janet, Janet! Ask him yourself. Ask him on your bended knees. -Ask him to save us! (_Janet attempts to return to side of the body._) -Janet, do you want to ruin us? Can’t you speak to him? Can’t you ask -him? (_Mrs. Ransome breaks into sobs._) - -TANNER. It is as I feared, Mrs. Ransome. Her heart is hardened. - -JANET (_Rises and turns fiercely on him_). Whose heart’s hardened? - -TANNER. Come, come. I didn’t mean to hurt your feelings. I can’t tell -you how sorry I am for you, and your parents, too. - -JANET. Well, I’ll tell you flat, I don’t want none of your pity. - -MRS. RANSOME. Janet, don’t speak like that to him. You’re excited. (_To -Tanner_). She don’t mean it, sir—she’s all worked up. - -JANET (_Her excitement increasing, and speaking in loud tones_). All -right, mother—I’ll tell him again—I don’t want none of his pity. I c’n -get along without it. An’ if you and him think that writin’ a few words -in his marriage register—or whatever he calls it—is going to make any -difference, well—you’re welcome to. - -TANNER. My dear girl. Don’t you understand, if it was merely a question -of writing a few words, I’d do it in a minute. But it’s the principle of -the thing. - -JANET (_Bitingly_). Huh! Principle of the thing! I heard it all. You -preached against it, didn’t yer? It’s a pity you never preached a sermon -on how me and him could have gotten married two years ago, instead of -waiting till now, when it’s too late. - -TANNER. Others have to wait. - -JANET. We did wait. Isn’t three years long enough? D’ye think we was -made of stone? How much longer d’ye think we could wait? We waited until -we couldn’t hold out no longer. I only wish to God we hadn’t waited at -all, instead of wastin’ all them years. - -MRS. RANSOME (_Shocked_). Janet, you don’t know what you’re sayin’. - -JANET. I do, an’ I mean it. We waited, an’ waited, an’ waited. Didn’t he -try all he could to get a better job? ’Twasn’t his fault he couldn’t. We -was planning to go West, or somewhere—where he’d have more of a -chance—we was savin’ up for it on the quiet. An’ while we was waiting, -we wanted one another—all day an’ all night. An’ what use was it? We -held out till we couldn’t hold out no longer—an’ when we knew what was -goin’ to happen, well—we had to get married—an’ that all there’s to it! - -TANNER (_Making a remarkable discovery, supporting all his personal -theories on the subject_). Ah! Then your idea was to marry _simply_ -because you were going to have a baby! - -JANET. Of course it was. D’ye think we wanted to marry an’ live here on -the fifteen a week he was getting? We’d have bin starvin’ in a month. -But when this happened—we had to get married—starve or not. What else -could we do? - -TANNER. Well, I don’t know what to say. It seems to me that you should -have thought of all this before. You knew what it would mean to have a -baby. - -JANET. D’ye think I wanted a baby? I didn’t want one. I didn’t know how -to stop it. If you don’t like it—it’s a pity you don’t preach sermons on -how to stop havin’ babies when they’re not wanted. There’d be some sense -in that. That’d be more sense than talkin’ about waitin’—an’ waitin’—an’ -waitin’. There’s hundreds of women round here—starvin’ and sufferin’—an’ -havin’ one baby after another, and don’t know the first thing about how -to stop it. ’Tisn’t my fault I’m going to have one. I didn’t want it. - -TANNER. Miss Ransome, your views simply astound me. - -JANET. I can’t help it. People may think it wrong, an’ all that, but it -ain’t his fault and it ain’t mine. Don’t you think we used to get sick -of goin’ to movies, an’ vaudeville shows, an’ all them other places—time -after time? I wanted him to love me, an’ I ain’t ashamed of it, neither. - -MRS. RANSOME. Janet, how dare you talk like that in front of Mr. Tanner? -(_To Tanner._) She don’t mean it, Mr. Tanner. She don’t know what she’s -saying. I’ve always brought her up to be innercent about things. She -must have got all this from the other girls at the store where she -works. She didn’t get it in her home, that’s sure. - -JANET. No, that I didn’t. Nor nothing else, neither. You was always -ashamed to tell me about anything, so I found out about things from -other girls, like the rest of ’em do. I’ve known it for years and years, -an’ all the while I suppose you’ve bin thinkin’ I didn’t know anything, -I’ve known everything—all except what’d be useful to me. If I’m going to -have a baby it’s your fault, mother, as much as anybody. You only had -one yourself—but you never told _me_ nothin’. - -MRS. RANSOME. Janet! - -TANNER. Miss Ransome, this is not a subject I ordinarily discuss, but -since you know what you do know, let me tell you that there is nothing -worse than trying to interfere with the workings of nature, or—if I may -say so—of God. - -JANET. Well, Bob said the rich people do it. He said they must know how -to do it, because they never have more’n two or three children in a -family; but you’ve only got to walk on the next block—where it’s all -tenements—to see ten and twelve in every family, because the workin’ -people don’t know any better. But I don’t want no pity from anybody. I -can take a chance on it. I got a pair of hands, an’ I c’n take care of -myself. - -TANNER. Mrs. Ransome, it’s no good my talking to your daughter while -she’s in this frame of mind. She appears to have most extraordinary -views. Mind you, I don’t blame you for it. She _seems_ to be an -intelligent girl. There’d be some hope for her if she’d show a little -penitence—a little regret for what’s been done and can’t be undone. You -know I don’t like preaching out of church, but you’ve often heard me say -in the pulpit that God is always willing to forgive the humble and the -penitent. - -JANET (_With fine scorn_). “God” indeed. Don’t make me laugh. (_Points -to body of Bob._) Look at him lyin’ there. God? What’s God got to do -with it? (_She kneels again at the side of the couch, rigid and silent. -After an uncomfortable interval, Tanner rises._) - -TANNER. Well, I’m afraid I must be going. I feel very pained by what -your daughter has said, Mrs. Ransome. You know I have a deep regard for -you and your husband. I’m frank to say that if your daughter had shown -some signs of penitence—some remorse for what has happened—I might even -have gone so far as to have made the entry in the register—seeing the -punishment she’s already had. But as she is now, I don’t see what good -it would do. Really I don’t, so I think I’d better go. - -MRS. RANSOME (_Appealingly_). Oh, don’t go, Mr. Tanner. Wait just a -minute while I talk to her, please. Janet, can’t you say you’re sorry -for what you done? Can’t you see that Mr. Tanner only wants to be fair -with you? Come, do it for our sakes—your father and me. You know how -hard he’s worked, how he’s keep teetotal an’ everything. You don’t want -to ruin us, do you? Can’t you see it isn’t only yourself that’s got to -be considered? Think of what we’ve done for you. Tell him you’re sorry -for it, _do_! - -TANNER (_Rising_). It’s no use, Mrs. Ransome. I can see it’s of no use. -I really must go. - -MRS. RANSOME. Just one minute more. Please wait one minute more. Janet, -what’s the matter with you? Can’t you see the disgrace it’ll be to all -of us? Can’t you see it will ruin us to our dying days? They’ll all -laugh at us—an’ jeer at us. It’ll follow us around wherever we go. You -know how the folk round here make fun of your father—because he keeps -himself respectable—an’ saves his money. Do you want them to laugh at -him? Do you want them to be laughin’ at you an’ talkin’ about you? Do -you want them to be making fun of your baby—an’ calling it a bastard—an’ -asking who it’s father was? - -JANET (_Nervously_). They wouldn’t. - -MRS. RANSOME. Yes, they would. An’ all the time he’s growin’ up, the -other children in school’ll be tormentin’ him, and callin’ him names. -Didn’t the same thing happen with Susan Bradley’s boy? Didn’t they have -to go an’ live out in Jersey, cos she couldn’t stand it no longer? You -know it as well as I do. - -JANET (_Defiantly_). They went away ’cos he was always gettin’ sick. - -MRS. RANSOME. Of course he was always gettin’ sick—with all them devils -makin’ fun of him—an’ makin’ his life a misery. Didn’t we used to see -him goin’ down the block—with the tears runnin’ down his cheeks—an’ all -of ’em yellin’ names after him. Just think of the baby you’re goin’ to -have. D’ye want that to happen to _your_ baby? D’ye want them to make -_its_ life a misery—same as the other one? - -JANET (_Lifelessly_). They wouldn’t. - -MRS. RANSOME. Of course they would. They’ll tease an’ torment it, just -like the other—an’ when he’s old enough to understand—who’ll he blame -for it? He’ll blame _you_ for it. (_Inspired_) He’ll blame Bob for -it—he’ll hate him for it. D’ye want your boy—Bob’s boy—to be hatin’ his -own father? What’d Bob say? What’d _he_ think of you—ruinin’ his baby’s -life—an’ all just because you’re obstinate an’ won’t listen to reason. -Can’t you see it? Just think—if you’d only say you was in the wrong—an’ -do what Mr. Tanner asks you—he’d forgive you an’ make everything all -right. Oh, Janet—can’t you see it? Ask him—beg him! - -JANET. Oh, dear. Well—how c’n Mr. Tanner make it all right? - -MRS. RANSOME. You know what I mean. Oh, Janet, it won’t take him a -minute to write it. If he don’t, can’t you see it’ll ruin us all our -lives? - -JANET. Only a minute to write it—or it’ll ruin us all our lives. - -MRS. RANSOME. Oh, Janet, this is your last chance. Tell him you’re -sorry. (_To Tanner, who has edged towards the door, and is about to -leave._) Oh, Mr. Tanner, please don’t go. Just wait another minute. - -TANNER. Really, I must go. - -MRS. RANSOME. Oh, sir! I can see she’s sorry. You won’t go back on your -word, sir? - -JANET (_Unwillingly feigning remorse_). Let me think a bit. Oh, Mr. -Tanner, I suppose I’m in the wrong—if you say so. It didn’t seem to me -to be wrong—that’s all I got to say. I hope you’ll forgive me. I’m sorry -for the way I spoke—and what I done. - -TANNER (_Returning_). My child, it’s not for me to forgive you. I knew I -could appeal to something higher in you, if you’d only listen to me. Are -you truly repentant—from the bottom of your heart? - -JANET. Yes, sir. - -TANNER. As I said to your mother just now, I don’t like preaching -sermons, but I hope this has taught you that there can be no -justification for our moments of passion and wilfulness. We must all try -to humble our pride and our spirit. I won’t go back on my word, but when -you start out afresh you must try to wipe out the past by living for the -future. - -JANET. I’ll try to, sir. - -TANNER. And now, Mrs. Ransome, I suppose I’ll have to make the entry as -though it had happened an hour or so ago. I know I may seem soft-hearted -about it. But I feel I am doing my duty. This may save your daughter -from a life of degradation. I think the end justifies the means. But -first, let me ask you, who knows that the ceremony wasn’t performed -before he died? - -MRS. RANSOME. Only me—an’ her father—an’ my sister outside. - -TANNER. Can she be relied upon to hold her tongue? - -MRS. RANSOME. She surely can, sir. - -TANNER. Well, you understand this is a very serious thing for me to do. -If it becomes public I shall be faced with a very unpleasant situation. - -MRS. RANSOME. Oh, I promise you, Mr. Tanner, not a soul will know of it. -We’ll take our dyin’ oaths, sir, all of us. - -TANNER. All right. But first let me lend your daughter this prayer-book. -(_Takes prayer-book out of pocket; addressing Janet._) Here’s a -prayer-book, Miss Ransome. I’ll go with your mother now into the -back-parlor, and meanwhile I want you to read over this prayer. Try to -seek its inner meeting. Come, Mrs. Ransome, you can carry the register, -and we’ll come back later and discuss the funeral arrangements. - -MRS. RANSOME (_Takes the marriage register_). Oh, Mr. Tanner, I don’t -know how to thank you. - -TANNER. Well, Mrs. Ransome—I shall expect your husband to send us -something for our new mission to spread Christianity amongst the -Chinese. - -(_Exit Tanner and Mrs. Ransome. Janet closes the door. She walks towards -the couch, looks at the prayer-book, then at the couch. She flings the -prayer-book to the other end of the room, smashing some of the ornaments -on the mantle-shelf, and throws herself upon the side of the couch, -sobbing wildly._) - - SLOW CURTAIN. - - - - - “The Immutable” - - - MARGARET C. ANDERSON - -In a world where flippancies arrange an effective concealment of beauty -there are still major adventures in beauty to be had beneath the -grinning surface. One of them is the discovery of those rare persons to -whom flippancies are impossible—those splendid persons who take life -simply and greatly. Several months ago I tried to write an impression of -Emma Goldman, from an inadequate background of having merely heard two -of her lectures. Since then I have met her. One realizes dimly that such -spirits live somewhere in the world: history and legend and poetry have -proclaimed them, and at times we hear of their passing; but to meet one -on its valiant journey is like being whirled to some far planet and -discovering strange new glories. - -Emma Goldman is one of the world’s great people; therefore, it is not -surprising to find her among the despised and rejected. Of course she is -as different from the popular conception of her as anyone could be. The -first thing you feel in meeting her is that indefinable something which -all great and true people have in common—a quality which seems to -proceed on some a priori principle that anything one feels deeply is -sublime. Then a sense of her great humanity sweeps upon you, and the -nobility of the idealist who wrenches her integrity from the grimest -depths. A terrible sadness is in her face—as though the suffering of -centuries had concentrated there in some deep personal struggle; and -through it shines that capacity for joy which becomes colossal in its -intensity and tragic in its disappointments. But the thing which takes -your heart in a grip, and thrusts you quickly into the position of the -small boy who longs to die for the object of his worship, is that -imperative gift of motherhood which is hers and which spends itself with -such utter prodigality upon all those who come to her for inspiration. -Emma Goldman has ministered to every kind of human being from convicts -to society women. She has no more idea of conservation than a lavish -springtime; and where she draws courage and endurance and inspiration -for it all will remain one of those mysteries which only the artist can -explain. A mountain-top figure, calm, vast, dynamic, awful in its -loneliness, exalted in its tragedy—this is Emma Goldman, “the daughter -of the dream,” as William Marion Reedy called her in an appreciation -written several years ago. “A dream, you say?” he asked, after sketching -her gospel. “Yes; but life is death without the dream.” In that rich -book of Alexander Berkman’s, _Prison Memoirs of an Anarchist_, she is -given a better name. “I have always called you the Immutable,” is the -way the author closes one of his letters to her. And this is the quality -which distinguishes Emma Goldman—a kind of eternal staunchness in which -one may put his fundamental trust. - -This is the woman America has hated and persecuted, thrown into jail, -deprived of her citizenship, and held up as an example of all that is -ignorant, coarse, and base. America will recognize its failure some day, -after the brave spirit has done its work—after the spasm of the new war -has ushered in quite simply some of the changes which Emma Goldman has -been pleading for during her years of fighting. But it takes education -to produce such awakenings, and there is no immediate hope of such a -general enlightenment. The stupidity of the situation regarding Emma -Goldman is that other prophets have raised their spears to the same -heights and have been misunderstood or ignored but not outraged by the -peculiar ignorance which Americans alone seem capable of. Had Ibsen -appeared among us to lecture on the rightness of Nora’s rebellion or to -denounce the pillars of society as he did in his writing, he, too, would -have been thrown into prison for free speech or accused of a president’s -assassination. The cruelty of the situation regarding Emma Goldman is -that she has so much work to do which so many people need, and that she -cannot break through the prejudice and the superstition surrounding her -to get at those dulled ones who need it most. Ten years ago she was -preaching, under the most absurd persecution, ideas which thinking -people accept as a matter of course today. Now the ignorant public still -shudders at her name; the “intellectuals”—especially those of the -Greenwich Village radical type—dismiss her casually as a sort of good -Christian—one not to be taken too seriously: there are so many more -daring revolutionists among their own ranks that they can’t understand -why Emma Goldman should make such a stir and get all the credit; the -Socialists concede her a personality and condone her failure to attach -herself to that line of evolutionary progress which is sure to establish -itself. “Unscientific” is their damning judgment of her; her Anarchism -is a metaphysical hodge-podge, the outburst of an artistic rather than a -scientific temperament. And so they all miss the real issue, namely, -that the chief business of the prophet is to usher in those new times -which often appear in direct opposition to scientific prediction, -and—this above all!—that life in her has a great grandeur. - -How do such grotesque misconceptions arise? Why should it have happened -that all this misapprehension and ignorance should have grown up about a -personality whose mere presence is a benediction and whose friendship -compels you toward high goals you had thought unattainable? There is no -use asking how or why it happened; it is a perfectly consistent thing to -have happened, for it happens to everyone, in greater or less degree, -who strives for a new ideal. But if I could only get hold of all the -people who are unwilling to understand Emma Goldman and _force_ them to -listen to her for an hour:—what a sweet triumph comes with their “Oh, -but she’s wonderful!” - -And now about her ideas. If you have read Wilde’s _Soul of Man Under -Socialism_ you know the essence of Emma Goldman’s Anarchism. What is -there about it to cause an epidemic of terror? It is merely the highest -ideal of human conduct that has ever been evolved. Well, it is possible -to get even the prejudiced to admit this much. Nearly everyone can see -that government in its essence is tyranny; that one human being’s -authority over another is a degrading thing; that no man should have the -power to force his neighbor into a dungeon on the flimsy pretext that -punishment is a prevention and a protection; that no man should dare to -take the life of another man, on any basis whatever; that crime is -really misdirected energy and “criminal types” usually sick people who -should be treated as such; that “abnormal” people are those who have not -found their work; that people who work should have some share of their -production; that the holding of property is a source of many evils; that -possessiveness and “bargaining” are mean qualities; that co-operation -and sharing are splendid ones; that there should be an equality between -giving and taking; that nothing worth while was ever born outside of -freedom; and that men _might_ live together on this basis more -effectively than on the present one. Even your “reasonable” man will -grant you this premise; but then he plays his trump card: It may all be -very beautiful—of course it is; _but it can never happen_! Oscar Wilde -answered him in this way: “Is this Utopian? A map of the world that does -not include Utopia is not worth even glancing at, for it leaves out the -one country at which Humanity is always landing. And when Humanity lands -there, it looks out, and, seeing a better country, sets sail. Progress -is the realization of Utopias.” - -Emma Goldman believes this. She does not belong with the rank and file -of Anarchists. Cults and “isms” are too restrictive for her. “But you -are an extreme Individualist,” the Socialists tell her. “No, I am not,” -she answers them. “I hate your rigid Anglo-Saxon individualism. It is -just because I am so deeply social that I put my hope in the -individual.” It is because she hates injustice of any sort so -passionately that she adopted Anarchism as the soundest method of -combating it. If you have laws you must accept the abuses of law. Why -not be more completely simple—why keep on pretending that we need a -machinery which fosters tyrannies instead of giving freedom an -unhandicapped path to begin upon its great responsibilities? This was -the idealism upon which the American founders built—a minimum of -government, at least, when that evil seemed to become a necessity. In -her remarkable book that has just been published, Voltarine de Cleyre -discusses this phase of the matter brilliantly in a chapter called -“Anarchism and American Traditions.” There is no possibility of going -into it minutely here, except to ask those who insist upon regarding -Anarchism as an unconstructive force to read it. - -These are the things Emma Goldman is trying to preach. She does not -expect to see a new order spring up in response to her vision; so the -facetious ones who poke their stale jokes at the unspeakable humor of a -communistic society might save their wit for more legitimate -provocations. All she hopes is to quicken the consciousness of those -through whom such changes will come—to improve the individual quality. -It reminds you of Comte’s suggestion, at the time when he fell -deliriously in love, that all the problems of society could be solved on -that divine principle. It is like Tolstoy’s dream prophecy—his -prediction of the time when there will be neither monogamy nor polygamy, -but simply a poetogamy under which people may live freely and -beautifully. - -And so Emma Goldman continues her work, talking passionately to crowds -of people, sickened by audiences who listen merely out of curiosity, -disheartened by the vapid applause of those who make their own -incapacities the burden of their rebellion, heartbroken by the masses -who cannot respond to any ideal, cheered by the few who understand, -dedicated to an eternal hope of new values. This is the real Emma -Goldman—a visionist, if you will, but at the same time a woman with a -deep faith in the superiority of reality to imagination. How she has -lived life! How gallantly she makes the big out of the little and -accepts without complaining the perverted role which has been thrust at -her. To have seen her in her home with its hundreds of books and its -charming old pictures of Ibsen and Tolstoy and Nietzsche and Kropotkin; -to have seen her friends, her nephews and nieces offering her their high -adoration; to have watched her gigantic tenderness, her gorgeous -flinging away of self on every possible pretext; to have listened with -her to great music in a kind of cosmic hush that music is made by and -for such spirits; to have heard her, “the crucified,” talk of the ideal -she cherishes and how her expression of it has been so far below her -dream; to have compared her, an artist in life, as incapable of -spiritual vulgarity as a Rodin or a Beethoven, with a sensitiveness -which makes her almost fear beauty, with a sweetness that is -overwhelming—to compare her with the vulgarians who denounce her is to -fall into a mad rage and long to insult them desperately. I said before -that Emma Goldman was the most challenging spirit in America. But she is -so much more than that: she is many wonderful things which this article -merely touches upon, because it is impossible to express them all. - - - Science is after all but a reassuring and conciliatory expression - of our ignorance.