Algonquin col-
lege professorship. — A successful novelist's self-
restraint.
POET AND HERRING MERCHANT. Munson
Aldrich Havens 162
PHASES OF MODERN SOCIALISM. T. D. A.
Cockerell 108
THE JUGGLERS AND THE RAILROADS. John
J. Halsey 165
A PIONEER AMERICAN SCHOOLMASTER. Isaac
R. Pennypacker 166
THE FIRST COURT OF THE BOURBONS.
Henry E. Bourne 167
BRIEFS ON NEW BOOKS 168
Popular account of the peoples of the earth.—News-
paper articles worth reprinting. — The Iliad of the
East, in English. — On the track of Stevenson in
Old France. — Evolution of the printed book. — A
doubtful Hero of the Nations.
NOTES 170
ANNOUNCEMENTS OF FALL BOOKS . . . .171
(A classified list of books announced for publica-
tion during the coming Fall and Winter season.)
BOOKS OF THE COMING YEAR.
The classified list of publishers' announce-
ments, which occupies many pages of our present
issue, is of rich and varied interest. It seems to
us to include an unusually large number of attrac-
tive titles — titles of the sort that whet the liter-
ary appetite with the foretaste of happy hours in
the easy-chair. In accordance with our custom,
we select for note in the present article a few such
announcements as seem to promise particular
enjoyment. Only the categories of biography,
history, and general literature are here touched
upon, which means, of course, that those readers
who find their chief account in the literature of
travel, or of philosophy, or of education, or of
science or art, are referred to the list itself for'
their special delectation. The list as a whole
assuredly gives evidence that our publishers look
forward to a prosperous season, and that the
commercial depression of last year is becoming
to them an old, unhappy, far-off thing.
The category of biography is the richest in
this year's list. Perhaps the book of first im-
portance is the life of George William Curtis,
to which Henry Loomis Nelson gave the best
energies of the last years of his life. This book
offers an ideal relation between author and
subject. Mr. Nelson was. not only Curtis's suc-
cessor in the editorial chair, but he was also a
man inspired by the same lofty ideals of political
life and the duty of the citizen. From such a
writer we may expect a life of Curtis that shall
be characterized by both sympathy and distinc-
tion. Mr. H. W. Whitney is the author of a
new life of Lincoln which is to be a work of
considerable dimensions. Many other biogra-
phies of American public men are promised, but
we must leave them unmentioned. In liter-
ary biography, Mr. Ferris Greenslet is to give
us the official life of Thomas Bailey Aldrich,
based largely upon the letters of the poet. No
definite promise is thus far given us of a biog-
raphy of our other lost poet, Edmund Clarence
Stedman, but his literary executors are hard at
work upon it, and it may possibly be looked for
next year. "The Family Letters of Christina
Rossetti," edited by her brother, are promised;
and a volume on William Morris, to be pre-


156
[Sept. 16,
THE DIAL
pared by a brother poet, Mr. Alfred Noyes, for
the "English Men of Letters " series.
A group of biographical works of extra-
ordinary interest relates to the world of art,
music, and the drama. The authorized biog-
raphy of Whistler is to be the work of Mr. and
Mrs. Pennell, prepared upon lines laid down by
Whistler himself, and richly illustrated. Mr.
Will H. Low, in " A Chronicle of Friendships,"
is to give us his personal reminiscences of such
men as Millet and Stevenson. The "Musical
Memories " of Mr. George P. Upton, that veteran
critic and friend of musicians, will cover a full
half-century of intimate relations with musicians
of the past, from Adelina Patti to Theodore
Thomas. It is sure to be replete with interest
of the deepest kind. We are also to have a
translation of Angelo Neumann's " Reminiscen-
cences of Richard Wagner," one of the most
important of recent contributions to the life-
history of the great composer. The two great
actors who have recently died are to be the sub-
jects of official memoirs. Mr. Austin Brereton
is the biographer of Henry Irving, and Mr.
Paul Wilstach of Richard Mansfield. Both are
to be large and handsomely-illustrated works.
Miss Ellen Terry (who is happily not among
the dead) has written her artistic autobiography
in the form of a volume of " Recollections and
Reflections." Finally, our veteran critic of the
drama, Mr. William Winter, whom we all love
and respect even if he is crotchetty on the sub-
ject of most modern developments, is to give us
in " Other Days " his memories of the vanished
past of American stage-land. This is a book
which will parallel in interest Mr. Upton's
"Musical Memories."
The historical announcements for this year
offer rather less than the usual number of books
of wide general interest. We suppose this is
because of the prevailing specialization of the
younger generation of historians. Under this
head we find little to note save a group of works
concerned with the history of Canada, a subject
which is naturally of prime interest in this
tercentennial year. Mr. Frank B. Tracy is the
author of " The Tercentenary History of Can-
ada," and Mr. A. G. Bradley of " The Making
of Canada." Mr. Charles W. Colby is to give
us a volume on "Canadian Types of the Old
Regime," and Mr. Lawrence J. Burpee a his-
tory of "The Search for the Western Sea."
These four announcements seem to us the most
interesting in the department of history, but we
may add a few others, such as the late Jeremiah
Curtin's "The Mongols in Russia," Mr. Rupert
S. Holland's « The Builders of United Italy,"
the late F. W. Maitland's lectures on "The
Constitutional History of England," and a
posthumous volume of " Historical and Political
Essays " by W. E. H. Lecky. Many important
historical works now in progress are being car-
ried on, and new volumes are being added to the
various series.
In the field of literary criticism, Mr. Swin-
burne's long-awaited volume on "The Age of
Shakespeare " occupies the place of first impor-
tance. We presume that this will turn out to
be in large measure a revision of the author's
long series of studies of individual Elizabethan
dramatists, contributed during a term of many
years to the English monthlies. The publica-
tion of these studies in book form has long been
desired by students of English literature. In
literary history, as in political history, most of
the work is now done by specialists, and takes
the form of text-books, or additions to series,
or contributions to such cooperative enterprises
as the great "Cambridge History of English
Literature," the third volume of which is soon
to appear.
Books that are themselves literature, instead
of being about literature, are apt to be un-
heralded, unless they come from authors of
established fame. We note the promise of
collections of essays by Mr. S. M. Crothers, Mr.
Henry van Dyke, Mr. G. K. Chesterton, Mr.
A. C. .Benson, and Mr. Bliss Perry. We note
a new imaginary conversation, the subject being
"Justice and Liberty," by that singularly
polished and thoughtful writer, Mr. G. Lowes
Dickinson. We note in the drama, "The
Winter Feast," by Mr. Charles Rann Kennedy,
"The House of Rimmon," by Mr. Henry van
•Dyke, " Getting Married, and Other Plays," by
Mr. G. B. Shaw, and the new stage-arrangement
of "Faust,"' by Mr. Stephen Phillips. In the
way of poetry, nothing noticeable is promised,
but that is the case nearly every year, although
when the year is ended, we can usually reckon
up a fairly respectable output.
Novelists this year are as numerous as ever.
Almost at a venture, although not wholly with-
out selective judgment, we will close this sum-
mary by naming a score of books of fiction —
about equally divided between the two countries
— which may confidently be expected to provide
us with entertainment, and something more in
most of the cases. Our list is as follows:
"Helianthus," by "Ouida"; "The Testing of
Diana Mallory," by Mrs. Humphry Ward;
"Wroth," by Mr. and Mrs. Castle; "The War


19Q8.]
157
THE DIAL
in the Air," by Mr. H. G. Wells; "The Great
Miss Driver," by " Anthony Hope"; "Simple
Septimus," by Mr. W. J. Locke; "The Point
of Honor," by Mr. Joseph Conrad ; « The Wild
Geese," by Mr. Stanley Weyman; "A Spirit
in Prison," by Mr. Robert Hichens; "The
Immortal Moment," by Miss May Sinclair;
"An Immortal Soul," by Mr. W. H. Mallock;
"The Diva's Ruby," by Mr. F. Marion Craw-
ford ;" Angel, Esquire," by Mr. Edgar Wallace;
«The Mills of the Gods," by Miss Elizabeth
Robins; " The Fair Mississippian," by " Charles
Egbert Craddock"; "Lewis Rand," by Miss
Mary Johnston; "The Trail of the Lonesome
Pine," by Mr. John Fox, Jr.; "Peter," by
Mr. F. Hopkinson Smith; "Kincaid's Bat-
tery," by Mr. George W. Cable; and "The
Red City," by Dr. S. Weir Mitchell. With
this score of books by well-known writers to
rely upon, to say nothing of hundreds of others
for supplementary reading, the devotee of the
novel should find no lack of occupation during
the coming year.
ARNOLD AND LOWELL.
Hail to the English-speaking Dioscuri of our past
age! Chief critics of their time, they really, though
separated by the seas, fought side by side in the
fight for the humanities against materialism. Their
activities were parallel. One roused the quarry up,
and the other killed it. One lifted up his torch and
lit the recesses of the jungle, and the other sent his
arrows in fierce flight amid the herds of its hoofed
and tusked denizens.
The literature and art of any generation are the
surplusage of its life, — what is left over after its
debts and expenses have been paid. They are the
fund which is handed on to posterity; and the great
critics are the executors, the guardians, the distrib-
utors of this fund. It is the business of criticism
to keep clear and distinct the intellectual and spirit-
ual triumphs of the past, and to spur new minds on
to emulation of such achievements. But for crit-
icism, the masterpieces of literature and art would
be like the buried cities of Yucatan — shapeless
mounds overgrown with inextricable forest.
The instincts of both Arnold and Lowell were to
be builders of temples and cities of their own rather
than clearers of the rubbish of the past or pathfinders
and guides to their generation. Possibly their most
permanent work is in pure art — the expression
of emotion, or greatness, or beauty; but the world
found them so useful as critics that it kept them at
that less congenial business. They had the blood of
kings in them, but their contemporaries insisted on
placing them in the seats of judges.
In criticism, Lowell is more the preserver of the
Past; Arnold, more the originator, the innovator,
in the Present. Lowell's essays were a little old-
fashioned even when they were born ; but, like many
old-fashioned things, they have a richness and sim-
plicity that will outlast novelties. His papers have
a fulness, an extracted blend of thinking, which
makes us recur to them again and again. Scattered
over them are passages whose diction is of weightier
metal than anything in Arnold. Arnold is alert,
striking, even startling. He has a new analysis.
His ideas open up vistas where before was gloom.
His phrases are the keenest and handiest of critical
weapons. Perhaps they were so deft and easy of
use that their edges have become a little dulled.
Often, too, they had an air of finality about them —
and finalities are always half-truths at best.
Both critics have their days of languor, their
list of failures. Lowell's cleverness often became
smartness, and Arnold's fastidiousness frequently
landed him in strange company. Lowell was too
uncertain in his judgments, and Arnold too oracular.
Lowell was of two minds about Dryden, and a dozen
about Pope; and his essay on Keats is as unsatis-
factory as that of Arnold on Shelley. Both men,
however, illustrated the truth that the best criticism
is by the way—is to be found in side-flashes of light
on single subjects, rather than in a determinate at-
tempt to get the whole body of literature judged in
lump.
It may be against the permanence of Arnold's
criticism, that it was too effective, — that it was
caught up and absorbed in the thinking of the day.
Once read, Arnold cannot be forgotten — which may
be an argument against reading him anew; whereas
Lowell's leisurely performances, more deeply in-
fused with personality, more artistically fashioned,
leave only a faint memory in our minds, which still
lures us to read them again and again.
When it comes to the poetry of the two men, the
exact reverse of all this is the case. Lowell's poetry
impresses us tremendously on a first reading, — car-
ries us off our feet. But we do not want, — at least,
I do not want, — to recur to it again. Arnold's
verse, on the other hand, seems a little cold and
difficult at first, but it fascinates, and we find our-
selves going back and back to it and carrying it
always in our memory. The reason is that Lowell
in verse is primarily a moralist, a preacher; while
Arnold is above all things an artist Lowell started
in poetry with as good a sensuous equipment as
Arnold; but his New England conscience labored
mightily within him, and killed off the images of
beauty and grandeur. The Sensuous presented her
undraped figure to him, but Didacticism plucked
him back. He saw flowers blossoming beyond him,
but he was tied to his New England rocks. All that .
noble emotion and high enthusiasm and Drydenic
eloquence could do he accomplished in the "Com-
memoration Ode," "The Cathedral," and many
other pieces. They convince, but they do not charm.
The soul of poetry is trying to get into a body in
order to reach us. And once, in the opening lines


158
[Sept. 16,
THE
DIAL
of "The Vision of Sir Launfal " it attains its desire.
How different is it with Arnold! He too is laden
with Didacticism, with the passion of thought; hut
he rarely allows these to overweight the form. The
great ideas of the "Obermann" pieces are em-
bodied in images which we can see and feel. The
blank verse of " Empedocles " is as real as the moun-
tain meadows and thickets themselves; and the
enchanting lyrics of that piece gleam like mountain
nymphs rising from their bath. The thoughts and
words and cadences of "The Scholar Gypsy" and
"Thyrsis" are like one rich draught distilled from
a thousand simples. There can be little question
which is the greater poet.
Perhaps Lowell's most unique claim to remem-
brance is his creative humor. Here and there in
his essays are little sketches of character which are
as good as Goldsmith's work in that kind. "The
Courtin'" is a perfect idyl of humor and tenderness.
But it is the "Biglow Papers " which prove him to
be, not certainly our greatest humorist, but our best
— if that distinction can be understood. He did
for New England, in a minor way, what Scott or
Burns did for Scotland—set his community on its
legs, gave it a separate existence in literature, bodied
forth the provincialities and oddities which differ-
entiated it from the rest of the world. The vein of
humor was in Arnold also, but it only cropped out
in one little book, "Friendship's Garland." This
handful of scenes, however, is so replete with wit
and humor and creative genius that one is willing
to believe in Arnold's ability to project character to
any extent had he desired. The balance of good
work in this kind is largely in Lowell's favor. In
satire he is without competition from his rival. The
"Fable for Critics," while too good-natured and too
entirely of the day to be of great value, lias not been
surpassed in America, and, indeed, it is difficult to
see that there is anything better in English literature
since Byron.
Letter-writing is hardly yet ranked with the ac-
cepted forms of literature, but I think it will come
more and more to be received as a delightful kind
of art. Now Lowell's letters are the best we have
yet had from an American writer; indeed, they are
the only ones which can vie with the best in English
literature. Poe's letters are the poorest products of
his pen. Lanier's have much charm, but he was
so critically wrong-headed about so many things that
his affectionateness and enthusiasm lose their effect.
Arnold's letters, so far as they have been given to
the public, are dull beyond anything one would deem
possible. They are the epistles of an overworked
and weary Inspector of Schools, and it would re-
quire a divining-rod to discover any fount of charm
in them.
Lowell and Arnold were both in a large degree
public men. They were not mere cloistered stu-
dents, belletristic triflers — as one of them ironically
dubbed himself; they were men who mingled in the
affairs of the world, and whose opinions and acts
helped to mould great events. The apparent weight
of influence is on Lowell's side. He was in the thick
of the fight from the first. His Abolition poems, the
"Biglow Papers," his many political essays before
and during the Civil War, undoubtedly made him
one of the leaders who guided our Republic during
trying years. And afterwards, his Ambassadorships
and his addresses in England fairly won him his
place as our First Citizen. He defended Democracy;
but while he loved homely humanity, it is difficult to
believe that he had much faith in the wisdom of the
masses. Like every poet, he admired extraordinary
men and women, and he thought that Democracy
was the best soil to bring them forth. In comparison
with these activities, Arnold's public efforts seem
modest ones. Yet if we count his work in school
reform, the solvent character of the ideas and
phrases about social life which he put into circula-
tion, and the effect of his keen and just criticism of
Irish affairs, we may find that his influence was at
least equal to that of his more eminent contemporary.
There was one field into which Arnold adven-
tured where Lowell did not follow him. He gave
up some of his best years to a revision of Christianity
—to the formulation of a working faith for the mod-
ern man. He put the ideas of the German and
French rationalists into attractive guise, gave them
the stamp of his own nature. But his efforts can
hardly be counted more than a pleasing futility.
His idea of a religion with the supernatural, the
miraculous, left out, is no more like a real religion
than a domestic Tabby purring by the fireside is like
the Lion of the Desert, the lordly dreamer whose roar
dominates the jungle. He was neither a great enough
poet nor a deep enough philosopher to understand
how Superstition — "mother of form and fear" —
is enthroned in the stoutest and noblest breasts. Man
knows that he is composed of and surrounded by mir-
acles and mysteries. A few more or less do not matter
to him; rather, he craves them as explaining the ones
he feels. In the Roman Empire there were writers
and teachers of philosophy and ethics in plenty —
Academics, Stoics, Epicureans. They formulated
maxims and systems of morality as good as any the
world has known; but the world about them cared
little for their labors. When the Latin race found
its own first simple mythologies fading away, it
opened its doors to the gorgeous and mystical wor-
ships of the East. The Magna Mater, Isis, Osiris,
and Anubis, entered in turn the gates of Rome.
Men marshalled themselves to follow Cybele; they
placed themselves under a platform and bathed in
the blood of a bull slaughtered above—so to receive
purification. And when Christianity dawned upon
the Western World it was not accepted and believed
because of the personal charm of its founder, because
of his sweet reasonableness or wit or wisdom. No;
it was received because he was thought to be incar-
nate God — immaculate of birth, a sacrifice for man.
A halo of all the mysteries and wonders of the world
was about him, and men's spirits rose and stood on
tiptoe in rapture and fear. So it ever was, and so
it always will be. A religion which does not explain


