his mastery of terse and aptly ex-
pressive English. More than once I have noted with
admiration the deft editorial correction in my own
manuscript. . . . His loss will be felt as a personal
bereavement by more than can be counted."
"I esteem it a great privilege to have been
permitted to cooperate with him even in a slight
manner. The brief notes which he has sent me
from time to time I shall cherish. He served a
noble and beautiful ideal. Such a life is a sugges-
tion to take courage."
"I am impressed by the value to a hurried age of
his steadfast and true adherence to a purpose. In
an environment in which slowness is a ban, and
time reduced to a monetary standard, a Dial point-
ing to the permanent values in which true progress
is recorded and reflected is the most serviceable of
public regulations."
"He has, through The Dial, done more than
anyone else to keep me alive and out of a rut."
"Ever since I have known him, he has seemed
to me to be Sidney's pattern of a gentleman—one
of 'high-erected thoughts seated in the heart of
courtesy.' His loyalty to reason and conscience,
unabated valiancy, and gentle humor have made his
friends and the world richer during many years."
"While my acquaintance with him was compara-
tively slight, he inspired me as he did everyone with
the greatest respect for his wide sympathies, his high
tone, and unfailing poise. It was a great achieve-
ment to establish the purest literary journal in this
country, and to do it in the camp of the Philistines."
"I have long thought of him as standing with
Mr. Alden,—the last representatives of a long line
of scholars and gentlemen of that elder, perhaps
finer, day."
"More truly than Oliver Wendell Holmes, he was
the 'last leaf of that magnificent cluster."
"He did so much necessary and important work
that no one else seemed able to do, that we can hardly
hope to find another like him. All men are unique
in some measure; but he, standing out in the history
of the intellectual life of our time, will I think
appear especially and peculiarly so."
"This is rather a moment in which to rejoice
that for so long we had that fine spirit with us and
that he was spared to fulfil his unique function in
the upbuilding of our culture. A history of Amer-
ican literature that does not accord him recognition
will be incomplete."
"An honored friend, a great force for good life
and literature, a true and noble man, has entered
into the higher life. He won a high place in Amer-
ican life by his exquisite taste, his sound judgment,
his gracious spirit, and his untiring devotion to the
best that is written."


444
[June 1
THE DIAL
CASUAL COMMENT.
The intellectual appeal in literature
meets, of course, with far less ready response, the
world over, than the sensational, or the sentimental,
or the erotic, or many another of a considerable
remove from the appeal of the highest order; but
it is far from being a negligible factor among the
qualities that yearly cause so many thousands .of
books to find purchasers and readers. Mr. R. A.
Scott-James, in a scholarly dissertation on "Popu-
larity in Literature," published in the May "North
American Review," divides the reading public into
five classes, but without claiming that these classes
are exhaustive or mutually exclusive. They con-
sist, "firstly, of those, whose love of sensation is
satisfied by violent incident; and secondly, of those
who are especially susceptible to the sentimental
appeal. To a third class belong those who take
pleasure in the agitations of sex feeling; and to a
fourth, those whose sense of humor is tickled by
the sallies of the literary clown. The fifth class —
a very large one—consists of those who are of a
habit of mind to be excited by sensations which can
be associated with religion and morality." Then he
adds: "It is useless to name as a sixth class those
who are moved by intellectual ideas, for so small a
class is not the objective of the popular author."
This is too pessimistic a view of the reading public's
literary tastes. Unquestionably Eugene Sue and
Mrs. Southworth and Josh Billings have had more
readers than Friedrich Hegel and John Addington
Symonds and Walter Pater; but if Mr. Scott-
James's sixth class is as inconsiderable as he avers,
how account for the large circulation attained by
such authors as, for instance, Oliver Wendell Holmes
and, in his historical writings, John Fiske, not to
mention Ruskin in a somewhat earlier time, and
Macaulay in one still more remote? This cultured
sixth class is far enough from being of vast dimen-
sions, but signs are not wanting that its size is
respectable and is increasing.
• ■ •
A book-testing laboratory, properly organized
and equipped and operated, would be of as great use
in its way as is the laboratory for testing the strength
or purity of materials used in the industries and arts.
Such an institution, to be known as a Bureau of Re-
view, will some day be established in the interests of
book-buyers, and especially of those buyers for the
people, the public libraries, if Mr. George Des's recent
address before the New York State Library School
evokes the response it deserves. The details of his
plan are to be found in full in the pamphlet report of
his discourse now obtainable from Albany, and only
one or two important points can here be touched upon.
Means are considered by which prompt and authori-
tative verdicts on current publications could be ob-
tained by the proposed bureau for the guidance of
librarians and others interested. "In promoting the
buying as well as the borrowing of books," Mr. lies
remarks, "public libraries are cultivating a field
which will steadily broaden year by year." Ad-
mission is frankly made of the significant fact that
even expert critics not infrequently differ diamet-
rically in their estimates of a book's value; and the
question is considered whether the most trustworthy
guide to the would-be purchaser might not take the
form of a colorless statement of the book's plan and
method and contents, with neither laudatory nor
condemnatory addition. The value of this projected
Bureau of Review in discouraging the publication of
worthless books and in encouraging that of useful
books is of course apparent. Already, as Mr. lies
observes, the cornerstone to such an edifice as he
proposes has been laid in the American Library
Association's annual annotated booklist of about
fifteen hundred titles. How soon the structure will
be completed remains to be seen.
Readings from the book of Nature are not
every day so attractively presented as in Mr.
Truman A. De Weese's book for the summer,
"The Bend in the Road," recently noticed in more
formal manner by us. Mr. De Weese, we are told,
learned the printer's trade in earlier life and then
interested himself in journalism, and it may have
been confinement to the close quarters and exacting
duties of the printing office and the editorial chair
that has made him in later years so ardent a lover
of the spacious joys of out-door life in the country.
In the following passage there speaks the delight of
the city man escaping from the city's din and the
city's newspapers. "He learns to love the silences
of Nature. After listening to the hum of bees and
the sweet music of the waving corn he begins to
realize the emptiness and dullness of much of the
human chatter that fills city homes and city clubs
with noise. In the country he has time to read and
think and plan. He has the time and the mood for
introspection. He gets a chance to sound the depths
of his own being. He doesn't read a newspaper
while he tosses a breakfast of coffee and rolls into
his tired stomach. He has a quickening sense of
the uselessness of the piffle with which newspapers
are filled, and he acquires a genuine pity for the poor
devils who have nothing else to read. After reading
in the book of Nature all week he can go out under
the quiet, restful shade of an apple tree on Sunday
and read a printed book that is really worth while.
The author's chapters entitled "A Sermon in Apple
Trees," "Why I Love an Apple Tree," and "Pastoral
Pictures" are especially good.
The expected completion of the Oxfobd
Dictionary, and with it the rest from his labors of
the veteran lexicographer who has already devoted
more than thirty years to his task, is now set with
some confidence by Sir James Murray himself at
four years hence. "I have got to the stage," he u
reported as saying, "when I can estimate the end.
In all probability the dictionary will be finished on


1913]
445
THE
DIAL
my eightieth birthday, four years from now. My
colleagues, Dr. Bradley and Dr. Craigie, are busy
with 'S,' and I have penetrated into the second half
of 'T,' which I expect to complete in two years.
By that time the three of us will be at liberty for
the last six letters of the alphabet." Expected at
first to fill eight large volumes, the work has, espe-
cially in its latter portions, developed an unforeseen
bulkiness which even ten volumes can scarcely be
found capable of compassing. The error of calcu-
lation is attributed largely to the fact that existing
dictionaries, used as a basis for the estimate, reveal
a tendency to hurry and scamp their work toward
the end, probably from a natural weariness in the
workers and an equally natural impatience in the
publishers. But in the Oxford undertaking no such
childish haste will be tolerated. The lexicographer-
in-chief pays deserved tribute to his American collab-
orators, and among them he mentions especially the
librarians of the Library of Congress at Washington
and of the Boston Athenaeum, who have been zealous
and diligent in looking up and copying desired pas-
sages in American books not accessible in England.
The problem of the unsold book, the book
that cumbers the shelves of the retail dealer until
at last it goes to the "remainder" counter or the
"second-hand" stall, where it begs for purchase at
an inglorious reduction of price, and is perhaps finally
disposed of at a tenth part of its original reputed
value, is one that Mr. William H. Arnold, speaking
at the recent conference of the American Booksellers'
Association in New York, suggests might be solved
by allowing the retailer to return to the publisher or
jobber any copies of a work left on his hands after
one year from the time of purchase, a credit check
for ninety per cent of the purchase price to be given
him in exchange. No goods are more uncertain as
to selling qualities than books, and the most unex-
pected surpluses and shortages are a part of the daily
experience of a bookseller in the handling of his
stock. It is argued that this proposed plan would
tend to discourage the now too-abundant issue of
works of questionable excellence, and losses from
over-production would be diminished. To make up
for any loss to the publisher occasioned by this re-
demption of unsold copies, Mr. Arnold suggests an
increased wholesale price, with a consequent slight
increase in the retail price; and he feels assured that
the innovation, by removing the dread of unsold
stock, would infuse fresh life into the bookselling
business. No formal action on the proposal was
taken, but it seems not unlikely that this seed corn
of suggestion may yield fruit in the near future.
• • •
Literature as a substitute for life is of
little worth, as Miss Corinne Bacon, efficient head
of the Drexel Institute Library School, Philadel-
phia, wittily and convincingly pointed out in her
recent address delivered before the Pennsylvania
Library Club and now published in "The Library
Journal." After citing the late lively tilt between
Mr. Dana and The Dial over the "great-books
superstition," she declares her willingness to go even
further than the Newark librarian on the highway
of heresy and ask why it is necessarily a good
thing for one to read at all. "Is there anything
sacrosanct about print? Why is it a virtue to read?
It takes more intelligence to make a dress, to cook
and serve a dinner which is both nourishing and
appetizing, or to make a piece of arts and crafts fur-
niture, than it does to read many a book. Would not
some of us be more genuine, more original, if we
dealt more with first-hand things than with second-
hand thoughts? At the best, books are but a substi-
tute for life." Unquestionably; and Miss Bacon
does well to warn us, both in apt phrase of her own
and in pertinent quotation from Mr. Harold Gorst,
of the danger of thinking with other people's brains.
But though literature without life would be chosen
by no sensible person in preference to life without
literature, the necessity of choice between these
awful alternatives is forced upon very few of us, and
we shall therefore continue to enjoy both life and
literature — in company with Miss Bacon and others
of the elect for whom existence is so immeasurably
enriched by the best things that have been thought
and said by men and women in the past
• • •
Recent prison poetry is enriched with a con-
tribution from the son of the author of "The Scarlet
Letter," who is at present an involuntary guest of
the government at Atlanta. As editor, pro tern., of
the prison paper, he has accepted from himself and
published the following touching lines:
"In the cell over mine at night
A step goes to and fro;
From barred door to iron wall,
From wall to door I hear it go,
Four paces heavy and slow,
> In the heart of the sleeping jail;
And the goad that drives I know.
"I never saw his face nor heard him speak;
He may be Dutchman, Dago, Yankee, Greek;
But ti e language of that prison'd step
Too well I know;
Unknown brother of remorseless bars,
Pent in your cage from earth and sky and stars,
The hunger for lost life that goads you so
I also know."
Is this an intentional or an accidental echo of Mr.
Arturo Giovannitti's prison verses entitled "The
Walker," penned in the seclusion of the jail at
Lawrence, Mass., and already quoted in part by us?
Two significant lines of the Italo-American poet's
"jerked English" (to borrow Mr. Wallace Rice's
expressive term) run thus:
"I hear footsteps over my head all night.
They come one eternity in four paces and they go one
eternity in four paces, and between the coming and the
going there is Silence and Night and the Infinite."
Like causes have been known to produce like effects,
and the Atlanta poem may be wholly original; but
if not, it is none the less — rather, all the more —
interesting.


446
[June 1
THE DIAL
The spacious domain of library science has
seldom had the fact of its amplitude more strikingly
illustrated than in the programme of the late joint
meeting of the Massachusetts Library Clab, the
Berkshire Library Club, and the Western Massa-
chusetts Library Club. Assembling at Williamstown
under the auspices of the college which there has its
seat, the librarians of the Bay State were for three
days (May 22-24) stimulated and refreshed by such
speakers as President Harry A. Garfield, who made
the address of welcome; Mr. John A. Lowe, the
college librarian, who appropriately considered the
relation of public libraries to college libraries; Pro-
fessor Carroll Lewis Maxcy, who spoke on Artemus
Ward; Mr. John Foster Carr (author of the useful
"Guide to the United States for Immigrants"),
who treated the subject, "What the Library Can Do
for Our Foreign-born"; Miss J. Maud Campbell,
who told "What the Foreigner has Done for One
Library"; Mr. William B. Clarke, the Boston pub-
lisher, whose topic was "The Business of Book-
selling"; Mr. Harlan H. Ballard, who discussed
"Cooperation in Library Work"; Miss Mafred N.
Rice, who gave an illustrated talk on story-telling;
and Miss Zaidee Brown, agent of the State Library
Commission, whose remarks concerned themselves
with "Librarians, Trustees, and the Field Agent,"
and who also conducted a round-table session for
questions and answers. Miss Ruby Tillinghast's
book-mending demonstration should not pass un-
mentioned, nor Mr. Charles R. Green's roll-call of
libraries, evoking two-minute responses on "The
Most Interesting Thing Done in our Library the
Past Year." Mountain excursions, to the top of
Greylock and over Hoosac Mountain, were among
the less strictly intellectual exercises planned for the
occasion.
The literary remains of Henry Reed, pro-
fessor of rhetoric and English literature at the Uni-
versity of Pennsylvania from 1834 to 1854, have
just been given to the library of that institution, and
are considered a valuable gift by reason of Professor
Reed's eminence in his department of learning and
the interesting nature of the manuscripts that he
left behind him, which include many unpublished
lectures and other autograph matter of importance.
Reed's activity in introducing Wordsworth to Amer-
ican readers in an American edition for which he
wrote a preface gives significance to the poet's letter
included among the papers now made accessible to
the scholarly public. Other interesting letters and
an unpublished lecture on Walter Scott are named
as of peculiar value. English literature students are
familiar with Reed's published " Lectures on English
Literature from Chaucer to Tennyson," his "Lectures
on English History and Tragic Poetry as Illustrated
by Shakespeare," and his "Lectures on the British
Poets." As editor he was responsible for many use-
ful works, including especially the American reprint
of Lord Mahon's "History of England," Thomas
Arnold's "Lectures on Modern History," and Gra-
ham's "English Synonyms." But his literary in-
dustry, both as author and editor, was too great to
receive due tribute here. Some still living will re-
call the tragic circumstances of his untimely death—
how he sailed for England on the ill-fated "Arctic,"
which was lost at sea September 27, 1854.
Mia appreciation of humorous literature
has been carried to great lengths on the part of
long-faced and literal-minded critics, as illustrated
by some of the solemnly adverse judgments pro-
nounced on Mark Twain's "Innocents Abroad" at
the first appearance of that jocund work. But prob-
ably few have attained to that degree of immunity
from the attacks of humor that was reached by the
scholarly and dignified Charles Sumner. When
Longfellow, as Mr. Henry Cabot Lodge tells us in
the June instalment of his early reminiscences now
appearing in "Scribner's Magazine," presented
Sumner with a copy of "The Biglow Papers,"
fresh from the press, that eminent statesman seems
to have applied himself to Lowell's rollicking verse
in much the same state of mind as one would bring
to bear on Milton's " Paradise Lost" or Elopstock's
"Messiah." As Mr. Lodge tells the story, "it was
a rainy afternoon and Mr. Longfellow was obliged
to go out, leaving Sumner stretched on the sofa read-
ing Lowell's volume. When he returned he asked
Sumner how he liked the poems, and Sumner re-
plied: 4 They are admirable, very good indeed, but
why does he spell his words so badly?' Longfellow
said that he attempted to explain that the poems
were purposely written in the New England dialect,
but Sumner could not understand." And yet Sum-
ner was as much a New Englander as Lowell or
Longfellow.
Books, boilers, and bunkers, as we read in the
current annual report of the Boston Public Library,
are getting mixed together in a distressing promis-
cuity in the stately building that for eighteen years
has been the pride of Copley Square. Erected a
comparatively short time ago at a cost of more than
two million dollars, and expected to meet the demands
made upon its space for at least one generation, the
structure is already so pressed for stack-room that
even the cellar, where no sane librarian would by
choice store any of the books committed to his keep-
ing, has been used to catch a part of the overflow
from the stacks, and branches have been forced to
give storage to some of the less actively circulating
volumes. All this makes for confusion and vexation
and several other sorts of harm. Will our library
building committees ever learn the supreme necessity
of providing ample space for book-stacks? The
homely New England rule about sweetening rhubarb
pies (put in sugar till you're Beared, and then add
as much more) would apply, mutatis mutandis, in
designing the stack-room of a public library. "Build
ye more stately mansions," is the lesson taught not
only by the chambered nautilus, but by the congested
public library.


1913]
447
THE DIAL
A little instance of time's bevenges has been
recalled in connection with the recent marriage of
a daughter of the late John Fiske. In the days of
his own courtship, and while he was still an under-
graduate at Harvard, Fiske became known — too
well known for the harmony of his own relations
with the college faculty — as an enthusiastic Darwin-
ian; and at the very time when he was writing his
early article on Buckle for magazine publication,
with the young lady of his choice much in his mind
to lighten his labor (as he afterward assured her
when he sent her a copy of the lucubration), he had
the misfortune to be caught reading in church instead
of listening to the sermon, and was summoned before
the faculty to face not only this charge, but also the
accumulated evidences of his conversion to Darwin-
ism. He was let off, however, with an admonition
and a threat of summary expulsion if he did not in
future refrain from airing his too-advanced views.
The humor of the situation appears when it is borne
in mind that those very views, which afterward con-
tributed so large a part to his reputation as a writer,
were the ones he was called back to Harvard to
expound under its auspices less than ten years after
he had almost suffered expulsion for holding them.
A literary worker little known to fame,
but possessed of accomplishments and abilities far
above the ordinary, died May 13 at Plainfield, N.J.
William Henry Larrabee, author of " How the World
Was Made," " Earthquakes and Volcanoes," " Edu-
cation through the Agency of Religious Organiza-
tion," and other books, was born at Alfred, Maine,
in 1829, and was graduated in 1845 from De Pauw
University, before it had ceased to be called Asbury
University. Like so many other men of letters, he
was a lawyer by profession but never practiced,
choosing the more congenial field of literature and
scholarship and editorship. School-teaching, farm-
management, and newspaper work preceded his
editorial connection with "The Popular Science
Monthly," which he served as translator and assist-
ant editor up to 1900. Many encyclopaedia articles
came from his busy pen, and his useful activities
included also a term of service as trustee of the
Plainfield Public Library. He is said to have had
a mastery of seventeen languages, and he was a
great traveller. . . .
The increasing vogue of Browning seems to
receive striking proof in the extraordinary price paid
in London recently for an early and rare edition of
the poet's youthful production, "Pauline," a poem
filling but eight pages in the Cambridge Edition of
Browning, and probably read about as seldom as
any piece of his that could be named. A sum equiv-
alent to twenty-four hundred dollars in our money
is said to have changed hands when this early speci-
men of Browning's art was offered for sale. At
about the same time a packet of five hundred or more
of the Browning love-letters, of which so much has
of late been written and said, passed under the auc-
tioneer's hammer in London, and elicited bids that
started at six hundred pounds and then rose by suc-
cessive steps of fifty to six thousand five hundred
and fifty pounds, or nearly thirty-three thousand
dollars. The outcry of outraged sentiment over the
public sale of these letters, even though the letters
themselves virtually became public property when
they were published years ago, is not unnatural.
Pounds sterling in exchange for the heartbeats of
two poet-lovers! "To what base uses we may re-
turn, Horatio!" ...
The Authors' League of America now takes
its place beside the Authors' Society of England
and La SociitS des Gens de Lettres of France. It
has issued its first "Bulletin," held its first meeting,
elected its first officers, and is now ready for busi-
ness at 30 Broad Street, New York. It has a legal
department, a department concerned with the gen-
eral relations of author and publisher, one for the
conduct of an official periodical, the exact nature of
which is not yet decided upon, a department which
acts as agent for the author's books in England, a
bureau for the expert examination of manuscripts,
a bureau of information, and one for foreign affairs
and international copyright. The list of officers in-
cludes Mr. Winston Churchill, President, Mr. Theo-
dore Roosevelt, Vice-President, Mr. Ellis Parker
Butler, Secretary and Treasurer, Mr. John Bur-
roughs and others, as Honorary Vice-Presidents,
and a Council of ten that begins with the name of
Mr. Gelett Burgess and ends with that of Miss
Carolyn Wells.
COMMUNICA TIONS.
HAUPTMANN'S "ATLANTIS" AND THE
NOBEL PRIZE.
(To the Editor of Thb Dial.)
The extraordinary distinction given Gerhart Haupt-
mann's novel "Atlantis" by the conference upon the
author of the Nobel prize for the greatest idealistic work
of literature of the year 1912 warrants more searching
examination than the shrinking or perfunctory comment
it has in most cases received on this side of the Atlantic.
"Atlantis" is the story of the foundering of a
Hamburg-American liner in mid-ocean, as chief back-
ground for three months out of the life of a German
doctor, aged thirty-one, who leaves his wife in an insane
asylum and his three young children in the guardianship
of his parents, in order to pursue across the sea a danseuse
of sixteen. They are rescued from the waves and reaoh
New York, where he yields a few days to his passion
and compels her to yield. Later be meets a woman
art student, who gives him good advice and nurses him
through a spell of typhoid. His insane wife having
meanwhile opportunely died, he marries the art student
in mid-ocean on the return voyage to Germany.
Off-hand one is inclined to say that one would not
care to make the closer acquaintance of such a person
as this hero, even when introduced by the author of
"Die Weber " and " Die versunkene Glocke," the fore-
most contemporary German dramatist But since the
Stockholm Academy has given Frederick von Kamma-
cher such a good letter of introduction and we are


448
[June 1
THE
DIAL
likely to meet him iu society, it is important to know
more about him and to be able to take one's position
regarding him and his friends.
He was aware that he had reached a crisis in his life.
"He was not one of those who enter upon this crisis
unconsciously. ... It seemed to him that he had
worked hitherto with other people's hands, according to
other people's wills, guided rather than guiding. . . .
'Now I will walk with my own feet, look with my own
eyes, think my own thoughts, and act from the plenary
power of my own will.' . . . Frederick had been dis-
illusioned in his deep-seated altruism, which until now
had completely dominated him."
It would be better for our judgment of Frederick if
his friend the author had not made these declarations
regarding him. If we could believe that he were the
helpless bee ensnared by the irresistible fascination of
the gallows-spider, the dancer Ingigerd, we might have
some pity for him, though we must needs regard him
as very weak. But having been assured that he was
determined to take every step of his own will — and he
is thirty-one — there is no excuse for him. As to his
deep-seated altruism, the only act cited in evidence is
the remission to an old friend dying of consumption of
a debt of $750, while the running away from his insane
wife and his three children does not comport with a
Philistine idea of altruism.
Again, the author describes the traits of his hero:
"Though Frederick had never been ill, there were times
when he showed symptoms of a peculiar passionateness.
His friends knew that when all went well he was a dor-
mant volcano; that when things did not go well he was
a volcano spitting fire and smoke. To all appearances
equally removed from effeminacy and brutality, he was
subject nevertheless to attacks of both. Now and then
a dithyrambic rapture came over him, especially when
there was wine in his blood; he would pace about, and
if it were daytime, might address a pathetic, sonorous
invocation to the sun, or at night, to the constellations,
particularly to the chaste Cassiopeia."
Frederick had first seen Ingigerd in Berlin in a sym-
bolic dance called "Mara, or the Spider's Web." He
had attended this performance nineteen times,—enough,
one would say, to indicate his lack of judgment and
self-control, and enough to make him a monomaniac, if
it does not prove him to have been one already. The
dance is plainly intended to symbolize the relation of
Frederick to Ingigerd, she being the spider and he the
bee. In fact, however, the relation is more like that of
hawk to hare, with Frederick in the former role.
Although she is surrounded by a coterie of admirers,
Ingigerd promptly suspects Frederick's purpose in com-
ing aboard. Before the ship is three days out he has
made himself a subject for ribald jest in the smoking-
room. In Mara's presence he is alternately burning
with lust and frothing with wrath at himself for being
attached to so slight a thing. She, in turn, has felt
"that his propinquity was by no means lacking in dan-
ger for herself." Nevertheless, at their first personal
conference she tells him of her past "in a series of con-
fidences of such shocking content as to be worthy of a
Lais or a Phryne," and Frederick "found himself con-
fronting the knowledge of a childhood so outrageous as
to be worse than anything he had met with in his experi-
ences as a physician." This disturbed him so that he
could not sleep, but did not prevent his exchanging fiery
glances with a Russian Jewess the next morning, as he
accompanied the ship's doctor on a tour of the steerage.
That evening, the Jewess, having applied to the doctor
for professional treatment, is turned over to Frederick,
who honors his love for Ingigerd and dishonors his pro-
fession by committing fornication with the helpless and
ignorant girl. Whereupon, "Frederick went on deck,
where the exalted impression of the starry heavens shin-
ing over the infinite expanse of the ocean, purified him,
as it were." "He was neither by Nature nor by habit
a Don Juan and it astonished him that the unusual and
surprising adventure seemed to him the most natural
thing in the world." Probably this is one of the pas-
sages which gave the Stockholm Academy the impres-
sion of towering idealism.
The descriptions of Frederick's fellow-passengers
are in many cases clever, though they give a sombre
impression of humanity, if this shipload were to pass
for an average. Practically all the men who interest
the author, save the captain and a few of the officers,
are erotomaniacs — their relations with the other sex
dominated by physical appetite which seems to know
nothing of the restraints of civilization but is con-
strained only by the limits of opportunity. There is
Achleitner, the Vienna architect, who has come on
board for the same reason as Frederick; Stoss, the
armless marksman, who admits having "fallen under
suspicion with Ingigerd"; Fuellenberg, a Berlin ac-
quaintance of Frederick, who the first day out acts as
masseur to an English woman who "has a husband
in London and probably another in New York";
Hahlstroem, Ingigerd's father, who is exploitiug her
grace and willing to exploit her virtue, if she has any;
Ingigerd herself, who says she " would rather be dis-
reputable ten times over and live as she please";
Frau Liebling, leaving her husband behind so that
they may be divorced; Toussaint the sculptor, and
Fleischmann the painter, both mediocre, conceited, and
mercenary; Wilke a steerage passenger, an old friend
of Frederick's, represented as a wild beast, but really
much more of a man than Frederick; a languishing
Creole Canadian, with an attendant Yankee jackanapes
who builds bonfires of matches on the saloon table
until the captain interferes. Verily an aggregation of
idealists! When the ship is in danger Frederick cannot
believe that God will cut off the lives of so many peo-
ple; but so far as Hauptmann's report of them goes,
the Lord had the same reason for action as in the case
of Sodom and Gomorrah.
The most successful and most nearly plausible and
truthful parts of the book are the descriptions of the
storm and of the foundering of the "Roland." A
German reviewer has said that a correct title for
"Atlantis " would be: "Experiences on a Transatlantic
Steamer, with a Description of a Shipwreck." Haupt-
mann's power as a reporter is undeniable, and examples
are unnecessary. It is not the realist Hauptmann we
are taking note of, but the representative of supreme
idealism. Two-thirds of the book are devoted to the
sea trip, while the remaining one hundred pages are
occupied with Frederick's adventures in New York
City and in Meriden, where he has the typhoid attack.
On landing, Frederick and Ingigerd with him,— for
her father was among the lost and Frederick has
assumed a sort of protectorate over her,— are con-
ducted by a former student of Frederick's to a Bohemian
club-house, where late the following morning he finds
himself alone with Ingigerd. "In that moment Fred-
erick comprehended the passionate speech of his body
and sanctioned its demands. ... In the seductive


1913]
449
THE DIAL.
silence of the morning in this unfamiliar house it sud-
denly assumed an elemental, indomitable force. . . .
At last the time had come to extinguish the fires tor-
menting him, in one wild, greedy draught. With the
hoarse cry of a wild beast he threw himself deep into
the slowly, slowly cooling and liberating waves of Jove."
Within thirty-six hours from this idealistic episode
Frederick has experienced " a storm of desire for self-
purification," has assured Ingigerd that "the sight of
her had given renewed value to life," has bathed in the
waves again, has met Eva Burns, to whom at their
second meeting he confides his unhappy domestio his-
tory, including disagreements which he and his wife
had had over the question of having children, and also
his relations with Ingigerd, and has determined to
enter the art studio where Eva is working. After a
week of what he calls struggles, seeing Ingigerd every
day and talking of idealistic art life with Eva, Fred-
erick decides to complete the weaning from Ingigerd
which Eva has begun by running away, just as Gabriel
Schilling did in Hauptmann's drama. At Meriden,
Eva Burns visits him, on her own initiative, it seems,
arriving just in time to take care of him in the typhoid
«ttack. On his recovery she goes back to New York
without having done more than laugh at Frederick's
shy question whether " we five — he, she, and his three
children — could end their lives in peace in a little
studio near Florence." But before sailing for England,
where she is called by business affairs, she goes out to
Meriden again, takes a long walk with Frederick and
brings him back happy,— " to their own surprise these
two human beings had been penetrated by a new ele-
ment and a new life."
When, after Frederick's recovery from typhoid, his
friend Dr. Schmidt remarked, " A forced cure, a violent
eruption and revolution has purged your body of all
poisons and putrid matter," it was doubtless intended to
symbolize a similar purification of soul through the in-
fluence of Eva Burns. Believe it who can. I do not
like to betray doubts of the ultimate redemption of any
human soul; but I must say that the cure seems to
me sudden. I should say that it would take a century
or two.
The powerful and truthful portrayal of a bad char-
acter may justly be undertaken by a great artist, although
it is unfortunate to make a weak or bad person the centre
of interest in a novel that is to appeal to the general
reading public. But the portrayal of Frederick von
Kammacher cannot he called either powerful or truthful.
He is weak at the beginning and weak he remains. His
religious reflections, — as, for instance, that God will
surely not think of destroying so large a number of
talented people as are on the " Roland,"— are childish.
His conception of art is anything but idealistic. His
shifts from lust to lofty sentiment are impossible in their
suddenness. His supposed conversion to nobler aims is
absolutely unconvincing. No sane judge of human na-
ture would trust the welfare of a woman in his hands.
Neurotic, erotic, with a mind full of foul memories and
an evil habitude established, he can promise nothing but
hell for poor Eva Burns. But she goeth to her death
as the fool goeth.
Gerhart Hauptmann in "Atlantis " has entered into
the shady realm of the worst of French naturalism, as
did Sudermann in "Das hohe Lied," but with much less
art and much less justification. Sudermann's book por-
trays the downfall of a poor middle-class girl and the
almost insuperable difficulty of recovery; a portrayal
that reveals the lure of sin and the constraint of poverty
for the girl but not with any lure for the reader. Haupt-
mann portrays the selfishness, the weakness, the lust of
a vacillating character, and would fain have us believe
that this character is revolutionized by admiration for
a new face and a self-reliant bearing. The author of
"Die versunkene Glocke " might have won the Nobel
prize. It is an affront to clean art and clean morals to
award it to the author of "Atlantis."
W. H. Carruth.
University of Kansas, May 17, 1918.
EX LIBRA ET LIBRIS.
(To the Editor of The Dial.)
It is pleasant, after undertaking the disagreeable duty
of adverse criticism, to have the need for it attested by
numerous expressions of approval, such as I have re-
ceived, but even more to find the person criticized in
substantial agreement with my strictures; not only is
the justice of the attack thereby bespoken, but in an
even greater degree the open-mindedness and mag-
nanimity of the one censured. I have little but praise,
therefore, for the answer of the editor of " Poetry " to
my observations on her conduct of that magazine.
Granting, as my fellow-compiler suggests, that Miss
Monroe is not interested in the topics of our "Little
Book of Brides" and "Little Book of Kisses," I can
still heartily agree with her that these, and the sixty
other books of verse which I have edited or compiled,
covering as they do the entire field of English verse
from Chaucer to Mr. Yeats, unfit me for the enjoyment
of Mr. Pound's "form" and "technic," as recently
exhibited.
Though I do not see why, if the rhythms of English
poetry so obvious to me are still subtle and difficult of
discernment to her, I am thereby rendered ineligible to
the office of critic of Mr. Pound's Jerked English, I
feel certain that the difficulty is rather one of definitions
than of actual diversity of opinion. Perhaps it is as
well to remember that Milton said of poetry, in com-
paring it with logic, that it is "less subtile and fine, but
more simple, sensuous, and passionate."
Miss Monroe lets her subtlety carry her back to Egypt
rather than the fall of Troy when thirty centuries is
mentioned as the duration of metrical tradition, and in
my statement that this tradition has remained unchal-
lenged I am glad to submit to correction. There have
been challengers of the need for formal rhythm in
poetry in recent years, just as there are still those who
challenge the old Greek conception that the world is a
sphere; I should have written "has not been success-
fully challenged."
I heartily concur with Miss Monroe's statement, made
for the second time in reply to an attack, to the effect
that the existence of Mr. Pound's erratic lines is their
only justification; and thank her for the proof she ad-
duces of this in the information that they are the result
of his study of metrical forms and variations in eleven
languages —" metrical" having, of course, only one
meaning, that of formal rhythm.
And I must thank her, too, for confirming my impres-
sion that " Poetry " had done little or nothing to advance
the cause for which it was supposedly founded. She
brings forward seven poems to that end which it has
published in as many months. Eliminating from these
the metrical rubbish of Mr. Lindsay, the prose of Mr.
Tagore and Mr. Pound, and the lines of Mr. Yeats,
which are much the least poetic of his yet printed, it


450
[June 1
THE DIAL
leaves three poems to which she may point with pride as
the result of more than half a year of earnest endeavor.
My other observations upon the conduct of the maga-
zine, she, like my approving friends and correspondents,
appears to take as self-evidently true. Such admissions
as these, tacit and expressed, give us all the greatest
hope for the future.
In conclusion may I say that, if hereafter Miss Monroe
will write the poetry for Mr. Pound, and Mr. Pound the
prose for Miss Monroe, I believe the last possibility of
disagreement will be removed. Wallace Rice.
Chicago, May 22,191S.
"POETRY BY THE POUND."
(To the Editor of The Dial.)
Mr. Rice opened the discussion of poetry by the pound
in the May-day edition of The Dial with rather heavy
artillery. Miss Monroe responds with the strangely
limited argument that Mr. Rice is not an eligible critic
of poetry because he once edited such dainty trifles as
"The Little Book of Kisses." Mr. Rice seems to me to
have rather the better of the argument with his quotation •
from Oscar Wilde. Merely on the score of dainty trifles,
the pretty little magazine about which all this contro-
versy rages satisfies the preciosity of its slight public
quite as completely as any little books of kisses might
satisfy the blushes of the boudoir.
After all, each of us can challenge the other's critical
faculty until the herd returns to the milking-shed, and
each will probably remain "of the same opinion still."
The knowledge of what is good and what is bad in poetry
is simply a matter of a critic's being born with or with-
out taste. He must also believe in his own taste, for
certainly no one else in this chaotic century is going to
believe in it. By which token I unshakenly affirm that
Lindsay's "General Booth" is the only poem of distinc-
tion (and it is of very great distinction) among all those
to which Miss Monroe refers Mr. Rice. I contend that
this poem is as excellent as the recent "Contemporania"
of Mr. Pound are poor. Mr. Pound's final jape has been
too much for most of the admirers of the three really
good poems which he once wrote. He now seems to
delight in placing himself in the cheapest of categories.
For it is the easiest thing in the world to be what the
world calls "sensational," and to impose upon the world's
lack of artistic perception. The world will be only too
ready to swallow you whole, Mr. Pound. But you really
cannot expect any serious artist to swallow you whole.
You really cannot expect any really serious artist to
keep a straight face, or to laugh with you. A man who
has made an exhaustive study of metrical forms and
variations on the poetry of eleven languages — but we
recall Swinburne's admitting his ignorance of prosody,
and we wonder whether there may not be a difference
between one's knowledge of what prosody is (even the
new prosody) and of what constitutes real poetry. Of
course Mr. Swinburne unfortunately wrote with a mis-
taken adherence to formal rhythms and with the idea
that the technic of poetry meant more than a mere
pedantry or an idle formlessness; yet Mr. Swinburne
achieved some very pretty effects, perhaps as pretty as
any that come from our modern steam calliopes. Of
course it is all a matter of taste. Some prefer the cal-
liope. And others are prejudiced in favor of the violin.
Mr. Pound should not be so ashamed of his earlier
work. In his first frenzy he struck out "The Ballad
of the Goodly Fere," the "Ballad for Gloom," and the
poem about the white stag, Fame; also he sang Villon
and the Gibbet rather well, and wrote some lines to his
old fencing master which showed promise. But
"Since that time unto this season
I have had nor rhyme nor reason"
for thinking the same of any other poetry by Mr. Pound.
Is there no way of preventing youth from banging itself
in its own ego ?" How may a man be a popular poet
and yet save his soul and his art? " reads a very recent
editorial in the little magazine "Poetry." We might
add "How may a man be a Modern poet and yet save
his sense of taste and his sense of humor?"
William Rose Bknet.
New York City, May 22,1913.
POPULARITY OF THE GERMAN CLASSICS IN
THE GERMAN THEATRES.
(To the Editor of The Dial.)
One of the interesting questions in the minds of the
German literary public is that of the relative popular-
ity of the classics and the popular drama on the stage
of the present day. This question is answered in
the Deutscher Biihnenspielplan-Register, just published
(1913) in Berlin by Oesterheld & Co., for the theatrical
season of 1911-12. As compared with the preceding
year, the vogue of Anzengruber and Hebbel (as yet
almost unknown in America) rose, on the whole. The
latter's "Maria Magdalena" dropped from 76 to 64
performances throughout Germany, while "Gyges und
sein Ring" rose from 42 to 70 and " Judith " from 78
to 96. Only one section of Grillparzer's Argonautic
trilogy, "Medea," is frequently played; it rose from
50 to 61. Kleist owes his huge increase to the one
hundredth anniversary of his suicide: every play shows
a rise; "Amphitryon" from 19 to 25, "Die Her-
mannsschlaeht" from 26 to 44, "Robert Guiscard"
from 4 to 59, "Penthesilea" from 1 to 140 (!),
"Katbchen von Heilbronn" from 105 to 174, "Der
Prinz von Homburg" from 106 to 215, and "Der
zerbrochene Krug" (the most popular) from 61 to 302.
In Goethe's case we meet with the following pecu-
liar phenomenon: the greater works (" Faust" and
"Iphigenie ") show a decline, whereas lesser and almost
unknown works are gaining ground. "Die Mitschul-
digen " rose from 10 to 32, "Die Laune des Verliebten"
from 7 to 64 performances. Goethe's "Jery und
Bately" and the "Urfaust" had never been played
before this season. Lessing's less prominent plays are
also being dug out again; "Der junge Gelehrte"
and "Miss Sara Sampson" are again finding favor.
His "Emilia Galotti" held its own at 60 perform-
ances for the season, while "Nathan der Weise " rose
from 127 to 165. Shakespeare held his ground; he
had 1044 performances as against 1042 the year be-
fore. "Henry VI.," "The Tempest," and "Timon
of Athens " had not a single performance. His most
popular plays were "The Merchant of Venice " (147)
and "Othello" (142). Schiller remains the king of
the German theatre, although he shows a decrease in
the total number of performances, dropping from 1584
to 1420. "Fiesco" is still the least popular, and
"Wilhelm Tell" the most popular, of the longer plays
(the latter had 329 performances). There is competi-
tion among the classics, but on the whole they are not
losing. In total number of performances, the classic
side of the German repertory is still gaining.
Jacob Wittmer IIartmann.
The College of the City of New York, May 21, 19IS.