—_Maeterlinck._ - - - - - Poems - - - MAXWELL BODENHEIM - - - Expressions of a Child’s Face - - Dawn?—no, the stunted transparency of dawn— - Color taken from the birth of a white throat - And shaken in a still cup till it gradually reaches strength - A sudden scattering of strained light— - The smile has lived and seemed to die. - - Thought?—no, the invisible shudder of a perfume - Trying to leave the shadowy pain of a flesh-flower - A whisp of it whips itself away, - And leaves the rest—a cool, colorless struggle. - - Sadness?—no, the growth of a pale inclination - Which knows not what it is; - Which tries to form the beginning of a swift question, - But has not yet developed trim lips. - - And then what seems a smile - But is the sleeping body of a laugh. - It almost awakes, and throws out - Long breaths, in a green and yellow din. - - - Emotions - - - I - - His anger was a strained yellow wire. - You leapt into it thinking to snap it, - But it flung you off silently. - - - II - - Her happiness was too apparent— - Pleasant flesh in which you sensed heavy blood-clots. - - - III - - Veering, weary birds were her hatreds. - They rested on you for years, - Then circled away, still weary. - - - IV - - Her sorrows were clumsy, black bandages - Which seemed to hide wide wounds, - But only covered scratches. - - - To —— - - You are a broad, growing sieve. - Men and women come to loosen your supple frame, - And weave another slim square into you— - Or perhaps a blue oblong, a saffron circle. - People fling their powdered souls at you: - You seem to loose them, but retain - The shifting shadow of a stain on your rigid lines. - - - To Handpainted Chinaware - - Distorted ducks, smirking women and potshaped blossoms - Fastened to pale plates, you are dreary symbols of those who painted - you. - O ducks, you were made by women - Who sway in and out of the waters of life, - Content to catch morsels of food from birds flying overhead. - And you smirking women, were painted by men - Who unrolled little souls on plates, - Gave them faces which could not quite hide their ugliness ... - You alone almost baffle me, potshaped blossoms— - Were you fashioned by childless women, who made you the infants - Denied them by life? - - - Study of a Face - - Her forehead is the wind-colored, sun-stilled wall of a country - church. - Trailing cloud-shudders overhead narrow it to a thin band of vague - light: - Two tarnished, exultant cerements of earth—cheeks—meet it, - And the three speak clearly, languidly. - - - An Old Man Humming a Song - - Life was a frayed, pampered lily to him— - A lily which still clung to his gray coat, - Like an unbidden word whitening the death of a smile. - The half-smooth perfume of it touched the slanting, cambric curtain of - his soul, - And stirred it to low song. - - - - - The Spiritual Dangers of Writing Vers Libre - - - EUNICE TIETJENS - -The spiritual dangers that beset a struggling poet are almost as -numerous as his creditors, and quite as rampant. And woe unto him who -falls a prey to any one of them! For poetry, being the immediate -reflection of the spiritual life of its author, degenerates more quickly -than almost any other form of human expression when this inner life goes -astray. - -There is first of all the danger of sentimentality, an ever-present, -sticky danger that awaits patiently and imperturbably and has to be met -afresh every day. True, if the poet yields to this danger and embraces -it skillfully enough, the creditors aforementioned may sometimes be paid -and much adulation acquired into the bargain—witness Ella Wheeler -Wilcox—but it is at the price of artistic death. - -There is the danger of giving the emotions too free rein, of producing, -as Arthur Davison Ficke has said in a former number of THE LITTLE -REVIEW, merely “an inarticulate cry of emotion” which moves us like “the -crying of a child.” Much of our sex poetry is of this type. On the -other hand, there is the equally present danger of becoming -over-intellectualized—of drying up and blowing away before the wind of -human vitality. Edmund Clarence Stedman went that way. Then there is the -danger of determined modernity, of resolutely setting out to be “vital” -at all costs and crystallizing into mere frozen impetuosity, as Louis -Untermeyer has done—and the other danger of dwelling professorially in -the past with John Myers O’Hara. There is too the new danger of -“cosmicality,” of which John Alford amusingly accuses our American poets -of to-day. And there are many, many other pitfalls that the unsuspecting -poet must meet and bridge before he can hope to win to the heights of -immortality. - -But there seems to be a whole new set of dangers, especially virulent, -that attend the writing of _vers libre_, free verse, polyrhythmics, or -whatever else one may choose to call the free form so prevalent to-day. -These dangers are inherent in the form itself and are directly traceable -to it. For contrary to the general notion on the subject, it takes a -better balanced intellect to write good _vers libre_ than to write in -the old verse forms. It is essentially an art for the sophisticated, and -the tyro will do well to avoid it. - -The first of these dangers, and the one in which all the others take -root, is a very insidious peril, and few there be who escape it. It is -the danger of being obvious. - -In writing rhymed or even rhymeless poetry of a conventional rhythmical -pattern the mind is constantly obliged to sift and sort the various -images which present themselves—to test them, and turn them this way and -that, as one does pieces in a mosaic, till they at last fit more or less -perfectly into the pattern. This process, although it sometimes, owing -to the physical formation of the language, distorts the poet’s meaning a -little, has the great artistic advantage of eliminating many casual -first associations, which on careful thought are found not worth saying. -It is precisely this winnowing, weighing process which the form of free -verse lacks. Anything that comes to mind can be said at once, and with a -little instinct for rhythm, is said. The result of this mental laziness -is that the ideas expressed are often obvious. - -But here a curious phenomenon of the human mind comes into play. Just as -a physically lazy man will often perform great mental exertions to avoid -moving, so the mind will frequently go to quite as great lengths to find -unusual methods of expression to conceal, even from itself, this -laziness of first thinking. The result is the attempt to cover with -words the fundamental paucity of the ideas. - -There are several principal effects which may result from this. One is -brutality. A conception which, if spoken simply, is at once recognized -as trite, may if said brutally enough pass muster as surprising and -“strong.” A crude illustration of this is to be found in the recent war -poetry of “mangled forms” and “gushing entrails.” Ezra Pound furnishes -the most perfect example. Another effect is the tendency to the -grotesque. This device is more successful in deceiving the poet himself -than the other, though it has less general appeal. For it is possible, -by making a thing grotesque enough, to cover almost completely the -underlying conception. Skipwith Cannéll runs this danger, along with -lesser men. A third peril is that which besets some of the Imagistes—the -danger of reducing the idea to a minimum and relying entirely on the -sound and color of the words to carry the poem. - -Still another result of the complete loosening of the reins possible in -_vers libre_ is the immediate enlargement of the ego. It is not so easy -to see why this should result, but it almost invariably does, and has -since the days of Whitman. It usually goes to-day with the effect of -brutality. The universe divides itself at once into two portions, of -which the poet is by far the greater half. “I”—“I”—“I” they say, and -again “I”—“I”—“I.” And having said it they appear to be vastly relieved. - -The next step is to lay about them gallantly at every person or tendency -that has ever annoyed them. “I have been abused” they say, “I have been -neglected! You intolerable Philistines, I will get back at you!” It is -odd that it never seems to occur to these young men that they can only -hit those persons who read them, and that every person who reads them is -at least a prospective friend. Those who neglect them they can never -reach—and slapping one’s friends is an unprofitable amusement. - -Examples of these unfortunate spiritual results of abandoning oneself -too recklessly to the free verse form are numerous. James Oppenheim’s -latest volume, _Songs for the New Age_—although it is in many ways an -excellent work and deserves endorsement by all who really belong to the -new age and are not merely accidentally alive to-day—nevertheless shows -in places the tendency to obviousness and slack work. - -More flagrant examples are to be found elsewhere. Take for instance -Orrick Johns. Here are some stanzas from his long poem, _Second Avenue_, -which took the prize in Mitchell Kennerley’s _Lyric Year_: - - “How often does the wild-bloom smell - Over the mountained city reach - To hold the tawny boys in spell - Or wake the aching girls to speech? - - The clouds that drift across the sea - And drift across the jagged line - Of mist-enshrouded masonry— - Hast thou forgotten these are thine? - - That drift across the jagged line - Which you, my people, reared and built - To be a temple and a shrine - For gods of iron and of gilt— - - Aye, these are thine to heal thy heart, - To give thee back the thrill of Youth, - To seek therein the gold of Art, - And seek the broken shapes of Truth.” - -The same Orrick Johns wrote this blatant bit of free verse in _Poetry_ a -few months later. Both the paucity of ideas and the enlarged ego are -very well shown here: - - No man shall ever read me, - For I bring about in a gesture what they cannot fathom in a life; - Yet I tell Bob and Harry and Bill— - It costs me nothing to be kind; - If I am a generous adversary, be not deceived, neither be devoted— - It is because I despise you. - Yet if any man claim to be my peer I shall meet him, - For that man has an insolence that I like; - I am beholden to him. - I know the lightning when I see it, - And the toad when I see it ... - I warn all pretenders. - -But to see the tendencies of which we have spoken in their most -exaggerated form it is necessary to go to Ezra Pound, the young -self-expatriated American who wails because “that ass, my country, has -not employed me.” His earlier work was clean-cut, sensitive poetry, some -of it very beautiful. This for example: - - - PICCADILLY - - Beautiful, tragical faces, - Ye that were whole, and are so sunken; - And, O ye vile, ye that might have been loved, - That are so sodden and drunken, - Who hath forgotten you? - - O wistful, fragile faces, few out of many! - - The gross, the coarse, the brazen, - God knows I cannot pity them, perhaps, as I should do, - But, oh, ye delicate, wistful faces, - Who hath forgotten you? - -This, from _Blast_, the new English quarterly, is the latest from the -same hand. The capitals are his own. The contrast needs no comment: - - - SALUTATION THE THIRD - - Let us deride the smugness of “The Times”: - GUFFAW! - So much the gagged reviewers, - It will pay them when the worms are wriggling in their vitals; - These were they who objected to newness, - HERE are their TOMB-STONES. - - They supported the gag and the ring: - A little black BOX contains them. - SO shall you be also, - You slut-bellied obstructionist, - You sworn foe to free speech and good letters, - You fungus, you continuous gangrene. - - * * * * * - - I have seen many who go about with supplications, - Afraid to say how they hate you - HERE is the taste of my BOOT, - CARESS it, lick off the BLACKING. - -To attempt to lay the entire onus of so flagrant a spiritual and -cerebral degeneration to the writing of _vers libre_ alone is of course -impossible. But the tendency is clear. Fortunately, however, we are not -all Ezra Pounds and there are still poets balanced enough to appreciate -these dangers and to make of free verse the wonderful vehicle it can be -in the hands of a genius. - - - - - Union - - - RABINDRANATH TAGORE - - (_Translated from the original Bengali by Basanta Koomar Roy, author - of “Rabindranath Tagore: The Poet and His Personality.”_) - -Beloved, every part of my being craves for the corresponding part of -yours. My heart is heavy with its own restlessness, and it yearns to -fall senseless on yours. - -My eyes linger on your eyes, and my lips long to attain salvation by -losing their existence on your lips. - - * * * * * - -My thirsty heart is crying bitterly for the unveilment of your celestial -form. - - * * * * * - -The heart is deep in the ocean of being, and I sit by the forbidding -shore and moan for ever. - -But to-night, beloved, I shall enter the mysteries of existence with a -bosom heaving with love supreme, and my entire being shall find its -eternal union in thine. - - - - - War, the Only Hygiene of the World - - - F. T. MARINETTI - - (_Translated from the French by Anne Simon_) - -I want to explain to you the difference between Futurism and Anarchism. - -Anarchism, denying the infinite principle of human evolution, suspends -its impulse at the ideal threshold of universal peace, and before the -stupid paradise of interlocked embraces in the open fields and midst the -waving of palms. - -We, the Futurists, on the contrary, affirm as one of our absolute -principles the continuous growth and the unlimited physiological and -intellectual progress of Man. - -We aim beyond the hypothesis of the amicable fusion of the different -races, and we admit the only possible hygiene of the World: War. - -The distant goal of the anarchistic conception (a kind of sweet -tenderness, sister to baseness) appears to us as an impure gangrene -preluding the agony of the races. - -The anarchists are satisfied in attacking the political, judicial, and -economical branches of the social tree. We strive to do much more than -that. We want to uproot and burn its very deepest roots; those that are -planted in the brain of man, and are called: - -Mania for order. - -The desire for the least effort. - -The fanatical adoration of the family. - -The undue stress laid on sleep, and the repast at a fixed hour. - -Cowardly acquiescence or quietism. - -Love for the antique and the old. - -The unwise preservation of everything that is wicked and sick. - -The horror of the new. - -Contempt for youth. - -Contempt for rebellious minorities. - -The veneration for time, for accumulated years, for the dead, and for -the dying. - -The instinctive need of laws, chains, and impediments. - -Horror of violence. - -Horror of the unknown and the new. - -Fear of a total liberty. - -Have you never seen an assemblage of young revolutionaries or -anarchists?... _Eh bien_: there is no more discouraging spectacle. - -You would observe that the urgent, immediate mania, in these red souls, -is to deprive themselves quickly of their vehement independence, to give -the government of their party to the oldest of their number; that is to -say, to the greatest opportunist, to the most prudent, in a word, to the -one who having already acquired a little force, and a little authority, -will be fatally interested in conserving the present state of things, in -calming violence, in opposing all desire for adventure, for risk, and -heroism. - -This new president, while guiding them in the general discussion with -apparent equity, shall lead them like sheep to the fold of his personal -interest. - -Do you still believe seriously in the usefulness or desirability of -conventions of revolutionary spirits? - -Content yourself then, with choosing a director, or, better still, a -leader of discussion. Choose for that post the youngest amongst you, the -least known, the least important; only his role must never supersede the -simple distribution of the word, with an absolute equality of time that -he shall control, the watch in his hand. - -But that which digs the deepest ditch between the futuristic and -anarchistic conception, is the great problem of love, with its great -tyranny of sentiment and lust, from which we want to extricate humanity. - - - Genius-worship is the infallible sign of an uncreative - age.—_Clive Bell._ - - - The least that the state can do is to protect people who have - something to say that may cause a riot. What will not cause a - riot is probably not worth saying.—_Clive Bell._ - - - - - Noise - - - GEORGE BURMAN FOSTER - -There is a discovery, by no means pleasing or edifying, that the student -makes as he broadly surveys the history of humanity. All the great -turning-points of that history seem to be inwardly associated with -violent upheavals and fearful revolutions. And of all these revolutions, -it may be doubted whether history records any one on so large a scale as -that which confronts us under the name of Christianity, in the -transition from ancient to mediæval ecclesiastical culture. It was not a -single Crucified One that gave Christianity the sacred symbol of its -religion; unnumbered thousands—mostly slaves—breathed out their poor -lives on martyrs’ crosses. The old culture went down in rivers of -blood—not too figuratively meant—and a new arose, or, better, was -created. Now, what is true of this most important revolution of our -antecedent cultural life is true also, in corresponding measure, of -every new “becoming” in the history of peoples. No state, no church, no -social form, has ever arisen but that the path of the new life has -passed over ruins and graves. - -Must this be so? Must it be eternally so? Is it a thing of historical -inevitability, is it even a law of the very order of the world itself? -The answer—first answer, at all events—is, Yes! To affirm itself, to -persist as life,—this belongs as nothing else does to life’s very -nature. What newly arises negates what has already arisen. All that is -living pronounces a sentence of death upon all that has been alive and -that now sets itself against the new life. Accordingly, we are wont to -call life a struggle for existence. Old Greeks coined a phrase, _Polemos -pater panton_: war is the father of all things. The right to life is the -right of the strong. - -In view of these things, may we fairly raise the question as to whether -there are exceptions to so universal a rule? Were we to set up a -different right, would it not be the right of the weak? Would it not be -to make the sick and the infirm masters over the well and the strong? -Would it not be to preach a decadent morality as do all the -pusillanimous and the hirelings who beg for the protection of their -weakness because they do not have the strength to drive and force their -way through life? - -The man who, for a generation, has been called the prophet of a new -culture, this _Friedrich Nietzsche_, is he not, then, precisely the -apostle of this man of might and mastery, of ill-famed _Herrnmoral_, -master’s morality, especially? Napoleon, his Messiah—do you think? Did -he not gloat and glory over the time when the wild roving _blonde -Bestie_ was still alive in the old Germans? Did he not worship the beast -of prey, memorialize the murderer, stigmatize the morality of -Christianity as a crime against life, because of its saying, Blessed are -the poor and the sick, the peaceable and the meek? If, now, the word of -this new prophet should make disciples, should even revolutionize the -times, should we close our churches and stop our preaching, as the first -thing to be done? For the churches preach goodness and love, not might -and dominion; see in man child of God, not beast of prey. - -If all this were a partisan matter—for or against Nietzsche—I would have -nothing to do with it. To join in the damnatory fulminations against -this man, or to advertise mitigating circumstances for his thought, and -to re-interpret the whole from such a standpoint, until the whole should -seem less brutal and less dangerous—to do either the one or the other is -not for me, but for those polemicists and irenicists who are adding to -the gayety of nations in these otherwise heartbreaking times, by the -high debate as to whether Nietzsche be both the efficient and the final -cause of our present world war. Not to defend Nietzsche, not to condemn -him, but to wrestle for a firm, clear, moral view of life in our -seething times, this alone is most worth while, and this too is my task. - -But for all that, I do believe we must penetrate much, much deeper into -this new prophet’s spirit than either friend or foe has yet done, if we -are to win from Nietzsche a deepening of our own and our time’s moral -view of life. - -Would that we might forget, for a moment at least, all that partisan -praise and blame have scraped together respecting this most modern of -all philosophers; would that we might accompany him into the most hidden -workshop of his own thoughts and hearken to the personal confessions of -his wonderful soul! And what would we hear there? This preacher of crash -and catastrophe and cataclysm, temporal and eternal, speaking of -“thoughts which come with dove’s feet and steer and pilot the world”; of -“the stillest hours which bring the storm.” Zarathustra-Nietzsche hears -the _Höllenlärm_, the hellish alarum, that men make in life, that life -itself