1908.]
159
THE DIAL
the mazes of our present life, which does not carry
with it the awful sanctions of the future, cannot live
or be of use in the world.
Arnold and Lowell covered more ground than
almost any of their compeers. Yet probably neither
of them did the supreme work he dreamed of doing
—the one thing worth while. Of all their varied
work, perhaps Arnold's poetry will come to stand
highest in the estimation of mankind.
Charles Leonard Moore.
CASUAL COMMENT.
"Light through work" is the encouraging
motto of the young and active New York Association
for the Blind, whose " First Report," well illustrated
and packed with interesting matter, has recently ap-
peared. The city of New York has more than 2300
blind persons, and there the first intelligent and en-
ergetic move on a considerable scale has been made
toward rendering the lot of the blind less hard by an
education (in their own homes and elsewhere) that
shall render them self-supporting and self-respecting
citizens. Historically, the education of the blind
may be dated from the hour when the sightless boy
Leseur, the first pupil of Valentin Hatty, who in
1784 founded the National Institution for the Blind,
in Paris, ran to his master with a piece of paper on
which the letter O had been accidentally embossed.
"Sir," he cried, "I can feel it; it is the letter O."
To Miss Winifred Holt, secretary of the New York
Association, and her sister Miss Edith Holt, the
recording secretary, is due the credit of taking the
first steps that led to the formation of the Associa-
tion. The whole story is interestingly told in the
Report. The devotion of Miss Winifred Holt to her
chosen work deserves especial praise. Amid many
other proofs of her zeal, this passage from her pen
is significant: "I learned in a short time with bound
eyes to read both Braille and New York Point and
to write them; thus any conclusions which I may
have reached have been drawn from the blind man's
standpoint." Illustrations from photographs give
variety and interest to this readable document, and
also serve to show how far from helpless the blind
may become under proper training. A blind barber
at his work is the subject of one of these pictures.
Words from Mark Twain and Miss Helen Keller,
officers of the Association, find appropriate place in
its Report. . . ,
The leaden-footed library page (of course
he is not found in any of those well-ordered libraries
to which The Dial makes its way ) has been made
the subject of some facetious paragraphs from the
pen of "The Librarian" of the "Boston Evening
Transcript." It is pleasant to learn that the long-
cherished scheme of Mr. Oscar Gustafsen (formerly
librarian of the Ezra Beesley Free Library of the
town of Baxter, and now instructor in bibliography
at Philander University) for establishing a training-
school for library pages has been in a measure car-
ried to execution by his successor at Baxter, Miss
Letitia Van Remsen, in the course of training offered
by her to would-be pages, under the auspices of the
Beesley Free Library. While we doubt whether Mr.
Gustafsen's fond ideal has been entirely realized by
Miss Van Remsen, yet the entrance examination
papers set by her give promise of a thorough and
rigorous training to the successful candidates for
admission. What could be more admirable than her
test questions on "General Information and Expe-
rience "? After a number of distorted book-titles to
be put right — a most useful exercise for those who
have to run for vaguely or wrongly designated books
—the examination paper proceeds: "(2) How do you
tell a library trustee from one of the ordinary public?
(3) Do you smoke cigarettes? (Note: An affirma-
tive answer will be fatal to your chances of passing;
a negative one will cast suspicions on your truthful-
ness.) (4) What answer would you give to a person
who asked, 'Is all the friction in the library in this
room?' (5) Write a description (with diagrams)
of about 500 words, telling what, in your opinion,
should be done with (a) the person who says, 'I
suppose you have read all the books in the library!'
(b) the person who says, 1 It must be nice to work
in a library and read all the time!' (c) the one who
remarks, 'Library work must be lovely — it's such
clean work!'" Ability to pass the entrance examina-
tion will abundantly prove the candidate's aptitude
for library work. ...
The evolution of "Joshua Whitcomb" is a
study of some interest and timeliness at this season,
when "Joshua " himself is beginning his annual tour
of the large cities. Well on in his seventies now,
and known to most of us as the slow-moving, good-
humored, warm-hearted "Uncle Josh," Mr. Denman
Thompson was in his younger days more celebrated
on the stage for his nimbleness of foot than for
his homely, realistic charm as an impersonator of
Yankee character. An attack of rheumatism worked
the transformation from vaudeville dancer to star
actor and universal favorite with tha great theatre-
going public. But the change did not come all at
once. The initial idea of a quaint, honest, uncari-
catured Yankee, new to the Btage, led first to the
creation of a twenty-minute sketch of the variety-
show pattern. It was given for two weeks at Pitts-
burg in 1875, and thence proceeded to make the
rounds of the West, winning unusual success. From
that to the "Joshua Whitcomb " of the New York
Academy of Music and the Boston Theatre was a
development of some years. Theatre-managers and
theatrical critics predicted the flat failure of the
amorphous production, and did their best to kill it;
but the public knew what it liked, and both this
play and its successor, "The Old Homestead," have
poured into the pockets of skeptical theatre-managers
more dollars than could be denoted by fewer than
seven figures. They have the "one touch of nature"


160 THE DIAL [Sept. 16,
which goes so much further than art in the long
run. It is said by those who know Mr. Thompson
that "Josh" and "Den" are one and the same.
The only difference between the actor and the man
is that the latter is even more delightfully real and
witty, hearty and human, than the former.
• • •
Hamlet as an underoraduate is far less
known to the world than Hamlet the melancholy
Dane and Hamlet the madman (genuineor feigned).
But an anonymous writer in a current periodical in-
geniously accounts for the unhappy prince's failure
to grapple promptly and successfully with the situa-
tion confronting him by ascribing his ineffectiveness
to an over-addiction to academic pursuits. "The
simple truth of the matter," declares this writer, " is
that Hamlet had been too long at the university. We
find him at thirty still a student at Wittenberg, pro-
longing his college life nearly ten years beyond the
legitimate time, whether from difficulty with the
curriculum, or from desire to participate longer in
college amusements, or from sheer lust for scholar-
ship, we do not know. Most of the problems that
have puzzled the critics can be explained in the light
of this simple fact, and the evidence in favor of this
supposition is overwhelming when the text is exam-
ined. First of all, when the terrible revelation of a
father's murder, a mother's shame, an uncle's guilt,
is made to Hamlet by the ghost, what does he do?
He hunts for his notebook.
"' My tablets! Meet it is I get it down
That one may smile and smile and be a villain.'
The undergraduate habit of mind! That which
should have burned itself into the memory forever
written down to save the trouble of remembering it;
moreover, the damning concrete fact turned into a
generalization! Here two phases of the training of
the schools are clearly set forth by Shakespeare."
After this, who shall say that there is nothing new
under the sun, or that half the possible books about
Shakespeare and his plays have yet been written?
■ • •
Library activity in Indiana is encouragingly
brisk. This is attested in various ways by the latest
issue of "Library Occurrent," published by the
Indiana Public Library Commission. A hopeful
sign is the bi-state library convention to be held at
Louisville, Kentucky, this autumn, when representa-
tives from both the Blue Grass and the Hoosier states
will meet, exchange ideas, and incidentally admire
Louisville's new library building and its branches.
Much attention is paid to children's wants in this
number of the "Occurrent." A writer of "Some
Notes on Children's Books " says, among many other
things: "Animal stories come next to fairy tales as
dealing with things most familiar to children. Some
striking examples of good animal stories are: Beau-
tiful Joe, Black Beauty, The Jungle Books, and Jack
the Fire-Dog. When an author has produced one
good book, always watch for the next one, as it may
not be up to the standard. Marshall Saunders's Beau-
tiful Joe's Paradise is a monstrosity and a failure."
Miss Florence L. Jones, of the Indianapolis Public
Library, writes on " Reference Work with Schools in
the Indianapolis Public Library." One short para-
graph that will strike a responsive chord in many a
library worker's breast runs (in a style that invites
correction) as follows: "Probably the most difficult
question that an attendant has to find is material for
a debate. If a teacher knew how the attendant's
heart sinks when she hears that word 'Resolved,'
she would let the library know [sometime in ad-
vance] that such a debate was to take place." The
debater is indeed only one degree less patience-
trying to librarians than the genealogy-hunter.
• • •
The Grub Street author of affluence has
displaced the Grub Street starveling, if we may
believe Mr. Gilson Willetts, who writes in "The
American Magazine" of the comparative ease and
certainty with which a very comfortable income can
be earned by a literary worker of industry and en-
terprise. Of his own experience, which certainly
seems unromantic enough to be true, he says: "I
have been writing, nothing but writing, for eighteen
years without a single interruption of any kind,
always as a free lance. I have produced 7,200,000
words for which I received $72,000. My articles
and stories have appeared in ninety different mag-
azines and weeklies and in forty newspapers, besides
syndicate articles in 500 newspapers. I have written
nine books, including two novels, works of reference,
and books of the 'premium ' class. Combined sale
of these books, 750,000. I have written more than
1500 different magazine articles, and over 100 short
stories, and heaven knows how many pamphlets and
advertisements. My ' stuff ' has appeared over 100
different names. . . . My workshop is a word fac-
tory; capacity, 3000 words a day." There is cheer
and comfort in all this. If the building trades
decline so that one can no longer be a brick-maker,
with a capability of three thousand or five thousand
bricks a day, one can very easily turn writer and
open a literary workshop, "capacity, 3000 words a
day." Mr. Willetts reminds us of that anonymous
author of certain confessions of a hack-writer that
appeared some years ago in "The Forum." Possi-
bly he is that anonymous writer, reappearing in one
of his "one hundred different names" or literary
disguises. § m m
Architectural effect in the library build-
ing is probably far more important than most users
of public libraries suspect. In the mere mounting
of the marble steps leading to a nobly conceived and
finely executed structure for the storage and distri-
bution of books, one's tone is unconsciously elevated
so that it becomes next to impossible to approach the
delivery desk and ask, with entire self-respect, for
a " shilling shocker" instead of a book of real worth.
An interesting investigation, if one had time and
patience to make it, would be a careful comparision
of the grade and character of the reading matter cir-


1908.]
161
THE DIAL
culated by libraries poorly or meanly housed, and by
libraries enjoying the dignity of handsome and im-
posing quarters; or a comparison of a library's cir-
culation, in its character and tone, before and after
removal from shabby surroundings to a more suitable
and worthy environment. The "Ninth Annual
Report" of the Carnegie Library of Atlanta contains
a frontispiece view of the library's new building —
new, that is, with the opening of the century. The
imposing front, with its stately Ionic columns, is very
pleasing to the eye. Some such architectural effect
we can imagine Madame de Stael to have had in
mind when she wrote, in her "Corinne": La vue
d'un tel monument est comme une musique contin-
uelle et fixee." It is not surprising to be assured by
Miss Anne Wallace, whose enviable lot it is to oecupy
the post of librarian at Atlanta, that " the Library,
more than any other department of the City govern-
ment, shows the growth of the City," and that new
settlers in Atlanta show a gratifying inclination to
enjoy the privileges of its fine library.
• • •
A marvel of minute research appears in the
shape of a volume entitled "A Study of Splashes."
Mr. Andrew Lang writes* from London in real or
pretended perplexity as to the meaning and mission
of such a book; "but the title awakens curiosity,"
he adds, "and the volume is by a professor of
physics at a royal naval engineering college." The
author, it appears from other and fuller sources of
information, is Professor Worthington of the Royal
Naval Engineering College at Davenport, England;
and he is said to have spent seven patient years spill-
ing drops of various liquids from various heights on
a smooth surface, and studying the resultant splashes,
thereby (presumably) adding to the sum of human
knowledge on the laws of impact and the behavior
of liquid molecules when suddenly arrested in full
career. Some day — for even the most unpromis-
ing and, humanly speaking, uninteresting facts do
sometimes have a way of revealing their significance
to the right man and on the right occasion — these
splashes may revolutionize some department of art
or science. Galileo, counting the oscillations of the
hanging lamp in the cathedral at Pisa, was probably
thought by more than one worshipper to be indulg-
ing a foolish as well as a profane curiosity; but time
(as measured by the clock) has abundantly vindi-
cated the young man. And so the more than Ger-
man zeal and patience of the liquid-dropping English
professor may, in time or eternity, be rewarded, and
minute research will again have justified its ways to
men. ...
An Algonquin college professorship would
strike most people as a novelty in the educational
world, but a plea for the establishment of one in some
college of New England where the language was
once spoken is made by Dr. Edward Everett Hale in
"The Christian Register." Dr. Hale asserts that
"the Algonquin languages were and are spoken over
a wider range of country than the Latin language
had in the day of the widest range of the Roman
Empire. At this hour Algonquin dialects are used
in daily conversation as far as Newfoundland on the
east and to the neighborhood of Alaska on the west."
All this is apropos of a recently published history
of the First Church in Roxbury, which naturally
revives memories of John Eliot and his missionary
labors among the Indians, notably his translation of
the Bible. Dr. Hale thinks that if the book were
not so exceedingly rare, or if some publisher would
reprint one of the Gospels as a commercial venture,
there would be a good many persons interested in
making some acquaintance with the work. He notes
with approval the existence of an Indian-language
professorship at the University of Pennsylvania,
and thinks that "some one would like to endow a
scholarship in Harvard or Smith or Amherst or
Wellesley which shall provide for the education
of some young person who would agree to study the
Algonquin language side by side with Greek and
German and Latin and French and English." May
the suggestion bear fruit! But aside from a curious
interest to the comparative philologist, the Algonquin
dialects have woefully little to lure the literary stu-
dent, "side by side with Greek and German and
Latin and French and English."
...
A SUCCESSFUL NOVELI8T'8 SELF-RESTRAINT in
production is a manifestation of not exactly daily
occurrence. Hence our readiness to chronicle,
with mingled admiration and regret, Mr. Stanley
J. Weyman's announcement that no more novels
are to come from his pen. All who have read and
enjoyed his "Gentleman of France" and "House
of the Wolf" — pioneers in their kind, being writ-
ten before the historical romance of word-play and
hairbreadth escape was done to death — will be
sorry and at the same time glad that Mr. Weyman
has dropped his novel-reading public before the lat-
ter showed signs of dropping him. His latest (and
last) piece of fiction, " The Wild Geese," was issued
in a first edition of more than 20,000 copies for
England alone — an indication of expected if not yet
fully realized success. Possibly the twenty-thousand
edition did not go off with all the desired speed.
At any rate, it is unusual to see a popular novelist
deliberately and voluntarily lay down his pen at
only a little past fifty years of age. We wonder
whether perhaps Mr. Weyman has been reading
"The Altar Fire " and has taken fright at the dismal
picture there painted of the written-out story-teller.
His own explanation of his course is as follows:
"I consider I have been very fortunate; critics,
publishers, the public, have all treated me well. I
am not going to presume upon it. I am 53; I have
had a long run and would far sooner quit the stage
now, while I am still playing to a full house, than
go on and tire the audience and ring the curtain
down at last on half empty benches."


162
[Sept. 16,
THE
DIAL
•ft be |tfto §oohs.
Poet and Herring Merchant.*
Those who have read FitzGerald's letters,
and thus become interested in his very unusual
personality, will welcome Mr. Blyth's book,
which tells the story of FitzGerald's remarkable
friendship for Joseph Fletcher, a sturdy, over
self-reliant, rather obstinate, and somewhat un-
appreciative Lowestoft fisherman, and of their
partnership as owners of a lugger engaged in
the herring fisheries, a partnership that endured
for nearly eight years.
In giving the story of this most remarkable
friendship, Mr. Blyth introduces effectively a
series of hitherto unpublished letters from Fitz-
Gerald to Fletcher, and also several illustrations,
including portraits of "Posh " (FitzGerald's fa-
miliar name for Fletcher), and views of the places
about which the interest of the narrative centres.
The translator, we might almost say the crea-
tor, of the Rubaiyat of Omar Khayyam so far
as its English readers are concerned, was fifty-
six years old when he first met "Posh," who
was twenty-seven. His admiration and affection
seem to have been almost immediately engaged;
but not even the infinite pains Mr. Blyth has
taken to portray the big fisherman can explain
the place he gained in FitzGerald's heart.
The poet and recluse does not simply extol his
herring-fisher as great of his kind, but as great
in the abstract. He invests him with honor,
truth, integrity, nobility, even with high-born
qualities of soul. Mr. Blyth looked eagerly for
these; it seems as if he really expected to find
them, or would distrust his own discernment if
he failed. Yet his minute record is barren of
the hoped-for results. Even the face of the
young man, as seen in his portrait, is not alive
with an alert intelligence. It is well featured,
but ordinary and vacant. There is no quotation
from his conversation or letters which uncovers
wit, humor, candor, appreciation, pathos, integ-
rity, affection, or fidelity.
The letters of the senior member of this
strange partnership seem struggling to impress
upon the other such commonplaces of courtesy as
acknowledging a communication or confidence,
the common honesty of debt-paying, the common
importance of a written account in a partnership
business, the common decency of sobriety,—
•Edwakd FitzGerald and "Posh "—"Herring Merchants."
Including* a number of Letters from Edward FitzGerald to
Joseph Fletcher, or " Posh," not hitherto published. Br James
Birth. London: John Long.
all of which seems to have been received with
stolid indifference, toleration of the eccentrici-
ties of gentlemen, or unconcealed resentment.
Yet for many years FitzGerald identified his
fortunes with those of " Posh," shut the door of
one side of his mind, apparently, upon his stored
oriental imagery, and only let the light in upon
his views concerning herring and mackerel, and
the game of "All-fours," — the business, the
health, the diversion, and the safety of " Posh"
Fletcher. He even sent the picture of " Posh"
to his friend Thomas Carlyle, in 1870, with a
letter in which he describes the original as " en-
dowed with all the qualities of soul and body to
make him leader"; and adds: "I know no one
of sounder sense and grander manners in what-
ever company." This, of the man who dodged
and avoided Mr. Blyth, and broke all appoint-
ments, with the excuse, when finally cornered,
that one man had made off with his letters " and
never gave me a farden for what he larnt off o'
me"; while others had been guilty of " pickin'
my brains, and never givin' me so much as a six-
pence." A financial guarantee finally brought
"Posh " to close quarters, and gave Mr. Blyth a
chance to search for the basis of FitzGerald's
infatuation for the man who had " torn up sack-
fuls " of his letters, though the few remaining
ones were sold for his benefit; and it is to the
Omar Khayyam Club and other FitzGerald con-
nections that the " Posh " of 1907 owes the fact
of a roof over his head. He was still unable to
understand that reminiscences of FitzGerald are
of greater public interest than any recollection
of " Posh," and insisted on having the dimen-
sions of the herring-lugger stated in the book,
because he designed it himself!
Mr. Blyth believes that the new personality
of the youth of twenty-seven magnetized the
poet of fifty-six. The reader feels like changing
the expression to hypnotized. Mr. Blyth says
that FitzGerald "saw his friend through a
glamor which set up a mirage of things which
were not, and it was like him to attribute excel-
lences to his friend which only existed in his
own imagination." Surely some such strange
reason must be discovered why a poet who, con-
fessedly, did not know the stem from the stern
of a ship, should go into the herring business
at sixty years of age! He often found himself
obliged to remind his ideal Captain of such
sordid things as the importance of debt-paying,
— although it does not appear that his anxiety
was to avoid pecuniary loss to himself, — and
to admonish him to sobriety, both of which
were done to sustain his faith in his " man of