1913]
451
THE DIAL
A Lively View of Victorian
Literature.*
In The Dial recently we had occasion to
deplore a certain deadness which seems inherent
in Histories of English Literature. But we
are now offered a study of a special epoch of
that literature which is certainly lively enough.
The difference between Mr. Lang's book and
Mr. Chesterton's is marked. It is the differ-
ence between an Eden Musee and the Moving
Pictures. In one there is a collection of fig-
ures, lifelike indeed, but motionless and made
of wax; in the other, an image of the hurly
burly of life,—of life indeed accentuated and
accelerated, rushing here and there, upset and
upsetting and marching straight forward out of
the picture.
The difference is in part a matter of style.
Mr. Lang's prose, at its best, has an old-world
charm of leisured and ordered composition.
His lights are not spread all over his canvas,
but gleam out amid shadows or are tangled in
quiet retirements. Quietness is the last thing
one would associate with Mr. Chesterton. His
world is a-crackle with fireworks, with a pin-
wheel profusion of sparks.
But what chiefly separates the two writers
is their attitude towards literature itself. Mr.
Lang has a vision — though we confess he did
not succeed in getting it into his History—of
that verbal shell of things which age by age de-
taches itself from material existence and hangs
over or rolls on by the side of the changing real
world, eternal and unchanged. Mr. Chesterton
views literature as one of the activities of life,
like law-making or the manufacture of hard-
ware or the boiling of soaps. At the bottom
his method is that of Taine, though perhaps the
milieu is more and the men less with him than
even with the French critic.
There can be little doubt which of these two
kinds of criticism affords the best opportunity
for striking and pungent comment. Mr.
Chesterton attaches his literary machines to the
great belt which runs all the other work of the
age. If in the consequent whir and din we miss
the ultimate perfections, the permanent results
of literature, we are at least reassured that
literature is a real factor in everyday life.
Taking it for what it professes to be, — a
•This Victorian Aob in Literature. By G. K.
Chesterton. "Home University Library." New York:
Henry Holt & Co.
study of the interrelation of literature, thought,
and action in the Victorian Age, — the book is
good and sound; which perhaps may only mean
that it agrees in the main with our own precon-
ceptions. We do not, indeed, think its views
are especially original. It has been pointed out
before that the Victorian literature was essen-
tially a middle-class one. The descent from the
great individualities, the tremendous tumult, of
the Georgian epoch to the domesticities and the
mild doubts of the Victorian time has always
been evident. The Titanomachia of Burns,
Byron, Scott, Shelley, Wordsworth, and Cole-
ridge subsided into entire rest or into a
somewhat insignificant and sordid scramble.
However, Mr. Chesterton brings out this part
of his theme with telling effect, one of his
shrewdest remarks being that whereas France
worked out its revolution with gunpowder,
England more economically went through its
ebullition with words.
Mr. Chesterton is at his best in dealing with
the Victorian prophets, the Voices from whose
confused clamor arose the plain song of the age.
On the one side were the apostles of rationalism
and common sense, Bentham, Mill, Macaulay,
and a little later the scientists who wrought out
the theories of evolution; while on the other
side were the professors of unselfishness and
soul-life, Newman, Carlyle, Ruskin,and Arnold.
In this regard he shows that Dickens was the
greatest force of them all, really the very heart
of the age. Mr. Chesterton has, we believe,
devoted a separate book to Dickens, so he may
be pardoned for considering him here mainly as
a reformer, a teacher of justice and happiness.
In his chapter on the novelists, Mr. Chester-
ton does give a slight excursus on Dickens as
a creative artist. Bather protesting against the
stock comparison of Dickens with Thackeray,
he does compare them with the result that the
latter becomes a little ghost-like. The difference
between them of course is this, that the world
created by Dickens is imaginatively true, while
the world seen by Thackeray is only actually
true. Mr. Percy Fitzgerald once gave a long
list of the characters and situations imitated and
borrowed by Thackeray from his rival. It was
as though the exuberance and buoyancy of the
other distressed him, and he went over the lat-
ter's copy like a careful schoolmaster to reduce
the swelling and irresponsible imaginations and
make everything square with fact. This recen-
sion is good and valuable in itself, but there is
more vitality in the original.
Mr. Chesterton brings out the fact that the


452
[June 1
THE
DIAL
novel is peculiarly woman's sphere in art. It is
only when men are something more than novel-
ists, like Scott and Dickens, that they can beat
the sisterhood in this field. After Mr. Henley's
somewhat Mohock dealings with George Eliot,
Mr. Chesterton's treatment of her is a model of
discretion and consideration. He is kindly and
just and accurate, too, in his delineations of
Mrs. Gaskell, Mrs. Oliphant, and Charlotte
Bronte; but when he comes to the greatest of
them all, Emily Bronte, he falls flat and shames
his worshippers, if he has any. He thinks that
Emily was a great figure but not a great artist,
and that it is only Charlotte who enters Victo-
rian literature. Now an artist is never a great
figure unless reputation is justified by work. A
hollow sham rarely lasts long enough to pay for
the trouble of building it up. The lofty praise
of Dobell, James Smetham, Arnold, Swinburne,
and Miss Sinclair is ample warrant against there
being any hollowness in Emily Bronte's fame.
There is, we believe, a somewhat similar mis-
calculation in Mr. Chesterton's dealings with
Meredith and Hardy. We should not care
ourselves to hold a brief before the forty-two
assessors of the dead for either of these novel-
ists, but we think their comparative merits are
just the reverse of what Mr. Chesterton decides.
It seems to us that Meredith's crabbed and
eccentric style is a sign of an inward creative
confusion, while Mr. Hardy's luminous and
sufficiently sensuous prose is an assurance of a
certain profundity and perfection in the beings
he projects. But Meredith is a comedian, Hardy
a tragedian; and Mr. Chesterton's gay and lively
spirit leans to the former.
Our author does not shine in his treatment
of the Victorian poets, the reason probably
being that archangels or butterflies (you may
take your choice of either appellation) do not
go well attached to machinery. Gray said that
the language of poetry was never the language
of the age. We may go further and assert that
the most poetical part of the spirit of poetry has
nothing to do with temporary aims or move-
ments. Poets may put themselves in the van
of movement, they may lead forlorn hopes, but
the best they can do is to express the univer-
sally human. Dates soon wear out in works
destined for immortality. There is very little
difference in a good love-song whether it is
signed by Kalidasa, Hafiz, or Burns. A great
tragedy is at home in any age or any part of
the world.
Mr. Chesterton's last chapter is entitled "The
Break-up of the Compromise," and shows the
end of the era and reveals its commonplace
conventions shattered by the emergence of new
forces. Chief of these forces were the sesthetic
movement led by Oscar Wilde, the socialistic
movement captained by Mr. Shaw and Mr.
Wells, the adventure propaganda promulgated
by Stevenson, and the impressionistic pro-
gramme with which Mr. Kipling is best asso-
ciated. All these factors in modern life and
figures in modern art are discussed by Mr.
Chesterton in a fair and lucid way. But we
venture to suggest that he has missed out some
of the most potent ideas that are working in the
modern mind and getting expression in liter-
ature. There is first the woman question, which
he ignores. We do not mean the feminist struggle
for votes, but the more important fact of a total
reversal of man's traditional feeling towards
woman,—the chivalric attitude, in short. From
the time of Dante and Petrarch there had grown
up, outside of France which was always skep-
tical on the subject, an idea of womanhood as
something high and holy, spiritual and pure, as
something calculated to lift the race to the
heights. Schopenhauer it was who knocked the
angel theory of woman on the head and set
loose the modern idea of her as more animal
than man. This conception is certainly deeply
inwoven in recent English literature, yet Mr.
Chesterton makes no account of it.
Another large conception which has had a
great influence on late writers is Nietzscheism,
the cult of the superman. This dogma or doc-
trine or delusion or devastation, however you
may choose to accept it, is the antithesis of
socialism, and as Mr. Chesterton evidently has
leanings towards this latter evangel it probably
did not suit his book to discuss a philosophy
which is dark and mysterious, which draws war
and destruction in its train, and which is ram-
pant on the continent. The third thought factor
which Mr. Chesterton may be accused of for-
getting is the new vitalistic movement in meta-
physics and religion heralded by Bergson and
Eucken. This, however, practically had no
effect on even the latest Victorian literature.
Taken as a whole, Mr. Chesterton has given
us an entertaining and, within its limits, a
convincing book.
Charles Leonard Moore.
"The Correspondence of Goldwin Smith," selected
and edited by his literary executor and secretary, Mr.
Arnold Haultain, which was recently announced in these
columns, will be published in this country by Messrs.
Duffield & Co. The work will contain a bibliography
of Goldwin Smith's writings.


1913]
458
THE DIAL.
Records of a Great Musician.*
There has not appeared for a long time a work
of such commanding interest and importance to
the music-lover as Grace E. Hadow's rendering
into English of Berthold Litzmann's exhaustive
and authoritative biography of Clara Schumann.
The biographer was an intimate friend of the
Schumann family; he was a neighbor of and grew
up with the Schumann children; he had access to
the large accumulation of family documentary
material; he was fitted by native endowment, by
genuine devotion, and by his life's occupation,
to perform adequately and successfully the labor
of love which he accepted onlyafter considerable
conscientious hesitation. The translation also
could not have been placed in more satisfactory
hands than in those of Grace and William H.
Hadow, who have done so much for music in
their various excellent publications.
The story has in it all the elements of a ro-
mance,—the struggles of the youthful prodigy
and rising artist, the early successes of a great
talent, the jealous care of a father filled with
the ardor of a lofty if somewhat rigid idealism,
the young lover bearing within him the promise
of a reconstitution of the great art to which both
were devoted, the years of a married life which
opened to man and wife new fields of achieve-
ment of which they had no preconception, the
tragedy of death and separation, the consum-
mation finally of a career in music to which few
parallels can be found. The whole is minutely
and characteristically told in these volumes,
which never waver in their interest and enthu-
siasm.
Clara Wieck was born, as she herself says,
at Leipsic, September 13, 1819, in the house
"Zur hohen Lilie" in the new Neumarkt. In
1824, when she was five years old, her mother
obtained a divorce, and the child was left in the
sole charge of her father, a stern and relentless
taskmaster, who yet had the deepest regard for
his daughter's highest interests, who recognized
at once her precocious abilities, and made her
a pianist of the first importance. Friedrich
Wieck was a great teacher, and while not a
creative musician or a proficient executant, he
nevertheless had the real artist's insight and
inspiration, and was gifted with the superb
capacity of transferring his knowledge and
•Claba Schumann. An Artist's Life, Based on Ma-
terial Fonnd in Diaries and Letters. By Berthold Litzmann;
translated and abridged from the fourth German edition by
Grace E. Hadow, with Preface by W. H. Hadow. In two
volumes, illustrated. New York: The Macinillan Co.
enthusiasm to his pupils, and of arousing in
them a spirit of achievement far greater than his
own.
From her earliest years Clara Wieck kept a
diary. This, with a constant interchange of
letters between herself and the great and im-
portant everywhere, made a wealth of material
rarely accessible to the biographer. Father
Wieck himself began the diary when the child
was yet too young to make entries. Some of the
father's interpolations were by no means flatter-
ing to the diarist, and were doubtless intended as
wholesome injunctions to the young girl. Her
success as a player both in private and public
soon became marked, and her reputation began
to spread. When she was nine years old she
made a successful appearance at the Leipsic
Gewandhaus. In her tenth year she met
Paganini, who praised her playing and gave her
great encouragement. As she herself says:
"I had to play to him on a wretched old piano with
black keys which had been left behind by a student; I
played my Polonaise in E b, which he liked very much,
and he told my father that I had a vocation for art,
because I had feeling. He at once gave us permission
to attend all his rehearsals, — which we did."
We may also insert here an account from the
diary of a visit made to Goethe in Weimar.
"On October 1, 1831, at 12 o'clock we had an audi-
ence with the 83 year-old minister, His Excellency von
Goethe. We fonnd him reading and the servant took
us in without further announcement, as he made an
appointment with us the day before for this hour. He
received us very kindly; Clara had to sit by him on the
sofa. Soon after his daughter-in-law came in with her
two very clever looking children of 10 and 12. Clara
was asked to play and as the piano stool was too low
Goethe himself fetched a cushion from the anteroom
and arranged it for her. She played Herz's La Violetta.
While she was playing more visitors arrived and she
then played Herz's Bravura Variations, Op. 20. Goethe
estimated these compositions and Clara's playing very
justly, spoke of the pieces as bright, French and piquant,
and admired Clara's intelligent rendering."
Goethe also said of the young girl: "Clara's
interpretation makes one forget the composer,"
and he sent her a bronze medal of himself with
a paper containing the inscription: "In kindly
remembrance of Oct. 9,1831, Weimar. J.W.
Goethe."
In this manner the development of the great
player proceeded; but the event was now to
occur which introduced into her life its chief in-
fluence, and which gave character to her whole
subsequent career. Every stage of her progress
is illustrated in the biography by constant cita-
tions from the diary or letters, and the connect-
ing links of narrative shine with a full under-
standing of the musical history of the time. With


454 THE
DIAL [J«nel
the coming of Robert Schumann, the curtain rose
on a new advance of German music, indeed of
all music; and the romantic phase came in due
succession to the classicism out of whose loins
it sprang. Robert Schumann, some nine years
older than Clara, lived in the same house with
the Wiecks. He had been a law student, but
it soon became clear to him that law was not
to be his avocation, and that music claimed him
as a devotee. His mother was by no means
ready to permit the change, and wrote to Fried-
rich Wieck for advice. The latter gave this
in a long letter which is even to-day wholesome
and convincing reading. When this letter was
put into Robert Schumann's hands, he arrived
at a decision without delay, and at once enrolled
himself as a pupil of the distinguished teacher.
The subsequent attachment of the young people,
the unexpected but vehement objections of
Clara's father, the years of trial and waiting,
the marriage at last in spite of every obstacle,—
all this may be read here as part of the romance
which constituted the life of the great romanti-
cists. The sixteen years of Clara Schumann's
married life were the most important part of
her earthly pilgrimage. The intimate associa-
tion with one of the great musicians of all time
stimulated her intelligence and invigorated her
power of expression. She was introduced into
regions of thought and aspiration whither her
father with all his skill and assiduity could not
lead her. If for a time she found herself thrown
somewhat into the shade by the great achieve-
ments of the husband, and if the care of an
increasing family withdrew her from the public
exercise of her art, yet the results appeared later
in deepened insight, greater command of the
executant's resources, subtler appreciation of
the noblest in music, and enlarged skill in orig-
inal composition. It was a union like that of
the Brownings, and the heights which the
Schumanns ascended were not less filled with
echoes from the heavens. Clara Schumann
needed, above all, intellectual awakening and
guidance, and these arrived now in no stinted
measure. Throughout the letters and diaries
are expressions of the debt which she owed to
Robert Schumann. In one of the letters she
speaks as follows: "I am extremely glad that
you are composing so much, and a symphony
too? Ah! Robert, that is too good! — So you
were offended with me for calling you a second
Jean Paul and Beethoven? You shall not hear
it again. You are quite right, it is not nice to
make such comparisons." It is quite evident,
however, what she really thought.
The Schumanns were leaders in the trans-
formation which took place in music after the
era of Beethoven. They were important pro-
moters of the Romantic School, however this
may be defined and delimited, but nevertheless
they were distinctly of the conservatives. They
stood with Schubert, Chopin, Mendelssohn,
and Brahms; with the Revolutionists, the new
Enthusiasts, Berlioz, and Liszt and Wagner,
they had little sympathy. They welcomed the
advances made by Brahms, and after Robert
Schumann's death, Clara found in the works
of Brahms the inspiration which her husband's
writings had given her during his lifetime.
Indeed, the remarkable friendship between the
younger musician and the pianist gives a chief
interest to the latter pages of the biography.
During these years Brahms the composer,
Joachim the violinist, and Clara Schumann
the pianist, upheld the great musical traditions
throughout Europe, and constantly directed the
rising innovators back to the illuminations of
Bach and Beethoven and Mozart.
Robert Schumann died in 1856. Then fol-
lowed in some sense the great years of this
woman's career. There was a large family to
support and there were musical battles to be
won. The widowed artist set herself to the
task. She now went on her great concert tours,
and every country in Europe listened to the
message which her mature art brought. It was
a message of finished performance, it was a mes-
sage of sincerity and nobility, it was a message
which emphasized the highest aspects of music.
She was assisted in this effort by Joachim, an
idealist like herself, and they both hailed
Johannes Brahms as the master whose creations
were in the direct line of succession with the
music that meant most to mankind. The ex-
periences of Clara Schumann were as wide as
the world of music: kings and queens paid her
homage; all the great of her time — poets,
novelists, painters — gave her recognition and
fellowship. Notable are the friendships with
Jenny Lind, Grillparzer, and Wilhelmine
Schroder-Devrient, to the latter of whom Clara
Schumann wrote a candid letter of advice when
she proposed to return to the stage after her
voice had failed. The diary is full of vivid and
striking reminiscences. Probably no pianist ever
had a more significant destiny. Allgeyer, who
began the biography which Litzmann completed
after the death of his predecessor, says of her:
"In whatever character, in whatever relationship to
the world at large Clara Schumann shows herself in her
correspondence, whether as daughter, sister, friend,


1913]
455
THE DIAL
betrothed, wife, mother, artist, colleague, or teacher,
■everywhere and always it is the absolute humanity com-
bined with the fathomless depths of a pure woman's soul
which attracts and touches us. . . . After what has been
said, the'prominent position held by Clara Schumann in
the musical life of our day needs no explanation."
The translation is well done; it shows com-
plete understanding of the original and reads
like an English book. There are, however,
some sad misprints. The work contains a num-
ber of portraits, and each volume is furnished
with a copious and valuable index.
Louis James Block.
Vincent Van Gogh: Post-
Impressionist.*
The air is so full at present of utterances con-
cerning Futurists, Cubists, Neo-Impressionists,
and Post-Impressionists, that it seems wrong to
add anything to the dust. Still we believe that
it will not add to the confusion, and may even
have a clarifying effect, to introduce into the
public mind, if possible, a few facts and ideas
concerning Vincent Van Gogh, some of whose
correspondence has been recently edited by Mr.
Anthony M. Ludovici. It may perhaps be
something like putting a piece of fish skin into
boiling coffee, or a raw egg; or indeed it may
be more like the dash of cold water which some
people think as good as anything else. A read-
ing of these letters will certainly do something
to clear away the extravagances which now
<;loud the public mind. They were written long
since, and so are free from present aberrations.
Nowadays you will rarely have a conversation
with anybody concerning Post-Impressionist
Art without some mention of DuChamps's
"Nude Descending the Stair"; you will rarely
see pictures representing the latest ideas in
painting, or in this case sculpture, which do
not have among them that long-legged lady by
Lembruch. You will rarely, in other words,
hear any direct discussion of the real principles
of these matters,— any discussion which is not
confused by all sorts of current facts and ideas
on art which have happened to get themselves
connected with the subject. But really it is
better to think simply in regard to these things,
if possible; and one has opportunity to think
simply in reading these letters of Van Gogh, for
he does not seem to have been of a very compli-
cated nature, and it does not seem very hard to
understand the principles that guided his life.
•The Letters of a Post-Impressionist. Being the
Familiar Correspondence of Vincent Van Gogh. Translated
by A.M. Ludovici. Illustrated. Boston: Houghton Mifflin Co.
People will open this book with all sorts of
ideas in mind. Some who are pretty well in-
formed will be glad to see in this convenient
form letters which they may have already read
in the original, or may have heard of. Others
will think it a good opportunity to get at some-
thing more or less definite concerning latest
eccentricities in painting. Many, I imagine, will
open the book with some little wonder as to who
Van Gogh was. On this matter, I shall offer
a remark which I find in a current periodical:
"The trinity of modern painting is composed of
Cezanne, Gauguin, and Van Gogh. It is they
who have initiated the great and far-reaching
movement which bids fair to change the com-
plexion of latter-day pictorial expression. They
are the real pathfinders, the veritable heralds of
all that has come after, and in their footsteps,
walk, with every show of humility, the men of
the present." That certainly is definite enough.
If there is anybody who after reading that does
not wish to know more about Van Gogh, he must
certainly have very little interest in the art of
the future, or very little confidence in the au-
thority which I cite. Vincent Van Gogh, "to
whom the present generation of ultra modern
progressives has turned for inspiration and aes-
thetic renewal," was a painter of the last century,
who worked for a few years in Holland and
France and died in the year 1890. He had by
that time painted a considerable number of pic-
tures,—over five hundred, I believe, although
he had worked but eight or ten years. For a
considerable time he remained practically un-
known, or known only to a very few. It was
not until fifteen or twenty years after his death
that even his name began to be at all familiar,
and even now it is not easy to get much accurate
information concerning him or his works. There
are several of his pictures in the International
Exhibition of Modern Art, notably one entitled
"Bal Aries," which people may remember. This
picture is not an especially characteristic one,
but it seems to be that which has made the
most impression on the public.
It is best to turn to a reading of these "Let-
ters of a Post-Impressionist" with the simple
desire of finding out something of Van Gogh
himself, and without much notion of all the
things which have been lately said about him
and about modern movements in painting.
Whatever may be said now concerning Van
Gogh, he undoubtedly was a man who lived
rather a simple, direct, straightforward kind of
life, unconfused by the ideas of other people or
by movements which included other artists. He


456
[June 1
THE DIAL,
was evidently an original person, not one of a
school. He seems to have known little of the
great Impressionists, except what he picked up
from their pictures. There is in these letters
very little mention of any of the men who in the
eighties were gradually coming to prominence
and recognition. Undoubtedly Van Gogh found
much with which to sympathize in the paintings
of Manet, Monet, Rafaelli, and Degas, as well
as others, but he does not seem to have had any
more to do with them personally than he did
with the great painters of the past. Neither
did he apparently have as much interest in their
paintings as he did in those of Delacroix, for
example, or Rembrandt and the other Dutch-
men,— particularly, let us say, in Vermeer of
Delft, "that incomparable sphinx whose extraor-
dinary sound technic which people so ardently
long to find to-day, was never to be surpassed."
Neither was he particularly acquainted with
those who have been called Neo-Impressionists,
except Seurat. He did not even live in close
connection with those whose names are commonly
associated with him. He had seen few of the
pictures of Cezanne, and his letters have very
little mention of him. He was more closely
thrown with Gauguin, for whom he felt a close
and fundamental sympathy and who undoubtedly
was a powerful influence in his later life. He
does in one case speak to Bernard about " work-
ing away with me and Gauguin." He is now
called a Post-Impressionist, but it does not
appear that he ever called himself so, or that
anybody ever used the name in his life-time. It
is a name that has been applied since his death,
to designate a number of those who came after
the great Impressionists, who had something of
their spirit, or who struck out for themselves in
paths which since their time have been followed
by many who have gone much farther than the
forerunners went themselves.
There are several reasons why people inter-
ested in art should read these letters. They are,
for one thing, quite an unusual production,—
the intimate personal talk of one who whether
he were a great painter or not was certainly
a great critic of art. They are, further, a fairly
representative expression of a definite theory of
art. But they are also (and it is in this respect,
I take it, that they are most important) a real
means of learning about something in the world
of art at present which otherwise we should have
small chance of knowing. The art world, says
Mr. Ludovici mildly, is not without its arch
humbugs. That is certainly so. There have
always been humbugs and arch humbugs in the
world of art. To-day there is a more favorable
atmosphere for them than ever before. This is
the hey-dey of advertising, — which means the
day of opportunity for the sophist in every walk
of life, the man who believes that the great thing
in the world is talk and not fact. This is the
great day of popular art, in which there are
hundreds and thousands of people earnestly
desirous of knowing about the beautiful things
of the world and so offering an opportunity to
all sorts of pretentious and pretended virtuosi,
cognoscenti, dilettanti, critics, and connoisseurs-
It is a day of great wealth and luxury, in which
there are many who desire beauty of surround-
ings without regard to cost. Under these con-
ditions there is great probability of people
coming to the front in the world of art by
means of impudence, calculation, obtrusive stu-
piosity, foolishness, or (as has been suggested)
insanity; and whatever has the possibility of
being made to pay will undoubtedly be presented
as being the greatest thing in the world.
In other words it is hard for us to get the
truth in regard to modern art. The day of the
great painters is for the moment over. The
day of the advertisers, the popular magazines,
the journalists, the promoters, the puffers, the
art dealers, has come in. It requires the clearest
mind, the finest taste, the widest opportunities
to remain unperturbed in the whirl; no one
need be ashamed of losing his head now and
then. But in these letters of Van Gogh we
have the natural and uncolored utterance of one
of these men who is now at the centre of the
cyclonic duststorm. We may regret the hard-
ships and the obscurity of Van Gogh's life. But
now that it is all over, it has its advantage, for
it gives his work the stamp of sincerity. These
letters were written for his brother and his most
intimate friend. He could have had no idea
that they would ever come before the public;
he could have had no thought of advertising
charlatanry or puffery. He simply expressed
himself in these letters that no one but his
brother would read as he had expressed himself
in his pictures that no one would buy. But
whereas it is difficult for the average man to
understand what he had to say through the
medium of painting, it is not hard to under-
stand what he said in the universal medium of
words. So if we really desire to know, if not
what Van Gogh was, at least what he wanted
to be, we may find out here.
I shall not anticipate the pleasure of the
reader in turning to this volume. I will merely
note one or two things that seem to me signi-


1913]
457
THE
DIAL,
ficant. The first is that Van Gogh considered
himself as the painter of Humanity,— not the
painter of an ultra-refined, super-sensitive de-
cadent civilization, but an almost primitive
painter of Man, Life Vitality.
But over against this fine ideal and breadth
of view we must put the unfortunate fact that
Van Gogh could not paint the figure very well.
Although he certainly had astonishing facility
for one who had never toiled and labored at the
technique of his art, he does not seem to have
been able to paint anything very well, and the
figure is not the easiest thing to paint. In land-
scape or still life one may vary more or less from
the facts to humor one's inabilities or vague-
nesses, but with the figure it is much harder;
one has to make it pretty nearly the way it is
or ought to be, if one is painting out of one's
head, as Van Gogh sometimes had to. Other-
wise it will look funny. Van Gogh himself did
not feel that he painted very well; he knew
that he could draw, for he had practiced for
many years, but he was rather surprised to find
that he could paint.
As to his method of painting, something
might be said, although he himself remarked
that he really did not know how he painted, that
he was glad he had never learned to paint, that
he observed no system. Yet he had, of course,
something of a theory of painting, gained partly
from practice, but more it would seem from a
study of the masters whom he recognized later.
His study of pictures gave him certain funda-
mental ideas, but he added to it much technical
practice. He never studied in any art school,
nor indeed, save for a few months with Mauve,
with any older artist. Yet he practiced much.
"Before I began to paint I made such a long
and careful study of drawing and perspective
that I can now sketch a thing as I see it." He
certainly believed that art required long and
untiring industry, observation, work. So he
worked from nature that in time he might do
something from imagination. Yet this working
"from imagination" never seduced him from
actual work from nature, — "an enchanted
land," he says; "for the present I shall not
crack my brains over it." In general he needed
models. "I do not mean that I never turn my
back boldly upon nature . . . but I am fright-
ened to death of losing accuracy of form.
Perhaps later on, after ten years of study, I
shall try."
This need of models led him to paint land-
scape more than anything else, for nature
always offers one something beautiful free of
fee, while people as a rule charge when they
pose. "I have painted seven studies of corn;
unfortunately quite against my will, they are
only landscapes." Like most innovators in art
he was strong for nature. "What am I but a
friend of nature," says he; "I have learned my
trade in Nature's workshop." And it was that
he might paint Man. "Who is going to paint
Man as Claude Monet painted landscape?" he
asks; and as was most natural, at first he
thought much of the peasant life all around
him, the life that Israels had painted, and in
France especially Millet and Lhermitte. He
wanted to paint Humanity. He wanted to get
at life. Like many other men not wholly nor-
mal, he admired and delighted in health. Like
Nietzsche, he admired the physical strength and
power and poise which was lacking in himself.
He was no whiner, but one can readily see his
lack of the normal health that he would have
delighted in. He did not live a normal life,—
perhaps he could not; once toward the end of
the month when he was very anxious to buy
five picture frames he had to live on bread and
coffee for a week, and doubtless there were
many more such things.
Yet, if one can judge from this book, Van
Gogh was really more inspired by art than by
nature: he lived an artistic life and said him-
self that in the midst of such a life " there arises
again and again the yearning for real life, which
remains an unrealizable ideal." And it seems
to me pretty clear that Van Gogh's painting was
more the product of the painting of the past
than of the life about him. That is a judgment
which it would be absurd to pronounce abso-
lutely before one had the chance to study his
pictures (as I have not); but from reading his
letters one gets the idea that the influence of
other painters upon Van Gogh was strong. He
was perhaps not particularly influenced by con-
temporaries; as has been said, he had little to
do with Impressionists or Neo-Impressionists
except to accept a good many of their results
as anyone accepts the commonplace truths of
life. But he owed much to the old Dutch
masters, if not so much in technique (save with
Vander Meer of Delft) at least in conception
of the aim and purpose of art. Rembrandt
and Franz Hals and their broad painting of
humanity fascinated him. The latter, it will be
remembered, was particularly the favorite of the
eighties, not only for his general temper, but for
various technical reasons. Van Gogh had the
sense to see that the "square touch" cult of
Franz Hals amounted to little compared with


458
[June 1
THE DIAL
his big view of life. He runs over his subjects—
"soldier pictures, officers, banquets, portraits of
magistrates ... a drunken toper, a beautiful
Bohemian courtesan . . . tramps, musicians,
and a fat cook." "We cannot do anything
else," says he; "but all this is worthy of
Dante's Paradise." It is perhaps not worth
questioning whether life in general led Van
Gogh to appreciate Franz Hals, or Franz Hals
led him to appreciate life in general.
So much for the question of subject matter.
I am led to think much the same thing in re-
gard to questions of technique. Van Gogh was
in the main a colorist. "Color on color means
something," was his view. "I know that we
are now engaged in the problem of color";
"things present themselves to me in colors which
formerly I never used to see," and other such
utterances show his preoccupation. And it was
for such reason it would appear that he was so
interested in the pictures of Delacroix. It would
seem at first view as though there could be very
little connection between this great Romanticist
and a painter of the time of Van Gogh. But
there is no one but Rembrandt of whom he
speaks more and with more interest. "Armed
with an almost complete mastery of Rembrandt,"
he says, " I discovered that Delacroix obtained
his effects by means of his color, and Rembrandt
by means of his values; but they are worthy of
each other." And in the same spirit he says
that his work (so far as color is concerned) "is
certainly much more under the suggestion of
Delacroix' painting " than of the Impressionists.
If now we ask what is the influence of Delacroix
in this cardinal point of color, I cannot say what
would be the answer from a study of Van Gogh's
works. But if his letters give us a good idea
of his practice, the answer would be that it is
expressed largely in combinations of lemon yellow
and prussian blue. He notes Delacroix's pas-
sion for this combination, saying that he created
really magnificent things thereby. And it is
to be noted, then, that no combination is more
commonly in his own mind. In telling how he
would paint a portrait which should reveal in
the painting all the love he had for the man, he
makes a combination of yellow and blue (so that
the portrait looks like a star suspended in ether
upon a rich blue background), he plans to deco-
rate his studio with sunflowers (it was in '88)
against a blue background, his view of Aries is
of meadows full of dandelions with a ditch full of
irises, he notes a picture by Puvis de Chavannes,
i man in a blue room reading a yellow book.
At the same time he makes a still life composi-
tion blue enamelled coffee-pot, etc., with oranges
and lemons, "a symphony in blue tones, ani-
mated by a scale of yellow ranging to orange,"—
he sees pale sunsets (with glorious golden suns)
which make the ground appear quite blue; in
fact, he theorizes, "there is no blue without
yellow and orange, and when you paint blue,
paint yellow and orange as well." So without
the benefit of a comparison of the works of
Delacroix and the five hundred pictures of Van
Gogh, one gathers from his letters that the
influence of the elder painter suggested to him
certain moods of seeing nature which more and
more dominated his work.
He was a sincere worker, doing what he did
for its own sake, without hope of other reward
than comes from work well done. He believed
himself an innovator. He believed in an art of
the future which ought to be so beautiful that it
was worth making sacrifices for. He believed
that the art of the future would have a new-
theory of color as of drawing. He believed that
he and his friends would triumph in the end,
even though he doubted if they would live to
see their triumph. If what has been said about
him appears to have little connection with what
is now called "futurist," I cannot help it. I
have thought it better to show what were the
actual ideas of one said to be a beginner of the
modern movement, than to try to view his work
in the light of what has come to pass.
Edward E. Hale.
Discussions of the Trust Problem.*
Considering the prominence of the trust
problem in this country the scarcity of satisfac-
tory books on the subject is surprising. Until
within about a year, scarcely any serious and
scholarly attempt at a general discussion of the
problem in book form had appeared for nearly
a decade. Fortunately, however, this does not
mean that the decade has brought no appreciable
progress in arriving at a clearer understanding
of the question and a more general consensus of
opinion as to the best method of procedure in
dealing with the problem.
In the first place, considerable advance has
been made in disentangling the trust problem,
which deals with the question of monopoly price
and trust methods of competition, from the cor-
poration problem, which is concerned with the
* The Control of Trusts. By John Bates Clark and
John Maurice Clark. New York: The Macmillan Co.
Industrial Combinations and Trusts. Edited by
William S. Stevens, Ph.D. New York: The Macmillan Co.


1913]
459
THE
DIAL
question how we can devise a form of corpo-
rate organization which will meet the needs of
modern large scale industry, and at the same
time maintain proper relations between, and
safeguard the respective interests of, creditors,
company officials, and the various groups of
investors. There is still much to be done in
making this distinction clear to those engaged
in formulating our laws. Secondly, there has
come to be a fairly general recognition of the
fact that there is no one cause which can be
held responsible for the growth of our industrial
combinations, but that they are due to a great
variety of factors, certain of which lead to un-
desirable forms of growth; the obvious conclu-
sion being that the proper method of procedure
is to strike at the root of the evil by doing away
with the causes leading to these undesirable
results. A third point, upon which, however,
there is much less general agreement, is that
the trusts have many economic characteristics
common to the public service companies, where
monopoly is admitted to be desirable; the corol-
lary being that they ought to be regulated in
much the same way. While the authors of the
two books considered in this review would not
accept all of these conclusions, yet the influence
of the general trend of current discussion thus
outlined is clearly evident in their volumes.
The first edition of Clark's "The Control of
Trusts" appeared in 1901; but the present re-
vision is substantially a new book, being more
than twice the size of the former and now writ-
ten in collaboration with the author's son. In
it the authors have made no attempt to describe
trust methods or to give an historical account
of the trust movement, but have limited them-
selves to discussing the solution of the problem.
The general position taken on this point is well
summarized as follows:
"Most of the measures proposed for the regulation
of trusts fall into one or the other of two classes, of
which the first consists of those which would merely
destroy monopoly and make competition free, while
the other includes measures that would relinquish such
attempts, surrender to the principle of monopoly and
protect the public by regulating prices through official
bodies. This plan means trying to do in industry what
we have partially succeeded in doing in transportation."
"This book advocates a third course; namely, regu-
lating competition. It would cut off entirely an abnor-
mal type of it by forbidding and repressing the cut-throat
operations by which the trusts often crush their rivals.
Further, it would remove the special inducement to such
measures and thus create a condition in which competi-
tion of a tolerant kind would rule business life."
This policy is advocated in the belief that the
checks on progress, which the authors claim
come with monopoly, are much more serious
than the high prices resulting therefrom; that
it is possible to destroy the trusts, and that so
doing will most accelerate technical progress, the
welfare of the laborer, and the growth of the
world's wealth. The underlying assumption of
the volume is thus a belief in the efficacy of
competition.
The authors are careful to explain, however,
that this does not mean absolutely unrestrained
competition — laissezfaire — but a form of reg-
ulated competition which will prohibit certain
undesirable methods of rivalry. It is in this
connection that we find the most important
modification of the views expressed in the first
edition; and the reason is a very suggestive one.
Originally it was stated that potential competi-
tion, if given free play, was sufficient to control
the trusts; but now it is explained that the
experience of the last decade has compelled an
abandonment of this view, since it has shown
that " the potentiality of unfair attacks by the
trusts tended to destroy the potentiality of
competition." Hence the conclusion that the
methods of competition used by the trusts must
be regulated.
The specific legislation required to carry out
this plan of reform naturally involves a variety
of measures calculated both to stimulate and
to regulate competition. The protective tariff
should not be abolished, but kept at a level such
as will enable the independent domestic producer
of fair efficiency to compete on reasonable terms
with the foreign producer and yet not be
crushed out by the domestic trust. Certain
reforms must be made in our corporation laws,
such as the abolition of the holding company
and the securing of greater publicity. Railroad
discriminations and favors must be abolished,
and waterways kept free from railroad domi-
nance. Our patent laws must be revised, and
such unfair methods of competition as local
price-cutting and factor agreements must be
prevented. All these measures involve diffi-
culties which the authors frankly recognize and
freely discuss, while concluding that they will
permit that degree of consolidation which is
required to give efficiency and at the same time
avoid the deadening effects of monopoly and the
consequent necessity for price regulation.
The general method of procedure here out-
lined would undoubtedly meet the approval of
the majority of economists, and is in line with
the general trend of recent writings on the
subject, as suggested above. Even among those
who doubt the adequacy of the reforms, most


460
[June 1
THE
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will agree that some such measures at least
should be the first step in our plans to control
the trusts. To the mind of the reviewer, the
question whether these measures will prove
sufficient is the most serious one to be raised.
For example, they afford no means whatever
for regulating a trust based on control of a
natural resource. Moreover, it is assumed that
there is no industry outside of public utilities
where regulated monopoly can be more desir-
able than competition. Doubtless there are not
many such in any case, but can we fairly assume
that there are none when we see that, so far as
economic characteristics are concerned, it is im-
possible to draw any hard and fast line between
public utilities and industrial combinations? To
some the wisdom of the tariff policy advocated
by the authors will also appear open to ques-
tion. If the purpose of competition be to secure
progress and low prices, why resort to a tariff
for the sake of protecting the independent
domestic producer against the domestic trust,
when to do so necessitates maintaining a higher
level of prices and hindering the importation
of the cheaper foreign product? Minor points
of criticism aside, however, the general plan of
regulated competition is certainly to be com-
mended to the thoughtful consideration of the
public. Whether in the long run it will prove
adequate to cope with the problem is open to
doubt. Perhaps another decade's experience
will give us the answer. At any rate, this will
be a step in the right direction.
The volume edited by Dr. William S. Stevens
is a collection of selected readings or "case
material " on the question of trusts, though the
title gives no indication of this fact. The selec-
tions have been chosen almost entirely from
court proceedings or from legislative and con-
gressional investigations, the testimony in the
recent hearings having been heavily drawn upon.
Brief introductory notes head each chapter.
The value of such a volume depends chiefly
on the character of the selections chosen, and
it may at once be said that in general this task
has been well performed. The selections in-
clude many things not easily obtainable else-
where; they are up-to-date, fairly broad in
scope, and avoid the common mistake of con-
fusing the trust problem and the corporation
problem. A considerable amount of unimport-
ant material scattered through the selections
could have been excluded without loss, and the
omission of anything bearing on the connection
between the tariff or the railroads and the trusts
is to be regretted. The introductory notes, also,
could have been expanded to great advantage.
The editor expresses the hope that the book
will be of service to both the college student
and the general reader. Its value to the former
will at once be evident, for it is distinctly su-
perior to anything now available in its field, and
will undoubtedly find widespread use among
our colleges. Its value for the general reader
is not so clear. The claim that a group of selec-
tions will give an unbiassed view rests on the
assumption that there is no bias in making the
selections, and in this case the claim seems justi-
fied by the results. Yet one is compelled to
doubt whether a reader not already fairly famil-
iar with the subject would appreciate the signifi-
cance of the testimony and legal documents here
set forth, or could obtain from them the least
conception of the fundamental forces in the
evolution of industrial society which are respon-
sible for the whole movement towards industrial
combinations. If read along with, or after,
some general account of the trust problem, this
volume would prove instructive, but by itself it
is not adapted to the wants of the general reader.
Chester Whitney Wright.
Incoherent Studies in Play-
Structure.*
A series of talks on the drama should not be
thrown together and called a critical work; nor
should so badly written a book as Miss Hunt's
be given the endorsement of the Drama League
of America, if the League wishes to inspire
confidence in its judgment. We might indeed
pass over split infinitives, as well as relative and
demonstrative pronouns ruthlessly deprived of
antecedents; we might even tolerate paragraph-
ing that knows no law but the caprice of the
writer, or connive at mixed metaphors as exhi-
biting a cheerful idiosyncrasy on the part of
the author of their being. But when we come
across such flagrant violation of good English
as "passed a very sensible remark," "keep off
of," "romantistic," "comedic," "novelistic,"
"ideaed," "chiefest," "soliloquial," "zestful,"
"relucts," "a la Robinson Crusoe,"—when
we encounter such a sentence as "As for what
Shakespeare's tragedies would be without their
soliloquies—the imagination refuses to take so
laborious a flight," or "It is generally conceded
*Thk Play op To-Day. Studies in Play-Stroctnre *»
the Student and the Theatre-Goer. By Elizabeth K. Hunt.
New York;: John Lane Co.