makes; he observes how men lend their ears to this noise, how -they are frightened by it, or exult over it, how they think that the -truth is the truer where the noise is the louder, how the howling of the -storm signifies to men that something good and great must be taking -place, some great event of history must be under way. Then Nietzsche -sets himself like a flint against this evaluation of things: “The -greatest experiences, these are not our noisiest, but our stillest -hours. It is not around the inventor of new noise, it is around the -inventor of new values that the world revolves, inaudibly revolves.” I -speak for myself alone, but these are words, Nietzsche words, for which -I would gladly sacrifice whole volumes of moral and theological works. -These words sharpen the eye and the ear for life-values which the -majority of men today pass by—pass by more heedlessly perhaps than ever. -These great words supply us with a criterion for the evaluation of -questions of the moral life, a criterion that no one will cast aside who -once comes to see what it means. It is a criterion without which we do -not yet comprehend life in its depths, because we so constantly -contemplate things from a false angle of vision. Something of the men -who are carried away by “hellish alarum” lives in all of us. Let there -be stillness without, and we think that there is nothing going on. Let -nature peal and groan outside there, so that all gigantic forces seem to -be released; then we have respect for her, we discern in such over-power -even a divine creative force or a divine destructive will. Let people -collide, the earth quake from thunder of cannon, and we signalize such a -day in our history, pass it down from child to child, and we call such -and such a battle a world-historical event. - -But we forget the best. A blustering and brewing pervades nature when -Spring comes over the land to conquer Winter. When we hear the conflict -we cry: “Spring has come!” Not so. The true, genuine Spring-life, -nascent underneath the fury, makes no noise at all, weaves away -inaudibly, invisibly, in tiny seeds, and conceals in itself the -noiseless new germs of life. - -Thomas Carlyle, though a trifle noisy himself at times, could finely -write: “Silence is the element in which great things fashion themselves -together; that at length they may emerge, full-formed and majestic, into -the daylight of Life, which they are thenceforth to rule.” Wordsworth, -not unmindful of - - “The silence that is in the starry sky” - -yet, gazing on the earth about him, sang - - “No sound is uttered,—but a deep - And solemn harmony pervades - The hollow vale from steep to steep - And penetrates the glades.” - -And for Longfellow there is - - “Hoeder, the blind old god - Whose feet are shod with silence.” - -But the chief study of mankind is still man, not nature and the gods. -Man’s silences! Yes, amid the smoke of powder and clink of swords, -peoples slash each other; and the men who make such uproar the people -call great. But the might and work of a people are to be found in that -quiet heroism, of which no one can discern anything outwardly—that quiet -heroism to which no one can unveil monuments in our cities. It is the -inaudible battles of the heart that this heroism fights; and the quieter -it is, the more gloriously it shines. Men with big voices and mighty -lungs we hear. Their words excite, move to tears, arouse boisterous and -voluble antagonisms. These who assemble about them such billowy mobs, we -are tempted to think that they are the leading spirits, that a vast -power must live in them, since they are so able to move inert men. But -another prophet, modern also, has said to these bawlers in market -places: “Do you think that he who stirs up scandal moves the world?” -Nothing easier than to start a scandal! Also, nothing jollier for -numerous men, to say nothing of women. But scandal is a roaring in the -ears. It does not reach the heart. It irritates, over-irritates the -nerves. It creates no blessings, no life. A tiny word that sinks down -into the deep of the soul, and quietly does its work there of -germinating and sprouting—this means infinitely more for the world than -the “alarum” of all the professional and unprofessional bawlers. Deep -rivers make least din. Light cares speak; mighty griefs are dumb. A -heart must be profane indeed, in which there is nothing sacred to -silence and the solemn sea. Once more, to quote Carlyle: “Under all -speech that is good for anything lies a silence that is better. Silence -is deep as eternity; speech is shallow as time.” - -It were well to begin at home, and learn to evaluate experience aright -in our own being. There are moments in our lives when everything that we -encounter disconcerts us; nay, when our whole being seems to be off the -hinges, out of joint. Pain plows up our innermost selves. We could -shriek from heartbreak and woe. We stand there undone. And men who see -us and hear us moaning so piteously, groaning so painfully, have the -feeling: “No pain like this!” But how mistaken they are! For there is a -cry of the soul, heard of no one, more painful than all that can be -pitied or lamented. There are labors and battles of the soul wherein -nothing is hammered and driven, and yet _something new_ is formed. It is -never so still in a man as when he makes up his mind to have done -inwardly with some experience. As long as there is foaming and -blustering within, we accomplish nothing. True work tolerates no -tempest. We must be still. And when old values are broken, when we must -lead life to new goals, the quiet hour must come in which a divine child -of the spirit is conceived by the holy spirit; and the brightest light -which we can kindle within will burn so quietly and clearly that no -cloud of smoke shall ascend therefrom, and there shall be no flickering -to bear witness of contact with the restless world. “There the true -Silence is, self-conscious and alone.” - -Behold, then, this Nietzsche, who flees all “alarum” and execrates all -din as a falsification of the moral values of life; who lives preferably -thousands of feet above the world there below, who lingers on the -loftiest lands of life whither no whirring rattle of the day could rise! -Could this Nietzsche find joy in men mauling and making a mess of each -other? Could this Nietzsche preach a culture in which battalions in -uniform should line up against those in blouse to see who knew best how -to deal the deadly blow? Could he gloat over the field where the thunder -of battle thundered the loudest? “Inventor” Krupp’s “new noise”—would -that appeal to Nietzsche who wanted all silent save the dripping rain, -and who worshipped sunshine alone? One might answer these questions in -the light of one’s own experience. Let us suppose that we comprehend the -meaning of the _stillsten Stunden_, the quietest hours, and the worth of -those great happenings of which nothing reaches the newspapers, and -which no _avant-coureur_ trumpets. Tell me, could we then detect even -the slightest inclination to be our own heralds, and to sacrifice our -quietest hours to the gaping and squabbling of men? Men—so the old -gospels say—ought not to cast their pearls before swine, or give that -which is holy to the dogs. But what is pearl, what is holy, if not what -the Nietzschean still hour contains and produces? There is something so -tender and beautiful in that hour that we shrink from expressing it, -from translating it into thought, lest word and thought tincture its -best perfume. Silence is sweeter than speech, more musical than song. -Whoever has a deep in himself into which he alone descends and -penetrates, a _plus_ of his life that remains after we have known and -weighed all his words and deeds, protects this deep and this _plus_ from -everything that could make a noise, from all mere words, from all -intrusive and obtrusive tittle-tattle. _Sich eine Oberfläche -anheucheln_, to feign a surface, to wear a mask, this is the original -and fine insight into such psychology. Man envelops himself in -unneighborliness, not to hold haughtily other men away from him, but to -save himself from them, so that they may not clumsily finger some pearl -which could not stand so rude a touch. Why speak in parables? Because it -is not given unto them to know the mystery of the kingdom, said the -Nazarene. Parables were a protecting shell encasing the most intimate -kernel, which ignorance or awkwardness might otherwise corrupt or -destroy. Nietzsche and the Nazarene held a deep and a _plus_ so uniquely -their own that they intentionally sought, not to be understood, but to -be misunderstood, with reference thereto. - -Yes, there is a “surface” which only the man knows and uses who bears -about a deep in his own being. There, hypocrisy becomes a protection of -truthfulness; surface a protection of depth. Whoever “feigns such -surface,” wears such mask, is infinitely more honest and veracious than -he who has no silence in his deep which cannot be speech on his tongue—a -speech which is often only motions and noises of the tongue of him who -pries curiously into what he is inwardly incompetent to understand, or -offers a superficial and voluble sympathy for griefs of which he is as -innocent as a babe unborn, or a jaunty appreciation of values and -verities and virtues for which he has never sweat even a drop of blood. -To wear a mask, to lie, lie, lie,—that is the _truth_ of the soul as it -hides its treasures and its sanctities from vulgarity and volubility! - - ‘The suitor of _truth_? Thou?’ Thus they mocked. - ‘Nay! Merely a poet! - An animal, a cunning, preying, stealing one, - Which must lie, - Which must lie, consciously, voluntarily, - Longing for prey, - _Disguised in many colours,_ - _A mask unto itself,_ - _A prey unto itself._ - _That_—the suitor of truth? - Only a fool! a poet! - Only a speaker in many colours - Speaking in many colours out of fools’ masks, - Stalking about on deceitful word bridges, - On deceitful rain-bows, - Between false heavens - Wandering, stealing about— - _Only_ a fool! a poet! - - (_Italics_ mine.) - -Thus, it is the Deep, the Unique, the Abyss within, that is the great -Isolator. Nietzsche was indeed “the eagle that long, long gazeth -benumbed into abysses, into _its own_ abysses!” - -And he spoke in parables. Give heed—so Zarathustra counsels his -disciples—to the times when your spirits speak in parables, for in these -times is the origin of your virtue. - -I said I would not vindicate Nietzsche. But what if his deification of -force-humanity, of master-humanity, were _Oberfläche_, “surface,” mask, -which he “feigned” or wore, in order to protect his pearls from sows, -his holy of holies from hounds? What if _this_—scandalizing the -scandalous!—were but picture and parable which Nietzsche flaunted to the -people that they might wreak their vengeance thereupon? And the parable -is so pertinently chosen that it says everything to men of sense and -seriousness, hides everything from fools; that the pearls can be -recognized if right eyes behold, but protectingly concealed from rude -eyes and awkward hands. - -Of course, Nietzsche was a homicide! So must we be! If thy right eye -offend thee, pluck it out, and cast it from thee; if thy right hand -offend thee, hew it off, and cast it from thee. And there are things -more offensive than an eye or a hand! These are the weaknesses which we -pamper and grow in ourselves: thought-lessness which we wink at; old pet -habits which have come to be just too dear for anything, especially for -us to knife; above all, sickly sentiments, self-pity, from which even -all our joys cannot rescue us—so that we do not have the courage to join -those warriors who turn their weapons against their own selves, and to -swear an “_I will_,” that is hard as steel, against all these softnesses -and humors and self-commiserations. Surely, it were well to be -force-men, master-men, so that we would not coddle our impotency or -carry on a pleasure-pain play with our weakness. - -Yes, in these “stillest hours” there is also a “still” homicide and -interment, a plucking out and a hacking off, and the warrior-hero does -not betray the least pathos as he does this—there is no plaintive note -in his voice. The greatest thing about the dying Socrates, sipping away -at his cup of hemlock, was the total absence of pathos and self-pity. -Ah, if we but took half the pains to marshal forces of will in -ourselves, that we now devote to conserving our weak wills, and to -adducing all sorts of plausible reasons for their impuissance! If we but -actually learned _Herrenmoral_, master-morality, that were indeed -masterful and understood mastership! We are called to be masters by our -creator, not only masters of the earth, but also masters of the spirit. -And mastership is a great sacred thing, which we ought to learn from -world-masters. We ought to be hammers in life and not anvils. The great -calamity among men is that they shrink from being hammers, and call the -virtue of the anvil that lets itself be struck by the name of -“patience.” - -It is just not true that Christianity abhors master-morality and -preaches a _Sclavenmoral_, a slave-morality. Yes it _is_ true of the -cowardly and inert thing that men call Christianity, this religion of -the study-chair and the barracks which can make use of no master, -because it summons just those powers to rule whose whole strength -consists only in the weakness of others. But there _is_ a Christianity -which has been outright mighty force, outright master-instinct, this -kingly Christianity, in whose presence a Pilate, and a Herod, with the -entire host of their war-slaves, were feeble folk indeed; a Christianity -of love and gentleness and meekness,—aye, aye, sir! But one can have -gentleness in the heart,—and yet lay on with a club! That was indeed -master-morality when the Son of Man made himself master of the Sabbath; -when he with a whip of cords scourged the money-changers and mammonists -out of the Temple! That was a force-man and a master-man who hurled his, -“Get thee behind me, Satan!” against the weak heart of Peter. - -How would it do for our churches to have a new festival, a festival of -“the stillest hour,” memorializing the “invention of new values, around -which the world revolves, noiselessly revolves”? Noises enough, often -enough _Höllenlärm_, have there been in our churches, are yet, God -knows! But it is not noise that rules the world. It is stillness which -ultimately is the spiritual and moral might of the men who will possess -the kingdom of earth. What if even the history of peoples “feigns a -surface,” wears a mask, for those who having eyes see not, having ears -hear not? What if men mistake _Höllenlärm_ for messages of great -occurrences in history, and on this account hold themselves aloof from -those phenomena and experiences in which _something new_, a life of the -heart, presses on to its birth-hour? Yet the human race will not always -need or require noise and masks as its history rolls on. The more men -kill what is really worthy of death, the less will they set out to kill -each other. The more powerfully the will becomes conscious of its -calling to master, the more strenuously men strive after greatness, -human greatness, the more ridiculous will it come to seem to them in the -course of time that the force of man should be sought in the force of -his muscles, the mastership of man in the hoarded prerogative of powder -and lead. The day will yet come—as come it shall—when we will estimate -our life, not according to its noisiest, but according to its stillest -hours. And then a great and pure life will be created by what is done in -the heart of man. - - - - - The Birth of a Poem - - - (_Translated from the Russian of Maximilian Voloshin by A. S. K._) - - In my soul is a fragrant dusk of coming thunder... - Heat-lightnings coil there like blue-birds... - Lighted windows burn... - And fibres, long, - Slow-singing, - Grow in the gloom... - O the odor of flowers that reaches a scream! - Lo! lightning in a white zig-zag... - And at once all became bright and great... - How radiant is the night! - Words dance, then flash in couples - In an enamored harmony. - Out of the womb of consciousness, from the bottom of the labyrinth— - Visions crowd in a quailing host... - And the verse blossoms into a hyacinth-flower, - Cold, fragrant, white. - - - - - Editorials - - - _Why Socialists Went to War_ - -We have listened with much interest to the excuses for the German -Socialists who went to war, as well as to the attacks on them for doing -so. Now, though hesitating to obtrude our ignorance into the muddle of a -complicated discussion, we can’t refrain from offering a suggestion. - -The bottom reason for sudden activity under the stress of unusual -circumstances is to be found, not in a conscious mental decision, but in -the previously-formed habits of the individual mind. We are referring -partly to the mob-emotion which has swept away so many even of the -greatest souls of Europe. We are thinking more of the essence of -Socialism, and the sort of emotional method which has been produced -among its adherents—the material upon which mob-psychology had to work. - -There is no essential difference between the method of German -Imperialism and the method of German Socialism; the only difference lies -in the objectives. Both insist on the supreme importance of the state, -both work through cohesive organization and the almost unquestioning -following of leaders. The habit of obedience, the instinct for -organization, the gregarious mode of action—these are the very qualities -of the individual German which have made it possible for the German -Social Democratic Party to grow to such size and strength. What more -inevitable, when the mobilization order went up, when flags flew and -drums beat, than that the individual German Socialist should in his -excitement shoulder his gun and march to war? - -Of course, we don’t really know anything about it, and we haven’t the -resources to make anything like a scientific investigation. But we -strongly suspect that the morals of organized humanity will remain -inferior to the morals of the individual until the individual habit of -mind becomes one which denies to organized humanity supreme authority -over the will. - - G. H. S. - - - _Even Galsworthy!_ - -In _Scribner’s Magazine_ for November, Mr. Galsworthy has a stunning -article on the War. And then at its close:—“Your Prussian supermen of -Nietzsche’s cult...!” - - - _Another New Poet_ - -Mr. Scharmel Iris is a young Italian poet, born in Florence, who at the -tender age of ten, and later, was praised by Ruskin, Swinburne, Francis -Thompson, Edmund Gosse, and other men who may be assumed to know what -good poetry is. Ruskin wrote: “He is a youth of genius and his poems are -marvelously beautiful. His heart has felt the pathos of life and he has -set this pathos to music.” Swinburne said: “He writes with imaginative -ardor, and impassioned is the word which best illustrates his utterance. -He is genuine and sincere, and his lovely poems display energy of -emotion and a true sense of poetic restraint.” Thompson was more -superlative: “I believe Scharmel Iris to be a poet of the first rank,” -he stated. “His poems are sublime in conception, rich in splendid -imagery, full of remarkable metaphors and new figures, and musical in -expression.” Of course it has been difficult for a young man of such -talent to find a publisher or a public; but at last a volume of his work -is to be brought out by the Ralph Fletcher Seymour Company. The book -will be called _Lyrics of a Lad_, and will be ready about Christmas -time. Beside a preface by Maurice Francis Egan and an interesting -title-page decoration by Michele Greco, it will have a frontispiece -portrait by Eugene R. Hutchinson, the photographer who should never be -referred to by any noun except “artist.” Personally, we love Mr. Iris’s -work; we use the verb thoughtfully, because his poetry is not merely the -sort which interests or attracts; it remains in your mind as part of -that art treasure-house which is your religion and your life. - - - _Prizes for Poetry_ - -An interesting announcement comes from _Poetry_ in regard to two prize -offers. One—the Helen Haire Levinson prize of two hundred dollars for -the best poetry by a citizen of the United States published in the -magazine during its second year—has been awarded to Mr. Carl Sandburg -for his _Chicago Poems_. This is a particularly gratifying decision, for -Mr. Sandburg’s is a new voice which must be reckoned with in American -poetic production. The second is a one hundred dollar offer for the best -war or peace poem on the present European situation, and has been given -to Miss Louise Driscoll of Catskill, New York, for a poem called _Metal -Checks_, which appears in the November issue. - - - - - My Friend, the Incurable - - -At dusk I pass an ugly red building with shrieking fat black letters on -its façade—Home for Incurables. Shrill grass, narcotic carnations, hazy -figures in rocking chairs and on the balconies, melting in the liquid -gold of autumn twilight—a harmony of discord that screams for the -spiritual brush of Kandinsky. There are no signs of pain or grief on the -faces of the doomed: a profound calmness they bear, a resolute -quiescence, reminding us of Dante after he had seen hell or of -Andreyev’s resurrected Lazarus. “To be sure, they are quite happy,” -explained the obliging Doctor. “These men and women have come to be free -of struggles, of doubts, and of the anguish of hopes. The knowledge of -their fate, the ultimate, irrevocable truth, is a relieving balm for the -tired spirits—nay, even for the hopeless bodies, for as soon as they -cease fighting their disease they learn to adapt themselves to that -disease, to consider it an inseparable part of their existence. I can -show you a number of patients who are actually in love with their -affliction, who would resent the idea of being turned normal. Look at -the hilarious face of that fellow yonder at the fountain; he is -intoxicated with sunset, and appears to be the happiest of mortals, -despite his terrible disease. A queer case, an un-American case.” - -The doctor uttered a fearful Latin term and told me the history of that -patient. A European, he has been for many years afflicted with something -like “sentimentalomania,” a peculiarly Continental ailment. Skilful -physicians had tried in vain to cure him; change of climate and -environment had been of no avail: even in Siberian tundras and in foggy -London his disposition remained unaltered. In despair he went to Berlin, -where, he