1908.]
163
THE
DIAL
a royal nature," of whom he said, " If he should
turn out knave, I shall have done with all faith
in my own judgment; and if he should go to
the bottom of the sea in the lugger, I shan't
cry for the lugger." Even in the gayeties of
London, his imagination brought the fisherman,
in whose moral excellences he believed, to bear
him better company, and to " make a face " at
the environment.
It was through the two faults which the silent
partner would hardly admit as faults, that the
partnership in the "Meum and Tuum," as
FitzGerald said, "turned out all Tuum and no
Meum," and after many broken promises was
finally dissolved; although the disappointed
senior had declared: "If he is but what I think
him, I would rather lose money with him than
gain it with others." To Professor Co well he
wrote: "You can't think what a grand, tender
soul he is!" And to Mr. Spalding: "It makes
me feel ashamed very much to play the judge
on one who stands immeasurably above me in
the scale, whose faults are better than so many
virtues."
The bitterness of FitzGerald's dawning dis-
covery that his estimate of his protege's char-
acter was too exalted, with his growing loss of
confidence and respect, constituted a sore expe-
rience; but his love and solicitude for " Posh"
survived even the latter's stupid ingratitude.
Mr. Blyth well says:
"No one has a greater admiration than I for this
magnificent claim of a MAN to be MAN'S equal. But
with FitzGerald, who never asserted the claims of his
station in life before an inferior, the obtrusive display
of this spirit of independence was as unnecessary as it
was cruel. And I think Posh understands this now.
. . . But in 1869, Posh thought that he was a very fine
fellow indeed, and was not going to be put upon by any
1 guvnor,' no matter how kind the ' guvnor' had been to
him. He would assert himself. He did."
It was as late as 1870 that FitzGerald asked
Laurence to paint a portrait of "Posh," and said:
"The man's soul is every way as well propor-
tioned, missing in nothing that may become a
man. ... I should like a large oil sketch, to
hang up with Thackeray and Tennyson, with
whom he shares a certain grandeur of soul and
body." And again : "You will see a little of his
simplicity of soul; but not the Justice of Thought,
Tenderness of Nature, and all other good gifts
which make him a Gentleman of Nature's grand-
est type." Later still, he writes to Laurence: "I
am sure the man is fit to be king of a kingdom.
I declare you and I have seen A Man! Have
we not? Made in the mould of what Humanity
should be, Body and Soul, a poor Fisherman."
Even in 1874, he writes: "There is greatness
about the Man. . . . Your Cromwells, Caesars,
and Napoleons have not been more scrupulous."
The break came, " Posh " admits, by his own
motion. The conclusion of FitzGerald had been,
"The Man is so beyond others, as I think, that
I have come to feel that I must not condemn him
by general rule." He had written and sealed
a document which would secure to "Posh"
immunity from indebtedness to his estate if he
should die; but he had exacted a promise of
sobriety, which was promptly broken. "Posh" ,
still upholds his independence in the matter,
especially as to the restriction that he should be
a teetotaller.
In 1874 the " Mum Turn " was sold at auction;
and long afterward, when she was broken up,
her name-board was presented to the Omar
Khayyam Club. FitzGerald had been dimly
disillusioned, — and he was old. "He was a
good gentleman, was Old Fitz," say the rem-
nant of East Anglian fishermen; who, unaware
of the poet, well remember the faithful friend
of " Posh" Fletcher.
Mr. Blyth ends his record thus:
"The last time he was with me I read him —
"' The moving Finger writes, and having writ.
Moves on: nor all your Piety aud Wit
Shall lure it back to cancel half a line,
Nor all your Tears wash out a Word of it.'
"' Well, tha'ss a rum un!' said Posh."
Munson Aldkich Havens.
Phases of Modern Socialism.*
Mr. H. G. Wells, as he himself explains,
"calls himself a Socialist, but he is by no means
a fanatical or uncritical adherent. To him,
Socialism presents itself as a very noble but a
very human and fallible system of ideas. He
does in all sincerity regard its spirit, its intimate
substance, as the most hopeful thing in human
affairs at the present time, but he does also find
it shares with all mundane concerns the quali-
ties of inadequacy and error."
The book which Mr. Wells has written from
this standpoint, entitled "New Worlds for Old,"
forms a very good introduction to Socialism.
It will attract and interest those who are not of
that faith, and correct those who are. The
socialist propaganda in America has been suc-
cessful in gaining a constantly increasing num-
• New Worlds fob Old. By H. G. Wells. New York: The
Macmillan Co.
Christianity and thb Social Obdbr. By R. J. Campbell.
New York: The Macmillan Co.


164
[Sept. 16,
THE
DIAL
ber of adherents, but it must be confessed that
the most obvious common bond among the
"comrades" is that of discontent with existing
conditions, rather than any constructive plan.
Herein, no doubt, the movement has followed
the line of the least resistance, it being taken
for granted that if the ship could fairly get under
way she would have no difficulty in reaching her
port of destination. This attitude is not peculiar
to socialists ; it is very conspicuous among vari-
ous religious societies; but it has been especially
fostered by those almost fatalistic notions of
political economy which have been handed down
from earlier times. Mr. Wells graphically
describes a meeting of the Social-Democratic
Federation in London, at which Mr. Hyndman
lectured ou the coming revolution. At the end,
questions were handed in on smalls slips of
paper, one of them being, "Why trouble to
agitate or work if the trusts are going to do it
all for us?"
"The veteran leader of the Social-Democratic Feder-
ation paused only for a moment. 'Well, we've got to
get ready for it, you know,' he said, rustling briskly
with the folds of the question to follow; and with these
words, it seemed to me, that fatalistic Marxism crum-
bled down to dust.
"We have got to get ready for it. Indeed, we have
to make it, by eduoation and intention and set resolve"
(p. 236).
The last sentence contains the burden of our
author's message to the socialists themselves.
He would not wait for the automatic fruition of
inevitable tendencies; but would recognize, in
the fullest possible manner, that if anything
good is to come of it all, it will need the active
cooperation of mind and muscle in constructive
ways. It is perhaps only too possible that a
nation, like an individual, might become sat-
urated with discontent, only to recognize its
inability to remove the cause.
The same idea emerges in a quite different
manner in the discussion of Fabian Socialism,
which is so practical that it often goes too far,
in Mr. Welti's opinion, in attempting to utilize
existing agencies.
"In all these matters the real question at issue is one
between the emergency and the implement. One may
illustrate by a simple comparison. Suppose there is a
need to dig a hole and that there is no spade available,
a Fabian with Mr. Webb's gifts becomes invaluable.
He seizes upon a broken old cricket bat, let us say, uses
it with admirable wit and skill, and presto! there is
the hole made and the moral taught that one need not
always wait for spades before digging holes. It is a
lesson that Socialism stood in need of, and which hence-
forth it will always bear in mind. But suppose we want
to dig a dozen holes, it may be worth while to spend a
little time in going to beg, borrow, or buy a spade. If
we have to dig holes indefinitely, day after day, it will
be sheer foolishness sticking to the bat. It will be
worth while then not simply to get a spade, but to get
just the right sort of spade in size and form that the
soil requires, to get the proper means of sharpening and
repairing the spade, to insure a proper supply. Or to
point the comparison, the reconstruction of our legisla-
tive and local government machinery is a necessary pre-
liminary to Socialization in many directions. Mr. Webb
has very effectually admitted that, is in fact himself
leading us away from that by taking up the study of
local government as his principal occupation, but the
typical ' Webbite' of the Fabian Society, who is very
much to Webb what the Marxist is to Marx, entranced
by his leader's skill, still clings to the earlier Fabian
ideal. He dreams of the most foxy and wonderful dig-
ging by means of box-lids, tablespoons, dishcovers —
anything but spades designed and made for the job in
hand— just as he dreams of an extensive expropriation
of landlords by legislation that includes the House of
Lords " (pp. 254-255).
The Rev. B. J. Campbell, Minister of the
City Temple, London, is a very well known and
eloquent preacher, who has recently declared
himself a Socialist, to the distress of many of his
brother nonconformists. In his book on " Chris-
tianity and the Social Order " he undertakes to
describe Christianity, as he understands it, and
then to show how it harmonizes with Socialism.
His account of the origin and nature of the
Christian faith would be repudiated by the so-
called orthodox churches, but it is honest and in
accord with the historical facts, so far as the
author was able to ascertain them. I do not
know where a better general discussion of the
subject may be found; it is wholly sympathetic,
yet not at the expense of truth, and might well
carry conviction to those who would not be
moved by a colder and more purely scientific
treatment.
Mr. Campbell does not find in the teaching of
Jesus anything resembling modern Socialism,
except in purpose and in spirit; but these are
the fundamental things.
"He had no economic theories; no interest in indus-
trialism; and laid down no directions for the administra-
tion of the ideal State, or the guidance of the individual
in his social relationships; His idea was supernatural
revolution, not social evolution. But the one undeniable
and all-important fact about the preaching of this great-
est of the sons of men is that it was inspired by a pro-
found belief in the coming of a better day and an ideal
human society on earth. He never says a word about
going to heaven, for the plain and simple reason that all
His hopes were bound up with the realization of heaven
here. His illusions were those of the period in which,
and the people among whom, He did His work; His
ideal is for all time, and is the inspiration of all that is
best and noblest in human aspiration and effort to-day"
(p. 16).
The sociological part of the book does not appear
to me to be so good — partly, perhaps, because


1908.]
165
THE DIAL
the author has not so long been familiar with the
matters discussed.
To the reader who has no sympathy with
socialistic theories, it will doubtless seem that
the two books I have attempted to describe have
been altogether overpraised. To' such readers I
would merely say this: that, after all, the dyna-
mic conception of society holds; what we see and
have our part in is not merely a phenomenon, but
a process, and in the long run humanity will
need all the guidance it can get. It is not prob-
able that the dreams of now living Socialists will
ever come true in any literal sense; but they
will nevertheless be woven into the fabric of
things, and will stand out as real contributions
to an edifice the form of which was beyond their
imagining. Two things, however, are certain:
one, that there will be change, and the other that
goodwill is indispensable for the well-being of
mankind. The Socialists, like Jesus, at least
forsee the one and possess the other,—the latter,
in spite of occasional appearances to the contrary.
T. D. A. COCKERELL.
The Jugglers and the Railroads.*
The strenuous conduct of the chief executive
officer of our nation, in his effort to enforce the
recent legislation concerning corporations, has
turned the attention of the public with much
intensity upon every phase of the railroad in-
dustry. But the public gaze, though intent,
has not been discerning, as is evidenced by the
storm of disapprobation that has greeted the
recent decision of the Federal Court of Appeals
at Chicago in the Standard Oil case. To a
thoughtful observer, it is amazing to note how
intelligent and educated men fail, in discussing
this case, to distinguish between the substance
and the method of court procedure. One is fain
to believe that the distinction between executive
and legislative and judicial functions, imbedded
as it is in our Constitution, has never really
taken hold on the American mind, although it
is a commonplace of every elementary text-book
on our government. The outcry against the
decision read by Judge Grosscup suggests un-
pleasantly that the canon of conduct so long
opprobriously assigned to the Jesuits as their
peculiar property — that "the end justifies the
means " — has been assimilated by many secular
minds as well as Jesuitical ones. However that
'Railroad Reorganization. By Stuart Daggett, Ph.D.,
Instructor in Economics in Harvard University. Boston:
Houghton Mifflin Co.
may be, the decision calls a halt in the indis-
criminate condemnation of corporations, and
will doubtless do much to restore heart and faith
to that not unimportant portion of the com-
munity which, through the investment of its
savings, furnishes the means of carrying on
business.
The literature of railroad problems, which
has been coming so abundantly from the press
in the last two years, is undoubtedly forming as
well as expressing an intelligent opinion that
must control in the end. Among books of this
class, Mr. Daggett's work on "Railroad Re-
organization " is doing an inestimable service in
discussing one of the most recondite as well as
most important phases of railway management—
and mismanagement. The public are already
sufficiently acquainted with the salient features
of railway operation to be able to understand the
evils of rebating and undercutting as they have
affected the user of transportation; but little
that is intelligible has been written concerning
the sins committed in the fields of constructive
financiering. Mr. Daggett has given us a care-
ful and elaborate account of the reorganization
of eight great systems — reorganization neces-
sitated, in the majority of cases, by excessive
capitalization in the interest of reckless exten-
sions going hand in hand with unfair concessions.
In the case of two of the roads presented in this
treatise — the Rock Island and the Alton — the
reorganization was influenced by great pros-
perity. In the words of Mr. Daggett, " It was
desired to reap a profit by the sale of new
securities, as well as to lessen the investment
required for control." The causes and methods
of reorganization are thus admirably summarized:
"A railroad is a complex financial as well as a com-
plex operating machine. Especially when it has been
built up by the union of numerous small properties,
each of which has been allowed to retain a certain indi-
viduality of its x>wn, are the relations between the dif-
ferent parts intricate and involved. The obligations
which have been incurred in the course of its career,
and the kinds of paper which represent these obligations,
disclose a variety which the debts of an individual sel-
dom or never present. This complexity in railroad
capitalization inevitably leads to clashes in interest
between different classes of security-holders. ... If
classes of securities exist upon which payment of inter-
est is optional, it is to the advantage of the junior issues
to prevent payment of interest or dividends upon others
until earnings are such that payment may be made
upon all. If common stockholders can reinvest in the
property sums which normally would be paid in divi-
dends on the preferred stock, they advance the day
upon which they can secure dividends for themselves
at the expense of their seniors. . . . Or, again, it may
be to the advantage of speculative stockholders to
pay dividends to themselves by means of the accumu-


166
[Sept. 16,
THE
DIAL
lation of a floating debt, and to sell out at top quo-
tations, being the floating debt to take precedence even
of mortgage bonds. Both this and the preceding oper-
ation are facilitated by the control which the least
valuable portion of the capital, the common stock, usu-
ally has over the policy of the entire company. But it
is when a reorganization becomes necessary that these
conflicts in interest become most apparent, and it is as
a compromise between contending forces that a reorgan-
ization plan must take its shape."
Just at the present time, when the railroads
are making a combined demand for increased
rates in order that they may avoid the other
alternatives of decreased wages or reduced
dividends, it is of value to have emphasized, as is
here done, the facts of reorganization as affect-
ing security-holders. In Erie, Philadelphia &
Reading, Southern, Santa Fe, Rock Island, and
Union and Northern Pacifies, it has been neces-
sary again and again to sacrifice the equitable
rights of stockholders, so as to "squeeze out
water" and allow of the road being put on a
basis of restored vitality. What has been done
frequently, may still be done; and the choice
so made, as between the equally innocent in-
vestors and consumers, is in favor of the latter.
In such a choice, the equitable defense is made
by emphasizing the involuntary nature of the
relation of the shipper to the transport systems,
while that of the investor is optional. Not until
Mr. Taft's suggestion is embodied in law, and
all future issue of bonds or stocks are placed
under the supervision of some government board
of control, can the investor find protection from
his own ignorance or his own folly," as they play
into the hands of reckless and unscrupulous
promoters of the Wall Street type.
John J. Halsey.
A Pioneer American Schoolmaster.*
The first American writer upon education and
the author of the first American treatise upon
conduct was Christopher Dock, a native of
Germany, who taught school among the Penn-
sylvania Germans of Southeastern Pennsyl-
vania between the years 1718 and 1771. About
a quarter of a century ago, Governor Penny-
packer of Pennsylvania translated into English
Dock's description of his method of teaching,
together with several of his hymns; and now
Dr. Brumbaugh, formerly Commissioner of
* The Life and Works op Christopher Dock. America's
Pioneer Writer on Education. With a Translation of his Works
Into the English Language, by Martin G. Brumbaugh, Ph.D.,
LL.D., and an Introduction by Hon. Samuel W. Pennypacker,
LL.D., Ex-Governor of Pennsylvania. Philadelphia: J. B.
Lippincott Co.
Education in Porto Rico, at present Superinten-
dent of the Philadelphia Public Schools, has
brought together all of the known writings of.
the Pennsylvania German schoolmaster, giving
the German text, an English translation, and a
sketch of the' teacher's life. Among Dock's
pupils was Christopher Saur, who succeeded his
father at the head of the Germantown printing-
house which printed three editions of the Bible
in German before an English edition appeared
in America.
Christopher Dock's method of arousing the
ambition of his pupils and of putting the slothful
to shame, differing widely from the educational
methods then in vogue, won the admiration of
the elder Saur, who with much difficulty per-
suaded Dock to write a treatise describing his
plan of organizing and conducting a school. The
manuscript was completed in 1750, and after
a number of vicissitudes was published by Saur
in 1770. An indication of Dock's method is
given in his description of the way a new pupil
was received.
"The child is first given a welcome by the other chil-
dren who extend their hands to him. Then I ask him
if he will be diligent and obedient. If he promises
this, he is told how to behave, and when he can say his
A, B, C's, and point out each letter with his index
finger, he is put into the Ab. When he reaches this
class his father owes him a penny, and his mother must
fry him two eggs for his diligence, and the same re-
ward is due him with each advance, for instance, when
he enters the word class. But when he enters the read-
ing class, I owe him a present, if he reaches the class in
the required time and has been diligent, and the first
day this child comes to school he receives a note stating,
'Diligent. One pence.' This means that he has been
admitted to the school, but it is also explained to him
that if he is lazy or disobedient his note is taken from
him. Continued disinclination to learn and stubborness
causes the pupil to be proclaimed lazy and inefficient
before the whole class, and he is told that he belongs in
a school of incorrigibles. Then I ask the child again if
he will be diligent and obedient. Answering yes, he is
shown his place. If it is a boy, I ask the other boys,
if a girl, I ask the girls, who among them will take
care of this new child and teach it. According to the
extent to which the child is known, or its pleasant or
unpleasant appearance, more or less children express
the willingness. If none apply, I ask who will teach
this child for a certain time for a bird or a writing-copy.
Then it is seldom difficult to get a response."
In similar detail Dock described the pupils'
progress through his school. Of one stage he
said:
"Those who know their lesson receive an O on the
hand, traced with crayon. This is a mark of excellence.
Those who fail more than three times are sent back to
study their lesson again. When all the little ones have
recited these are asked again, and any one having failed
in more than three trials a second time is called ' Lazy'
by the entire class, and his name is written down.