1913]
461
THE
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that the theory of the realist, which bases his
art on the taking of notes, etc.,"—then we regret
that the critic did not first learn to write English
before undertaking to write about plays.
Nor is the arrangement of the material more
satisfactory than the expression of the ideas. The
first six chapters, comprising an introductory
one on drama study and five on the structure of
the play, are followed by three on separate types
of play,—the catastrophic play, the play of the
day, and the comedy of manners. So far so
good. But this continuity is broken by four
chapters dealing successively with the unities,
the soliloquy, realism, and dramatic literature,
which have no organic relation to one another
or to what precedes or follows. The interrupted
discussion of the kinds of plays is now, however,
resumed with a treatment of the purpose play,
the pieced-out play, and the static play, only to
be again broken in upon by two chapters on
acting scenery and British and American En-
glish, and to be finally taken up in a chapter
on the play for children.
Nevertheless the book should be in many ways
useful to the layman who would know more of
the drama than he can learn from newspaper
notices of current theatrical productions. Espe-
cially useful are the chapters dealing with the
structure of the play and the several types of
drama presented on the modern stage. Less
satisfactory is the discussion of dramatic conven-
tions and principles. The unities are dismissed
after a perfunctory consideration of the unity
of action in "The Servant in the House." In
the treatment of the soliloquy we are told that
we learn about a character by "indirect vision,"
—that is, "as he is reflected in the minds [sic]
of every other person on the stage"; as if that
were sufficient, or as if the soliloquy were an en-
tirely discarded convention. How much should
we learn of Hamlet or Iago by indirect vision
or what takes the place in the modern drama
of this self-revelation given in the soliloquy of
the Shakespearean play? Must the inscrutable
character, whom indirect vision fails to reveal,
disappear from the stage, or must the audience
remain in the dark along with the other char-
acters in the play? This chapter does not say.
A chapter on realism would necessarily attract
the attention of anyone distracted by the jarring
cries of realist and romanticist; here he might
hope for a solution he could understand, or at
least a presentation of the problem which would
help to determine his own judgment. But what
does he learn? As a sort of topic sentence he
sees the properly italicized legend, like an
advertisement of a prosperous tailoring estab-
lishment, "The realist knows how." For,
first, "he respects human beings and real life
with a profound feeling of the creative artist for
his material" and "he is content to study his
material with the sole aim of understanding it."
Again, "his deeply artistic regard for human
nature forces him to base his art on observation
—on the more or less literal taking of notes —
and on that alone." "The realist's art, then,
begins by exteriorizing and ends with a revela-
tion of the innermost nature." All of which
sounds very familiar, and is true of all high art
whether modern or ancient, realistic or romantic.
When Miss Hunt comes to the romanticist—
and she does so with a manifest bias against
him — she is not so clear. His philosophy of
art, she says, "seems to be based on a curious
combination of experience and imagination,"
according to which the artist gets inside his char-
acters and feels with them; in other words, the
romanticist is purely subjective and his char-
acters move only as he directs. On the other
hand, the characters of the realist "get out of
his control so that they fairly make things hap-
pen." It is unfortunate that Miss Hunt did not
see fit to illustrate her point here by citing ro-
mantic writers and their works to the bar, though
she did summon several realists. Who are these
romantic writers whose creatures are mere pup-
pets, the products of imagination and sympathy?
Are they Browning and Byron and alJ who have
failed in the drama? Is Shakespeare a realist,
along with Ibsen and Mr. Galsworthy? For
surely he is not a romanticist according to the
definition. The seeker for knowledge would
like to know.
We defy anyone to gather what is meant by
dramatic literature from the chapter headed
"What Is Dramatic Literature?" Mr. Barrie's
two plays, "The Admirable Crichton" and
"What Every Woman Knows," are chosen as
types, and one of the features especially com-
mended—as literature?—is the pantomimic
scenes! At the end of a chapter we still ask the
question. One of the plays discussed under the
head of "The Play for Children" is Rostand's
"Chantecler "! Such critical acumen leads one
back to the words quoted, on the wrapper of the
volume, from the remarks of "a Professor in
the University of Chicago" that "what is most
needed is a book on play building that is safe
and sound." These words still hold true, Miss
Hunt and her publishers to the contrary not-
withstanding.
James W. Topper.


462
[June 1
THE
DIAL,
Recent Fiction.*
The author of "A Man's World" has given us,
in "Comrade Yetta," a second realistic and deeply
sympathetic study of the stratum of human life which
is best known to the social settlements and the police
courts—the life of the proletariat struggling for the
means of a decent human existence. Comrade Yetta
is a Jewish girl, who has imbibed idealism from her
father's teachings, and who, when thrown on the
world by his death, finds the sweat-shop the only
means of livelihood open to her. How she escapes
from the hell of this existence, how she is tempted
and just escapes from falling, and how she becomes
an important factor in the trade-union activities of
the East Side and a helpful worker in the socialist
cause, are told with vivid truth in the pages of this
transcript of actual life which we hesitate to call a
novel. Fully to appreciate this work of Mr. Edwards,
one must share its bias, for it presents only one aspect
of the terrible problem of poverty. It takes for
granted, as beyond any possible argument, the justi-
fiability of strikes, and picketing, and the organi-
zation of underpaid labor. It is frankly committed
to the socialist theory of society, and makes an elo-
quent plea for the socialist remedies. Conceding this
bias, it is a deeply moving human story, incisive in its
characterizations, and comparatively free from the
maudlin sentiment with which many writers who have
the author's viewpoint beslobber their work. Implicit
in every line is a caustic criticism of the social order
such as only one who has seen it eye to eye could
have written. Mr. Edwards achieves his effects by
sympathetic portrayal rather than by pumped-up
rhetoric, and therein is the secret of his power.
The "Running Sands " of Mr. Reginald Wright
Kauffman's novel are the sands of life—the life of
a bachelor of fifty who, possessed of a fortune won
by hard labor in the West, goes to New York to
enjoy what he thinks the world owes him in the
way of happiness, and takes unto himself a wife of
•Comrade Yetta. By Albert Edwards. New York:
The Macraillan Co.
Running Sands. By Reginald Wright Kauffman. New
York: Dodd, Mead & Co.
The Flirt. By Booth Tarkington. New York: Double-
day, Page & Co.
The Road op Living Men. By Will Levington Comfort.
Philadelphia: J. B. Lippinoott Co.
New Leaf Mills. A Chronicle. By William Dean
Howells. New York: Harper & Brothers.
The Isle of Life. By Stephen French Whitman. New
York: Charles Scribner's Sons.
The Bishop's Purse. By Cleveland Moffett and Oliver
Herford. New York: D. Appleton & Co.
The Heart of the Hills. By John Fox, Jr. New
York: Charles Scribner's Sons.
The Fifth Trumpet. By Paul Bertram. New York:
John Lane Co.
The Amateur Gentleman. By Jeffery Farnol. Boston:
Little, Brown & Co.
The Mating of Lydia. By Mrs. Humphry Ward. New
York: Doubleday, Page & Co.
The Combined Maze. By May Sinclair. New York:
Harper & Brothers.
eighteen. The moral seems to be that a man should
not let his love be so much younger than himself,
and that such an ill-assorted union is sure to bring
disaster. It certainly does prove disastrous in the
present case, but mainly because the girl is capricious
beyond the average of her sex, and also because she
shrinks from the normal obligations of wifehood. If
it were merely that a young lover appears upon the
scene, awakening her undeveloped nature, we should
have a replica of the situation that has formed the
theme of a thousand novels, and should find our sym-
pathies enlisted on behalf of the paramount claims
of triumphant and arrogant youth, with perhaps a
tear of pity for the sorrow of the lover of advanced
age. But in this case, the girl takes time to know
her own mind before committing herself to marriage,
and then acts in a way that completely alienates
our sympathies. She avoids maternity by criminal
means, and Mr. Kauffman, as we know, does not
mince matters when he deals with subjects that
demand a decent reticence. It is a tragedy, no doubt,
but a tragedy not resulting, as the author would have
us think, from the situation, but rather from the
undisciplined character of the young woman. So it
seems to us well, on the whole, that in the end she
fails to accomplish her selfish purpose, and is forced
to continue in what is at least the semblance of the
relation which society has sanctioned.
Mr. Booth Tarkington should have found for his
latest novel some title having a less innocent conno-
tation than "The Flirt." This word suggests the
playfulness of comedy, whereas the woman whom
it here designates is a person of such hardened
selfishness and instinctive depravity that her conduct
takes toll of human lives, having its outcome not in
sentimental sorrows but in tragedy. We are not
prepared for this in the beginning, for Cora Madison
first attracts us by her exhibition of the amusing
wiles of the coquette, and it is only later that her
meanness and wickedness are disclosed. The thirteen-
year-old brother whom she calls the Pest is an
affliction that she fully deserves, and if his ingenuity
for malicious mischief had taken her for its sole
victim, we should feel almost kindly toward him.
The Madisons live in a small inland town, and Cora
is adored by all the men of her acquaintance. They
feed out of her hand, and, being a poor-spirited lot,
meekly endure whatever insults and affronts she
pleases to bestow upon them. When a fascinating
stranger (the returned native) appears upon the
scene, she makes a dead set at him, and it is some
satisfaction to realize that he is an adventurer noto-
rious in Europe as a gambler and confidence man.
He has a scheme for promoting an oil field in the
Basilicata, and gets Cora to persuade her friends to
invest their money in the enterprise. When his
rascality is eventually disclosed, Cora first learns
the meaning of defeat, but even then she suffers not
so much from remorse as from wounded vanity.
Hastening to one of the poor-spirited lovers whom
she has rejected, she offers herself to him on condi-
tion that he marry her at once and take her away


1913]
463
THE
DIAL.
for a long wedding journey. Since he accepts the
offer with enthusiasm, he probably gets about what
he deserves. Another of the suitors shoots the ex-
posed adventurer, and then himself, thus partly
clearing the stage. A more unconvincing piece of
fiction we have not often read; or one in which the
characters have been more puppet-like and the
action more mechanical.
In "The Road of Living Men," Mr. Will Lev-
ington Comfort's fourth novel, the author returns to
the manner of "Routledge Rides Alone," having
jettisoned a large part of the cargo of turgid rhet-
oric and amorphous philosophizing with which his
later books have been overfreighted. He still speaks
at times with the voice of the mystic, and the robes
of the prophet still trail about him, but on the whole
he has written another straightforward story of ad-
venture, and made it a transcript of external rather
than of internal experience. It all begins at Oporto,
where the boy Thomas Ryerson first meets the girl
Mary Romany. Both are children, but both have
the sense of being linked together by destiny. After
this prelude, the story is told in three sections, the
scenes being China, Long Island, and Ecuador,
respectively. Mary is the daughter of a mining
prospector whose operations take him to China just
before the rising of the Boxers. Here we have a
vivid account of the beginning of that rebellion, and
of the heroine's rescue by Ryerson. The Long
Island section is an idyllic episode of love-making
between the two. The South American section
again gives us a story of wild adventure, for the pro-
spector is working a concession in Ecuador, and has
to get the better of the warring factions of the repub-
lic as well as of his own mutinous followers. Here
Ryerson joins him, and they succeed, contending
against almost insuperable obstacles, in running
out the accumulated gold. This gives the narrative
that whirlwind finish which is one of Mr. Comfort's
specialties. Like its predecessors, this novel is largely
a paean in praise of woman, and of her potency
as a factor in the spiritual development of man.
Mr. Comfort makes himself the prophet of woman-
kind as an Egerian influence, and all the unlovely
current manifestations of the feminist movement
seem not to have shaken one whit his faith in her
divine mission. It is a joy to encounter such whole-
hearted romantic idealism as he sets before us in
an age when the chief literary currents are setting
toward a sordid realism or a grotesque distortion of
the truth of life. He gives us to understand that
the book was written in response to the plea of a
friend who wrote: "Do us just a story—a story so
sheer and calling, that one by one we shall steal
away from the world's company, as if we heard our
lover's whistle out among the trees; steal away and
follow on and on, entranced, expectant, fresh-eyed
as children; just for once put away reforms and im-
pressiveness; do not remind us this once that we
are going full tilt in directions damnable." And so
on. It is a little gushing, but it helps us to under-
stand the spirit in which the story is told.
Mr. Howells would, we imagine, be the last person
in the world to suppose that, in "New Leaf Mills,"
he had produced a work in any way comparable with
his own masterpieces. But, slight as the new story
is, it has all the charm of his inimitable style, and
exhales all the sweetness of the personality which
has made him the most beloved of our men of let-
ters. He has simply gone back to the time of his
Ohio boyhood sixty years ago, and fished out of his
recollections the materials for a picture of the way
in which simple people then lived on what was then
the western fringe of our civilization. He tells the
story of Owen Powell and his family, who finds it
hard to make a living in town, buys an old mill in
the country, with the aim of establishing a coop-
erative community of the type which then hovered
before men's minds as likely to furnish the solution
of the social problem. He wishes to turn over a
new leaf, and this suggests a name for the enterprise.
The plan is given up in the end, and not very much
happens in between—there is a house-raising, and
a surly miller who resents the intrusion of the new
owner, and a hired girl who mysteriously disap-
pears, and that is about all, except a great deal of
talk, tinctured with Swedenborgianism, which is
Owen Powell's spiritual stay in all his reverses. It
is a book which helps us to understand our forbears
of a generation or two ago, and is an undeniably
veracious transcript of their life.
Mr. Stephen French Whitman gave us a year or
so ago, in " Predestined," an unusually human and
appealing first novel. His second novel, "The Isle
of Dreams," is less convincing, partly because he has
made it of less familiar material, and partly because
he has attempted to indulge in fine writing. The
story opens in Rome, and the first half of it consists
of the sort of sophisticated conversation which Mr.
R. W. Chambers reels off by the mile, and which
bears no relation to the intercourse of men and
women in real life. Then, all at once, something
happens. A novelist, who has the reputation of being
a godless scoffer and a man of unclean life, meets
an American beauty, whom he wooes tempestuously,
being repulsed for his pains. Finding himself in
her company on a steamship, he lures her to the
ship's side, clasps her in his arms, and jumps over-
board with her. They are rescued, and landed on
a small island somewhere near Naples, whereupon
he instals the disdainful maiden in a deserted villa.
Presently the cholera breaks out on the island, and
the simple fisher-folk who inhabit it seek to mob the
visitor as the magician who has brought this evil
upon them. Whereupon he develops heroic quali-
ties. Holding the mob at bay, he persuades them
to disperse, and then applies himself heart and soul
to the eradication of the plague. The hatred and
suspicion of the islanders become changed to devo-
tion as they witness his unstinted labors in their be-
half, and he even wins the blessing of the Camorrist
chief who comes from Naples expressly to kill him.
As for the woman, she clearly would be no heroine
of romance if she could resist such a hero, and her


464
[June 1
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surrender is inevitable. When her scandalized
friends at last come to her aid, they find her curi-
ously indifferent about being rescued. It must be
said that the story, as a story, turns out to be much
better than the opening chapters have led us to
anticipate.
A delightfully whimsical story of the "Button,
button, who's got the button?" type is offered in
"The Bishop's Purse," by Mr. Oliver Herford and
Mr. Cleveland Moffett. A charming young woman,
who is also a skilled pickpocket, steals a purse con-
taining five thousand pounds, and afterwards, grown
remorseful, seeks to restore it to its owner. But the
purse does not stay in the same place, and the pur-
suit grows complicated. We follow with breathless
interest the search for it in its successive hiding-
places, and all the while we are rather hoping that
the engaging young woman will " get away with the
goods"—for such is the immoral effect to which
a story of this type stirs our sympathies. The
book is by turns detective story, melodrama, and
love romance, and in each aspect is particularly
entertaining. It even provides studies of character
that are artistically worth while, which is more than
one expects from a light-hearted invention of this
sort.
"The Heart of the Hills" is just the sort of
novel Mr. John Fox has taught us to expect. There
is a Kentucky mountain boy with a thirst for
knowledge who makes considerable of a man of him-
self. There is also a mountain girl whose language
is not what it might be, but who gropes her way to
refinement and the cultivation of gentle instincts.
These two are predestined for each other, although
for a time it seems as if their fates lay in another
direction. For, contrasted with them, yet very
closely linked by circumstance, are two patrician
children, a boy and a girl. It is only when the
final mating comes that elective affinity achieves its
deep purpose, and caste has the deciding vote. All
the way through the novel runs the feud between
the Hawns and the Honeycutts, and their relation-
ships are so confused that we are often perplexed to
know which is which. Two matters of historical
interest are ingeniously worked into the narrative—
the terrorism of the night riders in the tobacco
war, and the political struggle that had its dramatic
climax in the assassination of Goebel. Mr. Fox
seems to be only at his second best in this book,
which means, no doubt, that he has worked out his
richest veins, and has to fall back upon tailings.
The story would be striking enough if we were not
all the time forced to contrast it with its prede-
cessors.
"The Fifth Trumpet" is a second novel by Mr.
Paul Bertram, the author of that sterling historical
romance, "The Shadow of Power." The scene is
Constance, the year 1418, when the Council is in
session, and the friends of the Church are earnestly
working for its reform from within. The novel gives
a strong and vivid description of the ecclesiastical
corruption then prevalent, when avarice and licen-
tiousness ruled in the seats of the mighty, and when
timorous souls guarded their speech lest the strong
arm of authority should deal with them as heretics.
The leading character is the town clerk, an austere
and indignant puritan, who endangers himself by his
rash utterances, and who finally comes under the ban
for his murder of a sensual beast whose frock does
not save him from this righteous retribution. In
the end he is saved, through the efforts of an adven-
turess of light morals whom he has scorned, but
whose life has a nobler side which is revealed to
him in his time of trial. "Magnus Stein had at last
found a human being worthy of the name—one who
had sinned and erred, but had never done anything
mean or small, one who had suffered the deadliest
offence and given all for the offender, who had
triumphed over all the lesser instincts of our nature
and risen to true greatness through her love, and
who, if she had erred up to the last, had with that
sin purchased her pardon." And so, at last, these
two take their leave of Constance, the woman's soul
softened and purified by love, the man's sympathies
deepened by the revelation of her essential character.
It makes a fine historical study and a beautiful ro-
mance, reminding us in many ways of "The Cloister
and the Hearth," which is the supreme masterpiece
in this kind.
It is, on the whole, rather more of a compli-
ment than the reverse to say of Mr. Farad's "An
Amateur Gentleman" that it is "The Broad High-
way" over again. For who else among our purvey-
ors of romantic entertainment could have matched
that delightful performance? Surely we do not
often find ourselves in better company than that
of Barnabas Barty, whose father John, sometime
Champion of England, is landlord of a country inn.
When Barnabas, learning that he is heir to the for-
tune of a half-forgotten uncle, announces his inten-
tion of going to London and becoming a gentleman,
he encounters his father's objections, and straight-
way proves his quality by knocking him down in a
friendly passage of fists. Thus do his adventures
begin, and they are continued on the road and in
the streets of the great city. They are numerous
and surprising—surprisingly numerous, we ought
to say — and they are such as befits a hero of
Barnabas's brawn and disposition. It would be a
serious task even to count the occasions upon which
he finds himself in dangerous straits, and clears
himself by pluck, not unaided, however, by the
extraordinary luck which attends his footsteps. It
is the London of the Regency to which his path is
directed, and he swaggers with the best in that
society of sporting bucks and beans. Everything
comes his way, including the fair and aristocratic
Cleone, whom he wins from many rivals by his
prowess and gentleness, and whose love is so strongly
cemented that it is proof against the revelation
(which is made in due time) of his plebeian birth.
There are characters in these pages that might
have stepped out of Dickens and Thackeray, and
a wholly satisfying romantic complication that is


1913]
465
THE
DIAL
lacking in no essential element of interest, and that
is worked out in the highest of spirits.
The hand of Mrs. Ward seems to have lost none
of its cunning, and, in "The Mating of Lydia,"
she has again made a surprisingly good story out of
comparatively simple materials. It is good not
only as to texture and finish of detail, but also as to
the elaboration of its plot, which rises steadily to a
climax of absorbing interest. The scene is some-
where in the Lake District, where is situated the
gloomy castle to which Edmund Melrose, at the
opening of the story, brings home his young Italian
wife and their child. Melrose, who is a man of
immense wealth, is a collector of antiques and objets
d'art, and the castle is filled with the packing cases
that have preceded his arrival. His passion as a
collector is such that he is unwilling to provide his
wife with the simplest comforts, for which reason
she one day takes secret flight, with her going the
child and a valuable bronze Hermes much treasured
by her husband. To him, it is a good riddance
(save for the Hermes), and he takes no steps in the
matter, beyond providing a miserable pittance for
the woman's support in Italy. Being excessively
penurious in all matters wherein art is not concerned,
Melrose neglects his tenants until the condition of
their cottages becomes a scandal to the whole
countryside. One day, a young man named Faver-
sham is bicycling in the neighborhood, and has a
bad accident, making it necessary to instal him
in the castle, which is the nearest human abode.
Melrose fumes about the intrusion, but becomes
reconciled to it when he discovers that Faversham
is the owner of certain rare gems. The young man
remains under Melrose's roof, is given every atten-
tion until he recovers, and is then surprised by an
offer from Melrose to make him his secretary and
agent at a very large salary. He accepts, and is
presently informed that be has been made his em-
ployer's sole heir. He hopes, as agent for the estate,
to be able to secure decent conditions for the tenants,
but in this he is thwarted by Melrose's obstinacy.
Here arises the moral issue which the author needs
to keep her conscience clear. Shall Faversham re-
main, accomplishing what limited good he can, and
all the time looking forward to the opportunities to
be given him later, by full possession, or shall he
renounce his prospects, and refuse to act as the
agent of so unnatural a landlord. When Melrose's
wife and child turn up, after the desertion of twenty
years previous, the problem becomes still more
complicated, for in accepting the heirship, Faver-
sham will be dispossessing those to whom the estate
would otherwise go. He is lured, and wavers, and
then, when Melrose has died and left him the law-
ful owner, makes the great renunciation, thereby
winning instead the love of the young woman who
has made his action in this matter the final search-
ing test of his character. In her view, the money
in his possession would be doubly tainted, because
of the neglected villages, and because of claims of
wife and child to the inheritance. Mrs. Ward makes
too much of this latter point, for surely no man is
morally or otherwise bound to leave all his wealth
to wife and children, while as for the other point,
there is much to be said for Faversham's temporiz-
ing position in consideration of his generous inten-
tions for the future. At any rate, there is the problem,
and Mrs. Ward clearly thinks that both arguments
against his heirship are morally valid. As for Lydia,
a nice girl who paints amateurish pictures, the
problem of her "mating" is the choice between
Faversham and young Lord Tat ham, and we should
have been quite as well satisfied had it fallen upon
the latter. He, however, gets the Melrose heiress
as a consolation prize, and his heart does not seem
to be damaged by this substitution of a new object
of his affections for the old one.
"The Combined Maze," by Miss May Sinclair,
is a novel similar in general theme to Mr. Alfred
Ollivant's "The Royal Road." In other words, it
tells the harrowing story of a London clerk, who
saddles himself with wife, children, and a house on
the instalment plan, with no better excuse than is
offered by wages of about a hundred pounds a year.
It is made more harrowing by the fact that the clerk
marries the wrong girl, a wanton creature who de-
velops slatternly habits and finally runs away with
another man. All the while, the girl he should have
married is near at hand, but even when he might be
free to make a home for her, he is prevented by the
cost of getting a divorce from his faithless wife.
When at last he has scraped together the needed
amount, the wife reappears, herself deserted, and his
hopes of happiness are again blighted. Miss Sin-
clair's portraiture is vivid and convincing, at least
as to her principal characters. The title of the book
is taken from a figure in the hero's polytechnic gym-
nasium — a marching figure in which boys and girls
make complicated designs in the course of their evo-
lutions. It is not a happy title, because it has to be
unduly stretched to become a symbol of the maze
°f life- William Morton Payne.
Briefs on New Books.
The great dearth of English books
ft^^teT* descriptive of Austria is quite re-
markable. Mr. Briliant, in his bib-
liographical list on Austria in the "Encyclopaedia
Britannica," does not refer to a single book in En-
glish. Some will perhaps regard this dearth as a
sad reflection on the English-speaking world in so
far as it shows our extreme indifference to one of
the most important countries of Europe. Mr. James
Baker, novelist and traveller, now essays to supply
a presumably increasing demand with his work on
"Austria: Her People and Their Homelands"
(Lane). To begin with the worst that can be said
of it, the book is wretchedly written, and the pub-
lishers are not to be congratulated on putting out in
this form a work which needed to be touched up
in grammar, spelling, and style in countless spots.


466
[June 1
THE DIAL.
There are errors which would make a bright school-
boy shudder. Some slips are obviously due to care-
lessness, as when the author speaks of Riva as "the
south-eastern outpost of Austria." The writer has
made apparently no attempt to render uniformly
and correctly the Slavic names, and serenely writes
"Cech," "Palacky," "Sevcik," "Dvorak" (though
the last is correctly given on p. 6). Even the Ger-
man names are inconsistently printed; thus on p. 47
we find both Olmtitz and Olmutz, but generally the
umlaut marks are ignored. In spite of these very
serious blemishes, however, there is in the book much
that is good. The author has a pleasant chatty style
which makes easy reading. He knows his subject
thoroughly, having travelled in Austria much for
a period of forty years, and makes a very sensible
choice of material. He has a good eye for the pic-
turesque, and in general is scrupulously careful about
color-words. We wish he had had more space for
some of the legends to which he rather tantalizingly
refers; for we doubt if many of these legends are
easily accessible elsewhere. Considered absolutely,
too, the book gives far too little space to Vienna;
possibly, however, the author deliberately chose thus
to save some space for the less known parts of this
wonderful country. The great Oesterreich indeed
is deserving of being more widely known. It is
full of magnificent scenery; it possesses interesting
relics of a most interesting and significant past, both
in its picturesque castles and in its superb museums;
it is a hive of industry of every kind, from the simple,
primitive labor of the peasants to the large manu-
factories of the centres of trade. Moreover, it should
be of special interest to Americans because of the
racial rivalries so noticeable in many parts of the
country. Concerning these, by the way, Mr. Baker
is decidedly optimistic; he regards it as "really an
immense power, for the keen emulation and the
struggle for supremacy has enforced advancement
on all lines." Finally, we have much to learn from
Austria about education. Fancy in any American
school a well organized course for hotel-keepers and
waiters; yet this is precisely what we find at the
Innsbruck Handelsakademie. On other matters,
too, e.g., the relations between labor and culture,
Austria has much for us to learn. Mr. Baker's
book may well serve to arouse interest in this won-
derful old-new country. We must, finally, grumble
a little about the illustrations in water color, by Mr.
Donald Maxwell. Some of them are beautiful; yet
for the special purpose of the book, we are phil-
istine enough to think that well-selected photographs
would have served far better.
Pretident In the brief and modest preface to
political "The New Freedom" (Doubleday),
credo. President Wilson informs us that the
book was put together by Mr. William Bayard Hale,
who grouped "in their right sequences the more
suggestive portions of my campaign speeches. . . .
I have left the sentences in the form in which they
were stenographically reported. I have not tried
to alter the easy-going and often colloquial phrase-
ology in which they were uttered from the platform,
in the hope that they would seem the more fresh and
spontaneous because of their very lack of pruning
and recasting." The reader may feel some mis-
giving as to the wisdom of this plan while reading
the first address," The Old Order Changeth," which
is somewhat general and abstract and shows no
marked clearness or vigor; but as one reads on
through succeeding chapters—"What is Progress?"
"Freemen Need No Guardians," "Life Comes
from the Soil," and the whole series of twelve
addresses, concluding with "The Liberation of a
People's Vital Energies,"—one becomes more and
more convinced that President Wilson judged
wisely in retaining the colloquial tone and oral
ring of his original style. The tense conviction on
fundamental problems of our national life, the
broad and deep sympathy with all the people, the
splendid enthusiasm for liberty and the free play
of human forces — these characteristics of Presi-
dent Wilson are fittingly perpetuated in the lan-
guage of a leader addressing great audiences of
American people. One's satisfaction with the style
of the book is confirmed by the reiteration of favorite
principles from time to time in the various speeches
in a manner scarcely suited to formal written prose,
but entirely in keeping with the requirements of oral
expression, and serving to impress deeply upon the
mind of the reader the chief tenets of the Presi-
dent's political creed and to suggest vividly the liv-
ing voice addressing great audiences of men and
women. Moreover, the enthusiasm of the public
leader, so fittingly preserved in this oral style,
grows to an ever deeper note and more vibrant
ring from the beginning to the end of the volume,
so that the effect of the whole series of addresses is
assimilated to that of one long and noble oration,
rising from sober initial statements through forceful
and convincing argument to a climax of rhetorical
and even poetic beauty and power. The style,
however, is not the main thing in these addresses.
The main things are, first, the man — rational,
self-restrained, yet fired with indignation against
abuses in the government of the great Republic in
which he ardently believes; and, secondly, the
simple and ancient principles, few and plain, to
which he recalls his people. With all his scholar-
ship and restraint, both of which stamp these
speeches, President Wilson as he appears in the
addresses blends a portion of the spirit of the
Hebrew prophets with that of Abraham Lincoln.
He has something of Isaiah's confidence in Jehovah
and loyalty to Him with much of Lincoln's trust in
the plain people. No shallow optimism and no
barren pessimism appear in these speeches, but a
profoundly serious tone of warning and a jubilant
appeal. They constitute for the people a sort of
proclamation of emancipation from the rule of
special interests.


1913.]
467
THE DIAL
Mr. Clarence M. Weed, whose sum-
natuZtZT mer farm at Ellsworth, New Hamp-
shire, affords him excellent oppor-
tunity for the study of New England plant and insect
life, and who has travelled observantly in other parts
of our broad land, contributes an unusually attractive
and well-written as well as soundly-instructive vol-
ume to the literature of the woods and fields and of
the abundant objects of interest there to be found.
"Seeing Nature First" (Lippincott) begins with a
preface in which it is contended that an acquaint-
ance with the flora and fauna of one's own country
"not only opens up new fields of thought and effort
at home, but also gives the best sort of preparation
for travel abroad." The nature-studies presented
in the succeeding chapters are grouped chronolog-
ically under the four seasons of the year, beginning
with spring, and are about equally divided between
plant-life and insect-life. As an instance of the
author's carefulness of observation, the following
passage on the closed gentian may be quoted:
"The flowers are completely closed, a fact which
led John Burroughs in one of his delightful essays
to suggest that it does not receive insect visitors.
But the worker bumblebees could tell you better,
for they have learned how to pry open the mouth
of the blossom and enter for the nectar at its base,
where they circle around the flower in a way to
come in contact with both stamens and pistil. And
they also can tell from the color of the blossom
whether it is young and nectar-bearing." But how
can one be sure that it is the color and not some
other sign, perceptible perhaps only to insect sense,
that guides the bee to the nectar-bearing blos-
soms? Useful to New Englanders are the pages
devoted to the gypsy and the brown-tail moths,
those pests that have lately cost the tax-payer so
many thousands of dollars. The story of Leopold
Trouvelet and his unfortunate attempt to produce
silk from gypsy-moth culture at Medford, Massa-
chusetts — whence sprang an Iliad of woes — might
appropriately have found a place in Mr. Weed's
account of the pest as a recent importation from
Europe. Numerous and excellent illustrations
(two in color), from photographs and from drawings
by Mr. W. I. Beecroft, enrich the volume, which
could be made still more useful, in any subsequent
issue, by the addition of an index.
The " Tenth ^ *8 hardly possible to say anything
Mute" tn her new about Sappho and her divine
Ulandhome. lyrics; but it was a happy thought
of Dr. Mary Mills Patrick, President of Constanti-
nople College, "to reproduce the famous poetess in
the picturesque island of Lesbos." The chapter on
Mitylene is wholly delightful; and the author is
to be envied for her charming experiences among
scenes where "one hears the name of Sappho spoken
on every hand, both in reference to the poet, of
whom all the island is still proud, and to her name-
sakes, of whom there are so many that it is perhaps
not too much to say that there is one in every
family." Other chapters treat of the age, life, and
work of Sappho; and the eighth contains a good
translation of the fragments, including those re-
cently discovered in Egypt. Throughout the book
Dr. Patrick's treatment is colored by a roseate
optimism that excites admiration and envy, even
when one is compelled to question or deny. This
virtue, or defect, is seen particularly in her insistence
that Sappho's poetry is to be interpreted as the work
of an absolutely impeccable model of propriety,
the irreproachable headmistress of an Academy of
Music and Poetry, where the gentlest and sweetest
of Greek maidens were trained to tread the shining
paths of serene culture and pious purity. This view
represents an idealising development of Welcker's
belief, announced about a century ago, and is
supported by the weighty name of Von Ulrich
von Wilamowitz-Moellendorf, assuredly one of the
greatest authorities of the century. But the re-
viewer is nnchivalrously skeptical. It is dangerous
to read a fine Lutheran sense of chastity, or a lofty
New England Puritanism, into the erotic poetry of
Greece written during the seventh and sixth cen-
turies before our era; and the judgment of classical
antiquity about the Lesbian nightingale was strik-
ingly unanimous on the other side. However, the
lyrics themselves are the important thing; and as
to their merits the world of letters is absolutely at
one. Among the twenty-six illustrations that form
a valuable feature of the book are included many
antique representations of Sappho; but even from
this excellent collection the reader will turn away
with the feeling that he has gained no clearer pic-
ture of her features than he might make for himself
from her own verses and the olden tales of her
charm and beauty. The volume is legibly printed,
simply and pleasingly bound, and tastefully pre-
sented in general. (Houghton Mifflin Co.)
Anglo-Saxon Ever since the prophetic utterance
control of of William H. Seward, in the middle
the Pacific. 0f the last century, thoughtful pub-
licists have pondered over the future of the Pacific.
One of the latest of these is Mr. Frank Fox, news
editor of the London "Morning Post," whose
"Problems of the Pacific" (Small, Maynard & Co.)
indicates the great questions which are soon to arise
in this region and also endeavors to point out their
solution. It is his belief that " on the bosom of the
Pacific will be decided, in peace or in war, the next
great struggle of civilization, which will give as its
prize the supremacy of the world. Shall it go to
the White Race or the Yellow Race? If to the
White Race, will it be under the British flag or the
flag of the United States, or of some other nation?
That is the problem of the Pacific." In the effort
to solve this problem he studies in turn, in sketchy
fashion, all the countries which lie about this great
ocean. And in other chapters he compares their
armies and navies, and comments on their industrial
position. His final conclusion is "that friendly
cooperation between the United States and Great