was advised, the gravest case of sentimentality would be -annihilated; the reaction proved almost fatal, for the Spree and the -_Sieges Allee_ made such a nauseating impression upon the poor fellow -that his illness was complicated by a severe outbreak of Germanophobia. -As a last resort, the famous specialist, Herr Dr. Von Bierueberalles, -bade him taste the influence of the sanest atmosphere on earth, that of -the States. When even the harshest and most practical American treatment -had failed to knock out the unfortunate’s folly, he was pronounced -hopeless and offered a place among the incurables, which offer he -willingly accepted, and acquiesced. He has since become accustomed to -his disease and bears it rather with defiant joy. - -At times, when I seek relief from practical values and sane standards, I -come to have a chat with my friend, the Incurable. Henceforth he will -have the floor. - - * * * * * - -With whom do I side in the War? Why, of course, with Germany! Perhaps my -attitude shows that I have not been completely cured from the -Prussophobia that I had contracted in Berlin; as it is, I sincerely wish -to see the German boot victorious on the whole continent and over the -mouldy Britons, a rude, dreamless, wingless Napoleon brooding over old -napping Europe. Picture the ruined cathedrals of Belgium and France -“restored” into comfortable barracks for the braves of the Fatherland; -picture the boulevards of Paris and Brusselles, the quays of the Neva -and the Thames, ornated with the statues of the most Christian Wilhelm -and of his illustrious ancestors down to the Great Elector of -Brandenburg; picture the excellent _Schutzman_ reigning supreme, -physically and spiritually, from Vladivostock to Glasgow,—think what an -abyss of hatred, of stirring electrifying hatred will arise among the -rotting nations, and out of hatred self consciousness, endeavors, -cravings, to be crystallized in torrents of new art creations! As for -Germany, I have no fear for the duration of her hegemony; she will -undoubtedly choke from indigestion. But oh, how I dread the reverse -outcome! The victory of the Allies will push Progress a century -backward; it will strengthen the tottering absolutism in Russia; it will -swell the piggish arrogance of the French bourgeois; it will augment the -insular hypocricity of the English Philistine; it will still more, if it -is possible, vulgarize international diplomacy and greed, arousing the -appetites of the so-called Democracies. - -Democracy—who was it that recently stated with charming aplomb that -“Individualism and democracy are synonymous terms?” Yes, I recall: it -came from the pen of the author of _Incense and Splendor_ and _To the -Innermost_. I confess this statement, especially when considering its -authorship, came to me as a revelation. To me the word “democracy,” as -many another beautiful word, has lost its original lofty meaning and has -come to rhyme with mediocrity, with the strangling of the Few of the -Mountain by the Many of the Valley. Could you name many great things -that the most democratized countries, like America and Switzerland, have -produced outside of Schweitzer-cheese and Victrolas? Has there ever been -a great individualist who appeared as a child of his age, as an -outgrowth and a reflection of a democracy? I do not know of such -instances. Of course, I grant that the writer of that statement put into -the word “Democracy” a higher, a more idealistic meaning. Words, like -music, like practically every medium of art, express the author’s -personality, and, provided he is an artist, he binds us to share his -interpretation. Take, for example, that popular song, “_Oh, You -Beautiful Doll_”; apparently there is nothing tragic in it, yet my -emotions were stirred when I heard its French interpretation by Olga -Petrova (it was before the kind American entrepreneurs had forced her to -perform stunts in Panthea). She had managed to put so much sorrow and -tenderness into “_O Ma Grande Belle Poupée!_” that one forgot the -triteness of the words and felt gripping sadness. Or take a less vulgar -illustration—Gertrude Stein’s _Tender Buttons_.[1] It is an exquisite -little thing in cream covers, with a green moon in the center, implying -the yolk of an egg with which “something is the matter,” and it gave me -rare pleasure to witness the first attempt to revolutionize the most -obsolete and inflexible medium of Art—words. The author has endeavored -to use language in the same way as Kandinsky uses his colors: to discard -conventional structure, to eliminate understandable figures and forms, -and to create a “spiritual harmony,” leaving to the layman the task of -discovering the “_innerer Klang_.” Both iconoclasts have admirably -succeeded; both the “Improvisations” and the little “essays” on -roast-beef and seltzer-bottles have given me the great joy of -cocreating, allowing me to interpret them in my own autonomous way. Says -the Painter:[2] - - The apt use of a word, repetition of this word, twice, three - times or even more frequently, will not only tend to intensify - the inner harmony but also to bring to light unsuspected - spiritual properties of the word itself. Further than that, - frequent repetition of a word deprives the word of its original - external meaning. - -Gertrude Stein has beautifully followed this recipe. Words, plain -everyday words, have lost their “external meaning” under her skilful -manipulation, and in their grotesque arrangement, frequent repetition, -and intentional incoherence they have come to serve as quaint ephemeral -sounds of a suggestive symphony, or, if you please, cacophony. The -_Tender Buttons_ arouse in the sympathetic reader a limitless amount of -moods, from scherzo to maestoso. I shall recall for you a few lines of -one peculiar motive: - - (From _A Substance in a Cushion_.) - - What is the use of a violent kind of delightfulness if there is - no pleasure in not getting tired of it. - - (From _Red Roses_.) - - A cool red rose and a pink cut pink, a collapse and a sole hole, - a little less hot. - - Aider, why aider why whow, whow stop touch, aider whow, aider - stop the muncher, muncher munchers. - - (From _Breakfast_.) - - What is a loving tongue and pepper and more fish than there is - when tears many tears are necessary. - - Why is there more craving than there is in a mountain.... Why is - there so much useless suffering. Why is there. - -Do you not feel the deep melancholy underlying these incongruities? I -could quote places that would bring you into a totally different mood, -most hilarious at times. These “exaggerated cranberries,” to paraphrase -an expression of one of my incurable colleagues, should be chanted to -the music of another great iconoclast, Schoenberg. But I observe an -indulgent sneer on your face. Of course, I am an Incurable—_Adieu_! - - IBN GABIROL. - - [1] _Tender Buttons_, by Gertrude Stein [Claire Marie, New York]. - - [2] _The Art of Spiritual Harmony_, by W. Kandinsky [Houghton - Mifflin, Boston]. - - - - - London Letter - - - E. BUXTON SHANKS - - _London, Sept. 11, 1914._ - -We are all soldiers now and literature, for the time, has disappeared. -The publishing business is at a standstill, reviews are cutting down -their size, and all the best poets are sedulously learning to form fours -in the squares of London. It is, by itself, a remarkable thing, which -will have an effect on all of us when the war stops and we begin to -write again. To leave your pens and paper, to know that you have before -you in the day, not an endless struggle with rhythm, rhyme, and editors, -but a few hours’ drilling that is laborious and terminable—it is a -rousing experience for a poet, mentally as well as physically. - -Meanwhile the literary result of the war is nothing but disastrous. All -our more or less “official” poets—Mr. Bridges, Mr. Newbolt, Mr. Binyon, -Mr. Watson, Mr. Phillips, and so on—have come forward with amazing -arrays of abstract nouns. Mr. Bridges, who is almost the worst as well -as almost the best of living poets, printed a copy of verses in _The -Times_ which rhymed far less often than is proper in a ceremonial piece -and ended thus: - - Up, careless, awake! - Ye peacemakers, fight! - ENGLAND STANDS FOR HONOUR: - GOD DEFEND THE RIGHT. - -Mr. William Watson has been prodigal of poetry and has reached his -highest level in a poem which contains the following singular lines:— - - We bit them in the Bight, - The Bight of Heligoland. - -It is a very sad business. These gentlemen have retired to their -studies, determined to feel what is proper, and they come out having -done their best; but they will be heartily ashamed of it—I hope—in a few -months. Unfortunately, Mr. John Lane has collected their verses in a -volume and is selling their shame for charity. Three good poems have -come out of the welter, one by Mr. G. K. Chesterton—_The Wife of -Flanders_, a very fine composition—and two by Mr. De La Mare. - -The trouble is that a poet does not feel war fever very acutely in a -general sense. Patriotic poetry is nearly always bad. If there is a -worthy reference to the Armada in Elizabethan poetry, it has escaped me; -and the English resistance to Napoleon has never been a very happy -subject for English writers. The good poetry that is provoked by war is -of a different character: it is personal, visual, and concrete. It never -expresses any general aspect of war, but only such subjects as have been -personally observed and felt by the poet. I would give as instances -Rudyard Kipling and the German poet Liliencron, both of whom have -written well about soldiers and fighting, but foolishly about War and -Patriotism. - -Yet any poet going about the streets today must see and feel a quantity -of poetical things. A week or so ago, I saw an endless baggage-train -belonging to the artillery, as it passed through Barnet. It had come -from Worcester, commandeering horses and wagons on the way; it was going -to Brentwood and thence—God knows! It was very long and uneven—the carts -had bakers’ and butchers’ names on them—the horses were ridden with -halters and sacks for saddles—the men were tired and dishevelled. I -spoke to one of them who was watering his horse at a trough, offered to -bring him beer from a public-house close by; but someone had given him -tea farther back on the road and he would rot. He thanked me and rode -away, drooping very much over his horse’s neck. It was all a poem in -itself or it gave me the emotions of a poem, because it had none of the -conventional glitter of war. It was poetical because it was -business-like, just as our khaki service uniforms are more beautiful -than the bright clothes the troops wear in peace. - -If the war-poets would confine themselves to real and tangible things -like this, they might well express the experience through which we are -now passing. But they seem unhappily obsessed with the idea of -expressing an obstreperous valour and self-confidence and bluster which -the nation is very far from feeling. The nation, so far as I can gauge -it, is showing an obstinate, workmanlike silence and does not either -make light of, or grumble at, the hardships it has to suffer: the -baggage-train of which I have spoken was a very adequate symbol of this. -But no one is ever so greatly out of touch with the people as a popular -poet. - -At the beginning of the war, the musical in London were shocked by an -announcement that no German or Austrian music would be played at the -famous Queen’s Hall Promenade Concerts. We were naturally a little -upset, as we depend on these performances for solid and regular -entertainment: and it seemed hard and unnecessary to renounce Bach, -Mozart, Beethoven, Wagner, and even Schönberg. Luckily good sense and -humour killed the absurd idea, but not before a French and Russian -programme had been substituted for the first Wagner night. Now, much as -I shrink from the thought of having to hear Tschaikowsky instead of -Wagner, I do believe that we have a cause for national resentment -against the second of these composers. His ridiculous and windy -prose-works have been among the writings which have provoked the war. -With Nietzsche, and with the renegade Englishman, Houston Stewart -Chamberlain, he has encouraged the notion that there is a special -Teutonic culture which is superior to any other and which deserves to be -spread at any cost. Such an idea has never appealed to the true Germans -(e. g., Goethe, who knew what he owed to France and England), but it has -been useful to the Prussian soldiers, who have debased and vulgarized -true German culture. Perhaps I am exceeding the duties of a London -letter-writer and becoming an advocate; but I think I am giving you an -accurate account of the feelings of those here who admire German poetry -and music. I am not a Chauvinist in art—few people are. I read Goethe -impenitently in the public trains and trams, to the disgust of my -neighbours, and I continue to sing German songs, a little out of tune: -unless my Territorial uniform is served out to me very soon, I shall -probably be arrested as a spy. - - - - - New York Letter - - - GEORGE SOULE - -Some years ago a good woman, who would like to be foster-mother to all -struggling heroes, was sitting at midnight in her down-town flat. -Suddenly there was a noise at the front door, someone leapt up the -staircases two steps at a time, and rushed into her room shouting “I’ve -got it! I’ve got it!” She turned around and saw the dark face of a young -actor, shining with excitement. He immediately burst into a superb -interpretation of a passage from _Hamlet_. He had been working over it -for two weeks without being able to satisfy himself, but it had come to -him that evening. He could not wait to let his good friend know, had -jumped on an elevated train, and after being carried two stations too -far in his elation, was there with his prize. - -No, this is not the beginning of a magazine story, nor is it a passage -from the biography of a deceased European celebrity. It is the simple -truth about a young American dramatist who is known only to a few;—and -he is of New England stock! - -Later the young Hamlet, having completed his acting apprenticeship, -began to write, and went into the real estate business to support -himself. Nobody wanted his plays; they were too “highbrow.” So he began -to build a theatre of his own. The managers’ trust put every difficulty -in his way, and finally, when the building was nearly done and the -company was engaged, succeeded in crushing him. The next attempt was a -repertory company on the East side, but this wiped out what little was -left of his resources before it got fairly started. One play was -produced on Broadway;—it ran two weeks. Last year another was rehearsed -for nine weeks, but it was withdrawn on the day of the dress rehearsal, -because the author refused to make a change insisted on by the manager. -Now the writer has retired to his farm in the Connecticut hills, where -he and a companion have with their own hands built a little theatre. In -this, on Sunday afternoons during the summer, he reads from his fifteen -manuscript plays to such few people as can get there to hear him. And as -he reads, there is on his face much the same enthusiasm as on the night -years ago when he got his passage from _Hamlet_. - -I visited Butler Davenport for the third time last Sunday. The main -house is a rambling mid-Victorian affair, with queer crannies and cupola -rooms from which one can look far across the hills to the Sound. On its -left is an old farmhouse of the eighteenth century, furnished as Mr. -Butler’s grandfather left it, and with a musty smell which no -old-furniture shop could counterfeit. Between the two is an -old-fashioned garden, in midsummer filled with larkspur, cosmos, and a -hundred other flowers which few but our grandmothers could name. At the -intersection of walks at its center is a crab-apple tree, surrounded by -a bench. A formal garden with high, thick cedar hedges, bird-houses, -unsuspected grass walks and an avenue of woodbine arches lies on the -other side of the main house. In the rear, stretching out towards the -wide valley, is a long, hedged walk ending in an arch, between fields of -wild flowers. Down it one could go to any kind of distant mystery. - -The theatre is a simple, strong little building behind the old -farmhouse. Its most expert bit of carpentry is the balcony, but that is, -of course, unpretentious. The seats are ordinary kitchen chairs, and -there is nothing on the stage but a reading desk. But the luxury of -sitting between wide-open doors in the hill-breeze, full of grass odors -and wing sounds, is better than the comfort of plush seats and much -gilded fresco. - -This time, however, as there were only four of us, we sat out under an -apple tree. Except for a moment when a tragic passage was interrupted to -shoo away a loud-voiced and ill-mannered hen, it was the most nearly -perfect theatre I have known. - -And the play? It is impossible to do more than hint at the nature of -unpublished plays. This one dealt with the “white slave” question, but -in a way infinitely superior to the melodrama of _The Lure_ or _The -Fight_. There was another, of subtler treatment, called _Deferred -Payment_, showing the natural retribution seeking out a man who looked -for everything in a woman except companionship. _Keeping Up -Appearances_—the one actually produced—pictures a middle-class family -engaged in a tragic struggle with the pocket book on account of the -false ideals of the community. _Justice_, written before Galsworthy’s -play of the same name, draws a parallel between society’s persecution of -a woman who is consecrated to a fine love without marriage, and -society’s punishment of the unfortunate victims of prostitution. Mr. -Davenport’s best work is in _The Importance of Coming and Going_, a -satirical tragi-comedy which contrasts the exaggerated emphasis we lay -on death with the casual way we regard birth. When a person who never -should have come into the world leaves it, perhaps gladly, we weep -copiously and buy showy funerals; but mothers let their daughters marry -any kind of man of wealth or position, without giving them any insight -into the mysteries of birth. - -Mr. Davenport’s plays do not rank with Ibsen’s or even with -Galsworthy’s. But thousands of worse plays have been produced and have -succeeded—simply because they contained no ideas. Mr. Davenport is -master of a technique which would make it easy for him to write a -popular success if he did not insist on saying something. One manager -has told him that he is ten years ahead of his time, but that if he were -only European his work could be produced. A publisher wrote him that his -plays could be issued in book form if he were only well-known. Mr. -Davenport’s question, “My dear Mr. ——, how am I to become well known?” -has not elicited a reply. - -This man’s spirit will remain just as eager and strong as when he began; -he may get before the public eventually. Even this year hopeful new -plans are under way. But whether he ever succeeds or not, he will have -found in life a thousand times more than the obtuse millions who are -deaf to him. It would be an insult to offer him sympathy. - -And it would be stupid to place final blame on the managers or the -publishers, or to think that such things as drama leagues can furnish a -fundamental remedy for the apathy of the public. The whole structure of -society must be altered, and the quality of the individual human spirit -must be quickened, before our leaders can find any adequate reaction in -the crowds. We have denied ourselves the artistic stimulus of a cohesive -aristocracy. How shall we vitalize our democracy? - - - If they (men) were books, I would not read them.—_Goethe._ - - - Some people term a book poor and unreal because it happens to be - outside the reality with which they themselves happen to be - acquainted—a reality which is to actual reality what a duck-pond - is to the ocean.