1908.]
167
THE DIAL
Whether such a child fear the rod or not, I know from
experience that this denunciation of the children hurts
more than if I were constantly to wield and flourish the
rod. If the pupil's name has not been erased before
dismissal the pupils are at liberty to write down the
names of those who have been lazy, and take them along
home. But if the child learns his lesson well in the
future, his name is again presented to the other pupils
and they are told that he knew his lesson well and failed
in no respect. Then all the pupils call' Diligent' to him.
When this has taken place his name is erased from the
slate of lazy pupils, and the former transgression is for-
given."
Dock required his older pupils to carry on a
weekly correspondence with pupils of like ability
in another school, and of this plan, the pious,
loving schoolmaster said: "I doubt not, if two
schoolmasters loving one another and desiring
their pupils to love one another, were to do this
in the love of God, it would bear fruit." With
the unruly, the covetous, the vain, the over-
ambitious, the dishonest, the untruthful, for
each he had a different method. Experience
had taught him, he said, that a timid child is
harmed rather than benefitted by harsh words
and a stupid child made worse. One driver, he
continued, does not employ half the shouting,
spurring, and whipping with his horses that
another does, and yet takes a heavier burden
over hill and dale. His minute rules of conduct
also had their foundation in good judgment and
also possess the interest derived from a portrayal
of the customs of the colonial period. It was
Dock's daily habit to place the roll of his pupils
before him and in private say a brief prayer
for each one. One evening in the autumn of
1771 he was found dead upon his knees in his
schoolroom. His was a singularly sweet and
unselfish character. His intelligence was of a
rare degree of fineness. His writings possess a
special interest for all who are engaged in edu-
cational work, and they are, moreover, one of
the foundation-stones of American culture.
Isaac R. Pennypacker.
The First Court of the Bourbons.*
If Henry Fourth's marriage to Marie de
Medicis was mainly an expedient to lessen his
debts to her Grand Ducal uncle and to obtain
ready money besides, he risked gaining a repu-
tation for meanness in order that her extrava-
gances might not deprive him of the profits of
* Mabie de Medicis and the Fbench Court in the XVIIth
Century. Translated from the French of Louis Bat iff ol, by
Mary King. Edited by H. W. Carless Davis. New York:
Charles Scribner's Sons.
the operation. In only one year from 1601 to
1610, says M. Louis Batiffol in his volume en-
titled " Marie de Medicis and the French Court,"
did she live on her income, although it was larger
than that provided for former queens. She had
a weakness for precious stones, and especially
for diamonds; and whenever one of her jewel-
lers discovered a rare stone the Queen ordered
its purchase immediately, even if her pin-money
account, of 36,000 livres, had long been over-
drawn. When her debts became pressing, she
applied to the King; and he, in order to put an
effective brake on such expenditure, did not give
her the money outright, but assigned some source
of revenue which would bring the whole matter
within the province of that shrewd and stubborn
economist, Sully. M. Batiffol does not appear
to think that in this attempt to protect the
treasury from the inroads of Queen Marie's de-
mands the King was moved altogether by reasons
of state, for he caustically remarks that Henry
preferred to save his ready money for his mis-
tresses.
Although Marie de Mddicis is the principal
subject of M. Batiffol's volume, the author
makes no attempt to give a complete view of
her character, for his descriptions of her court
do not go beyond 1617, the year of her loss of
political power. He intimates that adversity
developed the less agreeable elements of her
character, as her sudden elevation to authority
in 1610 had brought out qualities of application
to affairs of state which none had discovered
during the life of Henry IV. Her character, as
it is revealed gradually in successive chapters on
the " Queen's Day," the " Queen's Household,"
"Palace Life," etc., is not attractive. Interest
in her is aroused by the account of the tedious
marriage negotiations which left her uncertain
of her fate until she was twenty-seven years old.
This sympathy is weakened by a process of attri-
tion, as in the course of the narrative several
qualities appear, one after another, which are
obviously unamiable. According to the author,
she possessed " a nature meagrely endowed with
heart or brains." She was so obstinate that the
King, being angered one day by the Dauphin's
willfulness, said to Marie, " Knowing your dis-
position, and foreseeing what like will be that
of your son — yours, Madame, obstinate, not to
say stubborn, and his opinionated — I am as-
sured there shall be trouble between you," — a
prophecy, M. Batiffol adds, only too well ful-
filled. Her other qualities M. Batiffol sums up
in the remark, "The impression to be derived


168
[Sept. 16,
THE
DIAL
from considering the words and actions of Marie
de Medicis during the ten years of her residence
in France is that of a woman not sure of herself,
unstable, agitated, incapable of reasoning con-
secutively and firmly— frankly a character both
mediocre and vacillating." But it would have
required a person of remarkable self-control to
put up with the affronts she endured, beginning
with the King's leaving her a few days after
their marriage to hurry to the chateau of
Henriette d'Entraigues, and including as an
incident the birth of a Due de Verneuil within
a short time of the birth of the Dauphin.
There is some curious information in the
chapter on "The Queen's Purse," showing how
minutely the expenditure within her power was
supervised. What the author says about the
regulation of the royal expenditure in general
might mislead the reader to suppose that there
was a budget with something like the modern
system of assignment of appropriations. Among
the minor characters described- in the volume is
the Queen's friend, Leonora Galigai", with her
peculiarities, her love of money, and her nervous
ailments. Perhaps the most attractive chapter
in the book describes the relations of the Queen
and her children. Even if she may be accused of
lack of self-control in other respects, in this she
never was betrayed into inordinate sentiment.
M. Batiffol is, however, not quite consistent
with himself in describing her characteristics as
a mother. Her scheme of discipline was one of
rewards and punishments, toys and whippings.
She ordered Louis XIII. whipped even after he
mounted the throne. When, immediately after
this punishment, he entered her apartments
and she rose as etiquette demanded, he made
the pointed remark, child though he was, "I
would be better pleased with less obeisance and
less whipping."
The author's aim in writing this book was
not so much to produce diverting descriptions
and tell interesting tales as to contribute a study
of a phase of French society. He has achieved
his purpose within the somewhat narrow limits
of the subject, although the study will be read
perhaps more for its lighter interest than for its
historical value. One of his judgments is cer-
tainly open to criticism. This questions the
integrity of Sully, Henry's great minister of
finance. The tendency of accredited opinion
seems to be the other way, for investigation has
shown that Sully owed his fortune chiefly to the
gifts of a grateful monarch.
Henky E. Bourne.
Briefs on New Books.
Popular account ?*■ A- H. Kerne is already well
of the peoples known to all who are interested in
of the earth. ^ne 8tudy of the races of man through
two of his earlier works — " Ethnology " and " Man,
Past and Present." Both books are now standard
works of reference, and must be at the hand of every
student in their field. While many opinions ex-
pressed in them fail to gain assent, and the dogmatic
style of the author arouses a feeling of belligerency
on the part of a well-informed reader, they have
proved most stimulating, and by their copious refer-
ence to original authorities have done much to foster
a true spirit of research. In his more recent work
on "The World's Peoples" (Putnam), Dr. Keane
aims to present his material in a more popular form,
and, omitting all references and footnotes, to make
a work which shall appeal to a wider circle of
readers. "The World's Peoples" is, he says, "a
popular account of their bodily and mental charac-
ters, beliefs, traditions, political and social institu-
tions." The book will no doubt prove useful,
although in the nature of things it is less satisfactory
to the student than the others mentioned. It neces-
sarily repeats the material contained in them, but
is diluted and "written down" to the popular mind.
There is no new matter except a little drawn from
works published since his earlier works were printed.
Much that was in them is here omitted, as being
"debatable questions." The author says: "This
book therefore deals, not with faint probabilities,
but with established facts." After this statement
one must be somewhat surprised at some of the
assertions. Why can we locate the human cradle
'• with some certainty in the Eastern Archipelago and
more particularly in the island of Java"? Surely,
Dubois's discovery at Trinil is not warrant for such
location: it would not be, even if Pithecanthropus
erectus were as ancient as was at first claimed.
We make no polygenistic argument, but surely Dr.
Keane's presentation against it, on his opening page,
is absurd and unfair in that it constructs a man of
straw and fails absolutely to present the views of
any competent polygenist. What does Dr. Keane
mean by saying that there are no terms for numerals
beyond 2 or 3 in Australia? Conant presents such.
What does Dr. Keane mean by saying that Philip-
pine negritos "neither keep slaves themselves nor
endure the yoke of servitude "? Neither part of
the statement is true. These may seem small
matters, but they must be noticed when they occur
in a book which claims to present only established
facts. Unfortunately, such mis-statements are ex-
tremely common. There are some points in method,
too, that demand mention. We regret that Dr.
Keane here adopts the ill-advised term Amerind.
There are no new reasons in favor of its use, and it
is surely not gaining ground in America. The only
apparent reason why he uses it is that he has read
Dellenbaugh recently. So, too, it is a little late to


1908.]
169
THE
DIAL
emphasize Powell's termination -an for linguistic
family names, and to extend its use. American
students were for a time subservient in the matter,
but Dr. Keane must know that present tendency is
away from the Powellian rule. As for the term
Puebloan, so far as we know original in scientific
writing with Dr. Keane, we deplore it. In spite of
its defects, the book is readable, well illustrated, and
in some respects a convenient manual. Such a work
is needed, and is particularly difficult to produce.
Most recent efforts in this direction have not been
particularly happy. The last great book of the kind
was Peschel's: would that someone in this generation
would give us one as good!
Newspaper Editorials written for the daily press
articiet worth are commonly so ephemeral in char-
reprirUmg. acter, so partisan in tone, or so local
and restricted in interest, that they would not well
stand the test of republication in book form. Many
of the editorials reprinted in Mr. Fabian Franklin's
"People and Problems" (Holt) treat of issues no
longer living; but there is enough of present interest
in the book to give it life as a whole, while every
page is marked by a style so little " journalistic " as
to make the entire volume attractive. Four papers
of a more weighty character precede these brief edi-
torials: they are three public addresses ( "Newspapers
and Exact Thinking," "James Joseph Sylvester,"
and " A Defect of Public Discussion in America "),
and an article on "The Intellectual Powers of
Women" contributed to "The North American
Review." The author shows himself to have read
with approval Colonel Higginson on the woman ques-
tion, and he takes occasion to make an apt quotation
from him. Mr. Franklin's early devotion to math-
ematics, of which he was at one time professor at the
Johns Hopkins University, has left its good results
in the exactness and restraint of his literary style.
Let us quote a sentence from his opening chapter.
"The fact is," he declares, "when it comes to our
desires and prejudices, it goes against the grain to
say we don't know; and if we are unwilling to say
that, we are not in the attitude of the scientific man,
and we are not likely to do exact thinking." The
editorials, it may be well to state, are republished
from " The Baltimore News," of which Mr. Franklin
assumed the editorship in 1895, leaving the Johns
Hopkins mathematical professorship to enter on this
other work, so vastly different in character.
The Iliad
of the East,*
in English.
The oriental and the occidental tem-
per are so widely different, notwith-
standing all assertions and arguments
to the contrary, that the literature of India will
probably never be thoroughly popular with us. Gems
from the Sanskrit poets are now and again imported
from Asia, provided with a European setting, and
offered for sale in the Western market; but still
the demand for these wares remains comparatively
small. Miss Frederika Macdonald has done every-
thing possible to make attractive her selections from
the "Ramayana" in a volume which she entitles
"The Iliad of the East" (Lane), and which Mr.
J. Lockwood Kipling has illustrated in his well-
known manner. The book is essentially a reprint,
as the introduction explains. It was thirty-eight
years ago that Miss Macdonald first published these
selected episodes from Valmiki's great poem. "The
book represents," she writes, "no scholarly effort to
reproduce the original Sanskrit text literally, but
only a nosegay of stories gathered in"the course of
my own explorations of the 'immense flowering
forest of Valmiki' as it was thrown open to an un-
learned reader like myself in the admirable French
translation of Hippolyte Fauche." Miss Macdonald
calls her book, somewhat surprisingly, "the only
attempt ever made to invite English readers with
no exclusive knowledge of Indian literature [are
there any English readers with such exclusive
knowledge ?] to acquaint themselves with the
peculiar charm and perfume, and with the senti-
mental temper so akin to their own, which pervade
this old story-land." The Brahman compilers and
editors of the poem have commended it in terms
that, if taken literally, leave no doubt of its merits.
The attentive reader of it "shall be delivered from
sin. . . . He shall have sons if he desire sons; he
shall have riches if he long for riches. . . . The
young girl who desires a husband shall obtain this
husband to delight her soul. . . . Those who in the
world listen to this poem, composed by Valmiki
himself, shall acquire every gift, the object of their
desire, just as they may have wished." Mr*
Kipling's bas-reliefs, photographically reproduced,
are curiously and skilfully wrought; but, to para-
phrase Dr. Johnson, the wonder is, not that the
book-illustrator has done his work so well, but rather
that he should be able, with the limitations and
restrictions he has imposed upon himself, to do it
at all.
On the track ^' ^" Hammerton, the enam-
of Stevenson oured Stevensonian and compiler of
in Ota France. « Stevensoniana," has been moved
by his love for "R. L. S." to go forth in search
of material for another somewhat similar volume,
which he entitles " In the Track of R. L. Stevenson,
and Elsewhere in Old France" (Dutton). Those
diverting and original travel sketches, "An Inland
Voyage" and "Travels with a Donkey," dear to
every Stevenson lover, however unenthusiastic over
narratives in general of that class, gave Mr. Ham-
merton his itinerary, ready-made; and with zeal and
manifest delight he has traced his hero's course from
village to village and from one humble wayside inn
to another. Writing of the Trappist monastery of
Our Lady of the Snows, which Stevenson confesses
that he approached with "unaffected terror," his
faithful follower has this interesting passage: "The
library, which occupies a spacious room on the upper
story of the north wing, is stocked with some twenty
thousand volumes, chiefly in Latin and French, but
including an excellent collection of works in Greek,


170
[Sept. 16,
THE
DIAL
religion and history being naturally the chief subjects
represented. When we remember that many of the
monks are men of no great intellectual gifts and of
small learning, being drawn largely from the peasant
class and the military, we may doubt if the treasures
of the library are in great request. The librarian,
at least, must be a man of bookish tastes, since the
collection is arranged in perfect order. Our guide
assured us that the monastery possesses a copy of
Travels with'a Donkey, but he did not discover it
for us." Only think of the quiet, preserved without
police intervention, in a Trappist library! Surely,
the conditions for reading and study there are unsur-
passed, —but the readers and students are wanting.
Chapters on the country of the Camisards, the town
of the immortal "Tartarin" (Tarascon), "Round
about a French Fair," and other agreeable topics,
supplement the Stevensonian travels. The hillside
village of Pradelles has suggested to the author a
new word, " slanternness," expressive but not strictly
needed. Ninety-two clear illustrations from photo-
graphs help one to follow the author in his devious
but interesting course.
The history of the printed book,
fhe^Medbook. from the obscure beginnings of rock-
marking and tally-stick notching, up
through the parchment roll to the neat and service-
able and inexpensive product of our great modern
book-making establishments, has been compendi-
ously and at the same time interestingly traced by
the master-hand of Mr. Cyril Davenport in a handy
volume entitled "The Book: Its History and De-
velopment" (Van Nostrand). Illustrations, many
in number and sometimes curious in character, help
to tell the story of the book's gradual evolution.
Minute details of paper-making, binding, engraving,
decorating, and other subsidiary and ancillary arts,
are not wanting, all set forth with a fulness of
knowledge and a diligence of research that are most
praiseworthy. The bibliography (" Books to Con-
sult ") appended to each chapter enables the student
to pursue considerably further any branch of the
general subject that may especially interest him;
and it incidentally reminds the reader that Mr.
Davenport is a somewhat prolific author in this his
chosen field. Let us cull one item of information,
probably new to ninety-nine readers out of a hun-
dred. How can we account for the great length
(sixteen and seventeen feet, and even more) of
ancient vellum rolls in one continuous strip? Not
even the longest-necked giraffe would furnish such
a stretch of skin all in one piece. Mr. Davenport
tells us that he "consulted a clever leather worker
and gave him a skin measuring about 3 feet by 2,
suggesting certain ways of cutting it. He produced
eventually, by wetting, pulling, and pinning, a beau-
tiful roll of nearly 4 inches in breadth and 16 feet
9 inches in length." On an early page the writer
says, rather unaccountably, that "the modern en-
graving of inscriptions on metal has mainly found
refuge in monumental brasses, and in this case the
letterings are usually run in with some pigment" —
as if inscriptions on silver, gold, bronze, copper,
steel, and brass too, were not common enough, with-
out any pigment filling.
A doubtful ItIS difficult to see how Miss Ruth
Hero of the Putnam's biography of Charles the
Natiom. Bold came to have a place in the
"Heroes of the Nations" series (Putnam). The
rash Duke was scarcely a hero, and, as the author
correctly informs us, "he never had any nation, great
or small, at his back. Personally he was a man with-
out a country." The explanation in the preface, that
the admission of Charles to this group "is justified
by his relation to events," scarcely meets this objec-
tion. But this is, after all, a minor matter. The
important thing is that Miss Putnam has given us an
interesting account of a most interesting career. The
biography contains little that is new: we are still in
the dark as to why Charles failed to get the royal
crown at the meeting with the Emperor at Treves;
and there are other questions relating to the policies
and diplomacy of the time that still remain unan-
swered. But the story is told with a freshness that
suggests a close study of primary sources and a
mastery of available historic materials. The person-
alities of Philip the Good, Charles the Bold, and
Louis XI. stand out clearly and prominently; the
complexities of the international situation in the
second half of the fifteenth century are carefully
traced; and the difficulties that the Burgundian
dukes had to contend with in their effort to unify
their numerous and diverse possessions are brought
out in a very satisfactory manner. The four closing
chapters are devoted to the trouble with the Swiss
and with Lorraine, a difficulty which the author
traces to a financial transaction of 1469, in which
Sigismund of Austria mortgaged certain Alsatian
possessions to Charles; the manner in which these
were administered, rather than Charles's ambitions
with respect to the Alpine region, brought on the
war with the mountaineers. The work is provided
with numerous illustrations, all well executed and of
true historic character. In addition it contains a
fairly complete bibliography and a good map.
Notes.
A new edition of John Hill Burton's "The Book-
Hunter," edited by Mr. J. Herbert Slater, is now pub-
lished by Messrs. E. P. Duttou & Co.
Two volumes of "Latin Prose Composition," one
based upon Caesar and the other upon Cicero, are the
work of Mr. Henry Carr Pearson, and are now pub-
lished by the American Book Co.
Volume IV of " My Memoirs," by Alexandre Dumas,
in Mr. E. M. Waller's translation, is now published by
the Macmillan Co. Two more volumes will complete
the English version of this vastly entertaining and ani-
mated autobiography.
Three volumes of essays on ethical subjects, from
well-known writers, are announced by Messrs. Crowell