468
[J une 1
THE DIAX,
Britain would give to the Anglo-Saxon race the
mastery of the world's greatest ocean, laying for
ever the fear of the Yellow Peril, securing for the
world that its greatest readjustment of the balance
of power shall be effected in peace: but that rivalry
between these two kindred nations may cause the
greatest evils, and possibly irreparable disasters."
This conclusion is very gratifying to Anglo-Saxons,
yet it cannot be said that Mr. Fox has argued his
case as convincingly as might be demanded. Per-
haps the limits of the volume precluded this. Nor
is the necessity for the "mastery" of the Pacific
made clear. To-day no nation seems to be "master,"
and yet commerce thrives and peace prevails. Only
the other day an American professor demonstrated,
to his own satisfaction at least, that the cooperation
of the United States and Japan would " prevent any
intruders from disturbing the balance of power in
the Pacific." And a fairly good brief might be held
for China, provided the hour of achievement were
set sufficiently in the future. It is a great pity that
Mr. Fox's volume, which is so readable throughout,
suffers from an unusual number of errors in the
statement of facts, some thirty-five having been
noticed by the present reviewer.
A Yankee in London of a century ago, as seen by
England in the a young Bostonian of alert observa-
lummer of ism. tjon an J n0 inconsiderable powers of
vivid description, is presented in the travel-journal
of Joseph Ballard, now first published, in a limited
edition, by the Houghton Mifflin Company. Other
parts of England were also visited by Ballard, as is
noted on the title-page, as follows: "England in
1815, as Seen by a Young Boston Merchant: Being
the Reflections and Comments of Joseph Ballard
on a Trip through Great Britain in the Year of
Waterloo." Liverpool, where he landed, Manchester,
Leeds, Birmingham, Stratford-on-Avon, Woodstock,
Chester, and a few places in Wales, were included
in his itinerary. Ingenuous and amusing are many of
the comments of the diarist, who was but twenty-six
years old on this his first visit to Europe. He speaks
of the "most magnificent and sublime sight" of hun-
dreds of "black fish" sporting in the waves and
resembling a drove of hogs — evidently porpoises.
A steam engine at Leeds, drawing a train of loaded
coal-cars, naturally interested him. A stage-coach
journey from London to Leeds, at the rate of eight
and one-third miles an hour, is described as per-
formed "with almost incredible swiftness"—"a
velocity with which I desire never to travel again."
The report of Napoleon's defeat at Waterloo made
London "one continual scene of uproar and joy."
A call upon the American Minister, John Quincy
Adams, "meanly lodged " in Harley Street, affords
matter for description and comment. Manners and
customs are everywhere noted with an observant eye
for the novel and the characteristic. Theatres, public
buildings, glimpses of royalty, ceremonial functions
— all these and other topics likely to find a place in
wide-awake young Yankee's journal in such cir-
cumstances contribute to the varied interest of his
pages. A descendant of Ballard, Mr. Joseph Ballard
Crocker, supplies useful footnotes and a biographical
introduction to the book.
A hittom With the appearance of the fourth
of Greek and final volume of Theodor Gom-
phtioiophv. pera'g "Greek Thinkers: A History
of Ancient Philosophy" (Scribner) comes the news
of the death of the author, which occurred just after
he had corrected the final proofs of the English
translation of this volume made by Mr. G. G. Berry
of Oxford. The original design of the work was to
provide a history of Greek thought, from its begin-
nings in the work of the nature-philosophers of Ionia,
down to the beginning of the Christian era. But as
the work progressed the author saw that this plan
was impossible, and so restricted his design to the
end of the first quarter of the third century before
Christ,—the epoch, that is to say, when the develop-
ment of the sciences reached a point where they could
no longer be laid tributary by a single thinker to a
systematic philosophy. The matter thus crowded
out of the present work, dealing with Stoicism, Epi-
cureanism, and Skepticism, the author had hoped
to cover in another book to be entitled "The Phil-
osophy of the Hellenistic Age," but on which he had
made no progress at the time of his death. The loss
of such a work is most regrettable, for Gomperz's
history will be especially prized by the reader who
wants a more detailed treatment of ancient philos-
ophy than can be given in any of the single-volume
histories such as Windelband's, and yet at the same
time wishes to have a treatment less technical in
design and more literary in finish and from a later
viewpoint than some of the German classic treat-
ments. The present volume of Gomperz's work
is given over for the most part to the thought of
Aristotle, only the final five out of forty-three chap-
ters being devoted to his successors, Theophrastus
of Eresus and Straton of Lampsacus. Of Aristotle,
the author writes with sympathy tempered by criti-
cism; his attitude toward the Aristotelian logic is
appreciative, although he follows Mill in delimiting
its functions; while his discussion of Aristotle's
"katharsis" is both clear and suggestive.
Marie- The title, "Marie-Antoinette: Her
flrttyeart' Early Youth," which Lady Young-
in France. husband has chosen for her very
thorough study of one period in the life of the un-
fortunate French queen, is accurate enough, per-
haps, but likely to give a wrong impression. Marie-
Antoinette's " youth," as here dealt with, is not her
childhood, but the years immediately following.
The book deals entirely with the four years between
the marriage of the vivacious Austrian princess to
the excellent but clumsy French Dauphin, and the
death of the Dauphin's execrable grandfather.
"The main object," of the work, in the words of
the author, "was to unravel a nebulous, if highly
attractive, personality, and to replace by a human


1913]
469
THE
DIAL
being the kind of lay figure which over-much indis-
criminate reading had tended to produce." The
effort has been crowned with a measure of success.
In the centre of this foolish, feverish, and depraved
society we catch now and then the regular beating
of this one warm, pure, and honest heart; and this
one child-matron's wholesomeness and sanity are all
the more pleasing for the contrast with the condi-
tions that surround them. Marie-Antoinette had
faults, but they seem to have been pretty well
summed up in the estimate of the brave and severe
old Empress, her mother, — "raillerie and untidi-
ness." Lady Younghusband marshalls her details
with a catholic enthusiasm that reminds one of that
delightful French historical " restorer " M. LenGtre,
although it is only now and then that she commands
such a vivifying magic touch as his. The very uni-
versality of her interest is in her way, for it destroys
all perspective and allows the reader's attention no
rest. She cares quite as much for the watchful
Austrian ambassador Mercy, even for the faithful
but tiresome tutor-priest Vermond, as she does for
the heroine herself, and tells us almost if not quite
as much about them; and she finds it so difficult
to let one charming character go until she has ex-
hausted all her information concerning him, from
his antecedents to his ultimate fate, that it is very
difficult to keep a clear idea of the chronology. The
book would be much more confusing still if it were
not for the excellent index, which adds after the
name of each person mentioned a sort of description
enabling one to place him more easily, thus: "Bour-
bon, Duchesse de (daughter of Due d'Orleans)," and
"Bouret, Monsieur (Cabinet Secretary to Louis
XV.)." The volume is published in handsome form
by the Macmillan Co.
Some notable Mr8- Alice Kemp-Welch, the author
loonuii of the of "Six Mediaeval Women" (Mac-
middle age: millan), a collection of essays some
of which have already appeared in " The Nineteenth
Century and After," is a keen and capable student
of the past, bringing certain long-dead members of
her sex back to life with remarkable skill, consider-
ing the very meagre data at her command. After
a long introduction crammed with curious informa-
tion, she takes up in chronological order six gifted
women who lived between the tenth and the fifteenth
centuries. The first one dealt with, the nun Ros-
witha of Gandersheim, in the Harz Mountains, has
been treated by no other modern writer, and her
biographer depends for information concerning her
principally upon her own writings, of which the
most important are six religious dramas. Almost or
quite as unfamiliar to most of us is the Magdeburg
Beguine Mechthild, whom this investigator shows
writing passionate love-lyrics addressed to her God
as another might write poems to an earthly lover.
Mahaut, Countess of Artois, a relative of St. Louis,
and herself a philanthropist and a disinterested
patron of various artistic and industrial endeavors,
ia portrayed as a remarkable example of virtue and
culture in a corrupt and materialistic age. The other
three names are better known: Marie de France,
the Anglo-French love-poet whose influence over
Chaucer, Scott, Goethe, and a host of lesser names
is easily traceable; Christine de Pisan, the brave
fifteenth-century blue-stocking and advocate of equal
rights for women; and Agnes Sorel, the amiable
mistress of Charles VII. The author's desire to
make a heroine and a world-power of the lady last
named has prompted some inferences to which the
facts have not led other historians, and in general
this chapter seems the least satisfactory of all. A
concluding chapter on "Mediaeval Gardens" is a
prettily-flavored reminder that our forefathers loved
trees and flowers quite as much as we do, even if in a
different way. .
Mr. Archibald G. B. Russell's criti-
ZZ^frave'. cal ^ and. catalogue raisonne" of
"The Engravings of William Blake"
(Houghton Mifflin Co.) is the fruit of many years of
study and research by the foremost living authority
on the work of that eccentric artist. To collectors
of Blake's engravings it furnishes a much-needed
guide. The catalogue is not only an exhaustive one,
including a number of hitherto unknown engravings
by Blake, some of them after his own designs, which
have been discovered by Mr. Russell, but is made
of exceptional value by the very full notes that are
appended to each item described. The information
given in these notes is of the most varied character;
apparently nothing has been overlooked that can be
of help to the student or the collector. The usual
information about "states" is given; when neces-
sary the subjects are described and the conditions
under which the works were produced; the present
ownership of drawings and the rarer prints is indi-
cated, together with a multitude of other interesting
details. In the critical study the story of Blake's
life is told in compact form, his work as an engraver
is reviewed, and his peculiar technical processes are
described. Incidentally attention is called to the
fact that " the great majority of the coloured draw-
ings purporting to be Blake's original designs for his
books are copies done from the books by other
hands," and one of the well-known drawings in the
Print Room at the British Museum is placed in this
category by Mr. Russell. The illustrations to this
book include a number of Blake's engravings which
have not heretofore been reproduced, and also many
of his most important works.
BRIEFER MENTION.
Professor John W. Cunliffe's "Early English Classical
Tragedies" (Frowde) is a volume which gives us, with
much editorial apparatus, the text of four plays: "Gor-
boduc," "Jocasta," "Gismond of Salerne," and "The
Misfortunes of Arthur."
"The Case for Woman Suffrage" is a critically
annotated bibliography of the subject prepared by Miss
Margaret Ladd Franklin and published in New York
City by the National College Equal Suffrage League.


470
[June 1
THE
DIAL
The arrangement of entries is chronological hy year of
publication, and the classification is into books, plays,
articles and periodicals, congressional reports, etc. In-
tended primarily for college women, its usefulness should
extend among all who are interested in equal suffrage.
The series of "English Readings for Schools"
(Holt) has just been increased by three volumes:
"Franklin's Autobiography," edited by Mr. Frank
Woodworth Pine; "Selections from Tennyson's Idyls
of the King," edited by Professor John Erskine; and
"Old Testament Narratives," edited by Professor
George Henry Nettleton.
The amazingly erudite Rabbi Kaufmann Kohler, who
was in charge of Sinai Temple in Chicago sometime in
the seventies, afterwards officiated in New York, and
has now for many years been president of the Hebrew
Union College in Cincinnati, attained his seventieth
birthday on May the tenth last, and in honor of the
occasion, his colleagues have dedicated to him a volume
of " Studies in Jewish Literature," which is published
by Herr Georg Reimer, Berlin. Some of the papers are
in German, but the majority are in English. Not the
least striking feature of the work is the Kohler bibliog-
raphy, which runs to eight hundred items.
One of the first volumes to appear under the imprint
of Messrs. Sully & Kleinteich, a publishing-house
recently established in New York City, is the manual,
"How to Obtain Citizenship," prepared by Mr.Nathaniel
C. Fowler, Jr. Brief and simply-worded directions are
given in English, Italian, Yiddish, German, and French;
and while no attempt has been made to include strictly
technical terms or to unravel such complications as
occasionally arise from faulty interpretation of the law,
the book contains the essential directions for aliens or
foreigners desiring citizenship of the United States.
Two other useful manuals published at the same time
are "The Art of Letter-writing," by the same author
as the above, and "The Etiquette of To-day," by Miss
Edith B. Ordway.
Mr. Orison Swett Marden's abounding optimism finds
characteristic expression in another addition to the
"Marden Efficiency Books," its subject this time being
"The Joys of Living" (Crowell). The world-old prin-
ciple that life holds for us just as much as we bring to
it, that whether life is worth living depends on the liver,
that the music of the song is in the ear of the hearer, is
elaborated and illustrated with all Mr. Marden's well-
known felicity of manner and richness of thought.
"The whole world is full of unworked joy-mines," is his
inspiriting assertion on an early page, and prospectors
for the precious metal will find many a useful hint in
his book. Without offering anything really new on his
somewhat hackneyed theme, the author does well to call
attention afresh to the supreme importance of the sub-
jective element in the attainment of happiness.
Under the title, "The Making of To-Morrow" (Eaton
& Mains), a handy volume packed with little nuggets
of wisdom and advice has been made out of selections
from Professor Shailer Mathews's editorial paragraphs
contributed to "The World To-Day " during the eight
years and more that he conducted that wide-awake and
never uninteresting monthly. Under the general head-
ings, "The Common Lot," "The Church and Society,"
"The Stirrings of a Nation's Conscience," and "The
Extension of Democracy," are grouped two-score brief
and pithy disquisitions on present-day tendencies, good
and evil, in society, business, politics, international rela-
tions, the church and the school, and wherever else the
discerning eye of this observant writer turned its gaze
in quest of signs of the times. Even the game of base-
ball is turned to account by Dean Mathews in pointing
his moral and adorning his tale. The book is timely
and thoughtful and readable.
Two new volumes are just added to the "Country
Home Library," a series of architectural books for the
layman published by Messrs. McBride, Nast & Co.
One is "The Dutch Colonial House" prepared by Mr.
Aymar Embury, II., with the purpose of illustrating the
applicability of old Dutch methods of architecture to
modern construction, especially in designing the small
country-home known as the "long, low house," now
much in vogue. The other, Mr. Charles E. Hooper's
"Reclaiming the Old House," gives detailed directions
for properly incorporating present-day conveniences in
the architecture of the old-time house without essen-
tially disturbing its traditions or charm. A third
volume, similar in size and appearance, is Mr. Alfred
Hopkins's "Modern Farm Buildings," in which an
experienced architect offers suggestions for the most
approved ways of constructing stables, barns, and other
farm buildings on practical, sanitary, and artistic lines.
Collected chiefly from periodicals in which they ap-
peared some years ago, the pleasant sketches and studies
of Mrs. Katharine Dooris Sharp's "Summer in a Bog"
(Stewart & Kidd Co.) furnish agreeable and seasonable
reading to amateur botanists and to nature-lovers in gen-
eral. Miscellaneous local lore and neighborhood gossip,
the latter in dialogue form with touches of dialect, two
original poems, and frequent quotations in both prose
and verse, with brief notes on botanists of greater or
less distinction, make up the substance of the book. The
bog referred to is, or was, in Madison County, Ohio, and
its flora appears to have been rich and interesting. The
attractiveness of Mrs. Sharp's volume would have been
increased by a division of its contents into chapters with
chapter-headings instead of the rather breathless arrange-
ment (diversified, however, by page-headings and other
devices) actually adopted. The writer's fellow-naturalists
of her own State will especially enjoy the book.
A critical but appreciative summary of Eucken's
religious teachings is contained in Professor Henry C.
Sheldon's small volume entitled "Rudolf Eucken's
Message to Our Age" (Eaton & Mains). The author
has a very high appreciation of Eucken's philosophy in
general, and especially is impressed with those features
of it which emphasize the transcendental as well as the
immanental nature of the spiritual realm. This spiritual
realm, to Eucken, is equivalent with the reality which
has always lain behind the term God; but Eucken uses
the idea impersonally, and does not believe in the kind
of God imagined by believers in what is known as a
theodicy — that is, a governing of the world by God.
Professor Sheldon softens down the refusal of Eucken
to postulate a personal God by quotations from his writ-
ings in which, Eucken does seem hospitable to the idea
that some of the attributes of personality inhere in the
divine. The author's main criticism of Eucken, which
whole-souled followers of Eucken and other modernists
will consider perhaps the most disappointing part of his
little book, deals with the German philosopher's teach-
ings about Christ. Eucken is "unitarian " in his posi-
tion, and Professor Sheldon prefers the authority of the
New Testament to the use of secular reason here. He
also seems to deprecate Eucken's attitude toward the
miraculous, which is probably even more agnostic than
his present interpreter sees fit to admit.


1913]
471
THE DIAL.
Notes.
A translation, by Mr. Joseph McCabe, of Francisco
Ferrer's "Origin and Ideals of the Modem School"
will be published at once by Messrs. Putnam.
Rev. Cyrus Townsend Brady has in the press with
Messrs. Dodd, Mead & Co. a new book entitled "The
Fetters of Freedom." It discusses the trials of the
early Christian church.
"The Magic Formula " is the title of a new volume
of essays and studies by Professor L P. Jacks, editor
of "The Hibbert Journal." Messrs. Holt will publish
the book early next autumn.
A new novel by Willa S. Cather, entitled "O Pion-
eers!" and dealing with the Scandinavian and Bohemian
pioneers of the Middle West, will be issued early this
month by Houghton Mifflin Co.
Two new novels announced for immediate issue by
Messrs. Putnam are "The Thunderhead Lady," by
Brian Read and Anna Fuller, and "An Unknown
Lover," by Jessie de Home Vaizey.
Three immediately forthcoming Dutton books are
"The Big Game of Central and Western China," by
Mr. H. F. Wallace; a biography of Arbella Stuart by
Mr. B.C. Hardy; and " Industrial Warfare," by Messrs.
Charles Watney and James A. Little.
The first issues of a new English weekly, "The New
Statesman," have recently made their appearance. It
is of the same form and general type as "The Nation"
and " The Spectator," but its particular purpose is to
deal with public affairs from the standpoint of a sane
and practical collectivism. Mr. and Mrs. Sidney Webb
and Mr. Bernard Shaw are actively interested in its
conduct.
Dr. David Starr Jordan has resigned the presidency
of Stanford University, which he has held since 1891,
in order to devote more of his time to the furtherance
of world peace. He will hold the office of Chancellor
of the University, this position being created by the Uni-
versity for his especial benefit. John Casper Branner,
professor of geology at Stanford since 1892, and Vice-
President since 1899, will become President.
"Harper's Weekly," one of the oldest and most
influential of the American weeklies, has been sold by
Messrs. Harper & Brothers to "Norman Hapgood and
associates." The announcement of sale was made on
the 16th by Mr. George Harvey, president of the
Harper Company, and editor of the Weekly. Mr.
Hapgood, for many years editor of "Collier's," is
sure to make of the old "Harper's Weekly" a force
far more potent than it has ever been in the past.
The Thompson Brown Company, educational pub-
lishers, has conveyed to Messrs. E. P. Dutton & Co. title
to all of its good will, contracts, copyrights, and other
assets. It announces that the business established in
1844 and conducted uninterruptedly since then, will
continue as a distinct department of Messrs. Dutton &
Co. under the direction of Messrs. Burges Johnson aud
Edward S. Blagden. With this as a nucleus, it is
planned to develop an educational publishing business
of the highest character.
The first public library building planned especially
for children's use is about to be erected as an addition
to the library system of Brooklyn. It will stand in a
section of the city where the house-builder and the
stork are unusually active, and where consequently the
juvenile patronage of the library is large. The Brooklyn
librarian, it is also to be noted, has had the courage to
condemn as "deadwood" 4,500 of the 730,000 volumes in
,his charge, and they will be disposed of either by gift
or sale. These and other items of interest are to be
found in the current yearly report of the Brooklyn
Public Library.
Some three years ago the famous explorer, Dr. Sven
Hedin, wrote an account in two volumes of his latest
journeying under the title "Trans-Himalaya: Discov-
eries and Adventures in Tibet." It formed by general
consent one of the most valuable and fascinating books
of travel that had been issued for many years. Much
interest will therefore be felt in the announcement
that Dr. Hedin has completed a third volume of the
work. As in the case of the earlier instalments, there
will be a large number of illustrations from the author's
own photographs and drawings. The book will be
published shortly by Messrs. Macmillan.
Among the volumes soon to be published by the
Columbia University Press in its series of "Studies
in English and Comparative Literature " are: "Gnomic
Poetry in Anglo-Saxon," by Blanche Colton Williams;
"Aaron Hill," by Alice D. Brewster; "Learned So-
cieties and Literary Scholarship," by Harrison Ross
Steeves; and "Chaucer and the Roman de la Rose,"by
Dean S. Fansler. In the "Studies in Romance Phil-
ology and Literature " two new volumes are soon to
appear,—" Uncle and Nephew in the Old French Chan-
sons de Geste," by W. O. Farnsworth, and " Diderot as
a Disciple of English Thought," by R. Loyalty Cm.
A valuable gift consisting of three thousand volumes
of statistical literature, collected by Mr. John Hyde,
formerly Chief of the Bureau of Statistics of the U. S.
Department of Agriculture, has been presented by him
to the Statistical Society of Japan, at Tokio, to serve
as the substantial nucleus of a new collection that shall
in time take the place of the one recently destroyed by
fire after thirty-three years of diligent effort in getting
it together. Mr. Hyde's collection contains official
publications of fifty-two countries, printed in twelve
different languages, and the transactions of most of the
important statistical societies of the world for a long
series of years; also many miscellaneous reference
books. Baron Sakatani, former finance minister, has
announced that the donor's name would be given to the
library so generously presented by him.
Topics jn Leading Periodicals.
June, 1918.
Adams, John Quincy, Letters of, from Russia . . Century
Adrianople, Fall of. Cyril Campbell Atlantic
Advertising, A Stndy in. Edward M. Woolley . McClure
Americanisms, Linguistic Causes of. T. R.
Lounabnry Harper
Art and the Woman's Movement. Percy MacKaye Forum
Athens, Periclean, Ideals of. Charles Waldstein No. Amer.
Atom, Exploring the. Henry S. Williams . . . Harper
Banking System, Our National. W. De H.
Washington Forum
Benjamin, Judah P. Gamaliel Bradford, Jr. . . Atlantic
Boy, What to Do with a. Lyman B. Stowe World's Work
Bryan. William Bayard Hale World's Work
Butler, Josephine, and the English Crusade.
Anna G. Spencer Forum
Buying, Judicious. Elizabeth C. Billings . . . Atlantic
Cayenne — the Dry Guillotine. C. W. Furlong . Harper
Chesterton as an Artist. Joseph B. Gilder . . Bookman
Cooperation. Erving Winslow .... North American


472
[June 1
THE
DIAL
Decadence — What It Is. William A. Bradley . Bookman
Delphi and Olympia. Robert Hichens .... Century
Dutch Etchers, Some Modern. Cleveland Palmer Bookman
Educing and Traducing. Thomas P. Beyer . . . Forum
Elephant Round-up, An. D. P. B. Conkling . . Century
Elephants, Noosing Wild. Charles Moser . . . Century
England's Poor. John L. Mathews Harper
English Friends—III. Charles Eliot Norton . . Scribner
Eyonb, Mosque of. Sydney Adamson Harper
Freedom, The New—VI. Woodrow Wilson World's Work
Great Britain's Position in Europe. Sydney Brooks N.Amer.
Grub Street Problem, The. Algernon Tassin . Bookman
Hayes-Tilden Contest, The. G. F. Edmunds . . Century
Hayes-Tilden Contest, The. Henry Watterson . Century
Henry, 0., Pictures of. Arthur W. Page . . . Bookman
Incas, Land of the. Ernest Peixotto Scribner
Ireland, A Nation in —IV. Darrell Figgis . . . Forum
Japanese—Are They Mongolian? W. E. Griffis No.Amer.
Japanese Child, Training of a. Frances Little . . Century
Japanese in California. Chester H. Rowell World's Work
Japanese Overload, The. Don C. Seitz . North American
Left-handedness. Edwin T. Brewster .... McClure
London and Rural England. Arthur B. Maurice Bookman
Man and His Work, Adjustment of. B.J. Hendrick McClure
Memories, Early — V. Henry Cabot Lodge . . . Scribner
Middleton, Richard. Robert Shafer Forum
Miracles, Ethics of. S. D. McConnell . . North American
Monroe Doctrine, The. Hiram Bingham . . . Atlantic
Montessori Movement in America. Ellen Y.
Stevens McClure
Negro, The, and the Labor Unions. Booker T.
Washington Atlantic
Novels that Sell 100,000. Arthur W. Page World's Work
Party Government a Failure. Frank Crane . . . Forum
Para and Galata. H. G. Dwight Scribner
Perry, Commodore, Legacy of. Homer Lea No. American
Poetry, Symbolistic, in France. W. A. Nitze . No. Amer.
Police System, New York's. George K. Turner . McClure
Pnblic- Health Campaign, Efficiency in the.
C. E. A. Winslow North American
Puns, A Paper of. Brander Matthews .... Century
Railway Industry, American. Edward S. Mead Lippincott
Religion, American, Hopes of. George A. Gordon Atlantic
Rome, the Mother City. Zephine Humphrey . . Atlantic
St. Bernard, The Great. Ernst von Hesse-Wartegg Century
School, Country, A Year in a. W. H. Hamby World's Work
Science and Mysticism. Havelock Ellis .... Atlantic
Sevillan Incidents. W. D. Howells Harper
Sigiriya. Jennie Coker Gay Century
Stock Exchange, The New York. H. K. Pomeroy . Amer.
Stock Market, The — II. Ida M. Tarbell . . . American
Trade Scouts. Lewis R. Freeman .... World's Work
Tyrol, New Passes in. C. L. Freeston .... Scribner
Wagner—If He Came Back. Henry T.Finek Century
Walker, True, Joys of the. Walter P. Eaton . American
Whitlock, Brand, Autobiography of American
Y. M. C. A., The. Lewis E. Theiss . . . World's Work
Yellow Peril, The Real. J. O. P. Bland .... Atlantic
List op New Books.
[The following list, containing 157 titles, includes books
received by Thb Dial since its last issue.}
BIOGRAPHY AND REMINISCENCES.
Retrospections of an Active Life. By John Bigelow.
Volumes IV. and V., Illustrated, large 8vo. Dou-
bleday, Page & Co. Per volume, $4. net.
Michelangelo: A Record of His Life as Told in His
Own Letters and Papers. Translated and edited
by Robert W. Carden. Illustrated, 8vo, 335 pages.
Houghton Mifflin Co. $3. net.
Makers of British Botany: A Collection of Biog-
raphies by Living Botanists. Edited by F. W.
Oliver. With photogravure portrait, 8vo, 332
pages. G. I*. Putnam's Sons. $3. net.
Thomas Jefferson: His Permanent Influence on
American Institutions. By John Sharp Williams.
12mo, 330 pages. Columbia University Press.
Silas Dcuei A Connecticut Leader In the Ameri-
can Revolution. By George L. Clark. With por-
trait, 8vo, 286 pages. G. P. Putnam's Sons.
$1.50 net.
A Mere Woman. By Vera Nikto. 12mo. 305 pages.
D. Appleton & Co. $1.25 net.
Addlaon Broadhurat, Maater Merchant i The Inti-
mate History of a Man Who Came Up from Fail-
ure. By Edward Mott Woolley. 12mo, 278 pages.
Doubleday, Page & Co. $1.25 net.
Godoy: The Queen's Favorite. By Edmund B. D'Au-
vergne. Illustrated in photogravure, etc., large
8vo, 330 pages. Richard G. Badger.
The Conqneatt The Story of a Negro Pioneer. By
the Pioneer. With portrait, 12mo, 311 pages.
Lincoln: Woodruff Press.
GENERAL LITERATURE.
The Pathos of Distance: A Book of a Thousand and
One Moments. By James Huneker. 12mo, 394
pages. Charles Scrlbner's Sons. $2. net.
Works of Richard Middleton. Including: The Ghost-
Ship, and Other Stories; The Day before Yester-
day; Poems and Songs. In 4 volumes, 12mo.
Mitchell Kennerley.
Conrt Masques of Jamea I.: Their Influence on
Shakespeare and the Public Theatres. By Mary
Sullivan, Ph.D. Illustrated, 8vo, 259 pages.
G. P. Putnam's Sons. $3. net.
Zones of the Spirit (Das Blau-Buch): A Book of
Thoughts. By August Strindberg; translated
from the Swedish by Claud Field, M.A., with In-
troduction by Arthur Babillotte. 12 mo, 29]
pages. G. P. Putnam's Sons. $1.25 net.
Some of the Many Good Reasona for Reading. By
John Cotton Dana. Large 4to. Newark: Pri-
vately printed.
What Can Literature Do for Met By C. Alphonso
Smith. 12mo, 228 pages. Doubleday. Page & Co.
$1. net.
Richard Bromei A Study of His Life and Works.
By Clarence Edward Andrews. 8vo, 140 pages.
"Yale Studies in English." Henry Holt & Co.
$1.25 net.
DRAMA AND VERSE.
Tales of the Mermaid Tavern. By Alfred Noyes.
Illustrated, 12mo, 234 pages. F. A. Stokes Co.
$1.35 net.
Gabrielle. and Other Poems. By Martha Gilbert
Dickinson Bianchi. 12mo, 141 pages. Duffleld
& Co.
The Garden of Desire i Love Sonnets to a Spanish
Monk. By Edna Worthley Underwood. 12mo, 82
pages. Mitchell Kennerley.
Myself and I. By Fannie Stearns Davis. 12mo, 129
pages. Macmillan Co. $1. net.
Wayside Idyls. By Henry C. Graves. 12mo, 151
pages. Sherman, French & Co. $1. net.
To the Lost Friend: A Sonnet-Sequence. From the
French of Auguste Angellier, by Mildred J.
Knight and Charles R. Murphy. 12mo, 122 pages.
Sherman, French & Co. $1. net.
The Book of Job: The Poetic Portion Versified, with
an Introductory Essay and Explanatory Notes.
By Home B. Sprague, Ph.D. 16mo, 243 pages
Sherman, French & Co. $1.25 net.
Ancient Gems In Modern Settings: Being Versions
of the Greek Anthology In English Rhyme by
Various Writers. Edited by G. B. Grundy, D.Litt.
18mo, 392 pages. Oxford: B. H. Blackwell.
Turandol, Princess of China: A Chlnolserie in
Three Acts. By Karl Wollmoeller; translated from
the Chinese by Jethro Blthell. 12mo, 128 pages.
Duffleld & Co. $1. net.
Poems. By Herbert Kaufman. 12mo, 96 pages.
George H. Doran Co. 75 cts. net.
Perceptions of Robert Bowman Peck. 12mo, 4S
pages. London: Elkln Mathews.
Aurora, and Other Poems. By Laura A. Whit-
more. 12mo, 171 pages. Sherman. French & Co.
$1.25 net.


1913]
473
THE DIAXi
A Looking-GIas*. By Gertrude Skinner. 12mo, 257
pages. Sherman, French & Co. $1.25 net.
Beginning*. By Roger Heath. 12mo, 62 pages.
Oxford: B. H. Black well.
Untravelled Paths (Sentlers Inexplores). By
Phoebe Dana Kellog; translated from the French
by Sizelle. 12mo, 120 pages. Paris: E. Sansot
et Cle.
Sakuntala: An Indian Drama. By Kalidasa; trans-
lated by W. H. Ryder. 12mo, 216 pages. "Every-
man's Library." E. P. Dutton & Co. 35 cts. net.
Scorpio (Sonnets). By J. A. Chaloner. 12mo, 49
pages. Roanoke Rapids: Palmetto Press.
$1.50 net.
Lyrics from a Library. By Clinton Scollard. 12mo,
48 pages. New York: George William Brown-
ing. |1.
Alms for Oblivion. By Pegram Dargan. Large 8vo,
372 pages. New Orleans: Privately Printed.
NEW EDITIONS OF STANDARD LITERATURE.
Loeb Classical Library. Edited by T. E. Page,
M.A., and W. H. D. Rouse, Lltt.D. New volumes:
Sophocles, with an English translation by F.
Storr, B.A. Volume I.; Apollonlus Rhodius' The
Argonautlca, with an English translation by
R C. Seaton, M.A.; Applan's Roman History,
with an English translation by Horace White,
t.t. r>, Volume I.; The Greek Bucolic Poets, with
an English translation by J. M. Edmonds; Cic-
ero's Letters to Attlcus, with an English trans-
lation by E. O. Winstedt, M.A., Volume L; each
12mo. Macmlllan Co. Per volume, $1.50 net.
Tbe Troublesome Reign of Kins; Johns Being the
Original of Shakespeare's "Life and Death of
King John." Edited by F. J. Furnivall and John
Munro. With photogravure frontispiece, 16mo,
186 pages. Duffleld & Co.
Life and Adventures of Audubon, the Naturalist.
By Robert Buchanan. 12mo, 335 pages. "Every-
man's Library." E. P. Dutton & Co. 35 cts. net.
Works of Gilbert Parker. Imperial Edition. Vol-
umes XI.-XIV. Each with photogravure frontis-
piece, Svo. Charles Scrlbner's Sons. Per volume,
$2. net. (Sold only by subscription.)
FICTION.
The Inside of the Cup. By Winston Churchill.
Illustrated, 12mo, 513 pages. Macmlllan Co.
$1.50 net.
Fortitude: Being a True and Faithful Account of
the Education of an Adventurer. By Hugh Wal-
pole. 12mo, 484 pages. George H. Doran Co.
$1.40 net.
Wllsam. By S. C. Nethersole. 12mo, 494 pages.
Macmlllan Co. $1.35 net.
Mr. Pratt's Patients. By Joseph C. Lincoln. Illus-
trated, 12mo, 345 pages. D. Appleton & Co.
$1.30 net.
Mrs. Red Pepper. By Grace S. Richmond. Illus-
trated, 12mo, 339 pages. Doubleday, Page & Co.
$1.25 net.
Married i Twenty Stories of Married Life. By Aug-
ust Strlndberg; translated from the Swedish by
Ellie Schleugsner. 12mo, 412 pages. John W.
Luce & Co. $1.40 net.
Dying Fires. By Allan Monkhouse. 12mo, 309
pages. George H. Doran Co. $1.20 net.
Hagnr Re veil}. By Daniel Carson Goodman. 12mo,
428 pages. Mitchell Kennerley. $1.35 net.
The Ambition of Mark Trultt. By Henry Russell
Miller. 12mo, 454 pages. Bobbs-Merrlll Co.
$1.35 net.
Isabel: A Romance of the Northern Trail. By
James Oliver Curwood. With frontispiece, 12mo,
281 pages. Harper & Brothers. $1.25 net.
The Man Who One Day a Year Would Go "EellnV
and Some Other Little College Things, Mostly
Athletic. By Charles Halsted Mapes. Illustrated.
12mo, 87 pages. G. P. Putnam's Sons. $1.25 net.
The Debit Account. By Oliver Onlofte. 12mo, 296
pages. George H. Doran Co. $1.25 net.
The Catfish. By Charles Marriott. 12mo, 406 pages.
Bobbs-Merrill Co. $1.35 net.
Michael. By Mrs. Henry de la Pasture (Lady Clif-
ford). 12mo, 389 pages. E. P. Dutton & Co.
$1.35 net.
The Scarlet Rider. By Bertha Runklc. With frontis-
piece In color, 12mo, 386 pages. Century Co.
$1.36 net.
Ever After. By Juliet Wilbor Tompkins. With
frontispiece in color, 12mo, 287 pages. Double-
day, Page & Co. $1.20 net.
Mixed Grill. By W. Pett Ridge. 12mo, 248 pages.
George H. Doran Co. $1.20 net.
His Love Story. By Marie Van Vorst. Illustrated
in color, etc., 12mo, 285 pages. Bobbs-Merrill
Co. $1.20 net.
Helena Brett's Career. By Desmond Coke. 12mo,
320 pages. E. P. Dutton & Co. $1.35 net.
The Jumplng-Off Place. By Ethel Shackelford.
12mo. 307 pages. George H. Doran Co. $1.25 net.
A Desert Rose. By Mrs. Daskein. 12mo, 348 pages.
E. P. Dutton & Co. $1.35 net.
Growing: Pains. By Ivy Low. 12mo, 300 pages.
George H. Doran Co. $1.20 net.
The Stoenberg Affair. By Ralph A. Goodwin. Illus-
trated, 12mo, 306 pages. New York: Sully &
Kleinteich. $1.25 net.
Time and the Woman. By Richard Pryce. New
edition; 12mo, 300 pages. Houghton Mifflin Co.
$1.35 net.
The Bugles of Gettysburg. By La Salle Corbell
Pickett. Illustrated, 12mo, 163 pages. F. G.
Browne & Co. $1. net.
The Abysmal Brute. By Jack London. With frontis-
piece, 12mo, 169 pages. Century Co. $1. net.
The Turning of Griggsby: Being a Story of Keep-
ing up with Dan'l Webster. By Irving Bachel-
ler. Illustrated, 12mo, 161 pages. Harper &
Brothers. $1. net.
The Knockers' Club. By Nathaniel C. Fowler, Jr.
12mo, 216 pages. New York: Sully and Klein-
teich. $1. net.
The Captain. By Virginia Lucas. Illustrated, 12mo,
13 pages. New York: Helen Norwood Halsey.
TRAVEL AND DESCRIPTION.
The Southland of North America: Rambles and Ob-
servations In Central America during the Year
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THE DIAL
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THE DIAL (founded in 1880) is publUhtd on the 1st and 16th of
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Nc. 6A8. JUNE 16, 1913. Vol. LW.
Contents.
PACK
THE LAUREATESHIP 487
THE LIFE-STORY OF A MAGAZINE 489
BROWNE THE BELOVED. John Muir 492
CASUAL COMMENT 493
A life crowded with notable achievement.—The
revival of the art of oral Btory-telliDff.—A new
master of English prose.— "Shirtsleeve literature."
—What an autobiography ought not to be.—Editor-
ial frankness.—The art of the illuminator.—Library
doings in distant Dallas. — Concerning an American
Rhodes scholar of talent.— An ungainly pleonasm.
—The vast company of would-be authors. — The
librarians abroad.—Sinology made easy.—The re-
construction of a venerable library building.
COMMUNICATIONS 497
Poetry and the Other Fine Arts. Harriet Monroe.
Hauptmann and the Nobel Prize. Olaf Hcddeland.
A MANY-SIDED PHILANTHROPIST. Percy F.
Bicknell 498
ROME THE MAGND7ICENT. Jotiah Benick Smith 499
THE DRAMAS OF GERHART HAUPTMANN.
A mailt K. Boguslawslcy 501
A PHILOSOPHY OF FICTION. Louis I. Bredvold 503
RAMBLES IN ANDALUSIA. George G. Brownell 505
RHYTHM IN ENGLISH PROSE. Edward Payson
Morton 506
BRIEFS ON NEW BOOKS 509
A plea for the preservation of our wild life.—The
wife of Charles 1.—The hitherto neglected science
of gastronomy. - Unfrequented trails through Cali-
fornia.—Nelson's life and associations in England.—
Sane reflections on everyday American life.—The
dying gasps of Turkey in Europe.—With Pickett at
Gettysburg.—Sketches of some great conquerors.—
Enjoyable letters from India. — Two books on public
speaking.—Reprint of a rare early tract on free
libraries.
BRIEFER MENTION 513
NOTES 514
LIST OF NEW BOOKS 515
THE LA UREA TESHIP.
The death of Alfred Austin, at the age of
nearly eighty, is a considerable loss to English
literature. He was a man of admirable talents,
although they amounted to something less than
genius, a poet of highly creditable accomplish-
ment, and a writer of exquisite prose. His life
offers an example of continuous devotion to let-
ters, increasingly rare in our bustling modern
age, yet it was by no means a cloistered life, and
did not seek to live in a palace of art aloof from
the political and social concerns of the world of
men. Austin was a publicist as well as a poet,
and a steadfast ally of the forces that sustain the
social order. Born in 1835, a Roman Catholic
by family and education, he was called to the
Bar of the Inner Temple in 1857. But before
this he had published a poem and a novel, and
after four years in the practice of his profession,
gave it up, and devoted the rest of his life to
writing. The list of his books is a very large
one, and of varied interest. The collected edi-
tion of his poems, published twenty years ago,
fills six large volumes, and he has produced
much verse since that time. Among his poetical
works are "The Season" and "The Golden
Age," satires in verse, "The Human Tragedy"
and "Savonarola," tragedies, and the miscella-
neous volumes, "Interludes," "Soliloquies in
Song," and " English Lyrics." His prose writ-
ings include several novels, a group of political
writings, and "The Garden That I Love," a
work dear to all lovers of nature. He was
a powerful journalist and an effective public
speaker, and in all his activities deserved well
of his country.
When, in 1896, Austin was appointed Poet
Laureate, after the post had remained vacant
for four years, there arose a chorus of protest
which took the form of personal abuse, and which
continued until his death. It was based upon
the striking contrast between Austin and his
predecessor, and upon the popular notion that
the Laureate should be the greatest of living
poets. This notion had been realized in the
cases of Wordsworth and Tennyson, and had
come to be a sort of prepossession of the public
mind, although the earlier history of the laureate-
ship had hardly given it countenance. "Austin
is not a Tennyson, therefore let us hold him up
to ridicule," was the almost unanimous cry of


488
[June 16
THE
DIAL
•
the journalists, and their treatment of him ever
since has afforded a conspicuous example of jour-
nalistic bad manners. Newspaper writers, and
even critics of repute who should have known
better, went out of their way to belittle his every
new effort and his total achievement, and he
became the butt of every cheap wit and random
paragrapher. It was an unpleasant exhibition,
and not to be justified by the occasional bald-
ness of an official lyric, or such an exquisite
absurdity as may here and there be picked out
of his work. The man who wrote these lines
upon Beaconsfield'8 grave was something more
than an object of ridicule:
"Leave me a little while alone,
Here at his grave that still is strown
With crumbling flower and wreath;
The laughing rivulet leaps and falls,
The thrush exults, the cuckoo calls,
And he lies hush'd beneath.
*' With myrtle cross and crown of rose
And every lowlier flower that blows,
His new-made couch is dress'd;
Primrose and cowslip, hyacinth wild,
Gather'd by monarch, peasant, child,
A nation's grief attest."
And the man who could pen the exquisite verses
to "Agatha" could not be held, at his best, an
unworthy occupant of the post that Wordsworth
once had filled.
"She wanders in the April woods,
That glisten with the fallen shower;
She leans her face against the buds,
She stops, she stoops, she plucks a flower.
She feels the ferment of the hour;
She broodeth when the ringdove broods;
The sun and flying clouds have power
Upon her cheek and changing moods.
She cannot think she is alone
As o'er her senses warmly steal
Floods of unrest she fears to own,
And almost dreads to feel."
When Austin became Poet Laureate in 1896,
England had lost nearly all of the poets that
had made the Victorian age glorious. Swinburne
was the only poet of the first rank left alive,
and this fierce denouncer of kings and priests
could not seriously have been considered as
fitted for the function of official champion in
verse of throne and altar. But if not Swinburne,
the one chosen must come from the ranks of
the minor poets, and among these Austin had
many of the elements of fitness, and his nomi-
nation was by no means as absurd as it was
held to be by the organs of popular opinion.
While he has not displayed the quality of a
Wordsworth or a Tennyson, he has been a fair
match for Southey, and a great improvement
upon Pye. On the whole, he has probably not
lowered the average of the laureates, taking the
entire list into account.
The now vacant post comes opportunely with
"the silly season " now upon us, and will doubt-
less help many a distracted journalist to fill his
summer space with inept and jejune comment,
and bring our old friends Vox Populi and Pro
Bono Publico well into public view in the
contributor's column. We shall be told once
more — or rather a thousand times more — that
the laureateship is an anachronism, which we
cheerfully admit, wishing only that there were
many more of them. There are still a few
anachronisms left—such as peppercorn rents,
and beef-eaters, and king's champions — to give
picturesqueness to English life, and redeem it
in part from a Lloyd Georgian drabness, and
we prize the laureateship, not only because it
gives official recognition to the finest of the arts,
but also because it is a survival from an age
whose interests were not wholly material, and
which had invented neither sociology, nor
eugenics, nor "temperance," nor the fetich of
efficiency. The post of Laureate is a pleasant
one to occupy, even although the traditional
vinous emolument has been commuted into a
payment of prosaic cash, and a poet may make
as much of it as his faculties permit. It inspired
the Wellington Ode, and may conceivably in
the future inspire other poems as great. Nor
is it the ticklish business that it was in Southey's
time to be the Laureate. The monarchy has
become chastened in these latter days, and it is
not likely again to become incumbent upon its
official poet
"To toss the litter of Westphalian swine
From under human to above divine."
If we may offer a suggestion as to a proper
selection for the vacant post, it seems to us that
all the signs indicate Mr. Alfred Noyes. A
foolish sign is found in the fact that parental
foresight named him Alfred thirty-two years
ago; a serious sign is found in the fact that he
has this year published a volume of poems so
rich in imaginative power and so glowing with
pride in the past glories of English history that
no one else seems to us to have as clear a title
to the honor, or to be so plainly marked out for
the exercise of its peculiar function. We can
far better imagine Mr. Noyes as the recipient
of the laurel (this time not greener, but more
sere) from the brows of his predecessor, than we
can Mr. Dobson, in whom we fear the divine
fire is nearly quenched, or Mr. Bridges, who
lives in a world of his own creation, or Mr.