—_George Brandes._ - - - - - The Theatre - - - Forbes-Robertson’s Hamlet - - (_Blackstone Theatre_) - -One of the noblest things I have ever seen on the stage—or ever expect -to see—is the Hamlet of Forbes-Robertson. The poet, the scholar, the -philosopher, the great gentleman, the lover, the brilliant talker, the -anguished boy—they are all there in the tall man in black with the -graven face and the wonderful hands and the voice of surpassing -richnesses—the tall, graceful, impetuous, humorous, agonized man in -black who reads Shakespeare as if he were improvising and makes a true -and charming human being out of a character that has had the misfortune -to become a problem. “And please observe,” writes Bernard Shaw, “that -this is not a cold Hamlet. He is none of your logicians who reason their -way through the world because they cannot feel their way through it; his -intellect is the organ of his passion; his eternal self-criticism is as -alive and thrilling as it can possibly be.” His moment of expiation, -alone at the back of the stage, with his arms raised to the vaulted -heavens; and his gallant last moment on the throne with its single -silver sentence, “The rest is silence”—these things are too moving to be -articulate about. Richard Le Gallienne has expressed it all as well as -it can be done: “All my life I seem to have been asking my friends, -those I loved best, those who valued the dearest, the kindest, the -greatest, and the strongest, in our strange human life, to come with me -and see Forbes-Robertson die in _Hamlet_. I asked them because, as that -strange young dead king sat upon his throne, there was something, -whatever it meant—death, life, immortality, what you will—of a -surpassing loneliness, something transfiguring the poor passing moment -of trivial, brutal murder into a beauty to which it was quite natural -that that stern Northern warrior, with his winged helmet, should bend -the knee. I would not exchange anything I have ever read or seen for -Forbes-Robertson as he sits there so still and starlit upon the throne -of Denmark.” - - M. C. A. - - - “The Yellow Ticket” - - (_Powers’ Theatre_) - -A bleeding chunk of reality is not art, but it is a bleeding chunk of -reality; your aesthetic emotions may sleep at the sight of a tortured -animal, but your humane emotions will roll up to your throat when you -witness the simple tragedy of a Jewish girl in St. Petersburg, presented -in Michael Morton’s play, _The Yellow Ticket_. To me such a realistic -play in such a realistic presentation has as little to do with dramatic -art as a reporter’s story has to do with literature; but I brushed aside -my memories of Rheinhardt and Komissarzhevskaya when I went to see a -piece of Russian life at Powers’. And I saw it indeed—real, nude, -appalling. - -Some of my acquaintances have asked me whether the tragedy could be -true, whether a Jewish girl has no right to live in St. Petersburg, -unless she has bought her protection from the police by selling her -reputation—that is by procuring a yellow ticket, the trade-licence of a -prostitute. Yes, it is true. A Jew is forbidden to abide outside the -Pale of Settlement, with the exception of certain merchants and persons -of a university education, and prostitutes. The latter form the most -desirable element in the eyes of government officials, since their -occupation does not generally presuppose any predilections for -revolutionary ideas or free thought. I have known instances where women -involved in the Revolution, gentiles as well as Jewesses, obtained -yellow tickets which served them the rôle of a _carte blanche_ from the -molestations of the police. There are many anecdotic facts in Russian -life that seem incredible to the outsider, and Mr. Morton has produced -in his play a mass of such facts with photographic verisimilitude. It -must be said to the credit of the actors that they have escaped the -slippery path of melodramatic overdoing. - - K. - - - “Jael” - - (_The Little Theatre_) - -“Hosanna!” I felt like shouting, when the curtains slowly concealed the -mysterious stage. I am still under the spell of the oriental atmosphere, -not yet cooled off for objective criticism. What Florence Kiper Frank -has done with the biblical subject may terrify the orthodox student of -the Bible, but I greeted her daring heresy and free manipulation of -epochs and styles. She has skilfully blended the bloodthirsty, gloating -outcries of Deborah’s Song with the idyllic lyrics of Solomon’s Songs, -and has presented in _Jael_ a composite type, a mixture of the savage -tent-woman, of the passionate yet gentle Shulamite, and of the eternal -jealous female. The result, as far as the creation of an atmosphere -goes, is a positive success. - -A word about the staging. Maurice Browne, on the privilege of a pioneer, -may be congratulated on the progress he has made in leaving behind -mouldy conventions and approaching the state where he can produce pure -aesthetic emotions. The three one-act plays on the present bill, -regardless of their merits or demerits, demonstrate the great -possibilities of an artistic stage manager, who can do away with -elaborate accessories and produce suggestive illusions with the aid of -an ultramarine background and calico apple blossoms. Yet, as in all -pioneering, there are signs of hesitation and of half-measures. I am -sure that the effect of _Jael_ would not in the least diminish (it would -rather be intensified), if we were spared the inevitable -storm-pyrotechnics. The verses in themselves imply the idea of battle -and tempest, and Miss Kiper in the title rôle has the voice and diction -to serve the purpose. - - K. - - - - - Harold Bauer in Chicago - - - HERMAN SCHUCHERT - -There yet remain certain pianists and other opinionated craftsmen in -music who will say, when approached on the subject of Harold Bauer’s -piano playing: “Oh, yes; but you know Bauer is—well, shall we say?—a -monotonist. His playing is all of one style—beautiful tone, to be sure; -but, oh, such a sameness! He shades beautifully—yes, surely, but it’s -all too colorless.” And it probably never occurs to these critics that a -pianist who uses an entirely beautiful tone, who shades delicately, and -who is definitely individual in his playing, might not seem monotonous -to the admirers of true piano-artistry. And it is quite certain that -these carpers failed to attend Bauer’s last Sunday afternoon recital in -Orchestra Hall, when and where the above composite quotation was put to -shame. - -The program was headed by that most unequal set of little -pieces—interesting, dull, graceful, and often clumsy:—Brahm’s Waltzes. -The Brahms faddists may sacrifice all the credit to their idol, but he -deserves only a part of it; for Bauer made these waltzes float as -lightly and pleasantly as the material permitted, and invested them with -all possible contrast and pulse. There was no lack of what pianists call -“point,” either in this opening number or in the remainder of the -program; and it is this quality of “point,” which is the season more in -evidence in Bauer’s work than ever before, which makes the carpers -appear rather uninformed. “Point” is nothing mysterious; it means -definite and crisp rhythm, brightness of tone designed to contrast with -richness and warmth of tone, sharp shadings artistically brought out, -and a deeply satisfying precision in tempi. This man’s work deserves -this inclusive term. Whatever lack there might have been in seasons past -(there has been a fragile foundation for the criticism mentioned at the -beginning of this appreciation, when, as late as three years ago, his -tonal ideals apparently did not include great brilliance), this Sunday -recital went far to establish the fact that Bauer has a happy variety of -tone-colors at his command, which variety includes no little brilliance. -Sheer facility and digital expertness have never seemed to occupy the -attention of this master-pianist, except insofar as such facility and -expertness would give expression to purely musical content; and now if -the carpers continue to shrug their shoulders at the praise of Bauer, it -will be because they miss the usual bombast and key-swatting of esteemed -mediocrity, and certainly not because of any inadequacy of technic for -musical purposes, or lack of pianistic lustre. No mediocrity of a -technic-worshipper or piano-eater ever gave a performance of Beethoven’s -Opus 3 that could compare with that of Bauer on Sunday afternoon; for he -then projected a deeply significant art, particularly in the first -movement of the sonata, which must be inexplicable in words. Schumann’s -_Scenes from Childhood_ were given a highly imaginative treatment—a -treatment which penetrated even the academics. And Schumann’s -Toccata—that battered veteran of many an ivory struggle—ceased for once -to be an endurance stunt, and hummed forth (as the composer hoped and -indicated) as a strangely beautiful bit of music. Bauer’s playing of -this will remain long in the awakened music-receptacles. So will his -interpretation of his own arrangement of César Franck’s Prelude, Choral, -and Fugue—which are three movements vieing with each other for supreme -religious solidity—and his nonchalant handling of the tricky D-flat -Study of Liszt. The Chopin Scherzo in C-sharp minor closed a program -which would surely have been sombre and sleepy under the fingers of any -less than a pianistic musician. In certain splendid moments Bauer seems -like a high priest performing a tonal miracle, or like a potent magician -weaving curious and impossible dream-fabrics. And, with all pleasant -fancies put aside, he is an exponent of modern pianism at its best. - - - In music a light blue is like a flute, a darker blue a ’cello, a - still darker a thunderous double bass; and the darkest blue of - all—an organ.—_Kandinsky._ - - - Color is a power which directly influences the soul. Color is the - key-board, the eyes are the hammers, the soul is the piano with - many strings. The artist is the hand which plays, touching one - key or another, to cause vibrations of the soul.—_Kandinsky._ - - - - - A Ferrer School in Chicago - - - DR. RUDOLF VON LIEBICH - -The Havasupai Indian mother says: “I must not beat my boy. If I do, I -will break his will.” Unlike her pale-faced friends, she is not obsessed -with the mania for governing. We, in our insane subservience to -traditions, continue to train our children to obey. Slaves they shall -be; that is the slogan. We no longer whip men; we whip children only -because they are weaker than we are. So, a child is the slave in -successive stages of home, church, school, government, and either boss -or “superior officer.” Could Europe be at war unless its men were made -molluscous by discipline and their mental paralysis completed through -_respectability_? - -Children are born materialists, poets, and joy-worshippers. We tame them -and they grow up philistines, supernaturalists, and respectable -believers in the disinterested love of dullness. Instead of teaching -them theories and superstitions, we should tell them that they are parts -of the universe; that the carbon, iron, sulphur, phosphorus, oxygen, -hydrogen, nitrogen, the zero-gases, and the dozen other elements of -which our bodies are made are also the main elements of sun, moon, and -stars,—of the whole material universe. The next step might be to show -the child, through actual experiments, the known physical and chemical -properties of these elements, thus preparing its mind for the greatest -of all poetries—the poetry of evolution. These things need but be shown, -not laboriously learned by rote; they need only to be told, not to be -taught; and if the child’s healthy inquisitiveness has not been ruined -by repression, it will delight in feeling the pull of the magnet; in -watching the electric spark that unites oxygen and hydrogen into water; -in drawing the marvelous beauties of snow flakes and other crystal -formations; in watching and aiding the growth of birds, beasts, flowers, -or fruits; in the thrill of blended voices or in other forms of -voluntary co-operation. All these things, all the realities need but be -shown to delight the untainted mind of childhood; while daily free -association with other children will soon give to each child a practical -working knowledge of ethics (quite impossible to attain under the -boss-system of the government schoolmistress) from which, as a basis, -the errors of our economic and social systems can be pointed out and -discussed. In the minds and hearts of these free children, ideals can -then be formulated which will tend toward their development into the -free society of the future, whose coming their own efforts will hasten. -For it is only through the successive enslavement of each succeeding -generation that governments can retain their powers. - -Such should be some of the activities of a Ferrer or Modern School, free -from the noxious taint of authority, superstition, or respectability. If -we cannot do better let us begin, at least, with a Sunday school. -However that may be, and whatever the future of such a school, all those -interested in establishing it are cordially invited to communicate with -the editor of THE LITTLE REVIEW, with William Thurston Brown, 1125 N. -Hoyne Ave., with Anthony Udell, 817½ N. Clark St., or with the writer, -1240 Morse Ave. - - - - - The Old Spirit and the New Ways in Art - - - WILLIAM SAPHIER - -Full of visions and ideals and eager to express them in their own way, a -group of striving young painters and sculptors in this city is working -industriously without regard for applause from either the crowd or the -few. Just as there are religious and social rebels—people who refuse to -accept the old dogmas and habits merely because they were successful at -a certain time and fit for a certain period in human history—these young -artists refuse to adopt methods and views of the past for the purpose of -expressing their views on modern subjects. - -In striving to realize the new idea in form and color they are of -necessity passing through that period in which the intellect discerns -and style is chosen—the period of experiment. And if they do not achieve -as great a success as the old masters, they certainly work in the spirit -of a Monet or a Rembrandt. We print this month reproductions of work -done by four of these artists. They have nothing in common except that -they are all trying to express themselves in their own way. - -Jerome S. Blum, the oldest and best known of the group, is an -extraordinary painter of the usual. He does not rely on a dramatic -subject, or on a sensational technic, to arouse interest in his work. It -is his unusual way of looking at people and nature, and his vigorous and -interesting color schemes, that have made his paintings notable. Mr. -Blum is far too imaginative to be natural, far too poetic to be “real.” -All his work strikes one as a spontaneous expression of almost childish -delight in color. - -_The Orator_ is the work of Stanislaw Szukalski, a boy of nineteen, who -comes from Russian Poland. He studied at the Krakau Academy, where he -received two gold medals and five other prizes. On entering his studio -your amazement grows as you wander from one thought or emotion to -another in plaster. Each one grips and holds you vigorously. -_Impressions of Praying_, _Sleeping_, _Hurling_, and _Bondage_, a few -very interesting portraits of Max Krammer and Professor Chiio, and also -a full figure of Victor Hugo tell of the spiritual insight of this young -sculptor—the unexpected in every one. His works are full of life and -imagination. The fact that some of our able nonentities have -characterized them as caricatures proves how narrow-minded some of our -sculptors are today. - -C. Raymond Johnson is only twenty-three years old, and in all the work -he has done so far purity, brilliance of color and spaciousness -predominate. It is the suggestion in his present work of great -possibilities in the near future that makes them interesting. The one in -this issue shows the highly decorative effects of his ideas. Besides -painting Mr. Johnson finds time to experiment with colored lighting and -the making of most original posters for the Chicago Little Theatre. - -Christian Abrahamsen, the young and independent portrait painter, has -done some very remarkable work. His portraits are the result of -penetrating study of his subject and adaptation on the part of the -painter to the moods of the sitter. He varies his style with his -subject. His portrait of Michael Murphy sparkles with life and vigor and -holds your attention as few of the portraits of older painters can. -Beside portraits Mr. Abrahamsen paints sunny landscapes in the open air -and under clear skies. The large canvas filled with the freshness, -strength, and beauty of a clearing in northern Wisconsin, reproduced in -this issue of THE LITTLE REVIEW, represents some of the work done last -summer. - - [Illustration: JEROME S. BLUM, _The Trickster_.] - - [Illustration: STANISLAW SZUKALSKI, _The Orator._] - - [Illustration: C. RAYMOND JOHNSON.] - -[Illustration: CHRISTIAN ABRAHAMSEN, _A Clearing in Northern -Wisconsin._] - - - To name is to destroy. To suggest is to create.—_Stéphane - Mallarmé._ - - - Art is a form of exaggeration, and selection, which is the very - spirit of art, is nothing more than an intensified ode of - over-emphasis.—_Oscar Wilde._ - - - - - Book Discussion - - - Vachel Lindsay’s Books - - _The Congo and Other Poems_, by Vachel Lindsay. [The Macmillan - Company, New York.] - -It is not too much to say that many of us are watching Vachel Lindsay -with the undisguised hope in our hearts that he may yet prove to be the -“Great American Poet.” He has come so fast and far on the road to art -and sanity since the early days when he drew minute, and seemingly -pathological, maps of the territories of heaven, and grinning grotesques -of the Demon Rum! He has carved his own way with so huge and careless a -hand! And his work, in spite of its strangeness, is so deeply rooted in -the crude but stirring consciousness that is America to-day! Surely -there is ground for hope. - -Like every artist who creates a new form, Mr. Lindsay has had to educate -his public. And the task is not by any means accomplished yet. We have -had to overcome an instinctive feeling that poetry should be dignified, -and to look the fact in the face that it must first of all be telling, -and that in cases where these two elements conflict, dignity is a -secondary consideration. We have been rudely jostled out of our academic -position that poetry must be condensed, poignant, and literary, and we -have been shown that by going back to the primitive conception—which -included as the principal element the half-chant of the bard—true poetry -may be diffuse, full of endless iterations and strangely impassioned -over crude and even external objects. So much we have learned, and after -the first shock of surprise, learned gladly. It has opened to us whole -new reaches of enjoyment. We hope sincerely that we are not yet done -with Mr. Lindsay’s educative process. - -_The Congo_ is the title poem of his new volume. To describe the poem -adequately would require almost as much space as the nine pages it -occupies. So it must suffice to say that it is perilously near great -poetry, broad in sweep, imaginative, full of fire and color, -psychological—and very strange. Much in the same vein are _The Firemen’s -Ball_ and _The Santa Fe Trail_, which appeared originally in _Poetry_. - -Several of the poems in this volume, among them _Darling Daughter of -Babylon_ and _I Went Down Into the Desert_, are already familiar to -readers of THE LITTLE REVIEW, as they were first published in the June -number. The volume contains also a delightful section of poems for -children, and a group dealing with the present European war. - -Both _The Congo_ and Mr. Lindsay’s earlier volume, _General Booth Enters -Heaven_, are extraordinarily interesting books. Every mind which is -truly alive to-day should know at least one of them. - - - _Adventures While Preaching the Gospel of Beauty_, by Nicholas - Vachel Lindsay. - - [Mitchell Kennerley, New York.] - -Almost simultaneously with _The Congo_ has appeared a prose volume by -Mr. Lindsay, _Adventures while Preaching the Gospel of Beauty_. It is an -account, in the form of a diary, of a walk through Missouri and Kansas, -and into Colorado. Its value is almost purely personal. To anyone who is -interested in Mr. Lindsay’s striking personality, this book will serve -as a spiritual Baedeker. As literature its value is comparatively -slight. It contains, however, one of his most striking poems, _The -Kallyope Yell_, which appeared originally in _The Forum_. This alone is -worth the price of the volume. - - EUNICE TIETJENS. - - - Pumpernickel Philosophy - - _The Man of Genius_, by Herman Tuerck. [The Macmillan Company, New - York.] - -Professor Tuerck, a very normal German, has been writing critical essays -since the end of the eighties, and he has not changed a bit—the same -good old idealist of the sissy category. In this book he makes a study -of Genius, and comes to the magnificent conclusion that the chief -characteristics of a genius must be goodliness, loving kindness, -respect, and loyalty to existing institutions, obedience to the law, -objectivity, and truth. Naturally, those who do not possess these -delicacies are villains. The professor demonstrates two groups of -thinkers, one in angelic white, the other in devilish black. Among the -first, the real geniuses, we find beside Christ, Buddha, Shakespeare, -Goethe, Byron, also Alexander, Cæsar, and Napoleon. But oh, Mr. Wilson, -what German atrocities! Mr. Tuerck mercilessly disfigures his victims -and pastes upon them with his saliva accurate, uniform labels. In -_Hamlet_, in _Faust_, in _Manfred_, in the mentioned law-givers and -warriors, the author manages to discover goody-goody traits of exemplary -burghers. In the Black Gallery we face the lugubrious sinners—Stirner, -Nietzsche, and Ibsen. “Woe to him who follows these modern antisophers!” -cries Mr. Tuerck, for they are enemies of humanity, of the state, of -society, of reality, of truth, for they are selfish and subjective. “The -Devil, the Father of Lies, is great and Friedrich Nietzsche is his -prophet.” - -A word of reassurance for Mr. Thomas Hardy. This Sauerkraut-gem, _The -Man of Genius_, has had _seven_ editions in Germany, and has aroused -wide enthusiasm there, as witnessed by the numerous press-notices -exaltingly praising the great idealist Tuerck, written by professors, -Geheimraths, Hofraths, catholics, protestants, and even by socialists! -Now, pray, ought there be any fear for the Nietzscheanization of the -Fatherland? - - K. - - - Kilmer’s Confession - - _Trees, and Other Poems_, by Joyce Kilmer. [George H. Doran Company, - New York.] - -Mr. Kilmer furnishes the following prose account of his convictions: “I -am catholic in my tastes and Catholic in religion, am socially a -democrat and politically a Democrat. I am a special writer on the staff -of the _New York Times Sunday Magazine_, the _Times Review of Books_ and -the _Literary Digest_. I am bored by Feminism, Futurism, Free Love.” -This is perhaps a more succinct expression of his facility of faith than -can be found in his verse. Readers should thank him for it, because it -renders unnecessary any further attempt to discover what he believes. - -At the opening of the volume, Mr. Kilmer quotes the following stanza -from Coventry Patmore: - - Mine is no horse with wings, to gain - The region of the Spheral chime - He does but drag a rumbling wain, - Cheered by the coupled bells of rhyme. - -This, too, is useful, because it frankly warns us against looking in his -verse for anything which is not there. - -Within his self-imposed limitations, Mr. Kilmer has done good work. The -amusing couplets about _Servant Girl and Grocer’s Boy_ have pleased -countless newspaper readers, _The Twelve-Forty-Five_ is a graphic -description of the feeling produced by a late suburban train, _To a -Young Poet Who Killed Himself_ is an obvious rebuke to the small-hearted -versifier, and _Old Poets_ is a comfortable exposition of the philosophy -of comfort. The religious poems will probably not be moving to anyone -who does not share Mr. Kilmer’s creed. - -Mr. Kilmer’s work is glossy with a simplicity more easy-going than -profound. Though he is young himself, he obviously does not sympathize -with young poets, of whom he writes: - - There is no peace to be taken - With poets who are young, - For they worry about the wars to be fought - And the songs that must be sung. - -His ideal is that of the “old poet”:— - - But the old man knows that he’s in his chair - And that God’s on His throne in the sky. - So he sits by his fire in comfort - And he lets the world spin by. - - G. S. - - - Hilarious Iconoclasm - - _Art_, by Clive Bell. [Frederick A. Stokes Company, New York.] - -It is an exquisite pleasure to disagree with Clive Bell! Like a fierce -Hun he whirls through the art galleries of Europe, and smashes all -venerated masterpieces into a heap of rubbish, sparing but the Byzantine -Primitives and some of the Post-Impressionists. Between these two epochs -he sees a hideous gap; not more than one in a hundred of the