1908.]
171
THE
DIAL
& Co. for publication this month. They are: "Coun-
sels by the Way," by Dr. Henry van Dyke; "On the
Open Road," by Mr. Ralph Waldo Trine; and "The
Free Life," by President Wood row Wilson.
A volume of occasional addresses by Dr. William
Osier, the Regius Professor of Medicine at Oxford,
entitled " An Alabama Student and other Biographical
Essays," will soon be published by the Oxford University
Press.
The "Physical Geography" of the late M. F. Maury,
revised and largely re-written by Dr. Frederic W.
Simonds, is published as a school text-book by the
American Book Co. The text has been richly illus-
trated and brought thoroughly up to date.
A work on "Argumentation and Debating," by
Professor William Trufant Foster, is published by
Messrs. Houghton, Mifflin & Co. It is scientific in
method, helpful in suggestion to the student, and fur-
nished with illustrative exercises and examples.
The recent ter-centennial celebration at Quebec gives
special point to the publication of a History of Canada
which the Macmillans are to bring out shortly. It will
be a substantial work in three volumes, by Mr. Frank
Basil Tracy, fully illustrated and well supplied with
maps, etc.
The Bibliography of Henry D. Thoreau, which will
appear this Fall in Houghton Mifflin Co.'s series of
bibliographies of standard authors, will contain a
hitherto unpublished portrait of Thoreau, being a pho-
togravure reproduction of a daguerreotype by R. D.
Maxham of Worcester, taken in June, 1856.
"Yolanda of Cyprus," a romantic drama by Mr.
Cale Young Rice, is published by the McClure Co.
Mr. Rice is one of the young writers who are giving
new hope to students of American dramatic literature.
Mr. Donald Robertson produced one of his plays last
year, and promises another during the coming season.
Dr. James D. Brunei 's "Studies in Victor Hugo's
Dramatic Characters," with an introduction by Dr. R. G.
Moulton, makes a volume of deeply interesting literary
criticism. The author calls his method one of " sym-
pathetic induction," which is a fairly descriptive phrase.
"Hernani," "Ruy Bias," and "Lucrezia Borgia" are
the dramas which are the subjects of these studies. The
book is published by Messrs. Ginn & Co.
"A Study of the Topography and Municipal History
of Pneneste," by Mr. Ralph Van Deman Magaffin, is a
recent addition to the Johns Hopkins studies in history
and politics. To the Columbia series in philosophy and
psychology has been added a treatise on "Time in
English Verse Rhythm," by Dr. Warner Brown. A new
number of the " Bulletin of the University of Texas " is
devoted to "The Beginnings of Texas, 1G84-1718,"
and is a doctoral dissertation by Mr. Robert Carlton
Clark.
A literary companion for the traveller in Greece is
provided by Mr. William Amory Gardner's " In Greece
with the Classics," published by Messrs. Little, Brown,
& Co. It is a volume of selections from the Greek
poets and historians, topographically classified, repro-
duced in new translations, and, in the case of the poetical
passages, given also in the original text. Travellers
will also find their account in two very companionable
little books of poetry just published by Messrs. Henry
Holt & Co. « The Poetic Old-World " is compiled by
Miss Lucy H. Humphrey, and "Poems for Travellers"
by Miss Mary R. J. DuBois. In Miss Humphrey's
volume, the poems from foreign languages are given
both in translation and in the original. This is a de-
lightful book.
Messrs. Frederick Warne & Co. will publish for the
holidays a clever collection of colored pictures with
accompanying Limericks, designed by Mr. Edmund
Dulac. They have also in press a new children's book
written and illustrated by Miss Beatrix Potter, author
of the " Peter Rabbit" series, called "The Roly-Poly-
Pudding," with full-page illustrations in color. The
new volume for this year in the "Peter Rabbit" series
for little children is entitled "The Tale of Jemima
Puddle-Duck."
It is announced that the authorized biography of
Grover Cleveland is to be written by bis friend, John
Finley, President of the College of the City of New
York. Mr. Finley asks that persons having letters or
other memorials of Mr. Cleveland will kindly loan them
to him for the purpose of the Biography. All manu-
scripts will be promptly copied and the originals returned
to the owner. Communications should be addressed:
President John Finley, College of the City of New York,
St. Nicholas Terrace, New York City.
For many years people living in less favored com-
munities than San Francisco have heard rumors of
strange and picturesque doings, called "Jinks," on the
part of the Bohemian Club of that Western city.
These affairs now have a historian (authorized by the
Club) in the person of Mr. Porter Garnett, whose book
is entitled "The Bohemian Jinks," and may be had
from Mr. A. M. Robertson as its publisher. The book
makes very interesting reading, and its charm is
enhanced by the inclusion of a number of revealing
photographs.
A volume of " Views and Reviews by Henry James"
has been collected by Mr. LeRoy Phillips (to whom we
owe the James bibliography), and is sent us by the Ball
Publishing Co., Boston. Most of the contents are taken
from early files of " The Nation," to which Mr. James
was a frequent contributor. Among the subjects of these
papers are George Eliot, Browning, Morris, Arnold,
Dickens, Tennyson, and Mr. Swinburne. The closing
paper, on " Mr. Kipling s Early Stories," provides a sort
of connecting link between the present literary genera-
tion and the last. Mr. James himself, of course, is one
of the strongest of those links, and this unexpected
addition to his available works gives us distinct cause
for satisfaction.
"The Humanists' Library," edited by Mr. Lewis
Einstein and published by Mr. D. B. Updike of Boston,
has reached its fourth volume, which contains Sir Philip
Sidney's " Defence of Poesie." In an eloquent intro-
duction, Professor George E Woodberry characterizes
Sidney's tract as "the first classic — first both in time
and in rank — of English criticism. ... In England
humanism has no other monument so shining; neither
has it any example so pure." The text of Dr. Ewald
Fliigel's scholarly edition is used in this reprint, which
has had the additional advantage of Dr. Fliigel's cor-
rections in the proof. Besides the " Defence," we are
given also Sidney's "Letter to Queen Elizabeth, per-
swading Her not to Marry with the Duke of Anjou"
(1580), and the " Discourse in Defence of the Earle of
Leicester" (1584). A choicer offering to the lover of
literature and beautiful book-making than this volume
has not appeared in a long time.


172
[Sept. 16,
THE DIAL
Announcement List of Fall Books.
The classified list given below as the prospective output
for the coming Fall and Winter season contains nearly 1450
titles, representing about fifty American publishing houses.
These announcement lists, carefully prepared from the ear-
liest and most authentic sources especially for our pages,
have for many years been a special feature of The Dial j
and their usefulness and interest, both to the book trade and
the book public, have long been recognized. They not only
show at a glance what books are coming out in any depart-
ment of literature, but form a complete summary of the
principal publishing activities of the year. All the books
entered are new books — new editions not being included
unless having new form or matter. Some of the more inter-
esting features among these announcements are commented
upon in the leading editorial in this issue of The Dial.
BIOGRAPHY AND REMINISCENCES.
Richard Mansfield: The Man and the Actor, by Paul
W'llstach, UlU8., |3.50 net.—A Chronicle of Friend-
ships, by Will II. Low, lllus. by the author and from
his collections, $3 net.—The Brontes' Life and Let-
ters, being an attempt to present a full and final
record of the lives of the three sisters, Charlotte,
Emily, and Anne Bronte, from the biographies of
Mrs. Gaskell and others, and from numerous hitherto
unpublished MS. and Letters, by Clement Shorter, 2
vols., lllus. In photogravure, $6 net.—Rousseau and
the Women He Loved, by Francis Gribble, £3.75 net.
—The Tragedies of the Medici, by G. Bdgcumbe
Staley, illus. in color, etc., $8.50 net.—Robert E.
Lee: The Southerner, by Thomas Nelson Page, with
photogravure portrait, $1.25 net.—Foot-steps In a
Parish, an appreciation of Maltble D. Babcock as a
pastor, by John Timothy Stone, lllus., 75 cts. net.
(Charles Scrlbner's Sons.)
Recollections and Reflections, by Ellen Terry, lllus.,
$3.50 net.—Reminiscences of Carl Schurz, Vol. III.,
completing the work, lllus., $3 net; per set, $9 net.
—Life of Mary Baker G. Eddy and the History of
Christian Science, by Georglne Milmlne, lllus., $5
net.—The Boyhood of Lincoln, by Eleanor Atkinson,
50 cts. net.—The Death of Lincoln, by Clara E.
Laughlin, $1.50 net.—The Reminiscences of a Ranch-
man, by Edgar Beecher Bronson, lllus., $1.50. (Mc-
Clure Co.)
Life of James McNeill Whistler, by Elizabeth Robins
Fennell and Joseph Pennell, 2 vols., lllus. In photo-
gravure, etc., $10 net.—Beau Brummell and his
Times, by Roger Boutet Dc Monvel, with a chapter
on Dress and the Dandles, by Mary Craven, lllus.,
$2.50 net. (J. B. Llppincott Co.)
Reminiscences of Lady Randolph Churchill, lllus., $3.50
net.—Whistler in Venice, by Otto H. Bacher, with
twenty-six Whistler etchings, many never heretofore
reproduced, three lithographs, and five Whistler let-
ters, also with etchings and photographs by Mr.
Bacher, $4 net.—The World I Live In, by Helen Kel-
ler, lllus., $1.20 net. (Century Co.)
Life of Henry Irving, by Austin Brereton, 2 vols., illus.
—Impressions of Henry Irving, gathered In public
and private, by Walter H. Pollock, with a preface
by H. B. Irving, $1 net.—The Journal of Elizabeth
Lady Holland, 1770-1845, edited by the Earl of
Ilchester, 2 vols., lllus.—Henry Stuart, Cardinal of
York, and his Times, by Alice Shield, with preface
by Andrew Lang, with portraits.—Sir George Mack-
enzie, the King's Advocate, 1636-1691, by Andrew
Lang, with portraits.—Historical Letters and
Memoirs of Scottish Catholics, 1625-1793, by Rev.
W. Forbes-Leith, 2 vols., illus.—Thomas Ken and
Izaak Walton, a sketch of their lives and family
connection, by E. Marston, lllus.—Old and Odd
Memories, by Lionel Tollemache, with portraits, $3.50
net.—Chronicles of Service Life in Malta, by Mrs.
Arthur Stuart, illus., $2.—Madame Elizabeth De
France, 1764-1793, a memoir, by Hon. Mrs. Maxwell
Scott, with photogravure portraits, $3.50 net. (Long-
mans, Green ft Co.)
Life of Thomas Bailey Aldrlch, by Ferris Greenslet,
lllus., $3 net.—John Keats, by Albert E. Hancock,
lllus., $2 net.—Lincoln: Master of Men, by Alonzo
Rothschild, anniversary edition, with photogravure
portrait, $1.50 net. (Houghton Mifflin Co.)
Reminiscences of Richard Wagner, by Angelo Neumann,
trans, from the fourth German edition, with portraits
and one of Wagner's letters In facsimile, $2.50 net.—
Canadian Types of the Old Regime, by Charles W.
Colby, lllus., $3 net.—The Builders of United Italy,
by Rupert Sargent Holland, with portraits, $2 net.
(Henry Holt ft Co.)
Memoirs of a Vanished Generation and Its Friendships.
1813-1855, by Mrs. Warrenne Blake, illus., $5 net-—
The Diary of a Lady-in-Waltlng, being the Diary
Illustrative of the times of George the Fourth, by
Lady Charlotte Bury, new edition, with Introduction
by A. Francis Steuart, 2 vols., with portraits, $7.50
net.—Louis Napoleon and the Genesis of the Second
Empire, by F. H. Cheetham, lllus., $5 net.—Memoirs
of the Dukes of Urblno, Illustrating the arms, art,
and literature of Italy from 1440 to 1630, by James
Dennlstoun, new edition, edited by Edward Hutton.—
Vincenzo B\>ppa of Brescia, Founder of the Lombard
School: His Life and Work, by Constance J.
Ffoulkes and Rodolfo Majocchl, lllus.—Edward A
Macdowell, a definitive Illustrated biography, $1.50
net.—Cesar Franck, by Vincent D'Indy, trans, from
the French, with introduction, by Rosa Newmarch,
$2.50 net.—Life of Peter lllch Tchaikovsky, by Mo-
deste Tchaikovsky trans., edited, and arranged from
the Russian by Rosa Newmarch, lllus., $2.50 net.—
Living Masters of Music, new vol.: Richard Strauss,
by Ernest Newman, illus., $1 net.—Aubrey Beardsley,
by Robert Ross, lllus., $1.25 net. (John Lane Co.)
Napoleon and his Fellow Travellers, edited by Clement
Shorter, lllus., $4 net.—George Borrow, by B. A. J.
Walling, with frontispiece, $1.75 net.—From Smithy
to Senate, the life story of James Annand, journalist
and politician, by George B. Hodgson, with portraits,
$1.75 net.—From Workhouse to Westminster, the
life story of Will Crooks, by George Haw, cheap
edition, $1 net. (Cassell ft Co.)
Musical Memories, my recollections of famous celebrities.
1850-1900, by George P. Upton, with portraits, $2.75
net. (A. C. McClurg & Co.)
Other Days, being chronicles and memories of the stage,
by William Winter, lllus., $3 net. (Moffat, Yard ft
Co.)
The Boyhood and Youth of Goethe, comprising the first
eleven books of bis Autobiography, in 2 vols., $2.50.
—Mlrabeau and French Revolution, by Fred Morrow
Fling, in 3 parts, Part [., The Youth of Mlrabeau,
lllus., $3.50 net.—Memoirs of Comte de Rambuteau,
by George Lequln, trans, by J. C. Brogan, lllus.—
Life of Jobann Sebastian Bach, by Sir Hubert Parry,
with portrait.—The Memoir Series, new vols.: The
Medici Popes, by H. M. Vaughan, $4.50 net; Lorenzo
the Magnificent, and Florence in her Golden Age, by
E. L. S. Horsburgh, $4.50 net; Charles II. and His
Court, by A. C. A. Brett, $2.75 net; Great Ralegh,
being the life and times of Sir Walter Ralegh, by
Hugh de Sfilincourt, $2.75 net; Chaucer's England,
by G. G. Coulton, $2.75 net; The Holland House
Circle, by Lloyd Sanders, $3.50 net; The First Gov-
erness or the Netherlands: Margaret of Austria, by
Eleanor E. Tremayne, $2.75 net; each lllus.—Heroes
of the Nations, new vol.: William the Conquerer and
the Rule of the Normans, by F. M. Stenton, lllus.,
$1.35 net. (G. P. Putnam's Sons.)
Life of George William Curtis, by Henry Loomis Nelson,
$3 net. (Harper & Brothers.)
Charles Dickens, his life, writings, and personality, by
Frederick G. Kitton, lllus., $3.50 net.—Oscar Wilde,
by Leonard Cresswell Ingleby, with portrait, $3.50
net.—The Lover of Queen Elizabeth, being the story
of the life of Robert Dudley, Earl of Leicester, by
Mrs. Aubrey Richardson, illus. in photogravure, etc.,
$3.50 net.—Perdlta, a romantic narrative of the
career of the beautiful Mary Robinson, by Stanley V.
Makower, lllus. In photogravure, etc., $4 net.—The
House of Howard, annals of a great noble family, by
Gerald Brenan and Edward Phillips Statham, 2 vols.,
lllus. in photogravure, etc., $6 net.—Lady Jane Grey
and her Times, by I. A. Taylor, illus. in photo-
gravure, etc., $4 net.—My Story, by Hall Calne, $2
net.—The War-time Journal of a Georgia Girl, lllus.,
$2.50 net.—The Queens of Egypt, lllus.—Biography
of Porflrlo Diaz, by Rafael de Zayas Enrlquez, $1.50
net. (D. Appleton & Co.)
King Edward and his Court, by T. H. S. Escott, with
photogravure frontispiece, $4 net.—George III. as
man, monarch, and statesman, by Beckles Wlllson,
illus. In photogravure, etc., $3 net.—American Crisis
Biographies, edited by Ellis Paxson Oberholtzer, new
vols.: John C. Calhoun, by Galllard Hunt; "Stone-
wall" Jackson, by Henry Alexander White; John
Brown, by W. E. Burghardt Dubois; each with por-
trait, $1.25 net. (George W. Jacobs & Co.)
The Later Years of Catherine de Medici, by Edith Slchel,
lllus., $3 net.—Baldassare Castigllone. the Perfect
Courtier: His Life and Letters, by Julia Cartwrlght,
2 vols., lllus., $7.50 net.—Life and Letters of H.
Taine, Vol. III., 1871-1894, completing the work,
trans, from the French by E. Sparvel-Bayly, with
prefatlal note by Thomas Seccombe, and a general
Index, $2 net. (E. P. Dutton ft Co.)
Beacon Biographies, new vol.: Benjamin Franklin, by
Lindsay Swift, with photogravure frontispiece, 75
cts. net. (Small, Maynard ft Co.)