THE DIAL
489
Kipliug, who might set the doings of the royal
family to ragtime melodies, or Mr. Watson, who
might blurt things out in a disconcerting way,
or Mr. Yeats, who finds the truest reality in
dreams, or Mr. Phillips, whose thoughts dwell
with the ghosts of vanished centuries. Mr. Noyes
is at least the equal in achievement of any of
these, and seems likely to go much farther be-
fore he is done. His appointment would be
one that all lovers of poetry would acclaim,
and one that would shed new lustre upon the
laureateship.
THE LIFE-STORY OF A MAGAZINE.
[Explanatory Note.—Shortly after the suspension of
"The Lakeside Monthly" in 1874 (then believed to be but
temporary) the proprietors of "Scribner's Monthly" (after-
wards "The Century Magazine"), Dr. J. Q. Holland and
Mr. Roswell Smith, made overtures, which were by some
thought quite favorable, for a consolidation of "The Lake-
side" which would be virtually an absorption of it by their
magazine. In pursuance of this plan, an article was prepared,
at their expense and by their direction, for publication in
"Scribner's " and distribution also in proof-sheets for wide-
spread republication in the newspai>ers of the country. After
the article had been written, however, and before its appear-
ance in print, the owner of '' The Lakeside ''— rather against
the advice of friends—asked to withdraw from the arrange-
ment; and hence the article was never printed. In view of
the recent death of the man who was the magazine's moving
spirit, we have thought that the article would now be of in-
terest to many readers, and it is therefore presented herewith
for the first time.—Edr. The Dial.]
The just interest awakened by the event of the
absorption of "The Lakeside Monthly" by "Scrib-
ner's Magazine" calls for some particulars of the
Chicago periodical's history, and explanation of the
unselfish and enlightened policy which, on both sides,
dictated the arrangement. The sequel will show that
the occasion is indeed fruitful; but the present task,
devolved upon an unconcerned though not insen-
sible inquirer by the public cariosity, will be limited
by its demands.
It had long been in contemplation to develop
"The Lakeside" into an illustrated magazine of
highest grade as soon as the requisite outlay could
be prudently risked. To this end, a series of papers
on exclusively Western topics, to be elegantly illus-
trated, had been planned. Meantime, the broaden-
ing field of "Scribner's" preoccupied the prospect,
and, too, in a manner it could not be hoped to excel.
The public will quickly recall the illustrated papers
on the wonders of the Yellowstone, first revealed
in "Scribner's"; those on the Yo Semite, Mount
Shasta, Gray's Peak, the California Geysers, etc.,
all superbly presented; likewise those on Salt Lake,
the Mormons, St Louis, the St. Louis Bridge, the
Mississippi, the Southwest, etc. This eminently
popular and successful feature of "Scribner's" was a
conquest in the territory of "The Lakeside," belated
as the latter was by insufficient capital: a blameless
but heavy blow to its hopes long before other causes
destroyed them. Yet intrinsically "The Lakeside"
had a brilliant success. Remote from the great cen-
tres of culture, conducted without the adjunct of an
artful business policy, without adequate capital, and
almost without assistance, it is a fact that one young
man had been able to secure for his magazine a con-
ceded fellowship in the highest class of periodicals.
From the "Revue des Deux Mondes," from "The
London Graphic," from the London "Saturday Re-
view," from the "Canadian Illustrated News," and
from numerous less important exponents of foreign
opinion, "The Lakeside Monthly" at the time of
its suspension had begun to enjoy that recognition
which extends to no half-dozen American magazines.
In this country, such literary connoisseurs as Mr.
James T. Fields in private, and such hypercritical
journalists as those of the "Springfield Republican,"
deliberately adjudged its merits and awarded it
praise which no known publication would slight.
Journals like the New York "Evening Post," the
Boston "Journal," and the Philadelphia "Press,"
habitually silent upon it, would occasionally admon-
ish their favorites of an aspiring Western competitor,
or surprise the Eastern public by commending it as
one of the four or five excellent American monthlies.
Indeed, for that healthful conservatism which spurns
the taint of sensationalism, and for typographical
taste, it probably deserved the palm amongst all;
while in all other respects suffering by comparison
less in average quality than in the celebrity of some
of the writers. It is bare candor to add, after the
fullest inquiry, what will strangely contradict uni-
versal prepossession,— for "The Lakeside" was a
Chicago concern,—that in self-exaggeration, or even
self-assertion, it was exceptionally artless. The clever
and justifiable expedients of all manner of publish-
ers for conciliating the favor of the press — at least
next door; systematic arrangements for extending
circulation, by canvassing, by premium gifts, etc.,
even mere advertising, were all sparingly used, and
the attempt to succeed on merit alone was made in
good faith in a city where such an achievement
would be only less likely than such an effort. Yet,
within limits so narrowed by principle, the business
policy was surprisingly provident, practical, and
successful. The presumption of the mercenary
that they alone are "practical" has seldom been
more signally rebuked, for seldom have lower aims
effected so much upon so little.
Late in the year 1868 was projected and with the
New Year 1869 appeared "The Western Monthly."
The first number is before us; judging from which,
no conception had been formed of the elements or
mission of an exponent of Letters. Its proprietors,
men probably ignorant of the possibilities of intel-
lectual enthusiasm, and without mental qualifications
for the literary calling, appealed to the Western
public on behalf of "Literature," yet flagrantly dedi-
cated their periodical, by a biography, portrait, etc.,
in each issue, to such individuals as had a disbursing
ambition. The original matter was meagre, incon-
gruous, and frequently mean; the rest was selected


490
[June 16
THE
DIAL
in the manner of a country newspaper. Out of this
insignificant publication grew ultimately the chaste
and polished "Lakeside."
When "The Western Monthly " was a few months
old, a young man who had laid down the knapsack
of a Massachusetts soldier in the Civil War, a few
years before, with an intense literary zeal gathered
in the brooding intervals of the march and the camp,
came to Chicago, and gravitated into the sanctum
of the only pretender in the line of his aims. This
was Mr. Francis F. Browne, afterward editor and
latterly sole proprietor of "The Lakeside Monthly."
His modest but earnest fertility and industry rapidly
improved the magazine, attracting superior contrib-
utors, and affording countenance to the pretensions
of his business associates. From the beginning,
however, there was a radical discrepancy of motive
involved in the cooperation. The prevalent incredu-
lity of persons imbued with the commercial spirit
toward any but material agencies of success, on the
one hand, and on the other the tacit but irrepressible
faith in principle as a power by which all durable
triumphs are gained, must have divided Mr. Browne's
partners from himself in a sense more vital than a
mere division of labor. But the former could not
spare the respectability and character imparted by
Mr. Browne's untiring and scholarly exertions, nor
could he at once assume all the burdens. Thus,
though partners and stockholders succeeded each
other frequently, there remained in the person of
somebody the antitype of Mr. Browne. Progress
and discouragements alternated with each other. In
September, 1870, a fire in the magazine's printing-
office destroyed its subscription-list and the entire
current edition just from the press. But the publi-
cation continued, with the interruption of a single
number. Mr. Browne invented the name "Lake-
side," which was substituted for "Western," and
the magazine rapidly grew in credit and recognition.
Then came the more disastrous fire of 1871, in which
the whole business part of Chicago was destroyed,
and with it everything tangible and visible of the
magazine, everything but the invisible and imperish-
able idea that had made and sustained it. This
remained; and after a short delay, and a readjust-;
raent of its affairs, its publication was resumed, and
continued steadily for nearly three years more.
During its short career of scarce more than five
years, the vicissitudes of this publication would be
ludicrous, almost, if after its triumph the sequel had
been less melancholy. On its ideal side, it was as
moveless as the pole; on its commercial side it was
simply protean. From the colleges and churches
would come spectacles and white cravats, to meet
pork-packers, bankers, theatre-owners, etc., in assem-
blage at the instance of some friendly but enthu-
siastic "promoter" of some strange scheme that
comprehended both real estate and literature. But
the subtlety of the plan would be too much for the
expected patrons of it; the lot speculators would fall
back upon lots, the packer to his pork, the preacher
to his flock, and all would go home wondering what
had brought them together. Again, when the East
began to claim Bret Harte as a desirable adjunct to
its literary possessions, Chicago, in the spirit of the
commander who ordered seventy-five men detailed
to be baptized in order to surpass the fifty conver-
sions reported of a rival regiment, resolved to have
him. A fund of $30,000 was pledged, a liberal
salary offered Harte, and "The Lakeside" was to
be aggrandized. But the matter got a hitch in some
personal way, Harte fled to Boston, and nothing
remained but a joke on Chicago. The magazine
was left, as usual, to work out its own salvation; and
it continued to do it, undismayed. Though often
in extremis, and seemingly the forlornest of forlorn
hopes, there was no thought of desisting, or of any
course whatever but to go ahead. At times fortune
seemed to smile upon it, and the triumph long striven
for seemed really to have come. Midway in its
career a large company, with ample capital, was
organized with it for a nucleus, and a fine business
block was erected in the heart of the city, which,
with the large printing-plant owned and operated
by the same company, still bears its name. But
along with this accession of capital and resources
came certain spiritual influences that were soon to
be inimical to the true success of the magazine,
and this alliance fell apart, Mr. Browne being still
the conductor of the magazine, and becoming
through successive degrees its sole proprietor.
From beginning to end, perhaps as much as fifty
thousand dollars was sunk in this publication,—
coupled with which is this extraordinary fact, that
the only year in which it approximately paid its
expenses was the last, which was the only one in
which Mr. Browne was exclusive manager. It was
also conspicuously the year of highest literary tone
and total disallowance of the low mercenary spirit
Hitherto, it had pieced out the foot of its blanket
by character cut from the top. Mr. Browne un-
covered its head, and found the blanket without an
inch to spare, but long enough, with youth and
strength. Without doubt, the money that had been
spent was mostly wasted. From the accession of Mr.
Browne, the magazine uninterruptedly deepened its
own channel as a literary current; a process which
might have been hastened by capital, but was only
retarded by investments that imparted their own
claim to bind the policy toward early remuneration.
In this sense, it cannot be idle to reflect on the
interesting paradox, viz., the enterprise was never
doing so well as when most straitened for means;
for the influence on its development of the only man
who had his vocation in it was greatest when the
hope of diverting it to mere money-getting was
least. Such are really the facts; yet, is it credible
that out of opportunities actually consisting of
disaster an energy and a persistency could be found
adequate to evolve, nourish, and ripen a first-class
magazine? But it is so, — and more: for that
sympathy and appreciation which are confessedly
the greatest incentives to zeal and devotion appear in
this case to have been almost entirely lacking. Any-


1913]
491
THE DIAL
body can understand a merely mercantile scheme
and give it a cheer, even if hopelessly bold; but
how few can, with facility, enter into that refined
and lofty enthusiasm which needs not to be gross in
order to be practical? Unhappy is that man of
feeling who has not acquired a second-nature of
utterance, but habitually turns from the dim mirror
of a casual listener to the vivid presences in his own
mind. Willing to be transparent to the meanest
apprehension, he becomes inscrutable to the acutest
attention. This gifted and indomitable man suffered
much from this involuntary reserve. Contempt of a
mere idea on every hand might well have awakened
misgivings; but against these Mr. Browne was
supported by perhaps the first mind in Chicago, the
late Col. J. W. Foster, who, having presided over
the American Association for the Advancement of
Science, might have given greater authority but not
a more ardent sympathy to a scientific publication.
The gratitude with which Mr. Browne has been
heard to mention others serves rather to show the
paucity and rarity of active support from local men
of letters and scholars. But Colonel Foster was
habitual and industrious in his assistance while he
lived, by valuable articles and editorial labors, but
above all by vouchsafing to others the assurance
that Mr. Browne's ends though high were real, and
though remote were practicable; that his means
thereto were well chosen, and that in legitimate
business management, as in editorial judgment, he
was emphatically qualified for his task.
But we must forbear cumulative particulars. As
Mr. Browne's influence in the concern prevailed, his
labors multiplied. The lamented death of his friend
Colonel Foster needs only to be mentioned. In at
length finding himself sole proprietor, he found an
appalling labor before him. But it did not daunt
him. His personal obscurity became the greater by
the isolation of unremitting toil, while his city began
to hear from abroad of its most creditable institution,
ignorant still of the builder of it. Its name at least
was, however, beginning to be known at home, and
to be borrowed for all manner of establishments.*
The local journals occasionally reproduced some dis-
tant compliment to Chicago for having in its midst
a real credential for literary cognizance. A citizen
of distinguished sagacity, after reading its celebrated
"Chicago Number," declared that its circulation in
Europe, by accrediting the civilization of the city,
would lower the rate of interest on its loans. If it
•Beginning with "The Lakeside Monthly" and its
affiliated "Lakeside Printing and Publishing Co." and
"Lakeside Building," there soon followed the "Lakeside
Directory" of Chicago, a "Lakeside Almanac," various
"Lakeside" literary and social clubs, a suburban village
named "Lakeside," with a seminary called "Lakeside Hall,"
a "Lakeside" course of lectures, a "Lakeside" weekly
newspaper, a "Lakeside" clothing house, a "Lakeside"
brand of writing-paper and of flour, a " Lakeside " lodge of
Masons, and even a "Lakeside" laundry; while Chicago
itself began to be called the "Lakeside City." The list
could be extended almost indefinitely.
be considered that these amount to hundreds of
millions, the practical power of Mr. Browne's enter-
prise is in ridiculous contrast to the expenses of any
magazine. The time had come, on the soberest
principles, for "The Lakeside " to be endowed. But
Chicago had not built her own railroads, nor dredged
her own river; and why should she lend her bor-
rowed money for her own literature? There was,
however, another side to this question, which it was
the natural function of the local literati to frame
and present to men whose judgment of beef on the
hoof had led them to the statelier office of judging
more comprehensive interests. Booksellers and
publishers, too, might have looked up from the
muck-rake,— for it was not long after this that
some of them began to inquire if there might not
really be something in a "Lakeside" article, pub-
lished long before, showing the possibilities and
prospects of Chicago as a publishing point for books.
But prevailing dulness in a community on a given
subject makes it irksome to an individual of clearer
perceptions to affirm the simplest and most obvious
truths of it. Men of intellectual callings, like other
people, count the outlay of strength in getting a
Chicago millionaire to believe his own eyes off their
habitual objects. But of all men, Mr. Browne was
least qualified for the task, without sufficient personal
acquaintance, without the tact of shrewd unreserve
which forms so large a part of the "magnetism"
we hear of, and without time from his work. More-
over, his most cherished plans never contemplated,
as far as we could learn, a division either of the
burdens or the glory of the thing. The magazine,
virtually conducted solely by himself, upon a scheme
of rigid economy, was sustaining itself, with a steadily
increasing prospect of early reaching the stage of
emolument. But the toil was enormous,— for, night
or day, Mr. Browne would not suffer the minutest
slight or blemish to befall his magazine. In this
condition the fateful financial panic of 1873 found
him.* Very reasonably it might be thought that it
would be fatal to so inelastic a way of business. A
competent judge, however, of his business and his
credit believes he would have surmounted this shock,
as he had so many before, but for a sterner and sad-
der cause. Be that as it may, it is as certain as the
laws of physiology, that no pecuniary blessing could
have averted the calamity of the following Spring.
Mr. Browne was exhausted. In every such abuse
of strength there is a turning-point, generally im-
putable to some casualty. In this case, it was not
the financial panic that overcame him. The discern-
ing reader will look no farther, when told that these
unnatural labors were suddenly arrested to nurse
and bury a child.
The work of several is done by one man only by
the aid of intuitions that really save most of the
labor. Unmindful that these intuitions are but
* In the margin of a typewritten copy of this article, Mr.
Browne had written in pencil at this point: "Also had
cholera that year; nearly died of it."—Edr.


492
[June 16
THE
DIAL
sparks which inevitably fail under a subsidence of
energy, the overworker finds his burden too heavy
at the very time when the transference of it to
another's shoulders demands an impossible strength;
for it has grown fast to his own. In vain physicians
advised Mr. Browne to remit his business to a pro-
visional management. His soul was in it, — and
could he hire a man to work his soul for him while
he was resting his body? The magazine lagged in
time, but suffered not the least deterioration of
quality. Alarming symptoms compelled Mr. Browne
to be imperatively warned. Rejecting with disdain
certain mercenary overtures, he adopted the plan of
issuing a circular deliberately suspending the publi-
cation of the magazine until the restoration of his
health should again enable him to go on with it.
Such is the story of "The Lakeside Monthly."
No other literary attempt at the mart of grain and
swine ever had a story: for only this one had a
hero. Devotion, in all the fulness of the word, alone
made the magazine possible. Hence, so inextricably
personal is its history that mere salient public facts
would virtually suppress it. On the other hand, the
thrilling particulars which would be coarsened by
dramatic portrayal,— of struggles so burningly in-
tense yet so subtle, with their passages of unwit-
nessed joy, their crises of wordless anguish, — these
it would be stupid not to imagine, yet a trespass to
name. But when it is seen how this shy, pure,
proud man, once so indefatigable, now wasted and
worn by his labors and his sacrifice, himself procured
for Chicago her credit in the world of letters, — a
higher honor than she owes to any other citizen,—
it would seem monstrous to a distant spectator that
he should walk her streets unhonored.
BROWNE THE BELOVED*
Francis Fisher Browne, or Browne the Beloved
as I like to call him, was one of the finest and rarest
men I ever knew. During the last five or six years
of his life, when I came to know him intimately, my
love and admiration have been constantly growing
as the noble strength and beauty of his character
came more and more clearly to view.
I have never ceased to wonder how he was able
to do so vast an amount of downright hard work of
lasting influence on our literature and at the same
time lend a helping hand to hundreds of young
aspiring writers, sympathizing with them in their
struggles, and cheering tbem on with heartening
advice while himself fighting an almost everyday
battle against bad health, heavy enough utterly to
disable most men. He was one of the literary
pioneers of the old West who have made roaring
commercial Chicago a centre of literature. His
* This letter reached us only a day or so too late to be
included with the other tributes to the memory of Francis
Fisher Browne, contained in our last issue.—Edr.
paper, The Dial, is regarded by far better judges
than I am as the most influential of all the American
periodicals devoted to literary affairs. This paper
he founded some thirty-three years ago, and edited
almost to the time of his death.
He never regained anything like sound health
after it was broken by camp fevers in the Civil War.
But nothing could crush him or in any appreciable
degree abate his wonderful industry. Head and
heart triumphed over everything.
He had a wonderful memory, knew almost every
poet, and could quote their finest pieces as if
reading from their books. The beauty and manly
strength of his character and his capacity for life-
long sacrifice and devotion are displayed in his
writings, but they showed still more tellingly in his
conversation when his fine face was glowing with
soul radium. Like every great-hearted poet, he was
a nature lover and a charming companion on wave-
embroidered shores and sunny hills and mountains.
And it is with peculiar delight that I recall my
walks with him on the Pasadena hills in the spring,
and in sublime Yosemite.
When I took John Burroughs into the Valley two
years ago we had the grand good fortune to find
our beloved Browne there. He was suffering from
one of his dreadful sick-headaches, and was unable
to go to the hotel dinner table; so I managed to get
something he wanted from the kitchen, and we all
retired early to our rooms in the Big Tree Cottage
and went to bed. Burroughs had a room to himself,
while Browne and I occupied a larger one separated
from John's only by a thin dry board partition, reso-
nant as a fiddle, and which faithfully transmitted
every word we spoke or sang. After the headache
clouds had thinned and lifted a little, all bedroom
rules, and even the great cliffs and waterfalls of the
valley, were forgotten; and we began a glorious
revel in Burns's poems, all of which we had by heart,
reciting and singing for hours, and sadly interfer-
ing with John's regular habits, as repeated rappings
and calls for Bleep-silence testified. With lowered
voices we then continued our grand revel, keeping
down our merry humor fits as low as possible until
far on toward the "wee sma' hours ayont the twal,"
making a most memorable night of it. Beloved
Browne was the only American I ever knew or
heard of who had all of Burns by heart, and who
understood him so thoroughly that he was able to
enjoy the immortal poet almost as well as a veritable
Scot.
As we grow old we cling all the more fondly to
old friends; but Death takes them away just when
our need of them is sorest. Within the last two
years two of my Californian friends of the dear old
leal sort have vanished, never to be seen again in
this world of light. And now Beloved Browne has
gone, and all California seems lonelier than ever.
Surely no man was ever better loved, and his lovely
friendship will abide with us until the end.
John Mtjir.


1913]
493
DIAL
CASUAL COMMENT.
A LIFE CROWDED WITH NOTABLE ACHIEVEMENT
in literature, science, politics, reform, commercial
affairs, and other branches of activity, came to an
end in the death, May 28, of Lord Avebury, better
known to most of his thousands of readers as Sir
John Lubbock, in the eightieth year of his age.
Author of more than thirty books, some of them
circulating to the extent of hundreds of thousands
and translated into many foreign languages, Lord
Avebury was nevertheless imperfectly educated, in
the accepted sense of the term, being removed from
Eton at fourteen by his father, who seems to have
held in no high esteem the ordinary curriculum of
Greek, Latin, and a smattering of a few other sub-
jects. But though he entered the paternal banking
house thus early, the boy contrived to educate him-
self in natural history and such other studies as
appealed to his tastes, not excluding the principles
of banking and finance. Darwin took an interest in
the lad and persuaded his father to give him his
first microscope when he was eight years old; and
subsequent walks and talks with the great naturalist
stimulated the boy's interest in botany and ento-
mology, about which he was afterward to write so
acceptably. But it was on the larger theme of human
life, its uses and its pleasures, that his most popular
and interesting books were written. From the long
list of his published works a few only can here be
selected for mention. "The Use of Life " has passed
its 171st thousand; "The Pleasures of Life" has
attained a circulation of 259,000 in its first vol-
ume, and 213,000 in its second; "The Beauties of
Nature" is in its 85th thousand; "Prehistoric
Times," "The Origin of Civilization," "British Wild
Flowers," "Ants, Bees, and Wasps," "Flowers,
Fruit, and Leaves," "The Senses, Instinct, and
Intelligence of Animals," with other works of like
sort, are widely read and enjoyed, both in his own
country and abroad. In his thirty years in Parlia-
ment Lubbock procured the passage of many acts
for the good of the people, such as the bank-holiday
enactment, the bill amending the acts relating to
free libraries, the Open Spaces Act, the Shop Hours
Regulation Act, the Shop Seats Act, and others.
Honors and university degrees and honorary mem-
berships in learned societies came to him in profu-
sion. In short, his range of activities and interests
and his capacity for work were all but boundless.
The revival of the art of oral story-
telling, as that art is encouraged and practiced
by the conductor, or oftener conductress, of the
children's story-hour, is cause for felicitation. The
earliest mode of imaginative creation has now come
to be also the latest, and hundreds of library
workers and children's teachers are zealously culti-
vating their faculty for graphic and realistic oral
narration. Evidence of the present increasing vogue
of the story-teller is found not only in the story-hour
which every up-to-date public library prides itself
on maintaining, but also in the late noteworthy
manuals devoted to the oral narrator's art. No
fewer than five useful books on the subject have
'appeared in this country within the last six years,
and four of these books date back only three years
or less. As far as the literature of the subject may
indicate, it would seem to be an American rather
than a world-wide movement that we are now
witnessing; and experience seems to show that the
enduring favorites among the tales told to the
young people are the age-old fairy stories and hero
legends which have long since earned their right
to be regarded as classic. Animal stories of later
date, such as Mr. Kipling knows so well how to
write, are also in demand. Naturally enough, the
listeners show a disposition to become narrators on
their part, too; and story-hours under the lead of
one of the children are growing in favor. In one
of the Boston schools, for example, the fifth and
sixth grade teachers are encouraging the pupils to
tell to the class the stories they themselves have
heard at the public library or elsewhere. "Boys must
have changed since I went to school," says the head-
master; but it is rather the methods than the boys
that have changed. At any rate, he welcomes the
innovation as tending to improve the English of the
story-tellers, who happen to be largely of alien
extraction.
• • •
A new master of English prose, one who seems
to us to have achieved a greater degree of artistry
and enchantment in this medium than any other
since Pater, is to be welcomed in the author of
"Sirenica," a little volume just from the press. Of
this writer, Mr. W. Compton Leith, we know nothing
other than that he is an Englishman whose name
first appeared upon a title-page five years ago, when
his "Apologia Diffidentis" was issued. The praise
that we were almost the first to accord that remark-
able book at the time of its appearance would be
wholly inadequate to the merits of its successor, so
greatly has the author grown in power and eloquence.
"Sirenica" maintains as its thesis that the fabled
song of the sirens was not one of sensual enticement,
but rather the call of Romance, — " the high music
of sedition " that leads men away from the tried and
known paths of every day to the perilous heights of
spiritual adventure in quest of "the imagined better
thing." Despite mythology, the singers have never
died, but their fatal music still sounds across the
roar of things to-day as potently as when Odysseus
strove desperately against his cords in the mad
effort to follow its lure. Such is a suggestion of
the theme that Mr. Compton Leith develops with a
charm of thought and expression that seems to us
of a very high order. His rhetoric is stately and
dignified, his diction is rich in melody and color,
his thought glows with the reflection of that inner
ecstasy or passion in which all genuine literature
finds its source. We have come upon no book in
several years (with the possible exception of Francis


494
[June 16
THE DIAL
Thompson's essay on Shelley) which seems to us
more akin to genius,—which carries on more
worthily the splendid tradition of English prose.
With a fitting regard to the enduring quality of its
contents, the publishers have given the little book
a material form of very unusual attractiveness and
dignity. . . .
"Shirtsleeve literature" is the name applied
by the "Wisconsin Library Bulletin" to a depart-
ment of printed matter that certainly does not come
under the heading "polite literature" or "belles let-
tres," but that is nevertheless full of interest, often
attractive and even artistic in its material form, and
has been known to engage the services of talented
writers and first-rate illustrators. Just at present
some admirable examples of this literature are being
sent out by tbe great transportation companies to
those busy with the problem of choosing the summer
resort most conducive to their health and happiness
daring the approaching vacation. Sundry sugges-
tions on the collection and use of shirtsleeve litera-
ture are quoted by the "Bulletin" from Miss Mary
J. Booth, librarian of the State Normal School at
Charleston, Illinois. Certain sorts of government
and municipal publications, advertising pamphlets
and booklets, railroad and steamship folders and
handbooks, and other industrial and geographical
material, are often rich in practical information and
diversified with numerous and excellent illustrations,
even though the latter may be only photo-engravings.
From a four-page list prepared by Miss Booth of
publications of this kind, we take a few specimen
titles: "Alaska Glaciers and Ice-fields," issued by
the Alaska Steamship Co.; "Argentine Republic,"
issued by the Pan-American Union; "The New
Arizona," by the Southern Pacific R. R; "Arkansas
Homes and Harvests," by the Cotton Belt Route;
"California," by the Rock Island Lines; "Crater
Lake National Park," by the Interior Department;
"Report on Hawaii," by the Bureau of Labor;
"Occident is no Accident," by the Russell-Miller
Milling Co. Of such sort is the abundant shirtsleeve
literature obtainable at little or no expense by indi-
viduals and libraries, and often useful for educational
purposes. Library picture collections can be advan-
tageously added to from this source.
• • ■
What an autobiography ought not to be,
according to the late John Bigelow, is exemplified
in John Stuart Mill's justly famous account of his
own life. Writing to his friend, George von Bun-
sen, soon after the publication of this remarkable
work, Mr. Bigelow, as may be read in the fifth vol-
ume of his "Retrospections," just published, thus
expressed his opinion of it: "Mill's autobiography
was an act of suicide. But for that he would have
left a reputation for which some might have envied
him. Bat Providence has mercifully extinguished
all interest in the man who could write his own life
without mentioning that he had a mother, or allud-
ing to brother or sister except once to complain of
what he was required to do for them. He was an
intellectual monster without being monstrously intel-
lectual." This recalls Carlyle's opinion of the book,
—"wholly the life of a logic-chopping engine, little
more of human interest in it than if it had been
done by a thing of macadamized iron." But contrast
with this Carlyle's words to Charles Eliot Norton on
hearing of Mill's death—as recorded in Norton's
London diary and published in the current "Scrib-
ner's Magazine." "I never knew a finer, tenderer,
more sensitive or modest soul among the sons of
men. There never was a more generous creature
than he, nor a more modest. He and I were great
friends, an' when I was beginnin' to work on my
'French Revolution' there was no man from whom
I got such help." In the same conversation amus-
ing reference is made to the charm that Mrs. Taylor,
whom Mill ultimately married, exerted upon him
when "that man, who, up to that time, had never
so much as looked at a female creature, not even a
cow, in the face, found himself opposite those great
dark eyes, that were flashing unutterable things while
he was discoursin' the utterable consarnin' all sorts
o' high topics." Finally, here is a part of what
Norton himself wrote about Mill in his diary: "No
man has done more than he in England to keep the
standard of thought high, and its quality pure. Every
man of thought, however he may have differed from
him in opinion, has had an unqualified respect for
Mill. My feeling for him has in it a very tender
element mingled with respect." Considered as the
book of a man in whom "Providence has mercifully
extinguished all interest," the "Autobiography " has
had an astonishing number of reprintings in various
countries and languages.
• ■ ■
Editorial frankness is surely not wanting in
the candid explanation given by Colonel George
Harvey for the transfer of "Harper's Weekly " to
other editorial management and other publishers.
"All, we suspect," he says in the issue of May 31,
"will agree that more causes than one have contri-
buted to the general result Some friendly critics
attribute it solely to poor editing, and goodness
knows we would be the last to deny so obvious a
fact as that we haven't been able to edit'Harper's
Weekly' well enough to make it pay. Bat when it
comes to admitting, as some assert, that the'Weekly'
would be commercially as successful to-day as it
was thirty years ago under Mr. Curtis and Thomas
Nast if now directed by those men of talent, we
have our doubts. Times have changed. The country
was conservative and thoughtful in those days.
Now it is radical and impetuous. The 'Weekly's'
general policy has never veered. It has always
stood for progress along cautious lines." That its
publication has continued at a loss for twenty years,
is a rather surprising announcement. We read
further: "Too many periodicals get in one another's
way. 'Harper's Magazine' and 'The North Ameri-
can Review,' both of which are prosperous, are all
we need and all we can publish advantageously in


1913]
495
THE
DIAL
conjunction with oar book business. I shall transfer
my own editorial work from 'Harper's Weekly' to
'The North American Review,' beginning a series
of articles in the July number, inaugurating a
complete editorial department, 'comment' included,
in the autumn." Mr. Norman Hapgood and the
McClure Publications, it is reported, have purchased
the "Weekly," and Mr. Hapgood will act as editor.
His resumption of the editorial pen is cause for
satisfaction to those who have already tasted the
fruit of that pen when its holder was engaged in the
conduct of "Collier's Weekly."
• • •
The art of the illuminator, one of the oldest
as it is also one of the most beautiful of arts, is fast
going the way of all individual processes that demand
the exercise of patient and long-continued labor of
a minute and exacting sort. That it is not yet
extinct, however, is evidenced by a work recently
exhibited in Chicago, in which the best traditions of
the art found skilful exemplification. This work
consists of a collection of tributes to the memory
of John Plankinton, a prominent pioneer in the
Western industrial field, the entire volume being
engrossed on vellum and elaborately decorated in
gold and colors by Mrs. S. S. Frackelton and her
daughter. Of especial interest is the fact that instead
of the usual rather meaningless or only broadly
suggestive decoration usually employed by the
illuminator, practically every design in this work
has a directly literal or symbolic relation to the
subject 'Several years of almost continuous labor
were necessary to carry the undertaking through to
completion; but the result is a beautiful memorial
which with proper care will endure for centuries. It
seems to us that the larger public libraries might
appropriately do something to revive and foster the
art of the illuminator,—not only by arousing public
interest and appreciation, but also by direct com-
missions to such artists as are available for work to
become a part of the library's permanent collections.
Certainly there could be few more interesting or
fitting memorials in any library than such a volume
as we have mentioned here, but devoted to a score
or two of the foremost names in local history rather
than to a single person.
• • •
Library doings in distant Dallas are evi-
dently keeping pace with the rapid growth of the
community to which the Dallas Public Library
ministers. From the annual report of the librarian,
printed in the Dallas "Times-Herald," we learn
that the library's shelf-room has been doubled by
the recent addition of a two-story metal stack with
a capacity of thirty-five thousand volumes, that the
reference room has been enlarged, a municipal refer-
ence department started, new books purchased to the
extent of the available funds, circulation increased,
story-hour continued to the undoubted satisfaction
of listeners and story-tellers, and that, in order to
keep the Dallas library abreast of the times, its
head, Miss Rosa M. Leeper, has visited the sister
institutions in seven cities of the middle West,
including Chicago, studying especially the methods
of library extension there employed. That Dallas
library-users are of an inquiring mind, wholesomely
athirst for information, appears from Miss Leeper's
account of the questions propounded in the reference
department. "These questions," she says, "come
through personal inquiry, by letter and by phone,
and cover all imaginable subjects from the spelling
of words and the naming of a baby to taxable values
of corporations and chemical affinities." (Let us
hope, parenthetically, that the taxable value of a
chemical affinity was not among the problems to be
wrestled with by the reference librarian.) Not least
among the improvements planned by the Dallas
library officials is an increase of library facilities
for the colored people of the city.
• • •
Concerning an American Rhodes scholar of
talent, William Chase Greene by name, a Harvard
graduate and now in his eighth term at Oxford, it is
reported that, having won the famous Newdigate
prize last year with a poem entitled "King Richard
the First before Jerusalem," he has now captured
the Charles Oldham prize with an essay on "The
Sea in the Greek Poets." This latter prize, which
amounts to about three hundred dollars, is awarded
yearly to the writer of the best essay on a subject
connected with Greek or Latin literature, the com-
petition being open to all members of the university
whose matriculation dates back not more than twenty-
eight terms. Mr. Greene's achievements (which
include also the honor of being chosen class odist
by his Harvard class, and of delivering the Latin
salutatory at graduation) reflect credit on his New
England ancestry. He is a grandson of Mr. William
L. Greene of Dorchester, for many years publisher
of "The Congregationalism" His father is Professor
Herbert E. Greene of Johns Hopkins University.
To win a poetry prize that in the past has been
awarded to such men as John Ruskin, Dean Stanley,
and Matthew Arnold, is no small honor; to be the
first American to do this adds to the distinction.
That this Rhodes scholar will not succumb to an
over-burden of academic honors, but will be heard
from later in the larger competition that awaits him
in the big world of letters, is the hope which one
naturally cherishes after following thus far Mr.
Greene's course as a student.
An ungainly pleonasm, heard not infrequently
in speech, and met with even oftener in writing—
and perhaps with rather greater frequency in En-
glish books than in American, though of this one
cannot pronounce with certainty — is exemplified
in the latest of those admirable language lessons
contributed by Professor Lounsbury to Harper's
Magazine." In the course of his essay on " Linguis-
tic Causes of Americanisms " in the June number,
occurs this sentence: "Hence the verb would have
been sure to have maintained itself in the language,
even had it been an Americanism." This over-


496
[Jane 16
THE
DIAL
emphasis of the preterite idea, if one may so call it,
is all the more noticeable from its being immediately
preceded by the remark that "language is always
economical and cuts down, wherever practicable,
unnecessary circumlocutions." The use of such' word-
wasting forms of expression as " he would have been
glad to have seen you," instead of the simpler and
perfectly adequate " he would have been glad to see
you," strikes the ear with something of the awkward-
ness, something of the illogical quality, of the double
negative where no affirmation is intended. Indeed,
an analysis of the foregoing sentence reveals an
unexpected closeness of analogy to the double
negative. "He would have been glad to have seen
you" must mean, strictly, "He would have been
glad to have his interview with you over," or, in
other words, he dreaded the interview and did not
desire to see you; that is, he would have been sorry
to see you — which is the exact opposite of what
the speaker intended to say.
THE VA8T COMPANY OF WOULD-BE AUTHORS, or
of near-authors, as they might prefer to be called,
has its size brought home to us in such professional
confessions as have recently been made by Mr.
Reginald J. Smith, head of the firm of Smith,
Elder & Co., and editor of the "Cornhill Maga-
zine." Mr. Brett's late "Atlantic" article on book-
publishing has called attention to the disproportion
between the yearly number of submitted manu-
scripts and published books — a ratio that excited
some surprise and probably stirred an occasional
doubt as to the accuracy of the figures given —
and now Mr. Smith presents an exhibit even more
astonishing. For the magazine in his charge there
are annually read between twenty-five hundred and
three thousand manuscripts, of which on an average
only one in two hundred, or one-half of one per cent,
is accepted. Apparently this does not include mat-
ter contracted for beforehand or furnished in the
regular routine, since twelve or fifteen manuscripts
would not go far in providing for a year's issue of
the magazine. Of manuscripts offered to the firm
for book publication, the number averages about six
hundred a year, and of these somewhat less than
two per cent are accepted. Few indeed are the
chosen out of the many who feel themselves called
to authorship, even if one allows for the possible
acceptance elsewhere of works rejected by this or
that or the other publisher. But when all other re-
sources fail, the rejected author may always bring
his book into being at his own expense — of course
provided he is able to pay the printer. That such
a course is in almost ninety-nine cases out of every
hundred a foolish waste of money seems to have no
effect on the ever-increasing output of these publica-
tions which have never been published.
• • •
The librarians abroad, like the "Innocents,"
tend to flock together and go in special parties,
though not always in especially chartered vessels,
as did that cheerful company of sight-seers on the
good ship "Quaker City." There comes to our
notice the project of a European tour for the sum-
mer of 1914, designed for librarians and offering
many attractive features. The Bureau of University
Travel, of Boston, appears to be conferring with the
Massachusetts Library Club concerning the details
of such a tour, which of course is still far from being
definitely decided upon. A part of the Bureau's
letter to the President of the Club is as follows:
"The purpose of the tour is to bring such people in
touch with the best things of greatest interest per-
taining to their chosen profession, with appropriate
allowance for recreation and the usual sight-seeing
in Europe. ... I submit herewith a combination of
three tours subject to your consideration, which may
be revised to best suit conditions. ... It is, of
course, understood that the name of every person
participating in this tour shall first have the approval
of your Committee." The proposed itinerary includes
the Azores, Algiers, Naples, Greece, Rome, Flor-
ence, Venice, Milan, the Italian lakes, Switzerland,
Heidelberg, the Rhine, Cologne, Paris, London,
Oxford, Stratford, Warwick, Kenilworth, and Liver-
pool—with the suggested omission of Greece and
the Shakespeare country, or one of them, should a
shorter tour be desired. Such persons as may find
themselves interested in the foregoing, which is
taken from the " Massachusetts Library Club Bul-
letin," are invited to communicate with the President
of the Club, who is now Mr. Drew B. Hall, Librarian
of the Somerville Public Library.
Sinology made easy, or comparatively easy, to
the western world would seem to be among the
possibilities of the not too distant future, now that
an alphabet of only forty-two characters has been
adopted, to supersede the unwieldy system of ideo-
grams (eight thousand or more in number) hitherto
used by the Chinese for the literary expression of
their thought. Of the forty-two characters, twenty-
three are vowels and nineteen are consonants. The
Greek, the Russian, and the Latin alphabets have
been drawn upon to express some of these vowel
sounds, but the extraordinary variety and peculiarity
of the Chinese vowels seem to have made it impos-
sible to find appropriate symbols in any existing
alphabet, and hence a number of native characters
had to be pressed into service. But even so, the
alphabet is not so forbidding as to deter the linguist.
Russian literature, well within the mastery of non-
Russian students, is printed in an alphabet of thirty-
five letters, and the Coptic alphabet (which, however,
does not worry many of us) is nearly as rich. At
all events, a dictionary of the Chinese language
somewhat less bulky than an " Encyclopaedia Bri-
tannica" ought soon to be an accomplished fact,
and before long the western world may be reading
Confucius in the original. The reform is a fitting
accompaniment to the establishment of a republican
government in place of the outworn monarchy.