works -produced between 1450 and 1850 is he willing to accept as a work of art. -It naturally hurts to witness the slaughter of your old friends, such as -Michelangelo, Velasquez, Whistler; but our Attila performs his massacre -so beautifully, with such a charming sense of humor, that you cannot -help admiring the paradoxical feats. What but a good-humored smile will -provoke in you such a prank, e. g.: “Nietzsche’s preposterous nonsense -knocked the bottom out of nonsense more preposterous and far more vile”? -The best part of it is the fact that the author does not attempt to -convince you in anything, for neither is he convinced in the -infallibility of his hypotheses. The book is a relucent gem among the -recent dull and heavy works of art. - - - Comments of an Idler on Three New Books - -_Eris: A Dramatic Allegory_, by Blanche Shoemaker Wagstaff (Moffatt, -Yard), is, we are told on the cover, “full of vigorous enthusiasm, and -embodies the philosophy of Henri Bergson,” to whom on a flyleaf the book -is duly dedicated. It is in careful rhythmic blank verse; a dialogue, -principally, between “Man” and “Thought,” with “Past” and “Future” now -and then interrupting. The allegory is prefaced by a portrait of the -author by Helleu; we trust an unfair one. A strangely bovine expression -greets us from under a plumed black hat and from over shoulders and arms -drawn like a Goops. Helleu made lovely things once; why this? - -In _Eris_ we find Man hurling defiance at Thought, who taunts him, “You -cannot vanquish me while Life endures.” Discussion between them on this -point covers some forty pages of melodious argument. Six of these (and -they are consecutive) form a fairly comprehensive guide-book to a trip -around the world, as Man, distracted, stops off at many well-known -points seeking to escape pursuing Thought. - - In Venice I spread sail with Capulet - And plied an oar across the green lagoons - The soft air vibrant with the minstrels’ song: - I dreamed in Pisa’s woodland and the gulf - Of Lerici, where once again I heard - The lyrich echo of pure Shelley’s voice. - On Pæstum’s glory and on Dougga’s mount - I studied metope and fluted frieze— - -And so on. “Man” finally reaches Mount Parnassus— - - The mighty throne of Zeus - Hides like a cloud-veiled mist within the heavens; - I am so near divinity it seems - That I could tread the pathway of the stars; - -but “Thought” comes hurrying along, two pages later. Man cries to him -desperately: - - Envelope me within the cosmic heart - Freed of my separate hideous entity, - Blown with the wingéd dust from whence I came! - -They struggle together, and Man plunges over the cliff. Thought, -“assuming a sudden intenser magnitude, rises out of the dust of Man” -(the stage directions seem a little confused here) and shouts: - - At last to conquer after æons of strife— - The reeling stars man’s silent sepulchre. - -There are graceful lines and pictures, occasionally a good simile. -Technically the lines are too smooth, too neatly finished, each in its -little five-iambic jacket. The lyrics lack singing quality. There is a -tedious list, two pages, of famous ladies—Helen, Sappho, Salammbo, from -Eve to the Virgin Mary—as Man cries to Past, “What woman are you in -disguise?” Swinburne did this gorgeously somewhere, making each speak; -but these do not—they do not even live. - -Totally different is my second volume of verse—_The Sea is Kind_, by T. -Sturge Moore (Houghton Mifflin). A letter from the publishers suggests -that “like Noyes and Masefield, T. Sturge Moore may have a message to -American lovers of poetry.” I am an American lover of poetry and an -eager one; therefore, I was hopeful; but I am oppressed by the -obligation of doing justice to the initial poem in the book, viz.: _The -Sea is Kind_, because I cannot tell at all what it is about. Several -people, by name Evarne and Plexaura, females, and Menaleas and Eucritos, -males, seem to be talking high talk by the edge of the sea—about ships -and storms and nymphs and kindred things. Evarne speaks at great length -in rough pentameters, quoting others more obscure, if possible, than -herself. - - The handsome scowler smiled. - Then with a royal gesture of content - Addressed our wonder. - - * * * * * - - “But devastation from mine inroads stretches - “Across Euphrates further than they dare. - “The industrious Ninevite, the huckster grey - “With watching scored tale lengthen down his wall - “Beneath his hatred Median debtor’s name, - “Dread me, and hang near casement, over door, - “To guard each southward-facing aperture, - “Rude effigies smaller than this of me.— - “Charm bootless ’gainst my veering pillared dust - “Which chokes each sluice in vainly watered gardens, - “Dessicates the velvet prudency of roses, - “And leaves green gummy tendrils like to naught - “But ravelled dry and dusty ends of cord”; - -and so on for a long, long while. It may be wonderful; I dare say it is. - -The last two-thirds of the volume is taken up with short poems arranged -in groups addressed to various persons—Tagore, Yeats, and Moore, among -them. There is more clarity here. One discerns an autobiographic -wistfulness in these stanzas entitled: _A Poet in the Spring Regrets -Having Wed So Late in Life_. - - Some things, that we shall never know, - Are eloquent today, - Belittling our experience, though - We loved and were gay: - - For those, whose younger hands are free - With a body not their own, - Taste delicacies of intimacy - Which we have not known. - - Primrose, narcissus, daffodil, - In sudden April plenty, - Flourish as tender fancies thrill - Spouses at twenty! - -There seems something strangely improper about this, considering the -strict propriety of the theme. - -One group of two is addressed to Charles Ricketts. _The Serpent_ begins - - Hail Pytho; thou lithe length of gleaming plates! - -and _The Panther_ thus: - - Consider now the Panther, such a beast. - -One question addressed to the Panther is: - - Dost, cloyed by rich meats spicy as the south, - Expose thy fevered palate to the cool, - Which, like snow melting in an emperor’s mouth, - Helps make excess thy life’s ironic rule? - -Consider now Sturge Moore, our bewilderment in trying to ascertain what -you wish us to think about such things as these, and consider too a -transposition of the first line of a well-known poem about a Tiger, to -read, “Consider now the Tiger.” - -The group to Yeats has one called _The Phantom of a Rose_. An -explanatory footnote tells us that a girl returning from a ball drops a -rose from her bosom and dreams that a youth, the perfect emanation of -the flower, rises and invites her to dance. - - She ached to rise, she yearned to speak, - She strove to smile, but proved too weak; - As one in quicksand neck-deep, - Wild with the will, has no power to leap; - Her limbs like a sunken ferry-boat - Lay logged with sleep, and could not float. - She had danced too often at the ball, - She had fluttered, nodded, and smiled too much. - Tears formed in her heart: they did not fall. - - * * * * * - - He rose, and danced a visible song; - With rhythmic gesture he contended - Against her trance; and proved so strong - That the grapes of his thought wore the bloom of his mood, - While her soul tasted and understood. - -“Her limbs like a sunken ferry-boat.” A happy simile! We recognize the -sensation. - -In _Judith_, one of the group to Moore, a vigorous note is sounded. This -is good, and maybe the rest is too; I do not know. It rolls above my -head. - -_The Spirit of Life_, a series of nine essays by Mowry Saben (Mitchell -Kennerley), is the kind of book that makes me savagely controversial and -then cross for heeding it at all. Its platitudinous optimism meanders -along through some two hundred and fifty pages under various chapter -headings: Nature, Morals, Sex, Heroes, etc. The first sentence is: -“There are many great Truths that can be expressed only by means of -paradox”; and the last, “If life means nothing, if the universe means -nothing, then reform is only an illusory word, which has come to confuse -us upon the highway of Despair; but if in our highest ideals we may find -the real meaning of our personal lines, because they are the -quintessence of the spiritual universe, whose avatars we should be, -there is nothing too glorious for the heart of man to conceive.” All in -between is just like that. - -All persons, and there are many, who are determined willy nilly to -believe the world a nice place; who, confronted with the unlovely, the -stark, gaping and horrid, cast down their eyes exclaiming “It is not -there,” will take solid comfort in _The Spirit of Life_. It is like the -millions of sermons droned out one day in seven all over the land to -patient folk who no longer know why they come nor why they stay to hear. - -But this is a review, not a diatribe—so “consider now” the Spirit. - -The first essay is called _Nature_. It quotes freely from Peter Bell, -and also reprints something about tongues in trees and sermons in -stones. Turning the leaves we catch the names of Burroughs, Whitman, and -Thoreau. Toward the end is this: - - Everything exists for him who is great enough to envisage it. The - life that now is reveals man as the crowning glory of Nature, the - goal of evolution. In the end the earth does but shelter our - bones, not our thoughts and aspirations. - -Skipping the rest, we turn quickly to _Sex_, hoping something from the -vitality of the theme, and come to this: - - To attack Sex as one of the joys of life would be foolish and - deservedly futile.... I am certain that sex is a sweetener of the - cup of life, but one must not therefore infer that there can - never be too much sweetening, for there can be, even to the point - of danger from spiritual diabetes. - -Immortal phrase, “Spiritual diabetes.” Several pages of this essay are -devoted to episodes in the life of insects, all pointing a painful -lesson to man: - - ... and there are spiders doomed to be eaten by the female as - soon as they have demonstrated their masculinity. Thus are we - taught how little permanence is possessed by an organization - which yields only the instinct of passionate desire for sex. - -Here is boldness,— - - I cannot indorse the ascetic ideal that holds the love of man for - woman to be but a snare for the spirit. The great poetry of Dante - alone is sufficient to refute so baseless a claim. - -Why quote further? There are indubitably certain good things in the -book, but they are by Goethe, Carlyle, Emerson, Dante, Shakespeare, -Whitman, et al. - - A. M. - - - An Unacademic Literary Survey - - _Modern English Literature_: From Chaucer to the Present Day, by G. - H. Mair. [Henry Holt and Company, New York.] - -Good histories of English literature are rare, and Mr. Mair’s book -should accordingly be given a warm welcome, for it combines brevity with -comprehensiveness of treatment in a very unusual manner. Mr. Mair not -only writes well and knows his subject, but he seems instinctively to -know what his readers will want—and he supplies it. - -For instance, we do not remember that popular histories of English -literature bother to tell such a detail as how the chronological order -of Shakespeare’s plays is determined, but Mr. Mair’s telling of that -will show the layman just what literary scholarship means, and in -conjunction with his other remarks on our knowledge of Shakespeare it -will rescue the uninformed from the chance of falling into such errors -as the Baconian theory. - -The book, however, is not one of higher and textual criticism and -chronology. It is a work of appreciation, and the appreciation is that -of a modern man. It is obvious that Chaucer might be treated in a manner -quite alien to the interests of the man of today who is not a scholar, -but the treatment of his work which ends in joining his hands to those -of Charles Dickens as workers in a kindred quest is one that is well -calculated to persuade even the philistine that Chaucer is a figure of -passable interest to him. - -It is the mark of the live man to recognize genius, and the manner in -which Mr. Mair treats the genius of that great poet, John Donne, is in -vivid contrast to the way in which it is usually treated in histories of -English literature. For example: - - Very different ... is the closely packed style of Donne, who, - Milton apart, is the greatest English writer of the century, - though his obscurity has kept him out of general reading. No - poetry in English, not even Browning’s, is more difficult to - understand. The obscurity of Donne and Browning proceed from such - similar causes that they are worth examining together. In both, - as in the obscure passages in Shakespeare’s later plays, - obscurity arises not because the poet says too little, but - because he attempts to say too much. He huddles a new thought on - the one before it, before the first has had time to express - itself; he sees things or analyzes emotions so swiftly and subtly - himself that he forgets the slower comprehension of his readers; - he is for analyzing things far deeper than the ordinary mind - commonly can. His wide and curious knowledge finds terms and - likenesses to express his meaning unknown to us; he sees things - from a dozen points of view at once and tumbles a hint of each - separate vision in a heap out on to the page; his restless - intellect finds new and subtler shades of emotion and thought - invisible to other pairs of eyes, and cannot, because speech is - modeled on the average of our intelligences, find words to - express them; he is always trembling on the brink of the - inarticulate. All this applies to both Donne and Browning, and - the comparison could be pushed farther still. Both draw the - knowledge which is the main cause of their obscurity from the - bypaths of mediævalism. Browning’s _Sordello_ is obscure because - he knows too much about mediæval Italian history: Donne’s - _Anniversary_ because he is too deeply read in mediæval - scholasticism and speculation. Both make themselves more - difficult to the reader who is familiar with the poetry of their - contemporaries by the disconcerting freshness of their point of - view. Seventeenth-century love poetry was idyllic and idealist; - Donne’s is passionate and realistic to the point of cynicism. To - read him after reading Browne and Johnson is to have the same - shock as reading Browning after Tennyson. Both poets are salutary - in the strong and biting antidote they bring to sentimentalism in - thought and melodious facility in writing. They are corrective of - lazy thinking and lazy composition. - -Another feature in which this book differs from others of its kind is -that the author is not afraid to bring the record down to the work of -his contemporaries, and the struggles of Mr. Shaw with the bourgeois -world, and the era opened by M. J. Synge and the Irish literary -renascence, are here sympathetically dealt with. - - L. J. - - - Overemphasized Purity - - _Love’s Legend_, by Fielding Hall. [Henry Holt and Company, New - York.] - -With a somewhat overemphasized regard for purity, Fielding Hall -approaches the narration of this honeymoon trip down a Burmese river. -The novel—if such a dissertation on the early marriage state could be -called a novel—is told in rather peculiar fashion, by the man and woman -alternately, at first, and later on with the help of two more people. - -The man is prone to burst forth into fairy tales to explain every point -of argument to Lesbia. He tells her of a beautiful princess who was -blindfolded and kept within an enclosed garden that she might never know -the ways of man. - - “They told her that the bandage made her see more clearly than if - her eyes were free. For they had painted images upon the inside - of her bandage and told her they were real.” - - Silence. - - “And she believed it. Then came a Prince. He wooed the Princess - and he won her. So he took her with him out of her garden. They - came into the world and passed into a forest. There they were - quite alone. - - “Take off your bandage,” said the Prince. “Look at the world and - me.” - - “I am afraid,” she sighed; “the world is evil.” - - “It is God’s world,” the Prince replied. “He lives in it.” - - “They told me that God lived in Heaven, far off, not here,” she - answered. - - “They told you wrong; open and you will see.” - - “I will not look,” she said, “I fear the devil.” - - “Your beauty is all cold,” he said, “your heart beats not!” - - “What is a heart?” she asked. - - “That which gives life,” he answered; “my heart beats strongly - and it longs for an answer. You have a heart as strong maybe as - mine. But it is sealed. Will you not let me loose it?” - - “I am afraid,” she answered. - - “Then I will tell you what he did. He held the Princess in his - arms all despite herself and tore the bandage from her eyes.” - - ... “Did she let him do it?” - - “She heard his voice and all despite herself she let him do his - will.” - -Mr. Hall voices these inanities with the appalling conceit of one who -rushes in where even the best of writers tread with circumspection. And -the worst of it is, that his rash feet have carried him nowhere, except, -perhaps, into a limelight that is likely to prove embarrassing. - - W. T. HOLLINGSWORTH. - - - - - Sentence Reviews - - -_Russia: The Country of Extremes_, by N. Jarintzoff. [Henry Holt & Co., -New York.] A mosaic of essays on various aspects of Russian life, some -of them of tremendous interest. Of particular importance are the -chapters on “Studentchestvo” and on “Agents Provocateurs,” which deal -with the political movements of the country. Although the book lacks -unity, the English reader will find in it a wealth of information and a -helpful interpretation of Russian misty reality. Reproductions from -several great Russian paintings are excellent. - -_New Songs of Zion_; a Zionist Anthology, edited by S. Roth, New York. -If this anthology was intended to serve as an echo of the Zionist -movement, it will appear as a _testimonia pauperitatis_. The lofty ideal -of forming a cultural center in Palestine for the Wandering Jew is very -pallidly reflected in the naive verses of American boys and girls. -Israel Zangwill is also represented with a few shallow effusions to the -astonishment of those who admire his sense of humor. The translations -from _Byalik_ are tolerable, and I heartily recommend the English reader -to get acquainted through them with one of the greatest living poets who -is known only to readers of Hebrew. - -_The Two Great Art Epochs_, by Emma Louise Parry. [A. C. McClurg & -Company, Chicago.] Complete and instructive as a text-book for the -history of art from earliest Egypt down to the decline of Renaissance—if -there is still need for such text-books. The wretchedness of the -reproductions is irritating. - -_Changing Russia_, by Stephen Graham. [John Lane Company, New York.] -Sentimental observations of a poetic tramp who bewails the inevitable -transformation of patriarchal, agricultural Russia into a capitalistic -state. Excellent descriptions of the picturesque shore of the Black Sea; -interesting, though often erroneous, notes on the “Intelligentzia.” Mr. -Graham has been religiously tramping the globe for many years, and his -love for nature and primitive life is manifest in every book of his. - -_Bellamy_, by Elinor Mordaunt. [John Lane Company, New York.] Cleverly -written, this chronicle of Walter Bellamy, a dynamic English obviosity, -exploiter of silk pajamas, exhibits a man who is sufficiently honest to -devote his life to himself. - -_Hebrew and Babylonian Traditions_, by Morris Jastron. [Charles -Scribner’s Sons, New York.] An exhaustive, cool, cautious treatment of -the much-polemised question as to the primacy of one or the other of the -two ancient civilizations. Of great value to the student of comparative -religion. - -_The Rise of the Working Class_, by Algernon Sidney Crapsey. [The -Century Company, New York.] An optimistic book by an ex-clergyman. Many -things are cited as working class gains and benefits which that class -would willingly reject. As appendix, there is a long panegyric of that -mountebank, Lloyd George, in which he is hailed as a social and economic -savior of the “People.” - -_American Labor Unions_, by a Member. By Helen Marot. [Henry Holt & -Company, New York.] The first book on the American labor movement which -takes tolerant and detailed notice of its later developments. The new -Syndicalist tendency in the American Federation of Labor and the rise -and growth of the Industrial Workers of the World are both discussed, as -are also the much disputed questions of political action, violence, and -sabotage. A book that merits the study of those who believe there is no -other way of remedying economic conditions except through the periodical -dropping of a paper ballot through a slit. - -_Life’s Lure_, by John G. Niehardt. [Mitchell Kennerley, New York.] A -novel of Western mining life which has the same note of virile realism -as has the very worthy verse of the same author. A healthy contrast to -the usual Western compound of Deadwood Dick and puling sentimentality. -One of the best pieces of red-blooded stuff that has recently been -written. Jack London had better look to his laurels. - -_Change_, by J. O. Francis. [Doubleday, Page & Company, New York.] A -play to be read. Life here without affection states itself in its own -terms. The timid and the frivolous may read this and have their eyes -opened. Labor’s struggle for freedom is forcefully depicted. The scene -is laid in a little Welsh mining town, and the characters are drawn with -simple charm and beauty. A play that breaths life and truth. - -_Everybody’s Birthright_, by Clara E. Laughlin. [Fleming H. Revell -Company, New York.] Miss Laughlin has both sympathy and understanding -for the ideals of young girls. In this little book she makes clever use -of the Jeanne d’Arc story as a means toward helping another Jean to bear -the loss of a twin sister. - -_Myths and Legends of the Mississippi Valley and the Great Lakes_, by -Katharine B. Judson. [A. C. McClurg & Co., Chicago.] Here are some old -friends: Hiawatha, Nokomis, and Minnehaha—also Bre’r Rabbit and the Tar -Baby; and some myths of fire, wild rice, and Mondamin the Corn Woman, -which furnish a fascinating comparison with Prometheus and Demeter over -in the Aegean. A careful arrangement of material overcomes in part the -misfortune of fragmentariness. - -_The Twenty-Fourth of June_, by Grace S. Richmond. [Doubleday, Page & -Co., New York.] A study of love at first sight—or just before. Rich -Kendrick came into the house by the back door and saw a rose-colored -scarf on the