1908.]
173
THE DIAL
Recollections of a Varied Career, by Gen. William F.
Draper, illus., $3 net. (Little, Brown & Co.)
Victoria Regina, her court and her subjects, from her
accession to the death of the Prince Consort, by
Fitzgerald Molloy, 2 vols., illus., $6.50 net.—A Life
of Ian MacLaren, by W. Robertson NIcoll, $1.50 net.
(Dodd, Head & Co.)
English Men of Letters, new vol.: William Morris, by
Alfred Noyes. (Macmillan Co.)
Scottish Women of the Past, by Harry Graham, $3.50
net. (Duffield & Co.)
Life of Lincoln, by Henry W. Whitney, 2 vols., Illus.,
$2.50 net. (Baker & Taylor Co.)
True American Types series, new vol.: Captain Thomas
A. Scott, by F. Hopkinson Smith, 60 cts. net.—Some
Memories, by Robert Collyer, $1.25 net.—Sons of the
Puritans, by various authors, $1.50 net. (American
Unitarian Association.)
My Life, by Joslah Flynt, illus., $2. net.—The Last of
the Plainsmen, by Jane Grey, illus., $1.50 net. (Out-
ing Publisbing Co.)
Lives of Great Writers series, new vol.: In the Days of
Bacon, by Tudor Jenks, illus., $1 net. (A. S. Barnes
& Co.)
The Life of Napoleon Bonaparte, by S. Baring-Gould,
illus. in photogravure, etc., $3.50 net. (Frederick A.
Stokes Co.)
Women of Florence, by Isidoro Del Lungo, trans, by
Mary C. Stelgmann, illus. in color, $2.25 net. (Double-
day, Page & Co.)
HISTOBT.
A History of Rome in the Middle Ages, by F. Marlon
Crawford and Giuseppe Tomassettf, Vol. I.—London
In the Nineteenth Century, by Sir Walter Besant,
illus., $7.50 net.—A History of the United States,
by Edward Channlng, Vol. II., A Century of Colonial
History, 1660-1760, illus., $2.50 net.—History of the
United States, by H. W. Elson, new edition In 5
voIb., illus.—Documentary Source-Book of American
History, by William MacDonald.—Statistical and
Chronological History of the United States Navy, by
Robert W. Nceser, 2 vols.—Stories from American
History, new vols.: Daniel Boone and the Wilder-
ness Road, by H. Addlngton Bruce; The Story of the
New England Whalers, by John R. Spears; The
Story of the Great Lakes, by Edward Channlng and
Marion F. Lansing; each illus.—History of the City
of New York, by Mrs. Schuyler Van Rensselaer, 2
vols.—The Ancient Greek Historians, by J. B. Bury.
—The Origins of the British Colonial System, 1578-
1660, by George Louis Beer.—Lollardry and the
Reformation in England, an historical survey, by
James Galrdner, 2 vols.—The Tercentenary History
of Canada, from Champlaln to Laurier, 1608-1908,
by Frank Basil Tracy, 3 vols, illus. (Macmillan Co.)
Historical and Political Essays, by William Edward
Hartpole Lecky. (Longmans, Green & Co.)
Dumourlez and the Defence of England against Napo-
leon, by J. Holland Rose, with portraits, $5 net.—
Napoleon and the Archduke Charles, a history of the
Franco-Austrian campaign In the valley of the Dan-
ube, 1809, by F. Loralne Petre, $4 net.—The "Lon-
dons" of the British Fleet, by Edward Fraser, illus.,
$1.50 net. (John Lane Co.)
Historic States of Italy, first vol.: Mantua, by Miss M.
I. Robertson, Illus., $2.75 net.—Oxford in the Eight-
eenth Century, by A. D. Godley, illus., $2 net.—The
Greatness and Decline of Rome, by Gugllelmo Fer-
rero, trans, by Alfred E. Zlmmern, Vols. III. and
IV., comprising Vols. III., IV., and V. of the Italian
edition.—The Constitutional History of England, a
course of lectures, by F. W. Maitland. (G. P. Put-
nam's Sons.)
The Search for the Western Sea, the story of the ex-
ploration of Northwestern America, by Lawrence J.
Burpee, illus., $5 net.—Before and after Waterloo,
by Edward Stanley, Illus. In photogravure, etc., $3.75
net. (D. Appleton & Co.)
The Mongols In Russia, by Jeremiah Curtln, $3. net.—The
Story of a Border City during the Civil War, by Ga-
lusha Anderson, Illus., $1.50 net. (Little, Brown &
Co.)
The Conquest of the Great Northwest, by Agnes C. Laut,
2 vols., Illus., $5. net. (Outing Publishing Co.)
The Truth about Port Arthur, by E. K. Nojlne, trans,
and abridged by A. B. Lindsay, edited by E. D. Swin-
ton, illus.. $5. net.—The Making of Canada, 1763-1814,
by A. G. Bradley, Illus., $3. net. (E. P. Dntton & Co.)
American Commonwealth series, new vols.: Wisconsin,
by Reuben G. Thwaltes; Minnesota, by William W.
Folwell; each $1.25 net. (Houghton Mifflin Co.)
Venice, by PomDeo Molmentl, trans, from the Italian by
Horatio F. Brown, In 6 vols., concluding section. Part
III., The Decadence of Venice, illus.; section of two
vols., $5. net; per set, $15. net. (A. C. McClurg & Co.)
Tragic Russia, by Wleslaw Selavus, trans, by the VUcount
de Busancy, Illus., $2.50 net. (Cassell & Co.)
St. Botolph's Town in Colonial Days, by Mary Caroline
Crawford, Illus. in duogravure, $2. (L. C. Page
& Co.)
History of Contemporary Civilization, by Charles Seigno-
bos, trans, by A. H. Wilde, $1.25 net. (Charles
Scrlbner's Sons.)
The World's Great Events, by Albert Payson Terhune,
illus., $1.20 net. (Dodd, Mead & Co.)
GENERAL LITERATURE.
The Age of Shakespeare, by Algernon Charles Swinburne,
$2. net.—Magazine Writing and the New Literature,
by Henry Mills Alden, $2. net.—Women, Etc., by
George Harvey, $1. net. (Harper & Brothers.)
By the Christmas Fire, by Samuel M. Crothers, Illus.,
$1.25 net.—A Happy Half-Century, by Agnes Rep-
pller, $1.10 net.—Park-Street Papers, by Bliss Perry,
$1.25 net.—The Home Builder, by Lyman Abbott,
75 cts. net. (Houghton Mifflin Co.)
The Family Letters of Christina Rossetti, edited by Wil-
liam Michael Rossetti. Illus., $4.50 net.—In a New
Century, by E. S. Martin, $1.50 net. (Charles Scrlb-
ner's Son?.)
Letters of Edward Lear, edited by Lady Strachey, Illus.
in photogravure, etc., $3.50 net.—Letters of Mrs.
James G. Blaine, edited by Harriet S. Blaine Beale,
2 vols., $4. net. (Duffield & Co.)
De Librls, by Austin Dobson.—The Ladles' Pageant, com-
piled by E. V. Lucas.—Realities and Ideals, social,
political, literary, and artistic, by Frederic Harrison.
—The Friendly Craft, a collection of American let-
ters, edited by Elizabeth Deerlng Hanscom.—Peace
and Happiness, by the RL Hon. Lord Avebury.—Social
Life in Rome, by W. W. Fowler. (Macmillan Co.)
The English Novel of the Nineteenth Century, by Richard
Burton, $7.50 net.—The German Drama of the Nine-
teenth Century, by Georg Wltkowskl, trans, by L. B.
Horning, $1.25 net.—The Sense of the Infinite, a
study of the transcendental element In literature, life,
and religion, by Oscar Kuhns, $1.25 net. (Henry
Holt & Co.)
Counsels by the Way, by Henry van Dyke, $1. net.—He
Can Who Thinks He Can, by Orison Swett Marden,
?1. net.—On the Open Road, by Ralph Waldo Trine,
0 cts. net.—The Free Life, by Woodrow Wilson, 75
cts. net. (Thomas Y. Crowell & Co.)
Orthodoxy, by Gilbert K. Chesterton, $1.50 net.—Cornish
Characters and Strange Events, by S. Baring-Gould,
illus., $5. net.—Under Petrarla with Some Saunter-
ings, anonymous, illus., $1.50 net.—King Alfred's
Jewel, anonymous, $1.25 net. (John Lane Co.)
The American Stage of To-day, by Walter Prichard
Eaton, $1.50. (Small, Maynard & Co.)
The Appreciation of the Drama, by Charles H. and
Caroline A. Caffln, illus., $1.50 net.—Books and Read-
ing, compiled by Roscoe C. Gaige and Alfred Harcourt,
with frontispiece, $1.50 net; leather, $2.50 net. (Ba-
ker & Taylor Co.)
Beethoven's Letters, critical edition, with explanatory
notes by Alf. Chr. Kallscher, trans., with preface, by
J. S. Shedlock. $7.50 net. (E. P. Dutton & Co.)
Studies of the Eighteenth Century in Italy, by Vernon
Lee, new edition, enlarged, with new preface, illus.,
$6. net. (A. C. McClurg & Co.)
Cambridge History of English Literature, edited by A.
W. Ward and A. R. Waller, In 14 vols., Vol. HI., Re-
nascence and Reformation, $2.50 net.—The Writings
of James Madison, edited by Gaillard Hunt, limited
letter-press edition, in 9 vols., Vol. VIII., $5. net.—
At Large, by Arthur Christopher Benson, $1.50 net.—
An Incarnation of the Snow, trans, from the original
MS. by F. W. Bain, $1.25. (G. P. Putnam's Sons.)
Art and the Human Spirit, the meaning and relations of
sculpture, painting, poetry, and music, by Edward
Howard Griggs, paper, 25 cts. net; cloth, 50 cts. net.
(B. W. Hucbsch.)
Two Dramatizations from Vergil, by Frank Justus Miller.
(University of Chicago Press.)
Abraham Lincoln, by George Bancroft, with portrait, 60
cts. net.—The Wisdom of Lincoln, being extracts from
his speeches, state-papers, and letters, edited, with In-
troduction, by Marlon Mills Miller, 50 cts. net. (A.
Wessels Co.)
The Vest Pocket Series, new vols.: A Little Book of
Nature Thoughts from Fiona Macleod, selected by
Mrs. William Sharp and Roselle Lathrep Shields:
Toward Humanity, selections from the writings of
Robert G. Ingersoll, edited by Anne Montgomerle
Traubel; each, paper, 25 cts.; cloth, 40 cts.: leather,
75 cts. (Thomas B. Mosher.)
Love Letters of Mary Wollstonecraft, with Introduction
by Roger Ingpen, reprinted from the first edition,
with portraits, $1. net. (J. B. Llpplncott Co.)


174
[Sept. 16,
THE
DIAL
What and How to Read, by Hamilton Wright Mable,
$1.20 net. (Dodd, Mead ft Co.)
Shakspere and his Forerunners, by Sidney Lanier, new
and cheaper edition In one vol., lllus., $3. net.—The
Open Road, by David Grayson, $1.20 net.—Good
Stories, edited by Hamilton Wright Mable, Lionel
Stiachey, and others, 75 cts.—Stories of Humor, ed-
ited by Thomas L, Masson, 75 cts.—Potted Fiction,
by John Kendrlck Bangs, 50 cts. (Doubleday, Page
& Co.)
Great English Poets, by Julian Hill, lllus., $1.50. (George
W. Jacobs & Co.)
The Higher Sacrifice, by David Starr Jordan, 80 cts. net.
(American Unitarian Association.)
My Auto Book, by Walter Pulitzer, lllus., $1. (Outing
Publishing Co.)
POETRY AND THE DRAMA.
The House of Blmmon, a drama in four acts, by Henry
van Dyke, with frontispiece in color, $1. net.—Poem
Outlines of Sidney Lanier, $1. net. (Charles Scrib-
ner's Sons.)
Apollo and the Seaman, and other poems, by Herbert
Trench, $1.50 net.—Hero and Leander, a poetic
drama, by Martin Schiltze, $1.25 net.—The Poetic
Old World, complied by Lucy H. Humphrey, $1.50
net; leather, $2.50 net.—Poems for Travelers, com-
piled by Mary B. J. Dubois, $1.50 net; leather, $2.50
net. (Henry Holt ft Co.)
Faust, a drama, by Stephen Phillips and J. Comyns Carr,
$1.25 net.—The Golden Treasury of American Songs
and Lyrics, edited by Curtis Hidden Page. (Macmil-
lan Co.)
Selected Poems, by Francis Thompson, $1.50 net.—John
the Baptist, a play, by H. Sudermann, trans, by Bea-
trice Marshall, $1.50 net.—Beau Brummel, a play,
written for Richard Mansfield, by Clyde Fitch, lllus.,
$1.50 net. (John Lane Co.)
Herakles, by George Cabot Lodge.—Poems of Richard
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1908.]
175
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176
[Sept. 16,
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178
[Sept. 16,
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1908.]
179
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182
[Sept. 16,
THE DIAL
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Press.)


1908.]
183
THE
DIAL
The Young Train Master, by Burton E. Stevenson, illus.,
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Christmas-Makers' Club, by Edith A. Sawyer, lllus.,
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Frances Margaret Fox, lllus., $1.—O-Heart-San, by
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The Live Dolls' Play Days, by Josephine Scribner
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A Treasury of Verse for Little Children, lllus. in color,
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Tales that Never Die, by Maria Edgeworth, edited by
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Bridgman, $1.25.—Caldwell's Boys' and Girls' at
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Tommy Trot's Visit to Santa Claus, by Thomas Nelson
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THE DIAL, Fine Arts Building, Chicago.
Entered aa Second-Ohua Matter October 8, 1892, at the Poet OfBoe
at Chicago, Illinois, under Act of March 3, 1879.
Ho. SSB. OCTOBER 1, 1908. Vol. XLV.
Contents.
PAOE
A PISGAH-SIGHT 107
TOM HOOD AS A SERIOUS POET. Henry Scidel
Canby 100
CASUAL COMMENT 208
Misquotations of poetry. — A cabman of literary
tastes. — Book-collecting as an avocation. — Edu-
cation by syndication. — The blind poet of Mary-
land. — The short story of action. — The story of
Dickens's first love. — A case of poetic justice.—
The pedantry of legal language. —" Baths before
books." —The coast of Bohemia. — Stay-at-home
travel. — Novel-reading and longevity.
COMMUNICATION 205
A Id rich's "Collected" Poems. Ferris Greenslet.
FIFTY YEARS OF MUSIC AND MUSICIANS.
Percy F. Bicknell 206
"NEARNESS TO NATURE" IN ENGLISH LAND-
SCAPE PAINTING. Edward E. Hale. Jr. . 208
THE POLITICAL GOAL OF CANADA. Lawrence
J. Burpee 210
THE "LITTLE GIANT" OF ILLINOIS. Clarence .
Walworth Alvord 212
RECENT FICTION. William Morton Payne . . .218
Herrick'* Together.—Smith's Peter.—Chambers's
The Firing Line. — Nicholson's The Little Brown
Jng at Kildare. — Stuart's Weeping Cross.—Hew-
lett's Halfway House.
BRIEFS ON NEW BOOKS 215
The palmy days of the American trading vessels —
— Old-time crafts and craftsmen. — A week with
Gladstone at Oxford.—Pastimes of "the old boys"
of New Boston.—A French view of an English beau
and dandy. — The real Francesca of Dante.—Let-
ters by the author of " Nonsense Verses."
BRIEFER MENTION 218
NOTES 218
MORE ANNOUNCEMENTS OF FALL BOOKS . 210
TOPICS IN LEADING PERIODICALS .... 219
LIST OF NEW BOOKS 220
A PISGAH-SIGHT.
In the last of his public addresses, Mr.
Bronson Howard, the late dean of our Amer-
ican guild of dramatic craftsmen, spoke of a
visit he had recently made to Egypt, and his
memories of deserts and temples provided him
with a metaphor, which he shaped into a
prophecy, concerning the future of the art to
which he had given the best efforts of his long
life. He spoke, in part, in the following words:
"This future temple of the drama also arises in a
desert — a dreary desert of English literature that covers
the entire English-speaking world and stretches back
more than half a century; a desert of letters which has
its own deceptions and optical illusions, making small
men appear big and magnifying our great men beyond
their real greatness. It is a broad, flat desert of literary
sage brush and scrub oak, with here and there a solitary
mountain and a group of grand trees. But while there
is in verity a temple arising in a place of desolation, I
will venture on a cheerful prophecy. And mind you,
even the weather reports are looked upon as prophecies.
The brilliant indications shown by our younger writers
for the stage who are now crowding to the front, eager,
earnest, and persistent, with their eyes on the future
and not the past, coming from every walk of life, from
universities and all other sources of active thought, axe
the basis of my prophecy. It is this: In all human prob-
ability the next great revival of literature in the English
language will be in the theatre. The English-speaking
world has been gasping for literary breath, and now we
begin to feel a coming breeze. I may not live to fully
enjoy it, but every man of my own age breathes the
air more freely already. Let us hope that the drama
of this century will yet redeem our desert of general
literature. The waters of our Nile are rising."
That this view of the promised land is some-
thing more than the vision of a dreamer, we
feel reasonably assured. The signs are multi-
plying in many quarters that the long drought
is nearly over, and that the desert region of our
literature is about to be redeemed. To believe
that it would ever remain a desert would be to
reject every analogy drawn from history or from
the contemporary literary activity of other coun-
tries; it would be to despair of the human mind.
For all the teaching of history is that the drama
is one of the five or six types of literary expres-
sion fundamental to mankind, and that the
creative powers of genius achieve their most
complete satisfaction when they conceive of men
and women as moving and acting and speaking
upon the stage. That this mode of expression