1913]
497
THE DIAL.
The reconstruction op a venerable libbary
building, in such a manner as to preserve in fire-
proof material its present characteristic features
while also materially enlarging its dimensions, is
now going on in the thorough rehabilitation of the
old Boston Athenaeum in Beacon Street. Long and
earnest has been the debate over the question of a
new building or a reconstructed and enlarged old
one; and, happily for the lovers of the historic and
the picturesque, affection for the old has carried the
day. With the addition of a sub-basement and two
stories, and the substitution of durable steel and
cement for perishable wood, care being taken to
reproduce in facsimile the present famous reading-
room, hallowed by memories of the great New En-
gland authors who in old times there pursued their
studies, the building will be greatly improved for
the uses to which it is devoted, and at the same
time will not be very noticeably altered in plan and
appearance. Its literary treasures will be rescued
from the now imminent risk of destruction by fire,
and in the process of rescue their daily use and en-
joyment will not be interrupted. This simultaneous
reconstruction and occupancy of a building, lately
effected in the case of a great railroad terminal in
New York, and some years earlier accomplished by
another railroad in Philadelphia, is more of a novelty
in the library world. The prosecution of this rather
difficult work will be watched with interest
COMMUNICATIONS.
POETRY AND THE OTHER FINE ARTS.
(To the Editor of The Dial.)
Of the two correspondents who criticized the policy
of "Poetry" and the judgment of its editor in your last
issue, one seems to get so much pleasure out of his at-
tack on contemporary poets that it would be a pity to
interfere with his acrobatic exercise.
In the letter of the other correspondent I seem to dis-
cern a different tone, and it may serve as the text for a
few reflections on the status of poetry in the public mind
as compared with that of certain other arts.
Mr. Bene't complains of " Poetry" because, in the first
eight months of its existence, it has published only one
poem to which he can give high praise, this one being
"of very great distinction." Of course I might mention
other poems which seem to me distinguished; but assum-
ing for the moment that Mr. Bene't is correct, may I not
insist that the publication of even one poem "of very
great distinction" in two-thirds of a year should be
counted not poverty but riches, an achievement which
quite justifies the existence of the magazine and pays
for all the labor and capital that have gone into it.
I turn to the catalogue of our last autumn exhibition
at the Art Institute, and look over the list of prize-
winners since 1902, during which period, until last year,
no prize was given in the United States for poetry. For
three years the Potter Palmer gold medal and $1000
prize, founded in 1910, have been awarded to pictures
which no critic has ever stated to be "of very great
distinction," upon which, indeed, no superlatives have
been expended. Of the eleven pictures which, since
1902, have won the Harris silver medal and *500, three
or four might be called distinguished; but it is doubt-
ful whether any one of these deserves the "very," as
Sargent's portrait of Chase is not the best this painter
can do, and Tarbell's "Girl Crochetting " is a perfect
example of preciosity—a trivial subject turned out with
the most exacting nicety,.—a quality of which Mr. Bene't
accuses our magazine. And the four awards of the
bronze medal and $300 continue the same story.
Ditto in Pittsburgh, where the prizes are still larger
and the competition is international. Has any critic of
standing given a superlative to Mr. Philpot's picture,
which drew 81500 this year, or to that of Mr. Sims,
which had the same luck last year? Indeed, can one
find a single masterpiece in the whole list of Pittsburgh
prize-winners since 1896, whether of the gold, silver, or
bronze class? .
Yet " Poetry," which aims to be an exhibition gallery
for poets, is criticized if it does not, in the critic's
opinion, print a masterpiece or two each month. Poems,
paintings, statues, "of very great distinction," are not
created often; meantime the lesser achievements in
these arts — the vital and provocative experiments, the
works which seem to embody some mood of beauty, the
expressions of insight or inspiration which seem a-thrill
and alive —these are entitled to the consideration of the
public. They must have this consideration, the poet —
the artist of any kind — must have a public to speak to,
else his art cannot grow, he can not go on. The people
must grant a hearing to the best poets they have, else
they will never have better. The great periods in any
art come only when great energy of creation meets equal
energy of sympathy, — that is inexorable law.
"Poetry" endeavors, however imperfectly, to give
the poet a chance to be heard, to gather together his
public, and to reward him, though inadequately, for his
work. It would like to give as many prizes as the Art
Institute does, viz., nearly thirty a year, ranging from
ten dollars to a thousand. It would like to pay its
contributors so handsomely that a good poet could earn
as fair a living as a good painter, or at least as fair as
many bad painters who seem to support families without
difficulty.
In these efforts the magazine is necessarily no wiser
than its editors, whose judgment is far from infallible,
and who assert merely their honesty of purpose and a
certain training in the art. Others could doubtless do
the work better; but no one else attempted it.
Harriet Monroe, Editor of « Poetry."
Chicago, June 0, 1913.
HAUPTMANN AND THE NOBEL PRIZE.
(To the Editor of The Dial.)
Permit me, as a Scandinavian, to correct an erroneous
impression conveyed by Mr. W. H. Carruth's letter in
your issue of June 1.
It is by no means true that the Nobel prize is awarded
for a literary work of any single year, be it 1912 or 1913.
It is awarded to authors whose lifework has gone in an
absolute idealistic direction. Thus the Norwegian au-
thor Bjornson won the prize "because his books revealed
a spirit of singular purity."
In regard to Hauptmann, I will say that it is ex-
tremely probable that his name was decided upon before
"Atlantis" was published.
The prize is awarded once a year,— that is the only
way in which it is connected with the literature of the
hour, heaven be praised! Olaf Heddeland.
Schenectady, N. Y., June 6, 1913.


498
[June 16
THE DIAL
Crje $tto ioohs.
A Many-sided Philanthropist.*
Mrs. Barrows s choice of a title, "A Sunny
Life," for her biography of her husband, is a
happy one. Through his many-sided personality
the white radiance of eternity seemed to shine
as through Shelley's dome of many-colored glass.
Rich and varied were his gifts of mind and
heart, and with them all he was the embodiment
of that joyous faith in the eternities and the
immutabilities that gives to life its noblest
significance and takes away from death its
bitterest pang.
Samuel June Barrows was born of poor
parents on the 26th of May, 1845, in Columbia
Street, on the lower East Side of New York
City. His father, Richard Barrows, cousin to
Richard Hoe of printing-press fame, and
employed in his factory, was taken from his
family when Samuel, one of five brothers and
sisters, was but three years old. The widow
supported her little ones and herself as best she
could, chiefly by making shoe-blacking, accord-
ing to a precious recipe brought from England,
in small quantities for a restricted circle of
customers; and in this domestic industry the
children helped her until they were old enough
to find other and better employment. At eight
years of age the school education of him with
whom we are here concerned came to an end,
partly by reason of an illness that made close
confinement inadvisable, and soon afterward he
obtained employment suitable to his strength
and ability in his prosperous cousin's printing-
press works at a weekly wage of one dollar, of
which one cent went to him as his very own and
was usually dropped into the contribution plate
at church. However, despite this excess of vir-
tue in the boy, and notwithstanding his early
engagement in evangelistic labors along the
wharves and among the sailors, heaven did not
claim him in his tender years, but spared him
for a half-century more of increasing usefulness
on earth. The mastery of shorthand and of
telegraphy, with the acquisition of a correct and
forceful literary style, helped him to a succession
of good positions as private secretary and in
journalism; and his early marriage to a woman
almost as gifted and capable as himself still
further advanced his fortunes at the same time
that it assured him a singularly happy and
•A Sunny Life. The Biography of Samuel Jane
Barrows. By Isabel C. BarrowB. Illustrated. Boston:
Little, Brown, & Co.
beautiful home life. Emancipation from the
fetters of an outworn creed was followed by
preparation for the Unitarian ministry at the
Harvard Divinity School. The pulpit of the
Meeting House Hill Church at Dorchester was
then offered to him and accepted, but after four
years of distinguished service there he felt
reluctantly compelled to accept a call to the
editorship of " The Christian Register," which,
with the volunteer cooperation of Mrs. Barrows,
he conducted for sixteen years. Next came a
term in Congress, miscellaneous literary work,
the secretaryship of the Prison Association of
New York, travels abroad and at home in the
interest of prison reform, and a zealous parti-
cipation in countless other good works, until at
the age of sixty-four a fatal attack of pneumonia
ended his labors on earth.
What impresses one most in the life so pre-
maturely closed is the rare union of brilliant
literary, scholarly, and artistic gifts with moral
endowments of the highest order. In any one
of numerous departments — in literature, schol-
arship, music, in the ministry, in social reform,
in journalism, in public life, or in some admin-
istrative business office — he was qualified to
achieve a more than ordinary success. There
seemed to be nothing that he could not do,
except that which was base, as his co-workers
were wont to declare of him. But it is prob-
ably as a penologist of enlightened vision and
great practical ability that he will be longest
remembered. Next to that might well be
cherished in memory his entire independence
and fearlessness as a member of Congress, and
his splendid work there in behalf of wise legis-
lation. Of course it was his very uprightness,
so out of alignment with the crookedness of
political methods, that brought about his defeat
when he offered himself for reelection.
As there is space here for but a few short
extracts from this admirable biography of a
brilliantly gifted man, and as it is one's every-
day habits that best indicate one's quality, we
select for quotation a passage or two that will
both bring Mr. Barrows into nearer view and
convey at least a suggestion of his range of
interests and tastes and abilities. Midway in
her narrative Mrs. Barrows says of him:
"Whatever people about him were doing he liked to
learn to do. Thus he learned to make nets, and many
a hammock for baby, or doll, or friend, still remains
to show his kindness as well as his skill. Chess and
draughts he could play well, but found them more
expensive in nerve power than he could afford. Cards
he thought a waste of time. There was one homely
game in which his nimble fingers made him facile


1913]
499
THE
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princeps. Many a one, old and young, I have seen him
challenge, and he was always the winner. That was
the old classic game of jackstones. I even saw him
once when playing with real 'knuckle bones' in Greece,
where they have played it since Homer's days. Pebbles,
beans, bones, iron 'jacks,'— it was all the same to him.
It seemed as if his fingers were India rubber and could
be turned backward or forward as occasion demanded.
One day, while we were waiting for a belated street-
car, some small boys were playing jackstones on the
pavement. He laid down his book-bag and in his happy,
genial way, stepping over among them, began to play
with them, teaching them some of the New York varia-
tions of his own street childhood: 'helping the lady over
the stile,'' putting the horse in the stable,' 'skunks,'etc.
Our car came along, and that was the end of the lesson.
But a few days later, at the same corner, we heard a
youngster say, as he recognized my husband, then a
United States Congressman: 'That's the feller that
interduced "skunks" inter Dorchester!' Such is con-
temporary fame!"
Again, the following serves well to show us
the man as music-lover and musician. Barred
from a liberal education in his youth, he not only
mastered many languages and other branches of
learning in later life, but he took up music in
mature manhood, learned to play the flute, ac-
quired proficiency in singing, and then made
himself at home with the pipe-organ. In his
wife's words:
"Not only with his voice, but with his fingers, did
my husband elicit music. For several years he studied
composition and harmony and enjoyed the science of it.
He wrote several hymns and composed words as well as
music, but it was not till he was fifty that he gave up
the flute and began the piano. He used laughingly to
say that he was tired of blowing into a hollow stick. One
day I went with him to help him select a suit of clothes,
a duty he always expected of me. As we walked along
he said he wished we were going to select a parlor organ
instead. 'Very well,' I said, 'wear your old clothes
and have the organ.' So we passed Rogers Peet and
brought up on Fifth Avenue at an organ store, and the
price of the clothes down and ten dollars a month later
soon made it his! In a surprisingly short time he was
playing all the tunes in our ordinary hymn-book. . . .
"The next morning I stole round to St. George's
chapel, where he went always from eight to nine in the
morning. I followed the call of organ notes and slipped
iu behind him on an empty bench, and my heart ran riot
with sympathetic joy as I saw his happiness. Slowly
and painstakingly he was playing Handel's Largo, quite
alone as he supposed, but his whole soul was in it. When
he had finished he reverently closed the organ and
turned to go. 'You here?' he cried with pleasure. But
I could not see him for the mist in my eyes."
Here is a glimpse of the penologist, orator,
and linguist, at a dinner of the Seventh Inter-
national Prison Congress at Budapest, in 1905:
"The last night there was a banquet and a chance to
use the carefully prepared and memorized speech. He
had the seat of honor at the raised official table, and as
I was next to him, I could look down and over the sea
of faces in that big banquet hall and watch their sur-
prised expression as he slipped from his French opening
into simple but perfectly understandable Hungarian.
Then they began to cheer, as only Hungarians can. And
as he told how, when he was a little boy, his mother
lifted him to her shoulder in the streets of New York
that he might see Kossuth pass by, I thought the roof
would come off. They banged the dishes, jumped to
their feet, on to the chairs, and some of the more en-
thusiastic at the rear of the hall on to the tables, and
shouted and pounded for some minutes, before he was
allowed to go on. It was only a ten-minute address, but
it won their hearts, and the next morning it appeared in
every paper throughout Hungary."
In closing, we cannot do better than to quote
a few words from Rabbi Wise's tribute to Mr.
Barrows at a largely attended memorial service
conducted by the Prison Association of New
York.
"Few men have lived of whom it might more truly
have been said than it may be said of Samuel June
Barrows that the world was his country and all mankind
his countrymen, 'and every man, especially every op-
pressed man, a brother.' If this cosmic man was capable
of partiality or preference, it was revealed in devotion
to land or lands where liberty was not, where the high
boon of freedom was yet to be won. In his love of
justice and in the justness of his love, he had 'circum-
navigated the seas of philanthropy,' literally as well as
spiritually, resting charity upon the immutable founda-
tions of justice, and benevolence upon the everlasting
rock of brotherhood."
Mr. Barrows is fortunate in his biographer—
a writer of acknowledged charm, of long experi-
ence with the pen, and of course more intimately
familiar with her husband's public and private
life than any other one person could be. And
she is fortunate in her subject — a theme worthy
of both her literary skill and her woman's in-
sight and sympathy. Yet it is no mere eulogy
of the deceased that she has given us. Four
years have passed since his death, and they have
been turned to good account in making as full
and authoritative as possible this history of his
life and work. Portraits and other illustrations,
with appended matter and index, help to round
out its completeness. pEKCT F. Bicknell.
Rome the Magnificent.*
In spite of the elaborate and learned histo-
ries of various periods of Roman history, from
Niebuhr down to Ferrero, there has remained
room for a comprehensive story of the greatest
military and political power the world has ever
known. To accomplish this within the compass
of a single volume of 316 pages, with no
*The Grandeur That Was Rome. A Survey of Roman
Culture and Civilization. By J. C. Stobart, M. A. Illustrated.
Philadelphia: J. B. Lippincott Co.


500
[June 16
THE DIAL,
sacrifice of color or perspective, has been the
task set for himself by Mr. J. C. Stobart, late
lecturer in history in Trinity College, Cam-
bridge. The author's equipment and method
were favorably inferred from his previous work,
"The Glory That Was Greece," published two
years ago. The somewhat ad captandum
titles, taken from Edgar Allan Poe's "To
Helen," are perhaps suitable enough to the
scope of the books,— a survey of Hellenic and
Roman culture and civilization; and incidentally
reflect the high esteem which Poe has always
enjoyed in England.
But within this limit there has run another
and a corrective purpose. Mr. Stobart does
not hesitate to bring the charge of being
Tendenzschriftsteller against the ancients, Livy
and Tacitus, Diodorus and Polybius.
"Diodorus of Sicily was seeking mainly to flatter
the claims of the Romans to a heroic past. Polybius,
the trained Greek politician of the second century B. C,
was writing Roman history iu order to prove to his
fellow-Greeks his theory of the basis of political success.
Livy was seeking a solace for the miseries of his own
day in contemplating the virtues of an idealized past.
Tacitus, during an interval of mitigated despotism,
strove to exhibit the crimes and follies of autocracy.
Edward Gibbon too (I write as one who cannot change
trains at Lausanne without emotion) saw the Empire
from the standpoint of eighteenth century liberalism
and materialism. Theodor Mommsen made Rome the
setting for his Bismarckian Csesarism, and, finally, M.
Boissier has enlivened her by peopling her streets with
Parisians."
Against these Mr. Stobart strongly urges his
own thesis — probably the compelling reason for
his writing the book. Briefly, it is as follows:
"The Republic was a mere preface. The Republic
till its last century did nothing for the world, except to
win battles whereby the road was opened for the sub-
sequent advance of civilization. Even the stern tenacity
of the Roman defence against Hannibal, admirable as
it was, can only be called superior to the still more
heroic defence of Jerusalem by the Jews, because the
former was successful and the later failed. From the
Republican standpoint Rome is immeasurably inferior
to Athens."
This is a pretty severe arraignment of the
pioneer era, of the "hard-knocks" people who
steadily prepared the way "for the subsequent
advance of civilization"; and will hardly change
the current of admiration for the fathers who
did things, as against the Caesars who gradually
lost their grip.
We naturally turn with interest to what Mr.
Stobart has to say of the first of the Caesars —
"the foremost man of all this world," the im-
posing figure that stands between the Republic
and the Empire. The reaction from Mommsen's
idolatry reached its extreme in Ferrero's picture
"of his greatest fellow-countryman as an unscru-
pulous demagogue who blundered into renown
through treachery and bloodshed." And now
once more we are to revise our opinion of the
mighty Julius. Mr. Stobart, conceding Caesar's
greatness, appraises it with epigrammatic candor:
"Without making him a demigod, we ought to be
able to see his greatness. ... It is probable that from
a very early age he was ambitious, and his family con-
nections clearly marked out his career as a democrat.
He had the failure of Sulla before his eyes. The great-
ness of his character lay chiefly in an instinctive hatred
for muddle and pretence. From the first, I think, he
was aiming at power for himself in order to put things
straight. Whether self or country came first in his
calculations, it is hard, perhaps impossible, to determine:
but the historian is not necessarily a cynic when he de-
mands strong proof of altruism in the world of politics."
When it comes to the question of credit for
the creation of the Roman Empire, we are quite
prepared to see Mr. Stobart carefully lift the
laurel from the first Caesar and place it on that
of his "chilly and statuesque" grand-nephew
Octavianus, otherwise known as Augustus:
"Julius Cfesar had failed through pride. When he
fell, the whole dreary round of proscriptions, triumvi-
rates, and civil wars had to begin again. The inevitable
monarchy had to be devised afresh on a different basis:
that was the task of Augustus. He devised it in such
a manner that it lasted in the West for just five cen-
turies, and in the East for nearly fifteen. Indeed, it can
hardly be said to be totally extinct now in the twentieth.
Judged by results then, the work of Augustus was clearly
a consummate piece of statesmanship. When we con-
sider the methods by which that result was obtained, we
shall, I think, esteem Augustus as the greatest states-
man in the history of the world."
Augustus's long reign of practically forty-five
years was one of organizing and upbuilding
the imperial power on the decrepit framework
of the Republic. Cool, cautious, but deter-
mined, he gradually drew into his own hands,
as Tacitus says, "the functions of the senate, the
magistrates and the laws." His military achieve-
ments, important as some of them were, could
not but stand in penumbra, if not in eclipse,
when compared with those of Caesar. Moreover,
Augustus suffers from the lack of any great
biographer or historian, ancient or modern:
caret sacro vate. We know what Augustus
found, and we know what he left; but the con-
tinuous tale of what he was doing and how he did
it from year to year of his almost half-century
of power, remains less than half told. To sup-
ply in part this deficiency, as well as to establish
his thesis of the supremacy of Augustus, Mr.
Stobart's two chapters on Augustus and Augus-
tan Rome occupy one quarter of the entire book,


1918]
501
THE DIAL,
and are easily its best written portion. Again
he does not hesitate to say:
"The ancient historians prefer to record small victories
over barbarian tribes, or the petty gossip of the Roman
streets, while they have little to say about the tireless
administration which in one generation transformed the
Roman world from a horrible chaos into that scene of
peace and prosperity shown to us in the pages of Strabo
and Pliny. So while our eyes are fixed upon the sins and
follies of Roman emperors and courtiers, until we get
an impression of rotten tyranny conducted according to
the caprice of monsters and fools, all the time the greater
part of Europe was advancing in peace to a state of gen-
eral culture and civilization such as it had never known
before, and such as it never knew again until the nine-
teenth century."
We must not forget the sub-title—"a sur-
vey of Roman culture and civilization." Mr.
Stobart has little good to say of the literature
and art of the Republic; after appreciative
sketches of Cicero, Livy, and Lucretius, and of
such relics of Republican architecture as the
Tabularium and the Temple of Fortuna Virilis,
his conclusion is as follows:
"On the whole, the verdict must go against Rome —
at any rate republican Rome — as regards artistic
originality. The Rome of Cicero's day was amazingly
rich and dreadfully poor. It had a high culture in some
respects, but it was too corrupt, morally and politically,
to produce good work of its own. If there had been
any possible rival in the field, Rome would assuredly
have perished in the course of that distracted century
(the first before Christ). If she had perished then, what
would she have left to the world? A few secoud-hand
comedies, Lucretius and Cicero; a small equivalent
for all the blood that she had shed, and all the groans
of her provincials."
Without its illustrations, the book would be
good, even fascinating, reading, as any short
extract from it would show. But with them the
grandeur that was Rome is adequately visu-
alized; and so, in the words of the author, " the
pictures are an integral part of my scheme."
About a hundred fine plates in photogravure,
collotype, and half-tone give some idea of the
Roman greatness in architecture and portrait
sculpture. Baalbek and Palmyra in the East,
Timgad in Africa, Italy, Provence, and Spain —
all are represented by familiar, and unfamiliar,
buildings, statues, and busts. The list of illus-
trations, too, contains a description of each
picture, leaving the reader in no doubt as to the
location, date, and significance of the subjects.
Several maps, a limited bibliography, a chro-
nological summary, and a good index, complete
the usefulness of this sumptuous volume, which,
notwithstanding its tone of parti pris, may
possibly be placed at the head of the list as
"best general work " on ancient Rome.
Josiah Renick Smith.
The Dramas of Gerhart Hauptmann.*
Professor Lewisohn's faithful and sympa-
thetic English translations of Gerhart Haupt-
mann's plays show a true appreciation of the
fine poetic quality in the work of Germany's
greatest present-day dramatist, as well as a rare
knowledge of the subtleties of the German lan-
guage and of its perplexing dialects. He helps
us understand the large humanity which is
Hauptmann's basic creed, and he guides us un-
erringly through occasional mazes of symbolism.
Hauptmann is not a standard-bearer for any
ism or literary cult, nor the exponent of a sub-
versive moral philosophy. He states the facts
of life simply and profoundly, because he has a
divinatory understanding pf what the time-spirit
demands, and of the revolutionary forces that
are stirring beneath the surface of contemporary
life.
In his first sociological drama, "Before Sun-
rise," he voices a plea for the children whose
right to be well-born and well-reared has been
denied them. Its premiere in 1889 was the scene
of wildly contesting opinions. It roused the
public as well as the critics to indignant protest.
How could a mere stripling dare to reveal the
mystery and the tragedy in that threatening
dictum, "the sins of the father shall be visited
upon the children"? Ibsen had done this two
decades before; and a horrified public had re-
belled, only to be convinced later that nothing
could silence the intrepid Norwegian's protests
against the social order. More deeply even than
than its purpose, the crass realism of the drama
offended the critics. If they had been able to
sense its dominant motif,— Helene's plea for
her right to a heritage of moral and physical
health in her pitiful struggle against her envir
ronment, — it would have meant more to them
than a disclosure of conveniently concealed
wrongdoing. .
Hauptmann found inspiration in his native
heath, its people, its folk-lore, and most of all in
its social needs. His early environment shaped
his attitude toward our perplexing social prob-
lems. Stirring tales of the Silesian weavers and
of the injustice of the economic conditions under
which they labored were recalled at the bidding
of his genius. The terrible climax in 1844, when
the hatred in the hearts of the miserable weavers
against their oppressors incited them to lawless
deeds, furnished the subject-matter for his
drama, "The Weavers." History verifies the
•The Dramatic Works op Gerhart Hauptmann.
Edited by Ludwig Lewisohn. New York: B. W. Hnebsch.


502
[June X6
THE
DIAL
facts upon which Hauptmann bases this magni-
ficent depiction of a hopeless revolt. The sullen
brutality of certain types is revealed with grim
truth, and yet the drama conveys its own spirit-
ual message in its appeal for social betterment.
Neither "The Beaver Coat" nor "The
Conflagration " are good stage plays. As read-
ing dramas they are unique,—principally so
through their portrayal of the hypocritical,
thieving, and cleverly unscrupulous Mrs. Wolff-
Fielitz. Here Hauptmann's predilection for
psychological analysis has ample scope. Ho-
garth's satiric pencil might have done justice
to the types he portrays, and the lives some of
them are forced to lead as the dupes of a
designing woman.
Volume II. of the new collected edition con-
tains three dramas of social revolt. "Drayman
Henschel" is a sombre picture of the undoing
of an honest, simple-minded man through the
misdeeds of a woman. "Rose Bernd," a drama
of compelling force, excels in the poignant note
of its moral preachment: a well-grounded
protest against the accepted code of condemning
women for the same moral lapses which we
condone in men. In Rose's case those who
denied her right to be lovingly and justly dealt
with are even more to blame for her crime than
our inconsistent social laws. The girl's despair-
ing cry, " No one has ever loved me enough!"
implies a terrible accusation. The invalid wife
of the man who caused the girl's downfall is
one of the finest characters in Hauptmann's
marvellous gallery of women. Her heart goes
out to the sorely-tried girl in an agony of
sympathy; and by conquering the revolt in her
own soul, she tries to befriend her. Hauptmann
is temperamentally akin to Tolstoi. Like the
great Russian in "The Power of Darkness," he
lights an abyss of guilt and despair with a ray
of divine pity. He has a splendid comprehen-
sion of the disturbing issues that are unsettling
time-honored standards, and his understanding
sympathy guides his pen when he pictures the
soul agonies of men and women who lack the
strength to battle against temptation.
Strindberg, the arch-naturalist, tells us that
"the true, the great naturalism seeks out those
points of life where the greatest conflicts occur.
It loves to see what is not to be seen every day.
It rejoices in the battle of elemental powers,
whether they be called love or hatred, noble or
revolting instincts. It cares not whether they
be beautiful or ugly, so that they be only great."
In Hauptmann's naturalistic dramas this ele-
ment of greatness predominates. Since " Before
Dawn" made dramatic history, he has entered
a new poetic realm in his best-known drama,
"The Sunken Bell," and in "The Assumption
of Hannele," with results that have established
his fame as a poet. But, after all, he excels in
the bold and subtle depiction of souls struggling
for light. Often, as in "The Rats," his lurid
pictures of moral degradation obscure his ideal-
istic outlook. This Berlin "tragi-coinedy" deals
with all sorts and conditions of burrowing, sneak-
ing humanity, who are living in moral darkness.
The piteous, impelling motive in the drama is
a lonely, heart-hungry woman's longing to call
a child her own. She adopts the illegitimate
offspring of a poor emigrant girl and passes it
off as her child. Contrary to the bargain they
made, the girl demands her child back, under
threats of telling the truth about it. The woman
then casts caution and reason to the winds, and
begins to enmesh herself in a web of crime and
deceit, until at last she ends her life in despair.
The grey background of actuality, darkened by
human derelicts and failures, is brightened by
the poor creature's mother-love.
We realize the autobiographical note in
Hauptmann's great symbolic fairy drama, "The
Sunken Bell." Written after the failure of the
kaleidoscopic historic play, "Florian Geyer,"
it is a despairing confession of his own inability
to reach the heights,— a stage at which every
great artist gives us of his best. The bell,
which sounds in the valley, but not on the heights,
where mortal man tries in vain to live, untram-
melled by duties and conventions, can never
ring harmoniously until man is strong enough
to subordinate his material desires to his ideal-
istic aims. Aside from its symbolic significance,
this drama must be classed as the best of Ger-
man poetic fantasies. The verse is beautiful,
and the author opens vistas of pantheistic life
that make his fairy world seem very real to us.
Hauptmann's vindictive J'accuse! is the
keynote of " Hannele," a thrilling revelation of
cruelty, poverty, and the transfiguring faith of
childhood. The drama ranks high as an imagi-
native dream poem, and it reflects its author's
humanitarian point of view as regards the chil-
dren of the poor,—their misery, their longings,
and their comforting faith.
Continued success often hampers the creative
artist in his efforts to give expression to the
problems which a struggling world presents to
him. Under the spell of his own creations his
ideal is likely to lead him astray, on paths
that promise glory for little effort. Production
becomes too easy. In Hauptmann's case the


1918]
503
THE DIAL,
two comedies, "The Maids of the Mount" and
"Schluck and Jan," as well as the bewilder-
ing glassworks fable, "And Pippa Dances,"
typify this transition stage.
The drama, "Lonely Lives," is dedicated to
those who have lived them,— and they are
legion, though most of them avert the tragical
outcome by their stoic acquiescence. "The
tragedy of life is in not knowing the tragedy in
our lives." When the young are set at vari-
ance with the old because they try to readjust
their lives to their enlarged vision and to the
demands of a changing world, conflicts are
bound to occur. John Vockerat rebels against
a paternalism that warps and stunts his better
self, and against the submissiveness and utter
self-effacement of a wife who does not under-
stand his aims. The climax comes when the
woman who is destined to be his true soulmate
appears on the scene. It is this woman of
advanced ideas who flies from the responsibility
which a union with him would have imposed on
her. "You have broken me!" is his accusation
against his parents and his wife when death
seems his only refuge. Of such is the kingdom
of tragic failures!
Only the Superman," the symbol of humanity
raised to its highest power," can feel the right
pity for his fellow-man, according to Friedrich
Nietzsche. Pity for the weak he considers
harmful, inasmuch as it aids in spreading a cult
of misery. Nietzscheism is a powerful factor in
shaping the trend of thought in Germany to-day,
since its principles are no longer questions of
casuistry, but part of the ethics of our common
life. Hauptmann exemplifies this conception
of pity most significantly in " Michael Kraemer,"
the soul tragedy of an erratic old artist, magni-
ficently strong in his allegiance to the highest
ideals of his art, but pitiably weak in his human
relations. His daughter Michaline is a Super-
woman in her understanding of his aims, and
in her pity for the mediocre talent which can
never achieve the ideal he strives for. In this
splendid girl Hauptmann lays bare the very
soul-fibres of the modern woman, with her
longing for freedom from all fetters and for the
unhampered development of her individuality.
"Our Colleague Crampton " is the story of
a dissolute genius, led back to a life of decency
by his daughter, whose pity for his vagaries is
a result of her unswerving devotion, after his
wife has left him.
Peace as the dream of the future of a warring
family is the theme of "The Reconciliation."
An ill-considered marriage is the basis of all the
trouble, and an unselfish girl's pitying love re-
deems one son, and will probably bring about a
life of content. Hauptmann's clairvoyant vision
makes him probe deep in revealing these con-
ditions in modern family life.
Few of the legends which have enriched the
folk-lore of the world carry their human appeal
as directly as do the epic poems of the trouba-
dours. Hauptmann's unusual dramatic version
of "Henry of Aue" casts this entrancing tale
of the soul-woes of an erring man and the regen-
erative power of unselfish love into a sympathetic
modern form. Its portrayal of the superstitions
and abounding faith of mediaeval life and its
true reflection of the eternally human are deter-
mining factors in predicting immortality for
this great epic.
Boccaccio's Griselda legend has furnished
the theme for many fanciful tales. Hauptmann
modernizes Griselda in a way to bring her close
to us. Her revolt against mediaeval conditions
of tyranny in marriage is quite like the modern
woman's rebellion against what she considers
hindrances to her cherished dream of self-
fulfilment.
Men and women of the modern subversive
type, in a setting full of contrasts and conflicts,
challenge Hauptmann's genius for naturalistic
portrayal in the five-act prose drama, "Gabriel
Schilling's Flight." The vampire of ultra-
modern propensities is depicted as one of those
trouble-breeding affinities who are becoming
more and more dangerous in this day of
unsettling moral precepts.
If we look upon Gerhart Hauptmann as a
world poet, one whose magic art reflects the
changing currents of thought in his own coun-
try,— a country whose literary standards are
helping to formulate ideals the world over,—
this new English edition of his dramas ought to
hold a promise for closer spiritual communion in
the future, through this interpretation of some
of the greatest works in modern literature.
Amalie K. Boguslawskt.
A Philosophy of Fiction.*
When a novelist and dramatist of such
distinction as Mr. John Galsworthy addresses
his audience in the first person through a volume
of essays, his utterance has of course the interest
that attaches to any confession of a successful
practitioner. But Mr. Galsworthy's new volume
is not so much a confession as an exposition,
•The Inn of Tranquillity. Studies and Essays by
John Galsworthy. New York: Charles Scribner's Sons.


504
[June 16
THE DIAL
more direct than his novels and dramas, of his
philosophy; for all his books are permeated by
a philosophy deeply rooted in human nature.
These essays, therefore, as well as giving inten-
sity and definiteness to our appreciation of his
fiction, are an exposition of a type of mind and
philosophy.
The enchanting first part of the volume,
"Concerning Life," is a series of studies based
on incidents of varying interest and power but
always thought-provoking. Merest trifles are
here brought into the centre of attention,
examined, and found possessed of profound
significance. Here we find Galsworthy the
artist as well as the thinker. One reads and
re-reads with delight such prose poems as
"Magpie Over the Hill," a poignant tale of
sacred and profane love; or "Biding in Mist,"
a lyric of strange exaltation in presence of
danger; or "Romance—Three Gleams." The
thorough thoughtfulness, the delicate sensitive-
ness, the complete expression of these sketches
give them rare distinction.
In the second section," Concerning Letters,"
although the meditative essay mood prevails
and gives charm and intimacy, the purpose of
the author seems to be to develop in a more
systematic way his philosophy of literature. His
magic word is Truth. He does not mean that the
purpose of fiction is to teach, to give facts, or
indeed that it should have any purpose at all. To
use his own figure, the novelist is as a lantern-
bearer in a dark street, who directs people neither
in one direction nor another, who is not criticizing
the condition of the street, who has no word of
praise or condemnation for anything, but who
is merely bringing light into the street that
people may see things as they are. Let the
novelist or dramatist but sincerely attempt to
tell the truth, and the public will all the more
surely take to themselves, even though with
much resistance and discomfort, the moral
contained therein. If the story is true it has a
moral, for " every grouping of life and character
has its inherent moral." Detachment is therefore
essential to the artist. He must worship Truth
in an impersonal way, not for any immediate
practical purpose.
"It 18 certain that to the making of good drama, as
to the practice of every other act, there must be
brought an almost passionate love of discipline, a
white-heat of self-respect, a desire to make the truest,
fairest, best thing in one's power; and that to these
must be added eyes that do not flinch. Such qualities
alone will bring to a drama the selHess character which
soaks it with inevitability.''
Such is the demand truth-telling fiction
makes upon the writer. In what mood is the
reader to receive it, and how is it to serve him?
To liberate one from himself, to help him out
of his own personality with its limitations and
wants, into the realm of the impersonal, where
Perfection reigns, is the pleasant function of art.
"For, what is grievous, doubting, grim, about our
lives is that we are shut up within ourselves, with an
itch to get outside ourselves. And to be stolen away
from ourselves by Art is a momentary relaxation from
that itching, a minute's profound, and as it were secret
enfranchisement. The active amusements and relaxa-
tions of life can only rest certain of our faculties, by
indulging others; the whole self is never rested save
through that unconsciousness of self, which comes
through rapt contemplation of Nature or Art."
There is a compelling charm in this philoso-
phy of the impersonal, a charm which belongs
to every work of art that can be called perfect.
One feels the same sense of security in the com-
pleteness and finality of Plato's world of Ideas.
It is this detachment, the essence of the aesthetic
attitude, that is so much cultivated by the more
ambitious contemporary artists in fiction. Per-
sonal energism here gives way "to the philosophy
that craves perfection, to the spirit that desires
the golden mean, and hankers for the serene
and balanced seat in the centre of the see-saw."
But while there is no denying the attractive-
ness of this philosophy of perfection, one hesi-
tates to yield fully to it. It recognizes, after
all, only the values of Truth and Beauty. There
is no place for the " glory of the imperfect," the
denial of which leads to a subtle pessimism
observable in Mr. Galsworthy and others, and
erroneously attributed by them to despair as
regards truth. There is a form of pessimism
due to atrophied spiritual nature, to lack of
sympathetic activity among men. Euripides,
Shakespeare, and Ibsen, as Mr. Galsworthy
says, have been accused of pessimism because
they have bravely told truth, held the mirror
up to nature. He is almost ready to measure
greatness by the intensity of the charge of pes-
simism. But these are truly great men, not even
directly in proportion to their passion for Truth,
indispensable as that is for a great man, but in
proportion to their creative power and depth of
understanding.
Mr. Galsworthy's temperament is( essentially
of the critical and disciplinary type. His severity
of thought and taste is especially welcome in an
age continually running rampant in religion and
art. To discipline must be admitted a worthy
service. And yet, one must ask, would it have
been a greater achievement to inspire?
Louis I. Bredvold.