hatrack; but the poor young millionaire had to wait weeks -before meeting its owner, and then months until _Midsummer’s Day_ for -his answer. Incidentally he discovered the charms of work, home and good -women. - -_Tansy_, by Tickner Edwardes. [E. P. Dutton & Co., New York.] A charming -story of the Sussex downs, by a man who lives among them. The background -of village characters, of rural incidents, and of the Sussex countryside -is exquisitely done. Tansy Firle is not a Watteau shepherdess—quite the -contrary; she has a compelling personality and a beauty of the sturdy -upland variety. - -_La Vie des Lettres_: Collection anthologique et critique de poèmes et -de proven Neuilly, Paris. - -The July issue of this important quarterly is both breezy and -instructive. Two exotic poems by the Roumanian, Alexander Macedonski; a -cycle of poems by Nicolas Beaudrien (who was introduced to English -readers by Richard Aldington in the June _Egotist_); a few -dainty-grotesque _Images de la Capitale_, by Carlos Larronde,—they form -what I called the breezy part. Of great charm also are the “ponderous” -features. Among others there is an article by William Berteval on -_Tolstoi et L’Art pour L’Art_; an attempt of a modernist to justify the -Russian’s point of view on art. In its international review the -Quarterly mentions THE LITTLE REVIEW, with a “memento” for the poems of -Nicolas Vachel Lindsay and Arthur Davison Ficke. - - - - - The Reader Critic - - -_Rev. A. D. R., Chicago_: - -I earnestly request you to discontinue sending your impertinent -publication to my daughter who had the folly of undiscriminating youth -to fall in the diabolical snare by joining the ungodly family of your -subscribers. As for you, haughty young woman, may the Lord have mercy -upon your sinful soul! Have you thought of the tremendous evil that your -organ brings into American homes, breaking family ties, killing respect -for authorities, sowing venomous seeds of Antichrist-Nietzsche-Foster, -lauding such inhuman villains as Wilde and Verlaine, crowning with -laurels that bloodthirsty Daughter of Babylon, Emma Goldman, and -committing similar atrocities? God hear my prayer and turn your wicked -heart to repentance. - -_A. Faun, Paris_: - -In one of your issues I read with delight Wilde’s paradox: “There is -nothing sane about the worship of beauty. It is entirely too splendid to -be sane.” I fear you are getting too sane—you, who some time ago invited -us “to watch, in the early morning, a bird with great white wings fly -from the edge of the sea straight up into the rose-colored sun.” In my -illusion I pictured you enthroned in a tower, high above the street and -the crowd, perceiving reality through dim stained glass walls. Alas, -there is evidently an accommodating lift that connects your tower with -the sidewalk. You have become so sane, so logical, so militant in -attacking the obvious.... Oh, Pan and Apollo! - -_A Proletarian_: - -Glad to see your magazine getting more and more revolutionary and -courageously attacking the rotten capitalistic order. But why not dot -the i’s? Why shrink from discussing economic problems? Why not give us -the real dope? Go ahead, we are with you! - -_David Rudin, New York_: - -Permit me to voice a different opinion from that expressed by Charles -Ashleigh in his review of Galsworthy’s _The Mob_. It is my contention -that Mr. Galsworthy has sympathetically and powerfully portrayed the -uncompromising idealist, the champion of an unpopular idea in this -virile disrobing of the spangled strumpet Patriotism. - -In these stirring times of destruction to appease insatiable kaisers, -czars, kings and the uncrowned masters of despotism _The Mob_ comes as -an opportune declaration of the minority against war, against invasion, -and against “Love of country.” - -Stephen More, the type of man whose conscience and sense of justice -cannot realize that “idealism can be out of place,” makes a brave, -aggressive stand against the allied forces of position, friends, love, -and the blind hatred of the despicable mob, armed only with an -unprejudiced, faithful ideal. Such passion and sincerity of purpose -surely should presage victory. The real victory is won at the moment -when More dies for his idea at the hands of the very mob that many years -later erects a monument to him—and worships. They await the next victim -of the crucifix—and it begins again: inflammatory patriotism, -destruction, and a chaotic, purposeless Hell on earth. - -_D. G. King, Chicago_: - -Your article _To The Innermost_ in the October number is a manly poke -at the snug, smug, dead-alive ones, the mollycoddles, the -got-in-a-rut-can’t-get-out-without-considerable-effort ones, and others -of the won’t-do-and-dare class that this farcical world of ours is -plentifully sprinkled with! It’s the best thing I’ve seen yet from your -militant pen. - - - - - “THE RAFT” - - BY CONINGSBY DAWSON - - Author of “The Garden Without Walls,” “Florence on a - Certain Night,” etc. - - “Life at its beginning and its end is bounded by a haunted wood. - When no one is watching, children creep back to it to play with - the fairies and to listen to the angels’ footsteps. As the road - of their journey lengthens, they return more rarely. Remembering - less and less, they build themselves cities of imperative - endeavor. But at night the wood comes marching to their walls, - tall trees moving silently as clouds and little trees treading - softly. The green host halts and calls—in the voice of memory, - poetry, religion, legend or, as the Greeks put it, in the faint - pipes and stampeding feet of Pan.” - - $1.35 Net - - HENRY HOLT AND COMPANY - 34 West Thirty-third Street - NEW YORK - - - C - FUTURISM - B - I - IMPRESSIONISM - M - - The Art of Spiritual Harmony - - _By_ - WASSILI KANDINSKY - - _Translated from the German by M. T. H. Sadler_ - - A criticism and interpretation of the new art by Gauguin’s - foremost disciple. - - “Kandinsky is painting music. That is to say, he has broken down - the barrier between music and painting, and has isolated the pure - emotion, which, for want of a better name, we call the artistic - emotion.” - - ILLUSTRATED - - _$1.75 net at your bookstore._ - - 4 Park Street - BOSTON - - NEW YORK - 16 E. 40th Street - - HOUGHTON MIFFLIN COMPANY - - - - - IMPORTANT NEW PUBLICATIONS - - _A biography of the inventor of the telegraph_ - - Samuel F. B. Morse - - By Edward L. Morse - - The first authoritative biography, based on his letters and - journals, of a man who was not only a great inventor, but a - notable painter as well, and the intimate of many famous persons. - His son has done his work with skill and intelligence, and the - result is a notable addition to American biography. 2 vols. Fully - illustrated. $7.50 _net_. - - A Far Journey - - By ABRAHAM MITRIE RIHBANY. “Mr. Rihbany’s book will stand with - those of Jacob Riis and Mary Antin, an eloquent tribute to the - efficacy of the American melting pot.”—_Chicago Tribune._ - Illustrated. $1.75 _net_. - - Pan-Germanism - - By ROLAND G. USHER. This remarkable book is a forecast of the - present war and an explanation of the forces that made it - inevitable. It is intended for popular reading and is absolutely - impartial. $1.75 _net_. - - Rutherford B. Hayes - - By CHARLES RICHARD WILLIAMS. A full and intimate biography of the - nineteenth president of the United States, showing him as an - unexpectedly interesting and important figure in our history. 2 - vols. Illustrated. $7.50 _net_. - - Meditations on Votes for Women - - By SAMUEL M. CROTHERS. A quiet consideration of the subject, - showing that the granting of the suffrage to women at the present - time is a conservative measure. $1.25 _net_. - - The Grand Tour in the Eighteenth Century - - By WILLIAM E. MEAD. A quaint, amusing and instructive account of - the modes and conditions of travel in eighteenth-century Europe. - Illustrated. $4.00 _net_. - - On the Cosmic Relations - - By HENRY HOLT. This study covers with extraordinary completeness, - enlightenment, and authority, the whole ground of psychic - phenomena, so-called, as a basis for the belief in the - immortality of the soul. 2 vols. $5.00 _net_. - - War’s Aftermath - - By DAVID STARR JORDAN and HARVEY ERNEST JORDAN. An authoritative - study of the effect of the American Civil War on the quality of - manhood in the South. The startling results revealed by this - investigation are prophetic of what we may expect on an even - larger scale from the present conflict. 75 cents _net_. - - Thirty Years - - By SIR THOMAS BARCLAY. The inside story of how the Entente - Cordiale, the bond that has helped bring England into the - struggle, was made, told by the man chiefly responsible for its - existence. $3.50 _net_. - - Civilization and Health - - By WOODS HUTCHINSON. A breezy, authoritative discussion of some - of the most important topics pertaining to the health of men and - women living under the conditions of modern life. $1.50 _net_. - - The Home Book of Great Paintings - - By ESTELLE M. HURLL. Informal talks on the greatest pictures of - Michelangelo, Titian, Raphael, Correggio, Van Dyck, Rembrandt, - and Murillo. With 105 handsomely reproduced full-page - illustrations. $3.50 _net_. - - A Century’s Change in Religion - - By GEORGE HARRIS. A comparison of religious beliefs and practices - of today with those of the first half of the nineteenth century. - $1.25 _net_. - - The Lure of the Camera - - By CHARLES S. OLCOTT. All who have felt the lure of the camera - will enjoy this account of the rambles and adventures of an - amateur photographer both in the Old World and in the New. With - 48 full-page illustrations. $3.00 _net_. - - _The postage on each of the above is extra_ - - 4 Park St., - Boston - - 16 E. 40th St., - New York - - HOUGHTON MIFFLIN COMPANY - - - - - SCRIBNER BOOKS - - The British Empire and the United States - - A REVIEW OF THEIR RELATIONS DURING THE Century of Peace - Following the Treaty OF GHENT - - BY WILLIAM ARCHIBALD DUNNING - - With an introduction by the Right Honorable Viscount Bryce - and a preface by Nicholas Murray Butler. - - This is the psychological moment for the appearance of a book - which explains the century of peace between Great Britain and the - United States. When nearly every world power except the United - States is at war, the history of our relations with a country, - one of whose dominions borders ours for a distance of 3,000 - miles, cannot help being intensely interesting and helpful to an - understanding of war and peace and their underlying causes. - - _$2.00 net; postage extra._ - - The End of the Trail - - BY E. ALEXANDER POWELL, F. R. G. S. - - _With 45 full-page illustrations and map, $3.00 net; - postage extra._ - - In this volume Mr. Powell treats of those portions of the West - which have not been hackneyed by tourists and railway companies - in the same vivid, entertaining, and acute manner in which he - treated Africa in “The Last Frontier.” The volume is, - incidentally, a narrative of the most remarkable journey ever - made by automobile on this continent—a narrative upon which are - strung descriptions of the climate, customs, characteristics, - resources, problems, and prospects of every state and province - between Texas and Alaska in such a manner as to form the only - comprehensive and recent volume on the Far West. The narrative is - brightened by what is probably the most striking collection of - pictures of American frontier life that have ever been gathered - together. - - On Acting - - BY BRANDER MATTHEWS - - The result of the author’s observation is that there is no art - the principles of which are so little understood (even by - hardened playgoers) as that of acting. And he has tried to - declare some of the elements of the art, illustrating by “apt - anecdote and unhackneyed stories.” - - _75 cents net; postage extra._ - - Una Mary - - BY UNA A. HUNT - - Here is child idealism beautifully described in personal - reminiscences. A sensitive and imaginative child creates in her - fancy a second self embodying her dearest ideals. The two selves - grow up together and eventually become one. - - _$1.25 net; postage extra._ - - - By J. M. BARRIE - - _A Book of Four Plays_ - - - - - HALF - HOURS - - Pantaloon - The Twelve-Pound Look - Rosalind - The Will - - _$1.25 net; postage extra_ - - The Grand Canyon and Other Poems - - BY HENRY VAN DYKE - - This collection of Dr. van Dyke’s recent verse takes its title - from that impressive description of the Grand Canyon of Arizona - at daybreak, which stands among the most beautiful of Dr. van - Dyke’s poems. The rest of the collection is characterized by - those rare qualities that, as _The Outlook_ has said, have - enabled the author “to win the suffrage of the few as well as the - applause of the many.” - - _$1.25 net; postage extra._ - - The American Natural History - - A FOUNDATION OF USEFUL KNOWLEDGE OF THE HIGHER ANIMALS OF - NORTH AMERICA. - - BY WILLIAM T. HORNADAY, Sc. D., Director of the New York - Zoological Park, author of “Our Vanishing Wild Life,” etc. - - _Entirely reset in Four Crown Octavo Volumes; with 16 full-page - illustrations in colors, 67 full-page illustrations from original - drawings and photographs, and nearly 300 text illustrations; and - with numerous charts and maps. The set, in a box, $7.50 net; - postage extra._ - - CHARLES SCRIBNER’S SONS - Fifth Avenue at 48th Street, New York - - - - - SCRIBNER BOOKS - - The Cruise of the “Janet Nichol” Among the South Sea - Islands - - BY MRS. ROBERT LOUIS STEVENSON - - Lovers of Stevenson and his work will discover a new inspiration - in the diary of his wife written during their voyage in 1890 - through the South Seas. This material has never been given to the - public before in any way. The diary was written with no thought - of publication, but, as Mrs. Stevenson says, “to help her - husband’s memory where his own diary had fallen in arrears.” - - _$1.75 net; postage extra._ - - Notes on Novelists With Some Other Notes - - BY HENRY JAMES - - Here is a book which describes with penetrating analysis and in a - thoroughly entertaining manner of telling, the work not only of - the great modern novelist of the last century, Stevenson, Zola, - Balzac, Flaubert and Thackeray, but also takes up in a chapter - entitled “The New Novel,” the work of Galsworthy, Mrs. Wharton, - Conrad, Wells, Walpole, Bennett and the other more important - contemporary novelists. This chapter gives in a short space, as - keen and authoritative a criticism of present-day fiction as can - be found. - - _$2.50 net; postage extra._ - - The Man Behind the Bars - - BY - WINIFRED LOUISE TAYLOR - - Miss Taylor has for many years devoted her life to the study of - prisons and prisoners, and her book contains studies of intense - human interest and deep and intelligent sympathy into the lives - of convicts, the effects of prison life, the careers of men who - have served their terms, and the prospects and sources of their - reform. - - _12mo. $1.50 net; postage extra._ - - Artist and Public and Other Essays on Art Subjects - - There is no one writing of art to-day with the vitality that - fills every paragraph of Mr. Cox’s work. Its freedom from what - has become almost a conventional jargon in much art criticism, - and the essential interest of every comment and suggestion, - account for an altogether exceptional success that his book on - The Classic Spirit has had within the last few years and that - will be repeated with this volume. - - _Illustrated. $1.50 net; postage extra._ - - - By JOHN - GALSWORTHY - - - MEMORIES - - _Illustrated with 4 full-page colored illustrations and a large - number in black and white by_ MAUD EARLE. - - This is a charmingly sympathetic biographical sketch of a dog—a - spaniel that came into the author’s possession almost at birth - and remained with him through life. - - _About $1.50 net; postage extra._ - - In Dickens’s London - - BY F. HOPKINSON SMITH - - _With 24 full-page illustrations from the author’s drawings - in charcoal._ - - The reader of this volume will, in effect, have the delightful - experience not only of visiting those London scenes frequented by - Charles Dickens himself, but also those used by him as scenes in - his novels and familiar through them in connection with Alfred - Jingle, Nancy, Bob Sawyer, Sam Weller, Quilp, The Marchioness, - Mr. Pickwick, Mr. and Mrs. Micawber, and so on, in the company of - that most sympathetic and eloquent guide, the author-artist. - - _$3.50 net; postage extra._ - - A Diary of James Gallatin in Europe - - FROM THE AMERICAN PEACE THROUGH THE Downfall of Napoleon - and the Following YEARS. - - This journal of the son and secretary of Albert Gallatin, who - accompanied his father during the negotiation of the Treaty of - Ghent and afterward during his ministries to France, 1815-23, and - to England, 1826-27, is at least _one_ of the most entertaining - and enlightening commentaries on that period ever written. - - _Illustrated. 8vo. $2.50 net; postage extra._ - - CHARLES SCRIBNER’S SONS - Fifth Avenue at 48th Street, New York - - - _The New Poetry_ - - - - - SWORD BLADES _and_ POPPY SEED - - _By_ AMY LOWELL - - Author of “A DOME OF MANY-COLOURED GLASS,” Etc. - - _In “The Boston Herald” Josephine Preston Peabody writes of - this unusual book_: - - “First, last and all inclusive in Miss Amy Lowell’s poetic - equipment is vitality enough to float the work of half a score of - minor poets.... Against the multitudinous array of daily verse - our times produce ... this volume utters itself with a range and - brilliancy wholly remarkable.... A wealth of subtleties and - sympathies, gorgeously wrought, full of macabre effects (as many - of the poems are) and brilliantly worked out ... personally I - cannot see that Miss Lowell’s use of unrhymed vers libre has been - surpassed in English. This breadth and ardor run through the - whole fabric of the subject matter.... Here is the fairly - Dionysiac revelry of a tireless workman. With an honesty as whole - as anything in literature she hails any and all experience as - stuff for poetry. The things of splendor she has made she will - hardly outdo in their kind.” - - _Price $1.25 net. At all bookstores._ - - PUBLISHED - BY - - 64-66 5th Avenue - NEW YORK - - THE MACMILLAN COMPANY - - By Paul Claudel - - THE EAST I KNOW - - _Translated into English by_ TERESEA FRANCES _and_ WILLIAM - ROSE BENÉT. - - Yale - University - Press - - 109 Elm Street - NEW HAVEN, - CONN. - - 225 Fifth Ave. - NEW YORK - CITY - - Paul Claudel was for many years in the French Government Service - in Cochin, China. “The East I Know” is a translation into English - of his “La Connaissance de l’Est.” It is a series of word - pictures of life in the Far East written by a poet whose - individuality and originality are bound to make a profound - impression on American as they have already done on Continental - readers. The translators have captured with complete success the - author’s exquisitely delicate feeling for words which give the - color and soul of the East with poetic modulation yet - unmistakable truthfulness. - - This is the first of M. Claudel’s work to appear in English and - is expressly authorized by him. - - _8vo. Cloth binding. 199 pages. Price $1.50 net postpaid._ - - By William Rose Benét - - THE FALCONER OF GOD - AND OTHER POEMS - - Mr. Benét’s sensitive appreciation of human interest, and his - ability to frame his thoughts each in the style best suited to - convey it, have already made him known to a large public. Readers - of the Century, Scribner’s, Harper’s, The Outlook, The - Independent, and other magazines are familiar with the appeal of - his poetry. - - The present volume is a collection of virile and impressive poems - enhanced by the fantastic color and charm which Mr. Benét has - already made his own. It contains two poems which should be of - especial interest in the present European crisis, reflecting as - they do the spirit of the Franco-German War of 1870. - - _12mo. Board binding. 122 pages. Price $1.00 net postpaid. - Limp leather binding. Price $1.50 postpaid._ - - - - - _Important New Books_ - - Love and the Soul-Maker - - By Mary Austin, _Author of “The Arrow Maker.”_ - - In this new book the author makes one of the strongest pleas for - the home that has ever been voiced. Mrs. Austin discusses frankly - the problems of sex differences that are being encountered - everywhere today in our social life, and proves that the balance - of the social relations can be accomplished only by the same - frank handling of the so-called problem of the double standard of - morality. Every serious minded man and woman should read it. - - _$1.50 net_ - - Hail and Farewell—A Trilogy - - - “Ave,” “Salve” and “Vale” - - By George Moore. - - In these three volumes the author brings us into very close touch - with many men and women who have helped to make the history of - art and literature during the last decade. “It is a wonderful - tour de force in literary art, with scarcely a parallel since - Rousseau’s Confessions.”—_North American_, Philadelphia. - - _$1.75 each vol._ - - Insurgent Mexico - - By John Reed. - - This is the true story of the Mexico of today; showing the peon - in war and in peace; intimately portraying the character of this - little understood people and their leaders; describing many of - the scenes along the march of Villa’s victorious army, and - offering to the reader the only up-to-date and accurate account - of the Mexican situation available. - - _$1.50 net_ - - Americans and the Britons - - By Frederick C. De Sumichrast. - - A timely book discussing the differences between American and - British social order; The American Woman; Education; Foreign - Relations; Journalism in America and Britain; Militarism; - Patriotism; Naturalization, and many other important subjects of - interest to all English speaking people. The author is a strong - believer in Democracy, though he sees many faults in it, and - these he discusses frankly, with a hopeful outlook for the - future. - - _$1.75 net_ - - - - - _Notable New Novels_ - - _By the Author of “Richard Furlong.”_ - - Achievement - - By E. Temple Thurston - - The story of an artist whose character develops under the - influence of different women. His trials, temptations, ideals and - triumphs are described, showing that each man as he works is - subject to feminine influence, whether he works for a woman or in - despite of her. A true picture of studio life in London, and - peopled with real men and women worth knowing. - - _$1.35 net_ - - _By the Author of “The Inheritance.”