198
[Oct. 1,
THE
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should permanently cease to command the ener-
gies of some, at least, of the richest and most
powerful minds engaged in the production of
literature in any important country is a propo-
sition as nearly unthinkable as any that could
be formulated. That the practical drama shoidd
have lapsed from literary standards for so long
as it has done in England and America is
cause enough for wonder (although the reasons
are fairly obvious), but is no cause for surrender
of our faith in its coming rehabilitation. It
must be a question of time only, and we cannot
believe that the time will be long.
It must not be forgotten that the last century,
dark as it has been from the standpoint of well-
wishers of the English theatre, has produced a
memorable literature in dramatic form. That
form has been used by Wordsworth, Coleridge,
Byron, Keats, Shelley, Landor, Tennyson,
Browning, Arnold, Swinburne, Longfellow, Poe,
Aldrich, and many others. In fact, there are
more of our greater poets who have used it than
of those who have not. But, as we all know,
most of them have used it in the " closet" way,
without reference to the requirements of the
real stage. They have given us everything of
the drama but dramaturgy, and many of them
would have given us that also had the public
shown signs of encouraging them. The faculty
that can create a dramatic action, and fit appro-
priate words to the lips of the actors, has not
been missing from English literature; only the
trick of technique has not been superadded, and
this simply because there was no incentive for
its acquisition. A public of which the most
serious-minded section kept away from theatres
altogether was not the sort of public to stimu-
late a serious drama.
We are well aware that there is a class of
critics, devoted particularly to the drama, who
are so enamored of technique that they will not
admit a play unfit for the stage to be a play at
all. They will doubtless take vehement excep-
tion to the opinions above expressed, because
they first give to dramatic technique the nar-
rowest of definitions, and then upon that basis
refuse admission into dramatic literature of all
the works that do not conform to their defini-
tion. But this is a quarrel about words merely.
Because a work in dramatic form is not neatly
divided into balanced and contrasted scenes,
because its characters do not always make their
entrances and exits in such a way as to produce
certain momentary and artificial effects, because
physical action is sometimes lost sight of in the
development of ideas, because speeches are long
and their language is not that of ordinary human
intercourse, — for these and similar reasons we
are assured that many of the noblest dramas in
our literature are not really plays, but only
academic exercises of which their authors should
feel rather ashamed. These authors, we are
told, have been too indolent to master the rules
of stagecraft, and have assumed an unjustifiably
irresponsible attitude toward the form of art in
which they affect to work.
Now all this may be measurably true, and yet
it does not weaken our contention that the
"closet drama" includes many works which,
despite their failure to move at the nimble gait
most pleasing to our feverish public of theatre-
goers, are capable of fulfilling for serious audi-
tors all the deeper purposes of dramatic art.
The technique which they lack, and for lack of
which they are so roundly condemned, is just
what we have called it, a trick, a comparatively
superficial thing, a quality that the dramatic
writer will do well to cultivate, but one that
must not be permitted to absorb either his own
faculties, or those of his audience, to the exclu-
sion of those weightier matters for which the
drama really exists. The authors of these very
works of which we are speaking might easily
enough have fitted their dramatic productions
for the stage had they seen any indications of
the existence of a receptive public. But from
a public that did not go beyond technique in its
demands, that even resented the drama of ideas
and serious purpose, they naturally felt them-
selves estranged. And the estrangement will
continue as long as the public maintains its
philistine attitude toward the stage. The "closet
drama" is the logical result of that state of the
public mind which even yet is disposed to apply
the contemptuous epithet "problem plays" to
all the works that go below the glittering sur-
face of human nature, or that venture to sub-
stitute poetry for sordid prose in their portrayal
of life.
It is safe to say that when the public is ready
to give up thinking of a play as a mechanism,
and is ready to recognize it as an organism
instead, that the long-delayed rapprochement
between English literature and the stage will be
at hand. The gods are ready to arrive when the
half-gods are cast from their shrines. The cult
of the artificial and the insincere, as typified by
the Scribes and Sardous, must give place to the
worthier form of worship exemplified, however
faultily still, by those who have come to know
the sincere truth-seeking aims of such men as
Ibsen and Hauptmann and Maeterlinck and


1908.]
199
THE
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Eckegaray. Our examples are necessarily taken
from foreign literatures because the English
stage has so far lapsed from the path of drama-
tic rectitude that it can offer only second-rate
illustrations of even the inferior type. That
regeneration of taste which alone can revive the
past splendors of the English drama will come
when enough people are brought to realize the
simple fact that stares students of contemporary
literature in the face, the fact that the English
theatre stands alone among the theatres of the
present-day world in its separation from reality
and in its failure to give vital expression to the
deeper thoughts and aspirations of the race.
But there are signs of promise in the heavens,
and the veteran playwright whose forecast has
been taken as our text had his Pisgah-vision be-
fore his eyes were closed. The Puritans frowned
upon the stage, visiting their condemnation with-
out discrimination upon good and bad alike, but
their descendants are disposed to take a saner
view and adopt a more liberal attitude. The
church shows awakening sympathies and much
softening of the old intolerance. Without the
sympathy of the church, which in the old days
saw in the drama the handmaid of religion, the
outlook would be dark indeed. As Mr. Henry
Arthur Jones pointed out a year or so ago, the low
estate into which our acting drama has fallen is
largely due to the hostile attitude of the religious
public, an attitude inherited from seventeenth-
century puritanism. With the chief agency of
public morality alienated from its cause, the
theatre inevitably came to represent the frivol-
ous, if not the actually degenerate classes of
society. But now the more liberal element of
church-goers offers an olive branch to the ancient
foe, and we have recently seen the appearance
of an Actors' Church Alliance of national scope.
Even in church circles of the severest standards
there are signs of a new amity. Clergymen of
unquestioned orthodoxy sometimes venture into
the playhouse, and now and then bestow official
sanction upon some play which exudes a suffi-
cient amount of morality. These tentative
efforts on the part of the clergy, despite their
misplaced emphasis and their failure to make
allowance for art in its proper sense, are never-
theless encouraging, and are the first faltering
steps toward a resumption of the cordial relations
which are so greatly desirable.
One swallow does not make a summer, and
the winter of our dramatic discontent is likely
to have its season prolonged for some time yet,
but there is a clear harbinger of the coming
spring in the extraordinary popular success of
Mr. Kennedy's recent play. If a work so gen-
uinely artistic and at the same time so entirely
wholesome as " The Servant in the House " can
fill the playhouse for month after month with
audiences that show every sign of being deeply
moved by its gentle teaching, it is a pretty
evident indication that a public already exists
for work of a much more serious cast than that
provided by our sordid syndicates. The public
support that is slowly but surely bringing suc-
cess to Mr. Donald Robertson's Chicago experi-
ment in the higher drama, the practical interests
that are soon to dedicate in New York a costly
temple to sober dramatic art, the frequency with
which good works are given special performances
by our schools and universities, the marked de-
velopment of student interest in dramatic liter-
ature, the number of earnest young writers who
are taking pen in hand with a fixed determina-
tion to aid in the rehabilitation of that form of
literature—these are among the signs of the
coming revival. We cannot believe that a
leaven working in so many ways will not soon
have noticeable results, and will do much to
justify the prophecy of the pioneer worker
whose death we have lately been called upon to
mourn.
TOM HOOD AS A SERIOUS POET.
Posterity has not dealt justly with Tom Hood.
In an age when minor Jacobeans of not half his
merit are dug up and sent out into the world of
letters, Hood is known only as a fellow of infinite
jest, now musty, and a maker of innumerable puns
which are no longer amusing. To be sure, his serious
poems are still read ; indeed, new editions frequently
appear; but Hood remains among " those whom one
should know about," not as a rival of Tom Moore,
not as a child of Keats, but because he was the
prince of punsters.
Hood of "The Comic Annual" is dead for us.
The light and airy wit that plays about the foibles
of one generation loses its savor for the next. It is
as alien as the fashions in illustrations of " Punch"
or " Life" of twenty years back; and, like them, it
is grotesque. Hood the jester must go down the
primrose path with Tarleton, with Scogan, and all
those lesser humorists who dealt in the main with
surface only. For punning, like euphuism, has lost
its virtue, and can never secure a lasting reputation.
Nor is it profitable to consider those humanitarian
poems which made him famous among the serious-
minded of the community. "The Song of the
Shirt" will hold its place in the anthologies, and
"The Bridge of Sighs," for all its word-juggling,
will remain a great tour de force. Yet, in them
Hood's trade, to sound the humor of the town, and


200
[Oct. 1,
THE
DIAL
Hood's talent, to play -with words, are more evident
than the man's real genius, a delicate flower at best,
and, by the time these were written, nearly trampled
out of him. One should not write of Hood without
writing of his songs. But these deserve a special
essay, and are not the matter for which we would
challenge the readers who are content with the Hood
of the anthologies. In defence of an attempt to bring
a greater body of his verse back into the daylight,
this might first be offered, — that he wrote verse of
a certain kind which was not done so well before
his time, or after it; and that, laboring in part in
their lifetime, he wrote a few poems to be ranked
with the verse of the masters of a particular art.
These masters were Keats and Coleridge.
When the two Lake poets began the memorable
venture of "The Lyrical Ballads," it was the part
of Coleridge to reveal the beauty which lies in the
weird, the supernatural, the regions at the borders of
human experience. In "Christabel" and "The
Ancient Mariner" he conveys, he suggests, by dic-
tion and by metre, the tangible sensuous beauty of
that which is intangible, unreal, and impossible.
Byron's blaze to Coleridge's was a fierce lurid lamp-
light to tiie intenser and clearer flame of alcohol.
With Keats the vision is renewed. In "La Belle
Dame sans Merci " there is the same crystallization
of strange suggestions into beautiful and sensuous
words. The penumbra of the world is made visible
and can be apprehended by the senses as the
penumbra of the sun at the time of total eclipse.
Nor is the other poetry of Keats deficient in this
quality. No mystic shadows of the other world are
thrown off from the great odes. Hot sunlight, the
intense heat of passion, the glory of the visible
world, surcharge their lines; but the same principle
prevails. Beauty is made sensuous; beauty of sight
and sound and touch is transmuted into beauty of
words. The poet turns from the spectral forest
and the fire-flags of the upper air to embalmed
darkness, and the Attic shape with brede of marble
men and maids. But the beauty, whether of the
weird or the natural world, is always sensuous. Its
mystery and intensity is to be felt, not merely to be
conceived of. Exquisite sequences of vowel sounds,
words rich in connotation, rhythm that stirs the
fancy, — all these bring upon the reader an enchant-
ment of the senses identical with the spell cast by
lovely seas, by wandering fires, by marble forms, or
moonswept glades.
This is the quality in which Keats and Coleridge
are akin, and in which they excel. "Natural
magic," Matthew Arnold, from another point of
view, would call it But whether one regards the
result, the purpose, or the means, its appearance as
a principal aim in verse is enough to establish a
school of poetry. Shakespeare and Milton could
make their lines become the thing described, but
with them it was not the end and purpose of their
work. Tennyson learned the art of Keats, but he
too made it subordinate to other ends. Like his
early work, in which this quality is strongest, is the
poetry of the pre-Raphaelites. Yet their verse at
its best lacks the final perfection and the freshness
of the masters. But Hood is a generation earlier.
He belongs with Keats and with Coleridge them-
selves. He comes upon the crest of the wave, and
if he never reached the faery binds at least he sailed
the perilous seas of romance with the first naviga-
tors. Though a disciple, it is as a pioneer also that
he deserves to be studied.
The poems which Hood wrote in the school of
Keats and Coleridge were nearly all composed before
1829. Up to that time he was known only as an
author of sound, though restricted, fame, who served
upon the staff of the old "London Magazine" with
such men as Barry Cornwall, Hartley Coleridge,
Allan Cunningham, Hazlitt, De Quincey, and Lamb,
as fellow contributors. From his " Literary Remin-
iscences" (which deserve to be better known) one
discovers that he came under the personal influence
of the great men who helped to make a new literary
period. He knew Wordsworth and Coleridge, and
saw much of the latter. He may have known Keats;
for Mrs. Hood was a sister of Keats's friend Rey-
nolds. Quotation, as well as imitation, show that at
least he was steeped in his poetry. As a disciple,
and also as a friend or acquaintance, he came into
contact with most of the writers of the Wordsworth-
Coleridge group.
The greater part of Hood's serious work was done
in the period of these friendships, when Lamb and
he were still tramping country roads to sample tavern
ales, while Keats was alive, or only recently dead,
and before Coleridge had retired. But in 1830 he
did his first comic annual, a compound of the humor-
ous and a masterpiece of punning. The public
laughed, were rewarded with more, and paid well
for it. Not that Hood was commercialized. One
could have as easily commercialized Keats. No, —
he was married. The portrait of Mrs. Hood at the
National Gallery is very surprising; she is so stiff,
so aristocratic, so unemotional. One wonders to see
thus presented the Fanny loved by Hood with a pas-
sionate devotion as full of sentiment at the end as
at the beginning. It was this marriage, seemingly,
which made most of the trouble. For in 1834 busi-
ness troubles involved the Hoods; and the poet, refus-
ing bankruptcy, went abroad where he might live
cheaply and so save enough to support his family-
Serious poems were not an asset of sufficient magni-
tude to interest a creditor; but the people labelled
him prime humorist, and would buy his humor at
sight. For many years he could afford to write
nothing else; and thus began the long struggle in
which, worn out, he died. All this explains why we
deal in the main with youthful work when we speak
of the serious poems of Thomas Hood. Perhaps if
Keats had married Fanny Brawne when he first met
her he would have returned to surgery and left ns
only "Endymion " and "Calidore."
The serious work of Tom Hood for which one
could ask a hearing is of three sorts. There are the
romantic narratives and the odes of the school of


1908.]
201
THE DIAL.
Keats; there are poems of horror, fear, and mystery,
in the Coleridgean art; and finally come the ballads
in the manner of "Christabel" and " The Ancient
Mariner."
The most ambitious and the least successful of
the poems of the first variety was "The Plea of the
Midsummer Fairies." There is a faint but peculiar
charm in this poem. It is like Italian Asti, delicate,
memorable, a little weak, and a little cloying. One
feels throughout the presence of a spirit too like the
pleading Titania, whose arguments are not strong
enough to save her realms from Father Time. It is
Keats and Spenser drained of their virility, although
the poet is quite as careful of the beautiful words
that stir the mind to dreams. The faults of youth
mar other narrative poems of Hood's, notably the
better known "Hero and Leander." But though not
entirely free from them, it is difficult to see why
"Lycus the Centaur" has been so completely for-
gotten. Its theme alone should have saved it, for
the story of the enchantments of Circe is told in a
strikingly original fashion. The tale could have
been told severely with all the horror implied, and
so Landor might have written it; but Hood chose a
highly-colored narrative in which the shame of men
turned brutes, the horror of Lycus wandering in a
land where beasts and even fruit and flowers imprison
woeful souls, his agony when his own spirit is chained
to the loathsome body of a horse, all find expression
and suggestion in rich verse. The poet is preemi-
nently a lover of beautiful words; and yet in spite
of an occasional absurdity, he is no less a master of
the pathos which lay behind his humor and crystal-
lized in the humanitarian poems of his later life.
A group of odes belong with these poems. The
very titles, "Ode on Autumn," " Ode to Melancholy,"
"Ode to the Moon," show the influence of Keats.
Less fervid than the master's work, they strive for
the same effects, but in Hood's own way. The
gentle melancholy of the "Plea" breathes through
them. Ecstasy gives place to sadness. The rap-
turous grasp upon beauty becomes a softer longing,
as genuine but less intense. They are more re-
strained than the narrative poems, more indicative
of what the poor hack might have done if fate had
let him. The deliberate richness of their phrase
makes one sigh for a craftsman turned from such
gold to a baser metal.
"Mother of light! how fairly dost thou go
Over those hoary crests, divinely led!
The "Ode to Melancholy" is less happy than this
ode to the moon, whose ensuing verses are even
more exquisite; but " Autumn" is magnificent. It
is a companion piece to Keats's poem, and should so
be read. Upon it alone one might base a claim for
verse certainly as worthy as some of Tennyson's
before the problems of the nineteenth century
entered into his poetry. But when age had mel-
lowed Hood, a barren decade of hack-labor had
followed his inspiration. This diction is from his
youth:
'• Where is the Dryad's immortality?
Gone into mournful cypress and dark yew,
Or wearing the long, gloomy winter through
In the smooth holly's green eternity."
But horror and mystery can be conveyed by the
suggestive power of words, as well as melancholy
can. "Lycus" is a lament over wretchedness, a
weird wretchedness like that of "The Ancient
Mariner." In two or three other poems Hood passes
over entirely into the manner which Coleridge made
his' own; and these pieces make up the second class
of his serious poetry. One of these poems pleased
Browning, but has attained no other fame. In " The
Haunted House" the horror is vague, the fear only
suggested. Like Shelley's "Sensitive Plant," the
piece is only a description. The tragedy must be
apprehended from the house which conceals it, as
the romance of Venice from a painting of Turner's.
Over a ruin hangs the mystery of the Bloody Hand
which appears on tattered banners, on curtains, and
on broken casements. Not a tumbled coping-stone,
not a wood-louse, spider, or moth, within the cor-
roded walls, but is drawn upon for its share of
suggested decay. And at proper intervals comes
the refrain, "O'er all there hung the shadow of a
fear." The fashion of telling is Hood's, for the
poem is late; but the power of the story is in its
metre and in its diction, and these most resemble
the style of "The Ancient Mariner."
Yet there is no servile imitation in this poem, nor
in the almost famous "Dream of Eugene Aram"
which belongs with it. Tom Hood is strongly
original in both; but the mantle of Coleridge has
fallen upon his shoulders. He is imitative mainly
in the endeavor to transmute the feeling of mystery
and of fear, and of deeds terribly done, into sound
and picturing word. Agony of conscience drives
Eugene Aram to tell a schoolboy a pretended dream
which is a true recital of his murder of an old man.
"And lo! the universal air
Seemed lit with ghastly flame;
Ten thousand thousand dreadful eyes
Were looking down in blame:
I took the dead man by his hand,
And called upon his name!"
"The Ancient Mariner " achieves its peculiar effects
by like cunning of words and metre. But few men
have been able to give a better example than Hood
in "Aram" of the proper relation between pupil
and master. The imitation is of methods and of
purpose, more than of diction, metre, or thought.
The inspiration is not so much borrowed as shared.
A critic of Hood, in *' The Edinburgh Review"
of April, 1846, remarked that "he could throw
himself back into the romance of the past, but his
home was naturally among the realities of the
present" The present of 1846 has long gone by,
and with it most of the work of the poet which
dealt with topics current in that day. Of his "con-
temporary problem " poetry, only " The Song of the
Shirt" has lasted. But there is at least one poem
of "the romance of the past" which is likely to