1918]
505
THE DIAL,
Rambles in Andalusia.*
Southern Spain looks to-day like a vast
garden,—and so probably it has looked for a
thousand years, which is about the period since
the Moors began to cultivate it. Mr. Paul
Gwynne writes of this delightful region in his
new volume, "Along Spain's River of Ro-
mance," calling it the Tarshish of the Bible,
and doubting the sanity of Jonah who chose
this heaven-blessed land ii> which "to flee from
the presence of the Lord." At any rate the
district is to-day still primitive, romantic, and
unspoiled for the curious traveller.
To gather his material the author has carried
out the novel plan of following the length of a
great river valley, finding such a route "more
natural than lines of latitude and longitude
and far more sympathetic than a railway." He
chooses the valley of the Guadalquivir, which
stretches from the eastern heights of the penin-
sula entirely across Andalusia to the western
coast. Travelling mule-back with an able and
most companionable guide, he journeys leisurely
along this "passionate" valley—a direct con-
trast to his own "chaste" Thames—and visits
many little-known towns, such as Villacarrillo,
Ubeda, Baeza, Torralba, Menjfbar, Anduja,
Bujalance.
Account of the daily happenings, the thoughts
suggested by these happenings, and occasional
chapters on native customs make up the book.
Many passages, written on the spot, bring the
scenes described vividly before us. Thus the
sweltering heat and terrific dust of an Anda-
lusian mid-day are depicted as follows:
"We sought every morsel of shade that was to be
found by the way: if only a telephone pole threw its
slim shadow along the road, Angel duly steered his mule
along the shadow. . . . Every time his mule passed
mine it would exchange a glance of deep sympathy with
the animal that I rode, whilst my own beast would sigh
profoundly and look fixedly ahead as who should say,
'In the far future it will not always be like this. Some
day a biped with intelligence will ride me. He will
beat me perhaps, and twist my tail, but he will do it in
the shade —not in this furnace of flies.' . . . There
were three square inches of shade under an acacia
opposite, and we leapt or rather descended, from our
mules with what alacrity was vouchsafed to us, and tied
them to the tree. I distinctly saw Angel's beast shrug
his shoulders. My own steed looked up and down the
village once only, then closed its eyes. . . . There was no
footpath, just nothing but a road so deep in dust that rats
could have burrowed along without your seeing them."
The delightful leisure of this unhurried part
of the world is indicated in the following:
• Along Spain's Kivkk of Romance. (The Guadal-
quivir.) By Paul Gwynne. Illustrated in color, etc. New
York: McBride, Nast & Co.
"Whilst the barber lathers you, the man who awaits
your sent appears to regard the respite as a gift of
providence. He spreads himself mentally and physically,
to enjoy the golden hour in conversation and a cigarette.
He offers his tobacco-case to your barber, who pauses
to avail himself of the courtesy. Each chats and makes
himself a cigarette. Something attracts their attention
in the square below, and they go to the window. . . .
The barber and your eventual supplanter draw in their
heads with a sigh. There is not sufficient matter in the
street for comment, but at least it is good to have
looked out upon a world so well sunned and watered,
and to have drawn in a breath of such solid satisfaction.
"The barber now begins to strop his razor, whilst
the other person opens out a paper and puts up his legs
on a vacant chair."
The value and charm of Mr. Gwynne's
book consist in just such fresh impressions as
these, and also in definite information concerning
out-of-the-way places gathered at first-hand.
We are told that Quesada lies too high for
oranges to flourish, but that the olive thrives
there and that oil is made. Also that Montoro
produces the finest quality of oil, and that nearly
two million olive trees surround the town.
Everything seen is recorded with great minute-
ness. Trees and plants are named,—date
palms, oranges, lemons, loquats, pepper trees,
pines, evergreen oaks, cork trees, walnuts,
poplars, and many others. If Mr. Gwynne
enters a house he gives us a description of the
furnishings. The people met are duly questioned,
and their conversation dutifully set down.
"A boy had just filled two great earthen bottles with
water and was strapping them on to a donkey's back
when we arrived, the donkey browsing in spite of jerks
and tugs at the straps.
"We asked him what sort of people they were in
Morente and El Carpio. He said that the inhabitants
of Morente were honest enough folk, very decent in
fact. But those of El Carpio were known in all the
countryside for their treacherous and lying nature; they
had a notoriety that stank ten leagues off. I asked him
where he came from. He said that, thank God, he was
born in Morente, whither he set the head of his donkey
soon afterwards, and went off singing to himself."
Numerous legends, popular tales, and super-
stitions are interestingly woven into the record
of every-day happenings. A number of chapters
describe particular Spanish types or customs.
Thus we find detailed accounts of the character-
istics of the senorito flamenco, the majo, and
the nifios de la mena, as well as a full discussion
of the capa, in love, in war, and in many more
of its 33,944 uses. It is pleasant to note, on
account of the rarity of the occurrence in En-
glish books, that Spanish words are spelled and
used correctly.
Mr. Gwynne's account of the geological up-
heavals which separated Spain from Africa and
formed the existing mountains and valleys may


506
[June 16
THE
DIAL
be skipped without serious loss. Yet, after pass-
ing lightly over the historical and pre-historical
discussions, we find the book interesting and
valuable from the intimate and definite informa
tion which it gives us about modern Andalusia
George G. Brownell.
Rhythm in English Prose.*
In his "History of English Prose Rhythm,''
Professor Saintsbnry has added another imposing
volume to the long series with which he bids fair to
fill a "five-foot shelf" of his own books. This latest
contribution shows the traits familiar to Professor
Saintsbury's readers for some forty years now,
and all of them even more strongly marked than
before: ultra-Toryism, delight in cudgel-play, inex-
haustible robustness and gusto, profuseness both of
matter and of statement, and a catholicity — or
should we say indiscriminateness ?—of vocabulary
that reminds one of Burton's translation of the
"Arabian Nights." Only one new trait appears:
the attacks that his last four or five volumes have
drawn upon him have made him, as he puts it, most
astonishingly "cautious in fending off carps." And
I seem to find him more frequently and genuinely
than before admitting the possible fallibility of some
of his conclusions. His style may be irritating to
many—it is to me—but it reveals the man himself,
quite unashamed, as he recognizes humorously when
he speaks of "almost innumerable forms of individ-
ual eccentricity, from those of Carlyle and Meredith
to those of Cluvienus and myself." Nevertheless,
the book is notable, both as the first extensive and
comprehensive study of its subject, and as funda-
mentally sound and discriminating.
Inasmuch as the only predecessors whom Profes-
sor Saintsbury mentions are Bishop Hurd and John
Mason, both about the middle of the eighteenth
century, it is well to begin with a brief statement
of the investigations of two more recent men, who
approach the subject in ways sufficiently different
to be of service in discussing the volume under
review. In the "Proceedings of the Modern
Language Association" for 1904, Professor F. N.
Scott published a paper on "The Most Fundamental
Differentia of Poetry and Prose," and in 1905
another on "The Scansion of Prose Rhythm." In
the first paper he searches into primitive causes of
expression to find the difference. He concludes
that in the beginning vocal utterance was for the
sake of giving vent to emotion or for the sake of
communication. Very often, indeed, it served both
purposes, though nearly always with one intention
dominant. In both kinds of expression he finds a
rhythm, a tendency for the voice to rise and then
to fall, since "for physiological and psychological
* A Histoby or English Prose Rhythm. By George
Saintsbury. New York: The Macmillan Co.
reasons all vocal utterances are rhythmical." In the
expression of emotion the rhythms tend to repeat
regularly, that is, metrically; in expression for com-
munication the rhythms vary in length. In prose
literature, he maintains, the rhythm is always there
— unless a writer is so hampered by his notions of
grammar and of conventional expression that his
writing has little in common with speech. In the
second paper Professor Scott plots the curves of
these prose rhythms, and finds two main classes.
In the first the climax is at the apex of the curve,
in the second it is somewhere on the down-stroke
of the curve, usually near the apex. Both of these
classes vary infinitely in their length, in the length
of the two phases of the curve, and in the presence
of minor apexes in the course of both phases; also,
the two kinds are not infrequently combined. Pro-
fessor Scott does not attempt to judge the excellence
of any particular rhy thmed prose; he merely insists
that rhythm is almost inevitably present. If I
report him correctly, however, he intimates that the
rhythm grows more marked as the prose grows
more oratorical.
In 1910, Mr. P. Fijn van Draat of Utrecht pub-
lished in Anglisti&che Forschungen a treatise of
145 pages on "Rhythm in English Prose," which
he has since supplemented by papers in Anglia for
April and November, 1912. In his introductory
paragraphs he tells us how he happened upon his
quest and what his goal is.
"I had been reading Bernard Shaw's 'Ton Never Can
Tell,' and laid down the book, inwardly thanking the author
(or the pleasant evening he had given me. . . . Presently I
began to ponder why in this lilting title, 'Vou never can
tell,' the adverb 'never' in spite of all rules of grammar
preceded the auxiliary. 'You can never tell' it ought to
have been. But no sooner had I changed the word-order
than I found that the great charm of the title was gone.
Where was the curious lilt that had given the words that
haunting ring? No, there could be no doubt about it: in
the face of all grammar the title should be: 'You never
can tell.' And none other.
"So the ordinary word-order had been departed from for
the sake of this pleasing lilt, this rhythmical movement. Was
this a solitary instance, or — as was more natural to suppose
— had the striving after rhythmical movement — conscious
or unconscious—made itself felt in any other way? Would
it give us a cue to a few at least of the unsolved problems
of grammar? The more I turned the subject over in my
mind the more I became convinced that I had struck gold;
that not one or two, but a dozen, phenomena, unaccounted
for until now, ceased to puzzle me the moment 1 approached
them from this point of view. It suddenly became clear
now why in Old English we seldom read about 'A elf red
cyng' but about' Aelfred cyning.' I could now account for
the use of the preposition 'to' after the verb 'to dare' in:
'He has not dared to do it'; while its absence became
equally clear in: 'How dare you do it?' and in 'He dare
not do it'"
Mr. van Draat's assumptions about the relations
of prose and poetry are fairly indicated by the sen-
tence (from Minor's "Neuhochdeutsche Metrik")
which serves as a motto for his first chapter: "The
history of poetry teaches that it is precisely in highly
developed literature that we find uncertainty about
the boundaries between poetry and prose; there
arise an unrhythmed poetry and a rhythmic prose."


1913]
507
THE DIAL
I question whether the statement thus unequivocally
made is either very useful or precisely true; I think
we shall find Professor Saintsbury's statement of the
case distinctly better. Of the importance of poetry
for this investigation, Mr. van Draat says (p. 8):
"Now, while an unrhythmical prose-writer is hy do means
an ezoeption, an unrhythmical poet is a contradiction in
terms, the essence of poetry — as far as the outward form is
concerned — being rhythm. [' Metre' is the better word
here.] Whereas in prose, therefore, the rhythmical prin-
ciple in the use of to after to make is observed only occasion-
ally, in poetry it is carried through systematically, and it is
for this reason that we make poetry our guide; here we
shall find a systematic application of every rhythmical device
to which the prose-language occasionally has recourse."
Farther on he says (p. 14):
"When we speak of rhythmical prose we do not mean, of
course, unbroken, uninterrupted rhythmical movement; but
prose that evinces a tendency to form rhythm-groups; to
hold closer together, by means of rhythm, words that logi-
cally belong together."
In keeping with this dictum, he naturally concludes
that since poetry is dominated by four measures,
therefore, in rhythmic prose
"We shall avoid a succession of three or more unstressed
syllables, and that no rhythmic prose is possible when many
unstressed words come together; if they do, some stress is
involuntarily laid upon one of them, unless the sense pro-
hibits it."
Fortunately, since all of his investigations turn
upon the insertion or omission of one syllable, or
upon the shifting of accent in certain dissyllables, or
upon shifting word-order (such as the split infinitive,
which he defends at length and successfully), his
questionable statements of larger matters do not
affect the validity of his conclusions about the effect
of rhythm on English grammar. He praises very
highly the Authorized Version, but leaves Professor
Saintsbury to exhaust his vocabulary and his ridicule
upon the unhappy Revisers.
With neither of these investigations has Professor
Saintsbury much in common: he is not primarily
interested either in Volkpsyehologie or in philology.
His whole concern is with the artistic history of
"the other harmony." Let me first take up his
theory. Professor Saintsbury takes as his motto
Qaintilian's dictum that "we cannot speak except
in short or long syllables, of which feet are made"
—a principle that, in English at least, slurs or
ignores the immense number of syllables which
are, strictly, neither short nor long; and indeed
Professor Saintsbury recognizes this qualification
constantly in his scansions, and occasionally in his
comments. Bat no one, I think, will quarrel with
him for accepting as a fundamental axiom the very
earliest attempt to discriminate between prose and
poetry — Aristotle's description of prose as " neither
possessing metre nor destitute of rhythm." Much of
his book is given to illustrating and enlarging upon
this distinction. Of verse, for instance, he says
(p. 342):
"In it the rhythm is always arranged correspondingly,
though sometimes in a very intricate correspondence, with
the answering parte at considerable distances one from an-
other, and though large substitution of equivalent rhythmical
units is in some cases permitted. In other words, the principle
of sameness is that which is at the bottom of it, though this
sameness may be, and in all the very best poetry always is,
allied with as much variety as is consistent with its preser-
vation. And one main, if not all but autocratic and automatic,
means of securing this is the division into ' Knee' or ' verses,'
which, in their recurrence, bring out this identity in
diversity."
The scansion of rhythmical prose, however, he tells
us (p. 344), •
■' Is arranged on a principle totally different, and indeed
opposed, when compared with that of poetry. Instead of
sameness, equivalence, and recurrence, the central idea turns
on difference, inequality, and variety. And though a certain
amount of correspondence is introduced by the necessary
presence of the identical quantity-combinations called feet,
these are to be so arranged that they will not constitute
metre."
In his final classification, Professor Saintsbury
has four forms or groups of forms:
"I. Poetry or metre.
"II. Unmetrical or only partially metrical poetry, which,
however, retains the arrangement of ' verse,' or division into
sections not identical but corresponding with one another,
definitely separated by a considerable pause, which is not
determined strictly by the sense. [Here belong Ossian,
Blake, and Whitman.]
"III. Fully but strictly rhythmical prose.
"IV. Prose in which rhythm, though present, is subordi-
nated to other considerations."
The third of these divisions is the main subject
of this book, with only such attention to the fourth
as is necessary for discussing the prevalence, char-
acter, and quality of the third at various periods.
Almost inevitably, Professor Saintsbury puts Sir
Thomas Browne at the absolute apex of accomplish-
ment in what he calls "symphonic or polyphonic"
rhythm. Of this "ornate style" he remarks
(p. 203):
"It is obvious that extremely, delicately, and compli-
catedly rhythmed prose of this kind is by no means exten-
sively or universally fit for what has been called 'the
instrument of the average purpose.' . . . That style is in-
trinsically unsuitable for direct and methodical exposition;
doubtfully and only occasionally suitable for plain narration;
critically impossible as a vehicle of conversation, scientific
instruction, practical argument, and the whole range or
ranges of what is succinctly called 1 business.' The very
users of it confess this in various ways. We want, as
Beatrice says,' another for working days.'"
Of this plainer prose he says (p. 424):
"We have seen that in the seventeenth-eighteenth century
sober style, though you can apply the system of quantitative
scansion — as you can to almost everything spoken or written
by an educated Englishman — the process has, in differing
degrees, but more or less uniformly in kind, a certain air of
superfluity and nnnaturalness. It neither evolves nor ex-
plains any music: it merely shows that there is little or none
to be explained or evolved."
It follows naturally that Professor Saintsbury
does not assign the highest rank to any prose that
is markedly rhetorical or oratorical, although he
does grant considerable importance to the part
rhetoric has played in awakening men to the possi-
bilities of decorative prose. He points out, for
example (p. 108), that
"Logical arrangement of thought, though it has sometimes
failed to be rhythmical, lends itself with remarkable ease to
rhythmical arrangement. The barest syllogism has a cer-


508
[June 16
THE DIAL
tain rhythm; and when that syllogism is clothed and ex-
tended rhetorically, it is the fault of the writer if he does
not develop the rhythm likewise."
And in discussing "Euphues" he remarks that
*' The everlasting see-saw of antithetic balance almost inev-
itably spoils the rhythm which it is intended to provide.
. . There i'» rhythm; bnt its perpetual correspondences,
more or less clumsily fulfilled, defeat the purpose, fail to
pay the debt of the elusive, undulating, and continually
various Harmony of prose " (p. 181).
Bat he concludes that
"After all, whatever be the foibles of Euphuism, it stands
for the first deliberate and elaborate attempt at making
prose ornamental, and bringing it into definite decorative
order" (p. 133).
Judged by his standards of rhythm, oratory rarely
deserves high praise, for, as he says at the beginning
of his discussion of Burke (p. 273) oratorical rhythm
per se (as has been observed almost to satiety, no
doubt) is somewhat limited. But a few pages later
he quotes the famous passage beginning "It is now
sixteen or seventeen years since I saw the Queen
of France, then the Dauphiness, at Versailles," and
after admitting its sentimentality, he declares that
anyone who
"Can regard it impartially . * . will be puzzled to find in
English for more than a century before it, a more beautiful
passage merely as harmonious phrase. The rhythm is still
generally of the kind we have been discussing — stepped
and paralleled and balanced. Except in these ways, the
author's chief device of variation and harmonic contrast is
connected (as we have Been had become usual since Addison)
with the ends of the clauses and sentences —' years' and
'at Versailles';'orb,' * touch,' but then ' vision'; the descents
of the next two sentences to the contrasted syllables of' joy'
and 'fall'; and so throughout. But, in its own way, in the
juxtaposition of long sentences and short; of rising and
falling clauses; even, a new thing to be thought of, or rather
an old one revived, in the vowel-sound of the paralleled
word-groups ' that sensibility of principle,'' that chastity of
honour,'— the thing is a masterpiece — a little in bravura
perhaps to those who, while doing its form justice, do not
sympathise with its matter, but certainly something much
above bravura to those who do" (p. 277).
Many passages of De Quincey he praises highly
(once he even says that " Browne might have written
some "), but of the famous "Bishop of Beauvais!"
peroration of his "Joan of Arc" he complains that
"It is noisy, and blares,— which rhythmical prose should
never do, though verse sometimes may. The moment that
one note in prose so overpowers the next that you cannot
attend to it, the error of oratorical style, and the Augustan
system, returns " (p. 300).
And he remarks of De Quincey, Wilson, and Landor
that
"In fact, all these pioneers of polyphonic prose are apt, and
naturally enough apt, to dip into the harangue, and in so
doing to revert to the old alternation of antithesis and bal-
anoe, instead of the continuous meander of true rhythmical
prose that is not oratory " (p. 324).
Finally, in his Conclusion, he points out in some
detail the defects of the qualities of oratory which
deny to it the highest flights of true rhythmical
prose (p. 463):
"In actual spoken oratory, or in very rhetorical written
passages, epanaphora may be effective; but it is too rough
and boisterous an instrument for higher prose, nor can the
looser rhythm tame and train it as does the stricter metre.
And, once more, it and all forms of repetition, down to the
careless recurrence of a single word except in a markedly
different sense, without any special rhythmical stress on it,
are dangerous, because they are in a manner rebel to the
same great Law of Variety. Epanaphora and similar forms
of repetition are good (when not abused) in verse, because
they are in accordance with its Law of Recurrence. They
are bad in prose for an exactly corresponding reason."
So much for Professor Saintsbury's theory, which,
however obvious in some respects and debatable in
others, has nevertheless this merit: it sets forth in
discriminating terms and from a consistent point of
view the varieties of rhythmed prose in English.
And the discrimination is the important thing. We
need not, for example, agree with his ranking of
oratory, but he has made clear that the rhythms of
the orators are not like the rhythms of Browne and
Taylor and Newman and Pater and Ruskin.
His scansion—the practical application of his
theory to details of rhythm — is thoroughly charac-
teristic. At the outset he gives us a Table of Feet
in which he marshals, with all the pomp and circum-
stance of their classical names, the various feet which
he finds in rhythmical prose. In this table, besides
the four dissyllabic feet and the three trisyllabic
ones common in our English verse, he musters five
of three syllables, ten of four syllables (all, by the
way, reducible to combinations of dissyllabic feet),
and ends with the "dochmiac," which convenient
epithet applies to any foot of five syllables in
whatever combination of short and long. In a note
he adds that "Monosyllabic feet, with the syllable
necessarily long, are very frequent."
The most interesting of these feet is the dochmiac,
of which he says: "In English prose those contain-
ing two long and three short are perhaps the com-
monest, arranged in their different combinations.
One long and four short, similarly varied, is not
uncommon; and three longs with two shorts inter-
vening may be found; but more than three longs, I
think, never." Now, since Professor Saintsbury
rather scorns statistics, I could not resist the tempta-
tion to check up his deductions by an appeal to his
own practice. Out of the first hundred dochmiacs
which he marks in his scansions, two-thirds have
only one long syllable, and only two have three longs
(in both cases the first three syllables). Of the five
possible varieties with only one long, he did not mark
any in which the long syllable is the first of the five;
and of the ten possible varieties with two longs, he
marked no cases in which the two longs were the
last two in the foot. In his hundred cases he has
only fourteen of the possible twenty-five varieties,
and a half dozen of the fourteen comprise eighty-two
of the instances.
As I read the passages which Professor Saints-
bury has scanned for us, it seemed to me that on the
whole he chopped the rhythms up too much, and
used too many feet of one, two, or three syllables:
these short feet often made my reading drag,
whereas more feet of four or five syllables would
have corresponded better with the rapidity of the
passage. Upon trying, therefore, to see in how many


1913]
509
THE DIAL
instances I could have combined these short feet into
dochmiacs, I found that in the passages in which he
marked a hundred, 1 could have marked a hundred
others. Evidently Professor Saintsbury is not unduly
given to finding these longer feet. Scrutiny of the
two lists, however, brought out some curious facts.
The type which he uses most (two shorts, long, two
shorts, marked 33 times) he never avoids; and the
two types he avoids most (the two combinations
of anapest and iamb) he uses only two and three
times each. The only type as to which use and
avoidance seemed at all equal was the short-long-
short-long-short, which he marked nine times and
avoided fifteen times.
One might suppose that in the case of the long feet
the number of polysyllables would be important, for
Professor Saintsbury rarely ends a prose foot within
a word, as we so commonly do in verse. As a
matter of fact, syntactical groupings are the most
important, for only fifteen of his dochmiacs consisted
of single words — fourteen of them nouns, and ten
of these in Browne. (Diuturnity, annihilation, pro-
prietaries, and perpetuation illustrate the four types
he marks.) Half of his dochmiacs consisted of
three words, and about two-fifths of only two words;
but he makes only seven of four words, where my
own list has thirty-four instances.
When we turn again to less drily technical matters
and inquire what Professor Saintsbury has to tell us
about the history of English prose rhythm, we find
in brief this: In Old English we find men who wrote
prose that shows conscious, deliberate, and successful,
though limited, artistry; but the later loss of inflec-
tion and the introduction of Romance elements would
have left even notable work to be done all over
again. The rather sudden and wonderful blossoming
of polyphonic harmony in the prose of the seven-
teenth century (as in the nineteenth, coming later
than the great poetry) he recognizes and praises,
but does not explain. It is easier to show how it
brought — just because it was obviously not "the
instrument of the average purpose "—what he calls
the "concurrence of the plain" style, which the
Augustans were to elaborate somewhat into the
"standard" style so long thought especially appro-
priate to history. Later — to pick phrases from a
whole page we have not space to quote—after so
long a prevalence of the plainly phrased style, the
opposite kind would have its turn. Almost all the
particular*agencies in the Romantic Revival helped:
the taste for the picturesque, and for the exotic;
the reverence for Elizabethan and seventeenth cen-
tury literature; the great development of critical
appreciation, as distinguished from rule-criticism;
and finally the movement against monotony, uni-
formity, convention, almost necessitated the return
to complicated values and irregular outlines. The
taste for the picturesque, as he could hardly help
observing, was a main factor; but it is curious (and
he does not, I think, note this) that the great prose
of the seventeenth century was not pictorial.
Of specific analysis of the work of individuals,
and appraisement of their work, the book is full.
Curiously, considering his insistence that rhythmic
prose must avoid metre, and the number of instances
in which he points out adroit avoidances of it, he
does not object to the ''batches of blanks" (horrible
phrase!) in Ruskin.
The book is largely pioneer work, but it seems to
me just now to have more substantial merits and
fewer weaknesses than are usual when one man at-
tempts for the first time to cover so large a field.
At any rate, it seems noticeably better work than the
same author's "History of Criticism " or his "His-
tory of English Prosody."
Edward Payson Morton.
Briefs on New Books.
a plea for the A masterly array of facts regarding
preservation of tDe remnant 0f the wild game of our
our wild life. . 3 ° .
continent, and a cogent plea for in-
telligent interest and effective action for its preser-
vation, is contained in Mr. W. T. Hornaday's vol-
ume, " Our Vanishing Wild Life: Its Extermination
and Preservation " (Scribner). Forests, water power,
and even fertility of the soil may perchance be re-
stored when depleted, but no miracle of conservation
can bring back to us a vanished species of bird or
mammal. The present generation, assisted by rapid
transportation, improved fire-arms, smokeless pow-
der, the "Maxim silencer," the "pump gun," and
like abominations, is depleting at an ever accelerating
rate every species of game bird and mammal under
the legal permission of laws framed all too often
solely in the interest of sportsmen. Illegal shoot-
ing of non-game birds and mammals, and their
gradual depletion by the destruction or modification
of their native feeding and breeding grounds, com-
bine to reduce still further our wild life, and in many
cases to bring it near or quite to the vanishing point.
Mr. Hornaday's book bids us pause and consider
whether or not we have the right to rob future gen-
erations of their privileges of enjoyment of this phase
of nature simply to gratify our desire to kill or to
flaunt the borrowed plumes of some breeding bird
for an ornament The call by women for aigrettes
has all but exterminated the heron, and these plumes
now bring over fifty dollars an ounce in the world's
markets. The birds of paradise are doomed, and
tens of thousands of tiny humming birds are mar-
keted every year at the wholesale price of about two
cents per skin. The women of civilized countries
can stop this wholesale extermination if they will.
The plume hunters are skilful villains, and know
their business. They move from land to land, as
legal restrictions and extermination of their quarry
compel them. Nothing short of the cessation of
the demand for the plumage of wild birds for
millinery purposes will save any bird, protected
or unprotected, which the trade demands, from


510
[Jane 16
THE
DIAL,
swift extermination. Dr. Hornaday's treatment
is constructive as well as critical and denuncia-
tory. The effective organization of the protective
work of the Audubon Society of America, the bird
reserves, the State and national protective measures
are all described. It is the duty of men of science
to take intelligent steps to secure effective legislation,
of the schools to teach conservation of wild life, of
the hunter to maintain a higher standard of sports-
man's ethics, and of the State and nation to act
promptly, intelligently, and effectively in order that
all may cooperate to conserve for the future the
vanishing remnant of our wild life.
In recent years there has appeared
ChuHaif a 8e"es 01 histories and biographies
by writers of Roman Catholic per-
suasion, the purpose of which seems to be to explain
or justify the part played by Catholic leaders in
England in the sixteenth and seventeenth centuries.
Chief among these writers is the Abbot Gasquet (a
historian of judgment and ability), Miss J. M. Stone,
and Mr. Martin Haile. To this group we may,
perhaps, add Miss Henrietta Haynes, whose recent
biography of Queen Henrietta Maria is written from
the same viewpoint, though the author's own relig-
ious attitude can scarcely be inferred from her cau-
tiously written narrative. Miss Haynes has not
been fortunate in her subject: Henrietta Maria was
not a great woman, and her career, as the biographer
confesses, was a failure. But she occupied an im-
portant position in a great crisis, and we are glad to
know her more intimately than we have in the past.
It is clear from Miss Haynes's account that for the
King's difficulties in the earlier years of his reign
the Queen was not much to blame: she came to
England at the age of sixteen when the trouble was
about to begin, and can have had but little influence
on events. Still, she did cause trouble in the royal
household, for she was an ardent Catholic, and was
surrounded by servants of her own faith. It is the
author's opinion that these servants were stupid and
tactless, and that the King was justified in sending
them back to France. As the years passed, the
Queen's influence with the unlucky Charles in-
creased, with the inevitable result that Puritan hos-
tility toward the Stuarts was intensified. The chief
value of Miss Haynes's work lies in her study of
the Queen's relations with the Romanists, both in
England and abroad, before and during the civil
war. In her efforts to advance the cause of her
faith in England, she displayed much zeal, but little
wisdom. "It is hardly too much to say that she
pulled down her husband's throne to help her co-
religionists." And in the end she gained nothing
from it Interesting facts that bear on the perpetual
conflict between the Catholic factions in England
are also brought out, and some attention is devoted
to the attitude of papacy toward the troubles of Brit-
ain. There are also valuable chapters on the Queen's
activities during the war and the period of exile.
Miss Haynes has drawn her information largely from
Catholic sources, and has apparently discovered mate-
rials that have escaped the search of earlier historians
of the Stuart period. In her narrative she seems to
be unusually free from prejudice, and makes no effort
to magnify the virtues and abilities of a Queen who
possessed these in a moderate degree only. Twelve
excellent illustrations, chiefly portraits, help to give
reality to the personal side of the story. (Putnam.)
The hitherto Among all the reforms clamoring for
neglected telenet consideration in these piping times
of ga,tronomv. ol progression, Mr. Henry T. Finck,
it would seem, has in many ways the most rational
one of all, and the one least calculated to disturb
any vested interest that has a right to live. Its
creed and platform, constitution and by-laws are set
forth in "Food and Flavor: A Gastronomic Guide
to Health and Good Living" (Century Co.), a work
as appetizing as any chapter of Dickens. It has
two distinct aims, of which the first is the rescue
of the sense of smell from a remarkable amount of
ignorance and false teaching. What we know as
the sense of taste, it seems, goes only so far as to
permit us to discern six several things, i. e., whether
a given subject on the tongue is sweet, sour, bitter,
salty, alkaline, or metallic — as those with a severe
cold in the head may have had occasion to observe.
All the other delights of food and drink depend di-
rectly upon the sense of smell. This is Mr. Finck's
own contribution to science, and it assuredly gives
him title to discourse as freely as he pleases upon
flavors, since he is the first to learn how they are
best discerned. But he adds to this a really erudite
knowledge of good food, at least as far as the
United States and the countries of Europe have
good food. He has taken a number of journeys,
every one of them as filled with gustatory pleasure
as Sterne's was with sentiment, and has brought
back something worth remembering on every one
of them. It has been pointed out that man can live
on ten cents a day, and so everything above that
sum is paid out for Flavor (the word is capitalized
throughout the book); and Flavor cures dyspepsia,
decreases divorce, promotes friendliness, decreases
the possibilities of war, improves the disposition, and
really advances any number of reforms that might be
mentioned. Moreover, it makes for conservatism,—
as Washington Irving observed, "Who ever heard
of a fat man heading a mob?" The book is well
illustrated by Mr. Charles S. Chapman."
Unfrequented The raPid development of recent
traiu through years has robbed some of the garden
California. gpote of California, notably in the
south, of the atmosphere of romance and of frontier
life which enveloped Alta California of the old
Spanish regime. The bands of peaceful Indians
whom the padres gathered about their missions have
mostly vanished, and the mission bells summon an
alien race to inspect but not to pray. The great
ranches, with their wide acres and great herds,
have mostly passed under the hammer of the real


1913.]
511
THE DIAL,
estate auctioneer. He who would find unspoiled
any trace of New Spain in the Golden State must
seek it to-day far from the beaten path of the tourist
and out of sound of the honking automobile. Mr.
J. Smeaton Chase, in his new book entitled "Cali-
fornia Coast Trails: A Horseback Ride from Mexico
to Oregon" (Houghton), found a surprising amount
of this older phase of California life, and portrays
it with exquisite sympathy. He exhibits a fine
appreciation for nature in all her moods of sun and
fog, and in all her aspects of desert, chaparral, and
redwood forest, which so uniquely characterizes the
varied coast of California. Mountain and sea meet
along our Pacific shores mostly in precipitous
cliffs, at whose inhospitable feet the ocean swells of
the wide Pacific roar incessantly and break in foam.
No camino real skirts this shore, and the traveller
must find his way from ranch to ranch by dim and
winding cattle-trails, and chance the quicksands at
the fords of the almost dry beds of the streams.
Less romantic in historical perspective, but no less
beautiful and interesting, is the trip through the
redwood forest belt of the State, north of the Golden
Gate. The California here revealed by the author
is the real one of the untarnished frontier, where
the wide expanses of land and sea fill and satisfy
the spirit, for the time at least, and the whirl of the
street and the noise and the grime of the mart seem
far away. In Mr. Chase's pages the call is sounded
for every California rover to take to the trail.
NeUon't life Miss E. Hallam Morehouse's account
andauoeiatiom of "Nelson's Lady Hamilton" will
in England. be remembered as an admirably can-
did treatment of a difficult subject, and should secure
attention for her newer work, "Nelson in England"
(Dutton). This latter takes up a fascinating corner
of a topic that has received less attention than it
deserves, ransacks it thoroughly, and places the re-
sults before the reader in a way that does not detract
in the least from that fine humanity which has made
the great admiral almost the most human of the
major characters of history and the most lovable of
conquerors. Not only this, but it brings out the
positive genius of the man, from his uninteresting
boyhood and youth, so ridiculously normal in the
light of the fate before him, through to the wonder-
ful end which left England as proudly tearful as
when the immortal Sidney gave up his life for his
fellows and his country. The means whereby this
praiseworthy result is attained are the simplest.
Practically all that Nelson did when away from his
native soil is eliminated from the narrative, only so
much as tends to throw light upon his conduct in
England itself being retained for purposes of con-
nection. His life as a boy in a country parsonage,
his years in a school of little note, his boyish choice
of the sea as a vocation, a choice reached boyishly
and with no more apparent sense of his complete
fitness for mastery than comes to other boys, his
youthful hopes and almost more frequent youthful
disappointments; and then a fame, attained quite
as much in spite of things as because of them, that
has lifted him into the immortal throng whom we
know as "Plutarch's men." In this book the stress
is on Lady Nelson, rather than on the woman whose
beauty was fit companion for Nelson's valor, and
there is no shirking of the problem presented—and
no solution of it, either, except on the plea of the
genius that can command anything in this world,
once it is established in the minds of men. There
are numerous illustrations, all of unusual interest,
and a general impression of a well-rounded whole,
sympathetic and readable, such as a thoroughly
good biography should have.
Sane reflection, Mr- Edward Sandford Martin's
on everyday humor, always as spicy and aro-
American life. matic, as normal and sane, as a
June rosarium, is at its best in "Reflections of a
Beginning Husband" (Harper), wherefrom one
may discern that we have a rational civilization in
these United States, at least in spots,— perhaps,
even, that it is not as spotted as our European
kinsfolk think. While other writers of fiction are
interested in construction and dialogue, plot and
"punch," thrill and sensation, problem and solution,
Mr. Martin satisfies himself—and his readers —
with an entirely normal pair of happy human
beings. The beginning husband is a young lawyer
in a good firm with excellent connections, the scion
of a good stock, and with sixty dollars a week by
way of income; the wife with whom he begins
(and ends) the book is also the scion of a good old
stock, the child of parents wealthier than his own,
if anything, but entirely suited to him in social
station, education, tastes, and habits. And they
marry, and have a baby, and live within their
income, and have pleasant friends, and all the de-
lights of life, just as most of us would have them
if we could select our surroundings with as much
discernment as Mr. Martin has drawn his charac-
ters. The book abounds in what is called "dry"
humor, the narrator having energy enough left after
his day's work to see the fun in life; and the reader
may be warranted a smile with him on every page.
The dying ga,p, The present unrest in eastern Europe,
of Turkey culminating in what seems likely to
in Europe. j,e the downfall of Turkey's Euro-
pean empire, impresses Captain B. Granville Baker
as having points of resemblance to the great "Volk-
erwanderung" that fifteen centuries ago wrought so
great a change in the map of Europe. In his timely
and instructive volume, "The Passing of the Turkish
Empire in Europe" (Lippincott), he forecasts the
future by help of the past, arriving at the conclnsion
that "it may be taken for granted that the Ottoman
Empire as a European Power is a thing of the past,
that all those provinces carved out of Europe by the
sword of Othman have been lost by the sword, and
that of Turkey in Europe nothing remains but the
strips of land which the Allies are pleased to leave
to their old enemy. Constantinople will remain