_ - - To-Day’s Daughter - - By Josephine Daskam Bacon - - To do something worth while in the world is Lucia Stanchon’s - ambition. In search of a career she is led into many interesting - experiences. Falling in love is one of them, and her conclusions - after this unexpected happening are especially interesting from - the viewpoint of a very modern young woman. - - Illustrated, _$1.35 net_ - - _By the Author of “Broke of Covenden.”_ - - Anne Feversham - - By J. C. Snaith - - Piqued by her punishment for sauciness, Anne Feversham elopes - with Heriot, who is falsely accused of a serious crime against - his Queen. Disguised, they join a troup of players, but they are - discovered and brought before the Queen for trial. Exciting - events follow, and things look grave for the culprits. The - climax, however, is both original and charming. The author has - drawn a splendid picture of the Elizabethan period. - - _$1.35 net_ - - _The Romance of An Ambitious Woman._ - - The Torch Bearer - - By Reina Melcher Marquis - - The story of Sheila Caldwell, a girl of rare literary gift and - passionate idealism who realizes too late that she has married a - man intellectually and spiritually her inferior. Her husband’s - discovery that his wife continues to cherish literary ambitions - creates discord that grows with each succeeding day. Mrs. - Marquis’ handling of this difficult situation is decidedly - illuminating. - - _$1.30 net_ - - D. APPLETON & COMPANY, NEW YORK - - - - - DRAMATIC WORKS - - - VOLUME V - - BY GERHART HAUPTMANN - - $1.50 NET WEIGHT 22 OUNCES - - _Contains_: “_Schluck and Jau_;” “_And Pippa Dances_;” - “_Charlemagne’s Hostage_.” - - The second group of Hauptmann’s Symbolic and Legendary Dramas - gains unity by a recognizable oneness of inspiration. The poet - has become a seeker; he questions the nature and quality of - various ultimate values; he abandons the field of the personal - and individual life and traces for us, through the poetic fabric, - the universal search for beauty, the problem of moral evil and - the transitoriness of earthly glory. [A special circular, with - contents of the preceding volumes, will be mailed upon request to - the publisher.] - - WISCONSIN PLAYS - - $1.25 net; weight about 18 oz. - - _Contains_: _“The Neighbors,” by Zona Gale_; _“In Hospital,” - by Thomas H. Dickinson_; _“Glory of the Morning,” by - William Ellery Leonard_. - - A noteworthy manifestation of the interest in the stage and its - literature is the work, both in writing of plays and their - performance, of the gifted band organized as the Wisconsin - Dramatic Society. The three one-act plays in this volume are - fruits of the movement. Having met with success in the theatre, - they are now offered to the creative reader to whose imagination - dramatic literature is a stimulus. - - These may be had from booksellers or from the publisher upon - application, to whom a list of interesting publications of 1914 - may be obtained. - - B. W. HUEBSCH, 225 Fifth avenue, New York - - - - - New Books on a Wide Variety of Interests - - - _MISCELLANEOUS_ - - Our Philadelphia - - By ELIZABETH ROBINS PENNELL. Illustrated by JOSEPH PENNELL. - (Regular Edition.) 105 illustrations from lithographs. - Quarto. In a box. $7.50 net. (Autographed Edition.) Signed - by both author and artist, with ten additional lithographs. - Special buckram binding, in a box. $18.00 net. Carriage - charges extra. (_This edition limited to advance - subscribers. After publication no order will be filled._) - - A book of personal experience more entertaining than a novel, - with Mr. Pennell’s illustrations made especially for this volume. - - Colonial Mansions of Maryland and Delaware - - By JOHN MARTIN HAMMOND. Limited Edition, printed from type, - which has been distributed. With 65 illustrations. Octavo. - In a box, $5.00 net. Postage extra. - - This volume is uniform in style and price with others in the - Limited Edition Series—“Colonial Homes of Philadelphia and its - Neighborhood,” “Manors of Virginia in Colonial Times,” and - “Historic Homes of New Jersey”—all of which are now out of print - and at a premium. - - Essays Political and Historical - - By CHARLEMAGNE TOWER, LL. D., former Minister of the U. S. - to Austria-Hungary, Ambassador to Russia and Germany. 12mo. - Cloth. $1.50 net. Postage extra. - - Essays upon vital subjects by one of our greatest figures in the - diplomatic world will demand instant attention. The book will be - widely read for its important revelations in the light of the - present disturbed conditions. - - The True Ulysses S. Grant - - By GENERAL CHARLES KING. 24 illustrations. Octavo. Buckram. - $2.00 net. Half levant. $5.00 net. Postage extra. - - This new volume in the True Biography and History Series is the - work of a writer peculiarly fitted to deal with Grant. Not only - Grant, the general, but Grant, the man, and Grant, the president, - are treated with the same regard for truth that characterizes all - the volumes in the series. - - Heroes and Heroines of Fiction - - Modern Prose and Poetry - - By WILLIAM S. WALSH. Crown. 8vo. Half morocco. $3.50 net. - Postage extra. - - Mr. Walsh has compiled the famous characters and famous names in - modern novels, romances, poems and dramas. These are classified, - analyzed and criticised and supplemented with citations from the - best authorities. - - The Mystery of the Oriental Rug - - Including the Prayer Rug and Advice to Buyers - - By DR. G. GRIFFIN LEWIS. Frontispiece in color and 21 - full-page plates. Octavo. Cloth. $1.50 net. Postage extra. - - This charming volume is compact with information and no one - should buy rugs without its aid. Those already possessing the - author’s “Practical Book of Oriental Rugs” should not fail to - secure it as an interesting supplement. - - Shakspere and Sir Walter Ralegh - - By HENRY PEMBERTON, JR., M.A. Including also several essays - previously published in the New Shakespeareana. - Illustrated. $1.50 net. Postage extra. - - All those who are in anywise interested in the greatest problem - in English literature, i. e., the Shakespearean authorship, must - necessarily consult this book, which presents the picturesque and - tragic figure of Sir Walter Raleigh as the true author. - - - _GOOD FICTION_ - - _A Novel of Unusual Distinction_ - - The Three Furlongers - - By SHEILA KAYE-SMITH. Frontispiece. $1.25 net. Postage - extra. - - NEW YORK TIMES: “Her story is written with such sincerity of - feeling and appreciation of moral beauty and contains so much - human truth that the author deserves warm commendation. For she - ... has given it also dramatic moments and strong emotional - tension.... An achievement worth while.” - - The Ward of Tecumseh - - By CRITTENDEN MARRIOTT. Illustrated. $1.25 net. Postage - extra. - - The author of “Sally Castleton, Southerner,” has here written a - novel of the American wilderness that has the tang and flavor of - a James Fenimore Cooper tale. It is intensely exciting—the - heroine, a charming French girl, mysteriously disappears among - the Indians, and one reads the story with the same eagerness that - the hero feels in his attempt to find the lost girl. - - The Duke of Oblivion - - By JOHN REED SCOTT. Frontispiece in color. $1.25 net. - Postage extra. - - NEW YORK TIMES: “There are plots and counterplots, hand-to-hand - fights, and many thrilling adventures.... Until the end the - reader is kept in a high state of doubt as to whether or not they - will all escape in safety.” - - Betty’s Virginia Christmas - - By MOLLY ELLIOT SEAWELL. Illustrated in color, with page - decorations, artistic cloth binding. $1.50 net. Postage - extra. - - A captivating picture of Southern life of ante-bellum days. Betty - wins the reader on the first page and holds him to the last, - while the story has the true Christmas spirit of dancing, - merrymaking, song and sport. - - - _FOR BOYS AND GIRLS_ - - _Boys of All Ages Will Enjoy_ - - Buffalo Bill and the Overland Trail - - By EDWIN L. SABIN. Illustrated in color and black and - white. $1.25 net. Postage extra. - - This new volume in the Trail Blazer’s Series in addition to being - a thrilling story of the adventures of a boy in the days of the - Overland Trail, is also a true sketch of the great pioneer Indian - fighter, Colonel William F. Cody. - - _A New Volume in STORIES ALL CHILDREN LOVE SERIES_ - - The Cuckoo Clock - - By MRS. MOLESWORTH. 8 full-page illustrations in color by - Maria L. Kirk. Ornamental cloth. $1.25 net. - - This famous book is one of the most delightful children’s stories - ever written. The story has much of the charm of “Alice in - Wonderland,” and can justly be called a classic. The boy or girl - who does not read it misses one of the greatest treats of - childhood. - - - _TWO EXCELLENT EDITIONS_ - - OXFORD - - By ANDREW LANG. Illustrated in color by George F. - Carline, R. B. A. Crown quarto. Cloth. $3.00 net. - Edition de Luxe, limited to 350 copies. $6.00 net. - - LONDON - - By SIR LAURENCE L. GOMME, F.S.A. With many unique - illustrations and plates specially reproduced by - photogravure. Octavo, $2.00 net. - - Publishers J. B. LIPPINCOTT COMPANY Philadelphia - - - - - HAROLD - BAUER - - Recognized throughout the world as one of the greatest pianists - of all times, writes of the - - - - - Mason & - Hamlin - - Mason & Hamlin Co. - - Gentlemen: It gives me keen pleasure to testify once more to the - excellence of your pianos. - - Since my first visit to this country eight years ago, my - admiration for these noble instruments has increased with each - successive tour. - - The instruments I have used this year not only represent the most - perfect examples of the piano maker’s art, but fulfill every - imaginable requirement from the point of view of both pianist and - audience, and are the most superbly beautiful instruments that I - know. - - (Signed) Harold Bauer - - Mason & Hamlin Pianos for sale only at the warerooms of the - - - _Cable Piano Company_ - - - _READERS of The Little Review will, we think, be interested in - the following selected list of new books._ - - The House of the Dawn - - By MARAH ELLIS RYAN - - Exquisite beauty of style, rich descriptive passages, so filled - with melody that they read like wonderful prose poems, mark this - brilliant tale of Spanish Mexico by Marah Ellis Ryan. - - Essentially, however, is it a romance—a romance of unusual - quality—of young love and courage. The love of one noble mind for - another. The courage, born of high principle that dares all for - freedom and righteousness. _Illustrated by Hanson Booth. Crown - 8vo._ - - Net $1.35 - - Indian Blankets and Their Makers - - By GEORGE WHARTON JAMES - - One of the most interesting artistic expressions of native - American life is the Indian blanket. The present volume, written - by an expert on Indian life and art, and beautifully and - faithfully illustrated, is a full and adequate guide to the whole - of this little known field. Mr. James’ volume should give the - Indian blanket a status among art collectors similar to that of - the Oriental rug. _With color and half-tone illustrations. Large - Crown 8vo. Boxed._ - - Net $5.00 - - Golden Poems (India Paper Edition) - - By FRANCIS F. BROWNE - - It is more than thirty years since the first edition of “Golden - Poems” appeared. Immediate success was at once accorded it, and - every passing year has found this favorite collection of “What is - good in poetry” more firmly established in popular favor. - - It has been found worthy of the dignity of a special India paper - edition, suitable alike for a traveling companion, and a - beautiful gift. - - _Flexible cloth_ Net $2.75 - _Morocco. Red-under-gold edges_ Net $4.00 - - Playing With Love and The Prologue to Anatol - - By ARTHUR SCHNITZLER - - “Anatol” has been spoken of as the comedy of Light Love, but - “Liebelei” is its tragedy. If it is not Schnitzler’s ripest - achievement, it is so far his finest play. Had he written nothing - else, his fame would be secure, for there is among modern plays - none with a deeper human note, none with less of false - emotionalism. _12mo._ - - Net $1.00 - - Masters of English Literature - - By E. W. CHUBB - - Professor Chubb’s studies of Chaucer, Shakespeare, Milton, - Dryden, Swift, Pope, Johnson, Burns, Byron, Shelley, Keats, - Wordsworth, Scott, Dickens, Thackeray, George Eliot, Carlyle, - Ruskin, Tennyson, and Browning, are marked by the understanding - that comes of deep interest and long study, by independence of - judgment, and vigorous expression. He has chosen his subjects to - illustrate the eight great movements in English Literature, and - the plan of the work, as well as the manner in which it has been - carried out, will commend the volume to all students. The - definite purpose, comprehensive view, searching analysis, and - attractive exposition of the studies will impress all readers. - _12mo._ - - Net $1.50 - - Myths and Legends of the Mississippi Valley and the Great - Lakes - - By KATHARINE B. JUDSON - - The collection includes records made from recitals by members of - the Winnebago, Chitimacha, Wyandot, Biloxi, Ojibwa, Mandan, - Menomini, Ottawa, Cherokee, Choctaw and Knisteneaux Indian - tribes, all well worthy of preservation. It gives in the original - form many of the legends used by Longfellow in “Hiawatha,” and - others as strikingly curious, quaint and poetical. _Small - quarto._ - - Net $1.50 - - _A. C. McClurg & Co., PUBLISHERS Chicago_ - - - - - Daylight Reveals - - - To All Men Goodyear Tire Supremacy - - Light on the tire question leads men inevitably to the Goodyear - No-Rim-Cut tire. - - It has led hundreds of thousands to them. Every month it leads - many thousands more. This has gone on until Goodyears outsell any - other tire that’s built. - - Light—which means information—shows true quality in Goodyears. It - is based on exclusive features. We spend fortunes on - trouble-savers found in no other tire. - - Rim-cutting is ended by one of them—by our exclusive No-Rim-Cut - feature. - - Blow-outs due to wrinkled fabric are ended by our “On-Air” cure. - That exclusive process costs us $450,000 yearly. - - Loose tread risk is reduced 60 per cent by a patent method we - alone employ. - - Punctures and skidding are combated, as in no other tire, by our - tough, double-thick All-Weather tread. - - - For Comfort’s Sake - - These things mean safety, sturdiness, less cost per mile, less - trouble. They combat the greatest tire faults in the best ways - known. - - Remember them. Some day—for comfort’s sake if for nothing - else—you are bound to adopt these tires. - - Do it now. For winter tires, our All-Weather tread is sufficient - inducement. Any dealer will supply you. - - - GOODYEAR - AKRON, OHIO - - - No-Rim-Cut-Tires - - With All-Weather Treads or Smooth - - THE GOODYEAR TIRE & RUBBER COMPANY, AKRON, OHIO - - For a Lift on the Road to Happiness - _read_ - Nancy the Joyous - A Novel of pure Delight - - Second Large Edition - - - - - Nancy the Joyous - - By Edith Stow - - “For those who enjoy bright, wholesome fiction,” says The Denver - News, “is recommended ‘Nancy the Joyous.’” Readers are saying the - same. Nancy the Joyous is the object of an unsolicited - reader-campaign of friend-to-friend commendation. Here is a book - whose genuine human heart-appeal—its very simplicity and lack of - artificial climax—touches the reader who likes to _know_ his - fiction people. - - _Extra cloth, stamped in gold and blind. Jacket to match. Special - decorations. Frontispiece in full color. 12mo. $1.00 net._ - - A Fresh, Clean, Worth-While Addition to Current Fiction - - Diane of the Green Van - - By Leona Dalrymple - - An outdoor love story, refreshing in atmosphere and sentiment, - bright and original in theme and style. A captivating romance of - love, laughter, adventure, mystery. The $10,000 prize novel, the - “sort of story no one willingly lays down till the last page is - turned,” says the Philadelphia North American. - - _12mo. Four illustrations in colortone by Reginald Birch. Jacket - in color. Cover in gold and blind. $1.35 net._ - - A Big Book—A Strong Book - - The New Mr. Howerson - - By Opie Read - - Even ardent admirers of Opie Read in the past were hardly - prepared for a work of the force and virility of “The New Mr. - Howerson.” Without a doubt it is his best work. It is a book - American readers cannot and will not ignore. It has qualities of - climax and suspense, of vital action and forceful personalities, - linked with those inimitable Read characteristics, whimsicality - and humor. The book will live. - - _Standard novel size; cover stamped in gold. Jacket in full - color. 460 pages. $1.35 net._ - - Will Delight the Children - - Tik-Tok of Oz - - By L. Frank Baum - - In picture and in story an Oz Book to carry on the fame of L. - Frank Baum’s popular series. Tik-Tok of Oz has unique features of - adventure, humor, quaint characters, queer countries, odd - situations. Many new characters in Mr. Baum’s best vein, but - carrying nearly all the old favorites. - - Pictures by John R. Neill—46 full-page, 12 of them in full color. - Many special decorations, etc., in black-and-white. The - end-sheets are Maps of the Land of Oz in great detail and real - map colors. - - _Other Oz Books:_ _The Land of Oz_, _The Road to Oz_, _Dorothy - and the Wizard in Oz_, _Ozma of Oz_, _The Emerald City of Oz_, - _The Patchwork Girl of Oz_. _All wonderfully illustrated in - color; handsome bindings. Each, $1.25._ - - Publishers Reilly & Britton Chicago - - - - - TWO NOTABLE NEW BOOKS - - THE GREAT WAR - - _The First Phase_ - - [FROM THE ASSASSINATION OF THE ARCHDUKE TO THE FALL OF - ANTWERP.] WITH NEW MAPS - - AT ALL - BOOKSHOPS - - $1.25 net - - By FRANK H. SIMONDS - of The New York Evening Sun - - This is the first real history of what has actually happened - since the great War began. There have been books a-plenty dealing - with the underlying causes and ambitions, and with the Europe of - July, 1914. - - This book is not one of them; it deals specifically with the - first phase of the War—from the murder of the Austrian Archduke - to the fall of Antwerp. It traces the course of the different - armies—English, German, French, Austrian, and Belgian—in language - at once simple, clear, and vigorous; shows you what moves they - have made and why they have made them; by what plan of campaign - each hoped to achieve success and what the measure of that - success has been. There are numerous simple maps specially - prepared to make clearer the military operations. - - Frank H. Simonds’ editorial comments on the War, as they have - appeared in The New York Evening Sun, have attracted nation-wide - attention. No one has better succeeded in showing people what the - fighting is all about. Here is his book. The publisher hopes to - follow it later with other volumes dealing with succeeding phases - of the War. - - DRIFT AND MASTERY - - AN ATTEMPT TO DIAGNOSE THE CURRENT UNREST - - AT ALL - BOOKSHOPS - - $1.50 net - - By WALTER LIPPMANN - Author of “A Preface to Politics” - - This is a book at once comprehensive, shrewd, vigorous, - searching, and interesting—with always a saving humor. In the - course of sixteen chapters, Mr. Lippmann discusses practically - all the more important problems of our political, social, and - economic life, and the factors that have brought about that - curious unrest everywhere so noticeable. - - In one paper he shows that we are accustomed to methods in - business that we would not for a moment tolerate in politics. In - another he submits Woodrow Wilson to an analysis that seems to - get under the man’s very skin. He analyzes proposed panaceas for - our ills (as well as the ills themselves) and show why they won’t - work. In “A Note on the Woman’s Movement” he explains with - crystal clearness what it is all about. - - But Mr. Lippmann is a great deal more than a brilliant - iconoclast—he deals not only with the signs and cause of the - present unrest, but with the order which is emerging from it. - - Send for full list of new books - - MITCHELL KENNERLEY PUBLISHER NEW YORK - - - - - Transcriber’s Notes - - -Advertisements were collected at the end of the text. - -The table of contents on the title page was adjusted in order to reflect -correctly the headings in this issue of THE LITTLE REVIEW. - -The four plates belonging to The Old Spirit and the New Ways in Art on -page 55 have been moved directly after the article. They were originally -included pairwise after page 32 and page 48, respectively; - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. All other changes are shown here -(before/after): - - [p. 33]: (multiple cases) - ... the Höllenlarm, the hellish alarum, that men make in life, - that life itself ... - ... the Höllenlärm, the hellish alarum, that men make in life, - that life itself ... - - [p. 38]: - ... impuissance! If we but actually learned Herrenmoral, - master-mortality, that ... - ... impuissance! If we but actually learned Herrenmoral, - master-morality, that ... - - [p. 38]: - ... a Schlavenmoral, a slave-morality. Yes it is true of the - cowardly and inert ... - ... a Sclavenmoral, a slave-morality. Yes it is true of the - cowardly and inert ... - - [p. 56]: - ... CHRISTIAN ABRAHAMSEN, A Clearing in Northern Wiscon ... - ... CHRISTIAN ABRAHAMSEN, A Clearing in Northern Wisconsin. ... - - [p. 60]: - ... paradoxical feats. What but a good-humorer smile will provoke - in you ... - ... paradoxical feats. What but a good-humored smile will provoke - in you ... - - [p. 60]: - ... from under a plued black hat and from over shoulders and arms - drawn ... - ... from under a plumed black hat and from over shoulders and - arms drawn ... - - [p. 60]: - ... like a Goops. Hellen made lovely things once; why this? ... - ... like a Goops. Helleu made lovely things once; why this? ... - - [p. 61]: - ... directions seem a little confused here) and shoutes: ... - ... directions seem a little confused here) and shouts: ... - - -*** END OF THE PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, NOVEMBER 1914 -(VOL. 1, NO. 8) *** - -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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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 other than 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 website -(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 the Project Gutenberg Literary Archive Foundation, the manager 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 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 website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread 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 website which has the main PG search -facility: www.gutenberg.org - -This website 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. |