512
[June 16
THE
DIAL
Turkish for some time yet — ten years, perhaps
fifteen—but methinks the Turk is tired of his stay
in Europe, that he will soon pack up his small posses-
sions and return to Asia Minor, whence he came."
In the expansion of crowded Slavic and Teutonic
peoples toward the territory so long held by the
Ottoman invaders, Captain Baker somehow contrives
to persuade himself that there is menace to the se-
curity of the British Empire. "Germany is daily
perfecting an already formidable navy," he warns
his fellow-countrymen, "for flank defence first, then
for further enterprise; Austria has recently greatly
added to the budget for naval and military purposes,
and the road to Saloniki is no longer closed by
Turkey; Italy, with her considerable naval power,
is allied to Germany and Austria. What is Great
Britain, the vast Empire encircling the moving
forces from west to east, doing towards her own
safety?" Germanophobia, evidently, was not the
least of the motives impelling the author to write his
book; and of course the lesson, or one of the lessons,
it is intended to teach is the necessity of a bigger
army and navy. Skilfully executed drawings from
Captain Baker's own pencil, together with a map of
Turkey in Europe, add to the interest and value of
the book.
No book could be more timely, in
at'oeavibu'a. this tne semi-centennial year of the
pivotal battle of the Civil War, than
Mrs. George E. Pickett's romance, "The Bugles
of Gettysburg" (F. G. Browne & Co.), which com-
memorates her late husband's heroism in that des-
perate encounter, and at the same time tells the love
story of Colonel Jasper Carrington and Catherine
Marshall. It pictures the Virginia of fifty years ago,
the conflict of emotions with which loyal Virginians
took up arms against the flag of their country, the
high hopes and fine enthusiasm of those who dreamed
of and fought for a "free South " and a " new nation,"
and the sacrifices they cheerfully made in the gallant
endeavor to realize their dream. Jasper Carrington,
a young lieutenant and graduate of West Point,
stationed at a far-western post with Captain Pickett
when news reached him of Virginia's secession,
resigned from the army, as did his captain also,
and both made their way by a long and circuitous
route to the old home. Kate Marshall was waiting
in suspense to learn whether her lover would
espouse the Union cause or draw his sword for the
Old Dominion and the South. Narrow escapes
from arrest as a deserter, dangers to his life from a
rival suitor for the heroine's hand, with perils of the
battlefield, where indeed he is seriously wounded,
combine to make the hero's fortunes interesting to
the reader, as they did to heighten and prolong the
loving anxiety of his sweetheart. General Pickett,
the admiration and inspiration of those under him
and of those associated with him, plays of course
an important part in the drama, whose climax is
reached on the field of Gettysburg. In subordinate
details, the presentation of the old Virginia negro,
the faithful family servant, is especially good.
"Uncle Zeke," who held that "a lie is a abomina-
tion ter de Lawd (en a ve'y present help in time
er trouble)," and "Old Pete" and "Black Pomp,"
are all drawn to the life. The tone and atmosphere
of the book bear evidence of long and faithful pre-
paration for its writing. A frontispiece illustration
shows General Pickett leading his men in the famous
charge that has immortalized his name.
Sketchei of ^he "World's Leaders" series
tome great (Holt) has been increased by the
conqueror,. publication of a volume entitled "The
World's Leading Conquerors," a compact, thought-
ful, and at the same time very pleasantly written
pieceof work from the pen of Professor W. L. Bevan,
of the University of the South. The "leading
conquerors" whom Professor Bevan has chosen to
discuss are Alexander, Caesar, Charles the Great,
the Ottoman Sultans from Osman to Souliman,
Cortez, Pizarro, and Napoleon. Sober, objective,
cautious, convinced that Caesar's commentaries are
too vague and untrustworthy to have great value and
that their author "added nothing new to the art of
war," that Charlemagne's work left no permanent
impression, the historian is very chary of super-
latives, although he closes his volume and his
biography of the great Corsican with the admission
that "In spite of all his limitations, it seems im-
possible to point to a more marvelous career in the
annals of humanity." Certain of the chapters,
notably those on Charlemagne and the Spanish
Conquistadores, are made up largely of detailed and
valuable studies of manners and customs; these
are unquestionably the best part of the book, but
they have no proportional equivalents in the other
chapters. It is to be regretted that there are no
maps. A modern atlas would of course be of little
help with most of the book; and though the author
makes frequent efforts to keep us in touch with the
scene of the events he is narrating, by suggesting a
modern landmark in the neighborhood of the ancient
one, the inclusion of a few charts and plans wonld
have been of great usefulness.
With laudable wisdom the Hon.
EnjovabU letter, p^j^ pftlmer author 0f «A Utile
from India. • \ j •
Tour in India (Longmans), denies
the charge of "having written a book on India," de-
claring that "a tour of five months was too long for
such an ambition to survive." Fortunately, however,
he was persuaded to publish some letters mailed to
members of his family; and he thought it better to
leave them with their "sundry monstrosities of syn-
tax—barbarous parentheses, unattached pronouns
and mixed tenses," than "to disguise rough impres-
sions with a thin varnish of literary elaboration."
The result is an entertaining volume marked by
refreshing informality. There is no savour of the
guide book; nor does the author ever pretend to
speak with authority. But Mr. Palmer is an edu-
cated Englishman, who had read and talked much


1913]
513
THE
DIAL
about India before he boarded the steamer; and he
associated intimately with a number of people who
knew their parts of India very intimately. (The
Right Reverend Edwin James, Lord Bishop of
Bombay, is "Jim" throughout these pages.) Above
all, our traveller's eyes and ears were ever intelli-
gently open. He went everywhere and saw every-
thing, and wrote down his impressions while they
were still fresh. Thus his contributions range
through wide and varied fields, from an admirable
description of the durbar and notes on Indian politics
or economics to all sorts of minor details, including
a picture of two impish young Hindus who suddenly
went flat on their faces and crawled under a rope
attached to the hind leg of a dismal old cow, "ex-
plaining with grins that it was not right to show dis-
respect to cows." In the chapter on Kashmir, most
American readers would gladly exchange some of
the minutiae of duck hunting for additional descrip-
tions of life and scenery; but an Englishman must
shoot. The letters are lively, readable, and unin-
tentionally instructive.
Two books with titles that are practi-
lum^'eakin,,. cally synonymous,-the Rev. Thomas
Tait's "How to Train the Speaking
Voice" (Doran) and Mr. Edwin Gordon Lawrence's
"How to Master the Spoken Word" (McClurg),—
bespeak the importance of elocution and oratory for
the English-speaking race, here and in the antipodes.
Mr. Tait, a master of arts and bachelor of divinity,
holds a cure in Christchurch, New Zealand, and was
formerly lecturer on elocution in Melbourne Univer-
sity; Mr. Lawrence is known as a teacher in the
same field and as the author of several valuable
works on the subject. This latest book of the latter
has for a sub-title the statement that it is " designed
as a self-instructor for all who would excel in the
art of public speaking," and it covers the ground
both by precept and example. But it really takes
up the art about where Mr. Tait leaves it. The latter
is concerned with the elements, the former with the
finished product of the schools. Mr. Tait is explicit
in regard to the simpler and more fundamental
things, as if his public lacked the clearness of speech
and power to make itself heard that Mr. Lawrence
takes for granted. In few words, and those easily
comprehended, the Australasian shows how to speak
simply, articulately, and audibly, how to read with
comprehension and deliver with effect, and there he
ends his little book. Mr. Lawrence gives the best
orations of classical and modern times, analyzes
them, and leaves the student who has carefully fol-
lowed him in full knowledge of a great art. The two
books complement one another admirably, and are
worthy of praise.
Reprint of a Dr- Je88e Torrey, Jr., writer on
rare eariv tract education, temperance advocate, anti-
on/ree libraries 8iavery agitator, and author of a
scheme for the establishment of free public libraries,
was born too early to meet with a very general or
cordial response to his various printed proposals for
the moral and intellectual regeneration of mankind,
and even the names of these publications of his are
now all but forgotten. One of them, "The Intel-
lectual Torch," is rescued from oblivion by Mr.
Edward Harmon Virgin and republished as number
three of "The Librarian's Series," which is under
the general editorship of Mr. John Cotton Dana and
Mr. Henry W. Kent. The little tract, whose full
title describes it as "an original, economical and
expeditious plan for the universal dissemination of
knowledge and virtue by means of free public
libraries," gives an account of an actual library
started by the author at New Lebanon, N. Y., in
1804, when he was but seventeen years of age, and,
in addition to other matter in prose and verse,
concludes with a number of essays on the pernicious
effects of indulgence in alcoholic beverages. The
author was his own publisher, and Ballston Spa,
1817, the place and date of the issue of the tract.
An engraved portrait and a silhouette of Torrey are
reproduced for the reprint. Apparently this work
is an addition to the series as originally announced,
or a substitution for some one of the six numbers
named in the prospectus; but no word of explanation
is offered by the editors. Mr. Virgin has unearthed
all that is discoverable concerning the obscure
author whom he edits, and his Introduction is really
the most interesting part of the book. (Elm Tree
Press, Woodstock, Vt.)
BRIEFER MENTION.
Sporadically, we are getting the plays of Bjornson
turned into English. Mr. Edwin Bjorkman now gives
us three of them (Scribner),—"En Hanske," "Over
Mvne I.," and " Det Ny System." We wish that he had
given us instead "En Fallit," "Over JEvne II.," and
"Kongen," because those are three that it is most desir-
able to use for stage-production in English. Perhaps
he will now turn his attention to them.
A report on "The Climate and Weather of San
Diego, California," has been prepared by Mr. Ford A.
Carpenter, local forecaster, under the direction of the
former Chief of the United States Weather Bureau,
Mr. Willis L. Moore. The little volume, which is
freely illustrated with photographs, maps, and charts,
is published by the San Diego Chamber of Commerce.
As dealing with a region which is often said to have no
weather, in the usual sense of the terra, this report is
of much interest.
Publication of a ninth edition, revised, of Mr. Ernest
W. Clement's " Handbook of Modern Japan " (McClurg)
attests the continued and well-deserved popularity of
this compendium of condensed information concerning a
great modern world power. So much of significance in the
history of Japan has been crowded into the eight years
since the volume was last revised, that numerous changes
in statistics and statements have been required. A new
chapter, with new illustrations, entitled "Greater
Japan," ends the volume.
Among other volumes published in celebration of the
half-centenary anniversary of the Battle of Gettysburg,
is a new edition of Mrs. La Salle Corbell Pickett's


514
[June 16
THE DIAL
"Pickett and His Men," a biography commemorating
the author's soldier-husband, one of the foremost com-
manders on the Confederate side, and leader of the
historic charge against Cemetery Ridge on the third day
of the battle. The book is frankly a tribute to General
Pickett and the men of his Division; but as an intimate
recital of the events connected with the battle it will have
an additional appeal. Messrs. J. B. Lippincott Co. are
the publishers of this edition.
In a volume comfortable in size and handsome in
form, the Oxford University Press gives us the "Poems
of Tennyson" as originally published between 1830 and
1870, with reproductions of the beautiful wood-cuts
from the famous Moxon edition as illustrations. Col-
ored reproductions of Watts's portrait of Tennyson and
his "Sir Galahad " are included by way of good meas-
ure; and Dr. T. Herbert Warren, professor of poetry at
Oxford, supplies a pleasant and illuminating introduc-
tion. Except for the fact that it does not include the
poet's latest work, we should say that this was by far
the best single-volume Tennyson to be had.
The little volume of tales translated from the
eighteenth-century Chinese by Mr. George Soulie", and
published under the title of the original, "Strange
Stories from the Lodge of Leisures" (Houghton), affords
an insight into some of the nooks and corners of Taoist
and Buddhist beliefs, and certain of the tales possess a
quaint and delicate charm. The imagination and the
art of the Chinese writer, however, do not maintain the
high level of these few choice stories throughout even
this small volume of selections. The perfection and
lightness of touch of a Lafcadio Hearn, evinced in the
best tales, is inharmoniously matched with the crudity
and formlessness of others.
"Reasons for Reading," by Mr. John Cotton Dana,
comes to us in a beautifully printed folio of barely six
pages of reading matter, with a lavish abundance of
blank pages before and after. The type is thirty-point
Cheltenham, and the edition is limited to twenty-five
copies. The short tract is full of good advice, exhorting
to read first for profit, then for pleasure, and at all times
to practice honesty with oneself and the world in one's
literary opinions, one's literary likes and dislikes. A
larger public than can be reached in this restricted issue
of Mr. Dana's essay ought to have access to it, and it is
to be hoped that it will be made more readily available,
if steps to that end have not already been taken.
Court gossip and intrigue and bickering and bitter-
ness are dished up in highly-flavored form in Countess
Larisch's book of rankling memories, entitled "My
Past" (Putnam), and professing to clear up the mystery
of the tragic end of Rudolph, Crown Prince of Austria.
The purpose of the book, written after a quarter-century
of silence, is explained as a desire to free the writer s
name from intolerable calumnies and slanders that have
caused one of her sons to shoot himself and have em-
bittered the lives of her daughters. Extraordinary
accusations against high personages no longer living
abound iu the sensational narrative of the "Countess,"
who, by the way, is no longer Countess Lariscb, a legal
annulment of her marriage having been effected in
1896, as she herself relates, and a subsequent union with
an untitled person having taken place. The book is writ-
ten in a style to ensure its being read, it is well printed,
well illustrated, well bound, and will for a season take
a conspicuous place in the department of literature
(the chroniques scandaUusea) to which it belongs.
NOTKS.
"The Collected Poems of Alice Meynell" are soou to
be published in a single volume by Messrs. Scribner.
Mr. Hall Caine's next novel, to appear in August,
will be entitled "The Woman Thou Gavest Me: Being
the Narrative of Mary O'Neill."
Another of Mr. Arnold Bennett's "Five Towns"
stories, entitled "The Old Adam," is promised for im-
mediate publication by the George H. Doran Co.
"London: An Intimate Picture," by Mr. Henry James
Forman, author of "In the Footsteps of Heine," will be
issued in the autumn by Messrs. Mc Bride, Nast & Co.
A timely study of "Free Trade vs. Protection," by
Mr. Amasa M. Eaton, for many years a student of tariff
reform, will be published this month by Messrs. A. C.
McClurg & Co.
"Public Opinion and Popular Government," by Pres-
ident A. Lawrence Lowell of Harvard University, will
shortly be added to Messrs. Longman's "American
Citizen Series."
Mr. Arthur Compton-Rickett's study of William
Motris will soon be published by Messrs. E. P. Dutton
& Co. It will contain considerable matter hitherto
unutilized in any way.
The second volume of "The Cambridge Mediaeval
History " is to be published within a few weeks. This
is entitled "The Rise of the Saracens and the Founda-
tion of the Western Empire."
"Mexico: The Land of Unrest," by Mr. Henry Baer-
lein, will be published this month by J. B. Lippincott
Co. It is an account of recent and present-day condi-
tions, based on long observation at first-hand.
A timely account of the battle of Gettysburg, written
by a participant, is announced for publication this month
by Messrs. Harper in Mr Jesse Bowman Young's "The
Battle of Gettysburg: A Comprehensive Narrative."
The interesting papers by Mr. Robert Sterling Yard
which have been appearing recently in various periodi-
cals will be published in book form in the autumn by
Houghton Mifflin Co., under the title, "The Publisher."
A brief biographical and critical sketch of William
Ernest Henley, written by Mr. L. Cope Cornford, will
be published late this month by Houghton Mifflin Co.
This house also has in press a Life of John Bright, by
Mr. G. M. Trevelyan.
"Studies in Love and Terror" is the title of a new
volume of stories by Mrs. Belloc Lowndes which Messrs.
Scribner will publish at once. This house has also in
press a volume on "Charles Dickens and Music," by
Mr. James T. Lightwood.
Frederick A. Ober, well known as an ornithologist
and writer, died June 2 at his home in Hackensack,
N. J., at the age of sixty-four. His published works
comprise many titles, consisting largely of stories of
adventure and history for young readers.
A French estimate of Synge's work and of the present
literary movement in Ireland is announced in "John
Millington Synge and the Irish Theatre," by M. Maurice
Bourgeois. The writer has made a close study of con-
temporary Irish literature in English, and has translated
some of Synge's plays into French.
"The Imprint" is the title of a new English monthly
devoted to subjects of interest to the designer, the
illustrator, and the printer. It is beautiful in typo-


1913]
515
THE DIAL
graphical make-up, interesting in subject-matter, and
distinctively illustrated. American readers of such
periodicals as "The Printing Art" and "The Graphic
Arts" would do well to become acquainted with "The
Imprint," which is published from Henrietta Street,
Covent Garden, London.
Three hitherto unannounced books to be published
immediately by the Macmillan Co, are " The Influence
of Monarchs: Steps in a New Science of History," by
Dr. Frederick Adams Woods; "The Heart of Gaspe","
an account of this little-known region of Eastern Canada,
by Mr. John M. Clarke; and "A Prisoner in Fairyland,"
a novel by Mr. Algernon Blackwood.
Admirers of "The Corner of Harley Street," pub-
lished a year or two ago, will not be surprised to learn
that its author is a physician. Houghton Mifflin Co.,
who publish the book, announce the real name of Peter
Harding to be Henry Howarth Bashford, a London
physician who is still in his early forties. He holds an
important position with H. M. Civil Service, and is the
author of several novels.
The appointment of three well-known scholars is
announced by Messrs. Houghton Mifflin Co. to assist,
by advice and suggestion, in the development of their
list of books in history for schools, colleges, and the
general trade. The three men chosen are: Professor
William S. Ferguson, Harvard University; Professor
James T. Shot well, Columbia University; and Pro-
fessor William E. Dodd, University of Chicago.
Mr. Havelock Ellis, in his introduction to Mrs.
Nystrom-Hamilton's volume on "Ellen Key: Her Life
and Her Work," an English translation of which,
prepared by Mrs. A. E. B. Fries, will be published this
month by Messrs. Putnam, points out that what Mrs.
Nystrbm-Hamilton has to tell "may be received with
confidence as coming out of the circle in which Ellen
Key has spent the greater part of her active life."
Mr. Edwin Bjbrkman is preparing a volume on
"Scandinavian Literature " for Messrs Henry Holt &
Co. Mr. Bjbrkman contemplates separate treatments
of Ibsen, Bjbrnson, George Brandes, Strindberg, and
Jacobsen. There will be collective treatment of the
lesser men in Norway, Sweden, and Denmark. The
book will not catalogue and describe the work of these
men so much as it will show how their work illustrated
tendencies in modern life and literature.
The tenth volume of "The Cambridge History of
English Literature " is to make its appearance shortly.
It covers "The Age of Johnson," and among the con-
tents are chapters on "Johnson and Boswell," by Mr.
David Nicbol Smith; "Oliver Goldsmith," by Mr.
Austin Dobson; "Richardson," by M. Louis Cazamian;
"Sterne and the Novel of His Times," by Professor C. E.
Vaughan; "The Literature of Dissent," by Dr. W. A.
Shaw; "Philosophers," by Professor W. R. Sorley;
"Gibbon," by Dr. A. W. Ward; and "Hume and Modern
Historians," by Dr. William Hunt.
Mr. Cobden-Sanderson, of the well-known "Doves
Press," at Hammersmith, London, announces the aban-
donment of his scheme for the publication of Shake-
peare's works, which will not now be carried farther than
the three Roman plays and the poems. One reason for this
alteration of plan will be received with regret — namely,
the " not remote closure of the Press." The reason for
this is the growing strain of reading, revising, and
passing the printed sheets, work which, with the design-
ing of the books, is peculiarly his own. "This has grown
of late with an increasing pace in the grey twilight of
our wintry weather." He is thus " constrained to forego
at last the delight of projects which seemed ever to
multiply with the work, and the years "; and "to adjust
his eyes to other scenes and his hopes to far other
projects." There are, however, to be some final publica-
tions of the Doves Press, which "shall serve as far as
possible to round off the range of thought and expression
comprised in the publications of the Press and the
variety of the problems whose solution it has been the
primary object of the Press to achieve."
Coincidentally with the issue of the last two vol-
umes of John Bigelow's "Retrospections of an Active
Life " comes the announcement that plans are on foot
for the erection of a memorial to that statesman,
diplomat, and seholar. The committee having the
matter in charge, headed by Hon. Joseph H. Choate,
has sent out circulars calling for subscriptions, and
saying that it is felt the most fitting memorial to Mr.
Bigelow would be a building on the campus of Union
College, Schenectady, N. Y, from which Bigelow was
graduated, and also the establishment of a Bigelow
Professorship of Political Science in that college.
Serving on the committee with Mr. Choate are such
men as Messrs. Oswald Garrison Villard, Charles E.
Hughes, Andrew Carnegie, Elihu Root, and many others.
The retirement of Mr. Robert Underwood Johnson
from the editorship of "The Century Magazine," and
the appointment of Mr. Robert Sterling Yard (formerly
of Moffat, Yard & Co.) as general manager, call atten-
tion anew to the revolution that has of late been effected
in the conduct of monthly periodicals. It is the busi-
ness end of such publications that is now considered
all-important, and a J. G. Holland (the "Century's"
first editor, before it changed its name of "Scribner's
Monthly ") is no longer the man desired for the control
of a great magazine — a necessary result, no doubt, of
the increased and increasing specialization in all activ-
ities, literary and other. Mr. Johnson has been so long
connected with "The Century," of which he has been
editor-in-chief since Mr. Gilder's death, that his retire-
ment cannot fail to cause widespread regret.
List of New Books.
[The following list, containing 184 titles, includes book)
received 6y The Dial since its last issue.]
BIOGRAPHY AND REMINISCENCES.
The Life and Letter* of George Gordon Meade. By
George Meade; edited by George Gordon Meade.
In 2 volumes; illustrated In photogravure, etc.,
large 8vo. Charles Scribner's Sons. $7.60 net.
From Studio to Stage: Reminiscences of Weedon
Grossmith, Written by Himself. Illustrated in
photogravure, etc., large 8vo, 367 pages. John
Lane Co. $4 net.
My Life. By August Bebel. With portrait, 8vo, 343
pages. University of Chicago Press. $2. net.
Pickett and HI* Men. By La Salle Corbell Pickett.
New edition; illustrated, 8vo, 313 pages. J. B.
Llppincott Co. $2.60 net.
Arbella Stuarti A Biography. By B. C. Hardy.
Illustrated, 8vo, 340 pages. E. P. Dutton & Co.
|4. net.
Letters and Character Sketches from the House of
Commons. By Sir Richard Temple, M. P.; edited
by Sir Richard Carnac Temple, Bt. Large 8vo,
622 pages. E. P. Dutton & Co. $3.50 net.
Notable Women la History. By Willis J. Abbot.
Illustrated, large 8vo, 448 pages. John C. Wins-
ton Co. $2.40 net.


516
[June 16
THE DIAL
HISTORY.
The Flowery Republic. By Frederick McCormlck.
Illustrated, 8vo, 446 pages. D. Appleton & Co.
$2.50 net.
A Unity Time In Mexico. An Unconventional Record
of Mexican Incident. By Hugh B. C. Pollard. Ill-
ustrated, 8vo, 243 pages. Duffleld & Co. $3.50 net.
A History of Cavalry from the Earliest Times:
With Lessons for the Future. By George T.
Denlson. Second edition; illustrated, 8vo, 468
pages. Macmlllan Co. $2.75 net.
A Handbook of Modern Japan. By Ernest W. Cle-
ment. Ninth edition, revised and enlarged; Ill-
ustrated, 12mo, 436 pages. A. C. McClurg & Co.
$1.40 net.
George Rogers Clark Papers, 1771—1781. Edited,
with Introduction and Notes, by James Alton
James. Illustrated, large 8vo, 715 pages. Spring-
Held: Illinois State Historical Library.
GENERAL LITERATURE.
University and Historical Add re Me* i Delivered
during a Residence in the United States as Am-
bassador of Great Britain. By James Bryce. 8vo,
433 pages. Macmlllan Co. $2.25 net.
Swinburne: An Estimate. By John Drink water.
With photogravure frontispiece, 12mo, 215 pages.
E. P. Dutton & Co. $1.50 net
The Baconian Heresy: A Confutation. By J. M.
Robertson. 8vo, 612 pages. E. P. Dutton & Co.
$6. net.
Slrenlca. By W. Compton Leith. 12mo, 178 pages.
John Lane Co. $1. net.
The Son of a Servant. By August Strindberg;
translated from the Swedish by Claud Field;
with Introduction by Henry Vacher-Burch.
12mo, 261 pages. G. P. Putnam's Sons. $1.25 net.
The Note-Booka of Samuel Butler, Author of
"Erewhon." Selections arranged and edited by
Henry Festing Jones. With photogravure por-
trait, 8vo, 438 pages. Mitchell Kennerley, $2. net.
Presidential Address. By the Right Hon. James
Bryce, LL.D.; with Introductory and supplement-
ary remarks by A. W. Ward, Litt.D. 8vo, 28
pages. Oxford University Press. Paper.
Knowledge and Life. By William Arkwrlght, 12mo,
215 pages. John Lane Co. $1.25 net.
DRAMA AND VERSE.
Child of the Amazons, and Other Poems. By Max
Eastman. 12mo, 69 pageB. Mitchell Kennerley.
$1. net.
The Republic: A Little Book of Homespun Verse.
By Madison Cawein. 12mo, 98 pages. Stewart
& KIdd Co. $1. net.
Judas. By Harry Kemp. 12mo, 254 pages. Mitchell
Kennerley. $1.50 net.
This Generation. By S. M. Fox. 12mo, 158 pages.
"Plays of To-day and To-morrow." Duffleld &
Co. $1. net.
Deborah: A Play In Three Acts. By Lascelles
Abercrombie. 12mo, 60 pages. John Lane & Co.
75 cts. net.
The Americana. By Edwin Davies Schoonmaker.
12mo, 304 pages. Mitchell Kennerley. $1.50 net.
The Dilettante, and Other Poems. By A. G. Shlrreff,
I. C. S. 12mo, 95 pages. Oxford University Press.
The Snow-Shoe Trail, and Other Poems. By Isaac
Rushing Pennypacker; with Introduction by
Charles Leonard Moore. 12mo, 172 pages. Phila-
delphia: Christopher Sower Co.
The Garden of Life, and Other Poems. By Anne
Richardson Talbot. 12mo, 42 pages. Sherman,
French & Co. 75 cts. net.
The Dirge of the Sea-Children, and Other Poems.
By Kenneth Rand. 12mo, 96 pages. Sherman,
French & Co. $1. net.
Poems. By John T. Lecklider. 12mo, 254 pages.
Richard G. Badger.
Flowers of Fancy: Poems. By Mary C. Burke.
With portrait. 12mo, 185 pages. Richard G.
Badger.
Poema. By Bessie Q. Jordan. 12mo, 128 pages.
Richard G. Badger.
NEW EDITIONS OF STANDARD LITERATURE.
The Loeb Claaalcal Library. Edited by T. E. Page,
M.A., and W. H. D. Rouse, Litt.D. New volumes:
Appian's Roman History, with an English trans-
lation by Horace White, LLD., Volume III.;
Sophocles, with an English translation by F.
Storr, B.A., Volume II.; The Apostolic Fathers,
with an English translation by Kirsopp Lake,
Volume II.; The Works of the Emperor Julian,
with an English translation by Wllmer Cave
Wright, Ph.D., Volume I. Each 12mo. Macmil-
lan Co. Per volume, $1.50 net.
The Regent Library. First volumes: Thomas Love
Peacock, by W. H. Helm; Mrs. Gaskell, by E. A.
Chadwick; Blaise de Monluc, by A. W. Evans:
Wordsworth, by E. Hallam Moorhouse; Leigh
Hunt, by Edward Storer; Samuel Johnson, by
Alice Meynell and G. K. Chesterton; George
Eliot, by Viola Meynell; Charles Dickens, by W.
H. Helm; Jane Austen, by Lady Margaret Sack-
ville; Shelley, by Roger Ingpen; Mary Wollstone-
craft, by Camilla Jebb; William Cowper, by Ed-
ward Storer; Samuel Richardson, by Sheila
Kaye-Smith. Each with photogravure portrait,
12mo. F. G. Browne & Co. Per volume.
90 cts. net.
Tales of a Wayside Inn. By Henry Wadsworth
Longfellow. Illustrated, 12mo, 266 pages. "Vis-
itor's Edition." Houghton Mifflin Co. $1.25 net.
Poetry and Truth from My Own Life. By J. W. von
Goethe. A revised translation by Minna Steele
Smith, with an introduction and bibliography by
Karl Breul, Ph.D. In 2 volumes, 16mo. Mac-
mlllan Co. Per volume, 35 cts. net.
The World's Claaalca. New volumes: The Entail,
by John Gait; Romola, by George Eliot. Each
18mo. Oxford University Press. Per volume,
35 cts. net.
FICTION.
I npatb'd Waters. By Frank Harris. 12mo, 803
pages. Mitchell Kennerley. $1.25 net
Pnrrot & Co. By Harold Macgrath. Illustrated In
color, etc., 12mo, 306 pages. Bobbs-Merrill Co.
$1.30 net.
Lo, Michael! By Grace Livingston Hill Lutz. Ill-
ustrated in color, 12mo, 369 pages. J. B. Llp-
pincott Co. $1.25 net.
The House of Thane. By Elizabeth Dejeans. 12mo,
307 pages. J. B. Llppincott Co. $1.25 net.
April Panhnoard. By Muriel Hine (Mrs. Sidney
Coxon). 12mo, 376 pages. John Lane Co.
$1.35 net.
Jnmca Hurd. By R. O. Prowse. 12mo, 374 pages.
J. B. Llppincott Co. $1.25 net.
Out of the Ashes. By Ethel Watts Mumford. 12mo,
257 pages. Moffat, Yard & Co. $1.25 net.
An Unknown Lover. By Mrs. George de Home
Vaizey. 12mo, 394 pages. G. P. Putnam's Sons.
$1.35 net.
The Witch of Golgotha. By B. Pesh-Mal-Yan. 12mo,
456 pages. Sherman, French & Co. $1.35 net
Wild Grapea. By Marie Louise Van Saanen. 12mo,
'447 pages. Moffat, Yard & Co. $1.35 net.
The Wedding Bella of Glendalough. By Michael
Earls, S. J. 12mo, 388 pages. Benziger Brothers.
$1.35 net.
TRAVEL AND DESCRIPTION.
Changing Russia. By Stephen Graham. Illustrated
in photogravure, etc., large 8vo, 309 pages. John
Lane Co. $2.50 net.
Confessions of a Tenderfoot: Being a True and
Unvarnished Account of his World-Wanderings.
By Ralph Stock. Illustrated, 8vo, 260 pages.
Henry Holt & Co. $2.75 net.
The Icknleld Way. By Edward Thomas. Illustrated
in color, etc., 8vo, 320 pages. E. P. Dutton & Co.
$2.75 net.
The Forest of Dean. By Arthur O. Cooke. Illus-
trated in color, etc., 8vo, 279 pages. E. P. Dutton
& Co. $2.75 net.
The Spirit of Paris. By Frankfort Sommervllle.
Illustrated in color, large Svo, 169 pages. Mac-
mlllan Co. $2. net.


1918]
517
THE DIAL
Highway* and Byway* Series. Tourist Edition.
First volumes: The Mississippi Valley, The
Great Lakes, The Rocky Mountains, by Clifton
Johnson. Each illustrated, 12mo. Per volume,
$1.60 net.
Finding; the Worth-While In Europe. By Albert B.
Osborne. Illustrated, 12mo, 240 pases. McBride,
Nast & Co. $1.40 net.
France from Sea to Sea. By Arthur Stanley Riggs,
F.R.G.S. Illustrated, 12mo, 315 pages. McBride,
Nast & Co. $1.25 net.
Klngham Old and New i Studies in a Rural Parish.
By W. Warde Fowler. With frontispiece, 12mo.
216 pages. Oxford University Press.
A Little Book of Brittany. By Robert Medill. Ill-
ustrated, 16mo, 96 pages. McBride, Nast & Co.
76 cts. net.
SOCIOLOGY, ECONOMICS, AND PUBLIC AFFAIRS.
Germany and the Germans from an American Point
of View. By Price Collier. 8vo, 602 pages.
Charles Scribner's Sons. $1.50 net.
Immigration! A World Movement and Its Ameri-
can Significance. By Henry Pratt Falrchlld. 8vo,
455 pages. Macmlllan Co. $1.75 net.
Crowds: A Moving-Picture of Democracy. By
Gerald Stanley Lee. 12mo, 561 pages. Doubleday,
Page & Co. $1.35 net.
The New Unionism. By Andre Trldon. 12mo, 193
pages. B. W. Huebsch. $1. net.
Certainty and Justice! Studies of the Conflict be-
tween Precedent and Progress In the Develop-
ment of the Law. By Frederic R. Coudert. 12mo,
320 pages. D. Appleton & Co. $1.50 net.
The Unrest of Women. By Edward Sandford Mar-
tin. 12mo, 146 pages. D. Appleton & Co. $1. net.
Industrial Warfare! The Aims and Claims of Capi-
tal and Labour. By Charles Watney and James
A. Little. 12mo, 353 pages. E. P. Dutton & Co.
$2. net.
RELIGION AND THEOLOGY.
A Chain of Prayer Across the Agesi Forty Cen-
turies of Prayer, 2000 B. C.—A. D. 1912. Compiled
and arranged for daily use by Sellna Fitzherbert
Fox, M.D. Large 8vo, 232 pages. E. P. Dutton
St Co. $2. net
Getting Together! Essays by Friends in Council on
the Regulative Ideas of Religious Thought.
Edited by James Morris Whiton, Ph.D. 12mo, 303
pages. Sturgis & Walton Co. $1.50 net.
Withini Thoughts during Convalescence. By Sir
Francis Younghusband. 12mo, 189 pages. Duflleld
& Co. $1.50 net.
Religion as Llfei By Henry Churchill King. LL.D.
12mo, 194 pages. Macmlllan Co. $1. net.
The Short Course Series. Edited by John Adams,
B. D. New volumes: Jehovah-Jesus, by Thomas
Whitelaw, D.D.; The Sevenfold "I Am," by
Thomas Marjorlbanks, B.D.; The Man among
the Myrtles, a Study In Zecharlah's Visions,
by John Adams, B.D. Each 12mo. Charles
Scribner's Sons. Per volume, 60 cts. net.
PHILOSOPHY AND PSYCHOLOGY.
The Mystic Wayt A Psychological Study In Chris-
tian Origins. By Evelyn Underhill. 8vo, 395
pages. E. P. Dutton & Co. $3.50 net.
Personality. By F. B. Jevons, Litt.D. 12mo. 172
pages. G. P. Putnam's Sons. $1. net.
Some Influence* In Modern Philosophic Thought.
By Arthur Twining Hadley. 12mo, 146 pages.
Yale University Press. $1. net.
The Way of Contentment. Translated from the
Japanese of Kalbara Ekken by Ken Hoshino.
16mo, 124 pages. "Wisdom of the East." E. P.
Dutton & Co. 75 cts. net.
NATURE AND OUT-DOOR LIFE.
Flower Gardening. By H. S. Adams. Illustrated,
12mo, 253 pages. McBride, Nast & Co. $1.25 net.
Fishing with Floating Flies. By Samuel G. Camp.
16mo, 123 pages. Outing Publishing Co.
Suburban Gardens. By Grace Tabor. 16mo, 207
pages. Outing Publishing Co.
EDUCATION.
Elementary School Standard*. By Frank M. Mc-
Murry, Ph.D. 12mo, 218 pages. World Book Co.
$1.50.
The Growth of Responsibility and Enlargement of
Power of the City School Superintendent. By
Arthur Henry Chamberlain. Large 8vo. Berk-
eley: University of California Press. Paper,
$1.75 net.
Moral Training in the School and Home! A Man-
ual for Teachers and Parents. By E. Hershey
Sneath, Ph.D., and George Hodges, D.D. 12mo,
221 pages. Macmlllan Co. 80 ctB. net.
Dramatisation! Selections from English Classics
Adapted in Dramatic Form. By Sarah E. Sim-
ons and Clem Irwin Orr. 12mo, 95 pages. Scott,
Foresman & Co. $1.25 net.
Rhetoric and the Study of Literature. By Alfred M.
Hitchcock. 12mo, 410 pages. Henry Holt & Co.
High School Agriculture. By D. D. Mayne and
K. L Hatch. Illustrated, 12mo, 432 pages.
American Book Co.
.Esthetic Education. By Charles De Garmo. 12mo,
161 pages. Syracuse: C. W. Bardeen.
Elements of Latin. By Barry C. Smith, A.B. 12mo,
352 pages. D. C. Heath & Co.
Trigonometry. By Alfred Monroe Kenyon and
Louis Ingold; edited by Earle Raymond Hedrlck.
12mo, 124 pages. Macmlllan Co. $1.36 net.
A Laboratory Guide to the Study of Parasitology,
By W. B. Herms. 8vo, 72 pages. Macmlllan Co.
80 cts. net.
The Golden Deed Booki A School Reader. By E.
Hershey Sneath, LL.D., George Hodges, D.D.,
and Edward Lawrence Stevens, Ph.D. Illustrated,
12mo. 351 pages. "Golden Rule Series." Macmll-
lan Co. 55 cts. net.
World Literature Reader*. New volumes: Egypt,
Greece, and Rome, by Cella Richmond; America
and England, by Celia Richmond. Each illus-
trated, 12mo. Glnn & Co. Per volume, 45 cts. net.
A Brief English Grammar. By H. S. Alshouse,
with the assistance of Minnie R. Root. 16mo,
46 pages. A. S. Barnes Co. 25 cts.
MISCELLANEOUS.
The Statesman's Year-Booki Statistical and His-
torical Annual of the States of the World for
the Year, 1913. Edited by J. Scott Keltic, LL.D.
12mo, 1452 pages. Macmlllan Co. $3. net.
Travers' Golf Book. By Jerome D. Travers. Illus-
trated in color, etc., 12mo, 242 pages. Macmlllan
Co. $2. net.
A Phonetic Dictionary of the English Language. By
Hermann Michaelis and Daniel Jones, M. A. 8vo,
447 pages. Berlin: Carl Meyer.
The Walled Cltyi A Story of the Criminal Insane.
By Edward Huntington Williams, M.D. Illus-
trated, 12mo, 263 pages. Funk & Wagnalls Co.
$1. net.
A Plea for the Younger Generation. By Cosmo
Hamilton. 12mo, 74 pages. George H. Doran Co.
76 cts. net.
Social Powers! Three Popular Lectures on the En-
vironment, the Press, and the Pulpit. By Sir
Henry Jones, LLD. 12mo, 114 pages. Macmlllan
Co. $1. net.
Liberty and the Great Libertarians. By Charles T.
Spradlng. 12mo, 540 pages. Los Angeles: Pub-
lished by the author. $1.50.
Know Thyself Series, By Susanna Cocroft. New
editions: Growth in Silence, 50 cts. net, and The
Circulation, 60 cts. net. Each 12mo. Chicago:
Physical Culture Extension Society.
Women and Other Enigmas: Being Certain Medi-
tations of My Friend the Cynic. 18mo, 63 pages.
Richard Q. Badger.
Stop and Think; or, Reasons for the Decadence of
Aristocrats. By Allard Memmlnger, M. D. 12mo,
60 pages. Richard G. Badger, 76 cts. net.
Prevention and Control of Disease. By Francis
Ramaley, Ph.D., and Clay E. Glffln, M. D. Large
8vo, 386 pages. Boulder: Published by the
authors.


518
[June 16
THE
DIAL
JUST PUBLISHED
THOMAS JEFFERSON
His Permanent Influence on American Institutions
By JOHN SHARP WILLIAMS
Unittd States Senator from Mittissippi.
1 imo,cloth, pp. ix. + 330. Price, fl.50 net: by mail, Si.62.
COLUMBIA UNIVERSITY PRESS
Lemcke and Buechner, Agents
30-32 WEST 27TH STREET, NEW YORK

Short-Story Writing
ACoarse of forty lessons in the history,
form, structure, and writing of the
Snort-Story taught by Dr. J. Berg
Esenwum. Editor of Lippincott's Magazine.
One stvdint writes: "I hum that yon will
be pleated uhen I tell you that I have just
received a check for $125 from 'Everybody '»'
• —m<««'o'ffM from cveryooay s
for a humorous story. They ash for more,
lam feeling very happy, and very grateful to
Dr. Esenwein.
Also courses in Photoplay Writing, Versi-
fication and Poetics, Journalism. In all.
ion ana roeucs. Journalism. In all
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