202
THE
endure. "Fair Ines" is one of several attempts
in his third or ballad manner, the manner of
"Christabel" and "La Belle Dame sans Merci."
The verse which enshrines her is full of the quaint
and exquisite charm of high romance. The very
flower of romance is in such work, — romance like
that which Scott conceived, but could give us only
in the large, striving in broad strokes to achieve it
by the very size of his canvas. In the poems of
Keats and Coleridge, and to a less extent in these
ballads of Hood, it finds an embodiment which may
be likened to the masterpieces of the early Flemish
painters, in whose pictures the mediaeval world is a
vivid reality. Yet it may be likened to them only
in the vividness of the impression gained; for in
these poems the glamor, seen only by a modern, hangs
over the picture. One looks at the past as at Tintern
Abbey, without reflection, without thorough compre-
hension, yet stirred by the romance of its memories.
Perhaps no one but a grim realist will deny this
power to the best poems of the masters. But Hood
too saw the vision. Hood shared the "wild sur-
mise " of the first moderns to stare upon the for-
gotten middle ages through the haze of romance.
He also, in his minor way, could bring down this
romance from the ethereal and make it concrete.
"Fair Ines " is surcharged with it.
"I saw thee, lovely Ines,
Descend along the shore,
With bands of noble gentlemen,
And banners waved before.*'
One cannot read this exquisite poem without a male-
diction upon punning, and the fate that made its
author devote such powers to the manufacture of
comic annuals.
It is this reflection which makes it difficult to
estimate the value of Tom Hood's work; for, after
all, it was only half done. Hounded by misfortune
and betrayed by the facility of his humor, he made
himself famous, it seems, at the expense of becoming
great. It is useless to guess what was Achilles'
name among the women, or what Keats would have
written had he lived; but here is a minor Keats
whose ambition to leave great verse unto a little clan
was not stout enough to endure. He had the ability
to carry on the school of his masters. His humor
would have saved him from the morbid sensuality
which always threatened the pre-Raphaelites. His
vigor, and the close relation which his life ever bore
to the best thought of his time, might have impelled
him from the parent source along a channel as orig-
inal as Tennyson's. But this is pure speculation,
and too much resembles an attempt to drag him from
among the minor poets, where he belongs. The
best service we can render Tom Hood is to rake
back the ashes from the coals of live fire still glow-
ing in his verse. Surely, for his own sake and for
the sake of the school he wished to follow, the
unhappy humorist deserves that the fate his own
sonnet forebodes — " there may be then no resur-
rection in the minds of men " — shall not be Tom
Hood's. Henry Seidel Canhy.
CAS UAL COMMENT.
Misquotations of poetry, as has been remarked
before in these columns, are too common to be noted,
except in some peculiarly shocking cases by way of
warning and example. Such an instance occurs in
a recent number of that usually well-edited and
always interesting London journal, "The Nation,"
where (No. 20, p. 707) a poetically-minded contrib-
utor presents an amusing and amazing sheaf of short
quotations from standard English poetry, chosen to
illustrate his notion (a somewhat fanciful one, it
would appear) of passages " most descriptive of vari-
ous personal or social conditions." It may seem
presumptuous that anything emanating from the
centre and stronghold of English culture should be
challenged from this remote literary frontier, where—
as readers of English journals and books of travel
are aware—pig-sticking rather than literature is the
usual pursuit of the inhabitants, and "the ambushed
Indian and the prowling bear" are likely to be
encountered anywhere outside the city limits. Yet
we make bold to say that such a garbling of passages
of well-known poetry as appears in this scholarly
English journal is enough to abash the ambushed
Indian, or make the pig-sticker blush for his literary
heritage. In a couple of lines from one of Long-
fellow's most familiar poems, "The Rainy Day," we
count seven words printed wrong — seven out of
fifteen! "Surely we were never reminded better,"
remarks the contributor, " of a hopelessly .wet day."
It was indeed a wet day — for him! Perhaps in
Aberdeenshire, from whence he writes, both the day
and the quotation appeared through a mist of Scotch
whiskey. And if he is a Scotchman, he should know
his Burns well enough to understand the difference
between lugs (ears) and lungs; but he seemingly
does not, or he would not change the line "And
through my lugs gies mony a twang" to make the
lungs the region of the poet's toothache. A misprint
of a single letter may be thought a trivial matter, —
but not when the line is from Keats, whose " beaded
bubbles winking at the brim " are changed to " headed
bubbles," as though the " blushful Hippocrene " had
been transmuted into lager beer. And this, the col-
lector fatuously explains, is one of "the best quoted
lines in the English language"; but in his hands it
certainly seems one of the worst quoted. He does
it again, to the same poet, in the opening line of
"The Eve of St. Agnes,"
"St. Agnes' Eve, — ah, bitter chill it was!"
which is thus rendered by our connoisseur of poetic
gems:
"At Agnes Eve, and bitter chill it was."
No wonder he adds, "Does not this make you
shiver?" It does indeed.
• • •
A cakman of literary tastes has been found
in Boston (where else would he feel so much at
home ?) and he and his library have achieved the
distinction of a newspaper article. He lives in the
fourth story of a lodging-house, drives a herdic —


1908.]
203
THE
DIAL
that ancient vehicle little familiar to other American
cities, and passing into innocuous desuetude even in
Boston — in his business hours, and enjoys the
companionship of his books in his hours of leisure.
"Seated in his comfortable rocker," says the visitor
to whom we are indebted for an account of this
remarkable Jehu and his library, " I glanced around
the little room with its slanting roof, and met hun-
dreds of books, and the books returned the glance.
Everywhere were books lined up in proper order,
filling all available space from the floor to the ceil-
ing, in neat cases and shelves, the ends of some of
the latter cut short, one below another to conform to
the pitch of the roof." Of the biographical section
of this attic library, he says: "Therein you could
read the story of the men who made Greece and
Rome famous, those who played a part in early
Christian days; the men, too, of France and Spain
and Russia. With these you could find the well-
known statesmen of England from her earliest days;
and there, I suppose the most cherished of all, were
the lives of Ireland's noted ones." The Irish owner
of these literary treasures has thriven moderately in
his chosen calling, and having no family he has
spent in books what others of his occupation squan-
der at the corner grog-shop. He ought to be em-
balmed in the pages of some twentieth-century
Dickens.
• • •
Book-collecting as an avocation can become
as fascinating, and also as expensive, as (let us say)
ballooning or aeroplaning. The recent death of
Mr. E. Dwight Church, owner of the finest private
collection of Americana in the world, and also owner
of one of the choicest collections of Elizabethan and
early seventeeth-century literature, brings to public
notice some of the rare and costly treasures of his
fine library at Brooklyn, where he made his home.
Soda-manufacture was Mr. Church's prosaic money-
making vocation, that being his father's occupation
before him; but the unrealized artistic aspirations
of his youth found some measure of solace in what
is surely next door to a fine art, book-collecting.
To illustrate his indefatigable zeal as a collector, it
may suffice to mention here that he possessed the
only known and long sought for copy of the first
printed collection of Massachusetts Laws, which was
only recently discovered in England. The old-
fashioned title is interesting: "The Book of the
General Lawes and Libertys concerning the Inhab-
itants of the Massachusetts collected out of the
Records. Cambridge: Printed according to the
Order of the General Court, and are to be solde at
the shop of Hezekiah Usher in Boston. 1648." His
New England Primers included four unique copies
— the Boston editions of 1735, 1738, 1746, and
1762—and his Shakespeareana embraced fifteen
different copies (that is, with variations in the im-
print) of the four first folios. The first part of an
illustrated and annotated catalogue of Mr. Church's
library has been prepared by Mr. George W. Cole
and published by Messrs. Dodd, Mead & Co.
Education by syndication is hardly to be ap-
prehended; there is not enough money in it. The
General Education Board, however, with its com-
mand of $43,000,000 in funds, is in a position to
exercise great influence on the character of Amer-
ican education; and it is both a grand and a peril-
ous power for any one body of men to possess.
Anything like centralization or monopoly in educa-
tion is of course extremely undesirable; anything
that tends to supplant or diminish local enterprise
and local pride in the matter of public education is
to be dreaded. State rights and town rights are to
be jealously guarded where culture is concerned, no
less than in matters more material and tangible.
Cheerful local support of good schools will cease if
the people ever get the notion that a great educa-
tional trust is looking after such interests and
paying the bills. Already, in the very state of
Massachusetts, the board of trustees of the Agricul-
tural College at Amherst has been directed by the
legislature "to use its best efforts to secure and
accept for the college the benefit of the retiring fund
of the Carnegie Foundation for the Advancement of
Teachers." The opening of the school year moves
to reflections and apprehensions, however full of
promise and bright hope may be the general condi-
tion of our educational system.
• • •
The blind poet of Maryland, the Rev. John
Banister Tabb of St. Charles's College at Ellicott
City, the "Father" Tabb so well known for his
pithy bits of verse in many of the leading periodi-
cals, has, like Milton, been stricken with blindness
in the vigor of his manhood; but, unlike Milton, he
has no daughters to read to him and otherwise
lighten the burden of his affliction. He writes that
vision is nearly extinguished, but that he remains at
the college for the present, not as a guest of honor,
as his colleagues would fain have him do, but as a
paying boarder, this arrangement being permitted
only because he would seek another home if he
could not have his way. The many who have found
spiritual refreshment and intellectual delight in his
crisply characteristic verse will, it is hoped, feel
impelled to testify their appreciation by extending
a helping hand to the stricken poet in his hour of
need. Even a small offering from each of the un-
known friends he has made could not fail to bring
him cheer and comfort. Perhaps, too, the offerings
had better be anonymous, to prevent their prompt
return on the part of so sturdily independent a man.
He is not, however, an object of charity; rather has
he made us his debtors.
• • •
The short story of action is no longer written,
if one is to credit the doleful complaint of a promi-
nent newspaper. "It seems to be a rule of the cur-
rent writers of short stories," runs the woeful lament,
"that nothing should be allowed to happen. There
is page after page of words — words like the sands
of the sea or the drift of the desert, all the words
that the dictionary contains and many besides,—but


204
[Oct. 1,
THE
DIAL
that is all. Nothing done, nothing doing! The
characters breathe, they think, but how seldom, oh,
how seldom, they act!" The importance attached
to action in fiction, by this writer, is like the import-
ance given to it in oratory by Demosthenes; and,
surely, in an era so full of action as ours, so rich in
discoveries and inventions, so crowded with multi-
farious callings and pastimes, it is strange that the
story-writer should want for incident wherewith to
enliven his tale. In the latest London directory
some hundred or more new trades and professions
are noted; and the activities of men (and women)
are increasing by a sort of geometrical progression.
Why, then, this dearth of action in the short story?
May it not be because, after all, it is the old, old
story of the heart and its affections that we are for-
ever craving to hear retold? Scenery and events,
given the artist of genius, need never be elaborate or
startling. There are but seven possible plots in
fiction, it has been asserted; but those seven plots,
like the seven days of the week, contain infinite
possibilities. ...
The story of Dickens's first love is some-
what fully told in a collection of the novelist's letters
now first made public, in a limited way, through the
generosity of Mr. William K. Bixby, the St. Louis
bibliophile and collector. By Mr. Bixby's kindness
the members of the Bibliophile Society are in pos-
session of the first and only printed copies of these
inevitably interesting love-letters, which for three-
quarters of a century have been hidden to the world,
although the world has known of their existence
from Forster's "Life of Dickens." The Dora of
"David Copperfield" and the Flora of "Little
Dorrit" now prove to be Miss Maria Beadnell,
afterward Mrs. Henry Winter, of real life. It is
a little amusing, and thoroughly natural, to find
the young lover writing to Maria in 1833, less
than three years before his marriage to Catherine
Hogarth: "I never have loved and I never can
love any human creature breathing but yourself."
Twelve years passed before the coldly responsive
maiden bestowed her virgin affections on Henry
Louis Winter, a business man in comfortable cir-
cumstances. A preface to the letters has been writ-
ten by Mr. Henry H. Harper of the Society, and a
critical analysis is contributed by Professor George
Pierce Baker of Harvard.
...
A case of poetic justice in our colonial history
was surely the well-deserved fate that overtook
General Braddock in his foolishly conducted expe-
dition across the Alleghanies against Fort Duquesne.
After his supercilious rejection of the venerable
Franklin's advice in the matter of safeguarding his
force against the Indians, his disregard of the warn-
ings of his young but experienced staff-officer
George Washington, and his pompous assertion of
the invincible superiority of British regulars, it
seemed no more than right that he should have
personal experience of the red man's vigilance and
cunning. But now, if we are to believe the plausi-
ble story of Mr. Albert Stewart of Washington.
Braddock was killed, not by the redskins, but by a
white man of his own force. Mr. Stewart's grand-
father, Abram Stewart, was superintendent of the
road travelled by Braddock's army on that disastrous
day; and it was while the superintendent was
directing some repairs on this highway, about eight
miles east of Uniontown, Pa., that there suddenly
appeared from the bushes one Thomas Fossett, a
deer-hunter of local repute, who told the workmen
that if they dug deeper they would unearth the body
of General Braddock. They digged, and found the
body, which was later reburied near by, the grave
being now marked with a tablet The manner of
the general's death was then explained by Fossett.
who declared that he himself had shot his comman-
der with his deer rifle. Braddock, conceited anil
arrogant, ignorant of Indian tactics, and insisting
upon marshalling his force in the open, had taken
occasion to upbraid Fossett, who, with his brother,
was busily engaged in picking off the enemy from
the shelter of trees, the regulars being thrown into
confusion and bewilderment by the unfamiliar strat-
egy of their foes. The unjust rebuke administered
to Fossett so angered him that he fired on Braddock.
and saw him fall, mortally wounded. This story,
if true, is an interesting footnote to the history of
our French and Indian wars.
...
The pedantry of legal language both amuses
and irritates the layman whenever he has occasion
to wade through the verbiage of a legal document
What could be more pompously pleonastic than, for
example, the terms of a lease whereby A. B. "hatli
demised, granted, and leased, and by these presents
doth demise, grant, and lease, unto C. D., his exec-
utors, administrators, and assigns, all that messuage
and lot of ground situate, lying, and being" within
certain laboriously designated boundaries? Let it
be remembered, too, what an amount of impatience
and harrowing suspense the circumlocutions of a
man's last will and testament are responsible for
among his heirs-expectant, assembled to hear the
reading of that formidable document. Instead of
saying simply and directly, "I give my old friend
Joe Appletree my Squirrel Hill wood-lot," the de-
ceased, or his lawyer for him, has been obliged to
write: "As to my worldly estate, and all the prop-
erty, real, personal, or mixed, of which I shall die
seized and possessed, or to which I shall be entitled
at the time of my decease, I devise, bequeath, and
dispose thereof in the manner following to wit:
Unto my old and valued friend, Joseph Appletree,
I give, devise, and bequeath "the above-named wood-
lot, so disguised in its opulence of legal jargon that
honest Joe is puzzled to determine whether he has
fallen heir to a county or a cabbage-patch. Accuracy
in language is one thing; senseless redundancy is
another. The reform in legal terminology that has
begun in France might well extend to England an^


1908.]
205
THE
DIAL
America. Such reform would go far toward remov-
ing the ancient reproach that the law is mainly
concerned with elucidating the obvious, proving the
self-evident, and expatiating on the commonplace.
■ • •
"Baths before books" is said to be the motto
of Superintendent Maxwell of the New York City
public schools. "As I draw books myself from a
Carnegie library," he declares, "and watch the
children of the public schools go there for reading
matter, I bless the great iron master for what he has
done for the intellectual improvement and recreation
of this city; and yet the usefulness, from a moral
and hygienic point of view, of the Carnegie libraries
is small compared with the advantages that would
flow from the benevolence of him who shall increase
the number of public school baths." Perhaps it is
well for the bookish person to be occasionally thus
reminded that there are other urgent needs besides
the intellectual ones, and that literature can bake
no bread any more than can philosophy. Cleanli-
ness, if it falls somewhat short of godliness, may be
allowed to go ahead of book-learning. The frequent
union, by the way, of bookworminess (if the term
may be permitted for the sake of its expressiveness)
and personal slovenliness is one of the less pleasing
manifestations of the literary temperament — one of
the less encouraging outgrowths or accompaniments,
too, of the library habit.
■ • •
The coast of Bohemia was, we believe, some
time ago proved to be no such impossible region as
modern geographers, in their pride of a fancied
superiority to Shakespeare, are fond of believing.
Was it Sir Edward Sullivan, or an earlier inquirer,
who so happily discovered that under the rule of
Ottocar the Second (1255-1278) Bohemia extended
from the confines of Bavaria to Raab in Hungary,
and from the Adriatic to the Baltic Sea? As there
is no reason whatever why Polixenes should be
assumed to have reigned contemporarily with
Elizabeth, so there is no reason to refuse to the
Bohemia of " The Winter's Tale " the ample bounds
of its thirteenth-century prosperity. Yet malicious
allusions to Shakespeare's "Coast of Bohemia " will
probably be made to the end of time, so prone is
frail human nature to strive for an easy eminence
by demonstrating some minor inferiority in the
great. It was a chance reference to this Bohemian
question in our reading that prompted the foregoing
protest against setting down Shakespeare as an
ignoramus in geography.
• • •
Stay-at-home travel, by the ever-popular
Public Library Route, is inexpensive, does not
interfere with one's business or one's family duties,
offers a practically unlimited choice of itineraries,
combines unexampled speed with absolute safety,
and, for comfort, is incomparably the best known
method of visiting all parts of the world. To be
sure, it is not without some few disadvantages; for
example, consumptive patients visiting Colorado by
this route are not likely to derive that benefit from
the high and dry air of the Rocky Mountains which
may be gained by one who travels by the Union
Pacific or the Denver and Rio Grande. But there
are stay-at-home cures for consumption, too; or so
we are assured every little while by the newspapers.
The latest report of the Galesburg (111.) Public
Library tells us that so fond are the Galesburgians
of stay-at-home travelling that, while there has been
an increase in circulation in every department of
literature, the demand for books of travel in the
past year has doubled. It wonld be interesting to
know if a similar growth has been noted by other
librarians. • . •
Novel-reading and longevity stand in no
very obvious relation to each other; yet at the recent
convention of the English Library Association at
Brighton, in a spirited discussion of the question how
far public libraries should go in the purchase of
current fiction, Sir William Bailey of Manchester
made bold to affirm, amid cries of incredulity, that
the library authorities of his city very seldom found
a novel that was objectionable, and even went so far
as to declare his opinion that the reading of fiction
prolonged the lives of many people. This assertion
was greeted with laughter, but it is not reported
that anyone made the obvious and not especially
original retort that the reading of our great mass of
current novels does not really prolong life — it only
makes it seem longer.
COMMUNICA TION.
ALDRICH'S '• COLLECTED" POEMS.
(To the Editor of The Dial.)
May I, as the authorized biographer of the late
Thomas Bailey Aldrich, call attention to what seems to
me a breach of publishing propriety in a volume entitled
"Poems of Thomas Bailey Aldrich," just issued? This
volume, which is announced by its publishers as " a new
collected edition," is composed of the contents of five of
Aldrich's first six volumes of verse, all written before he
was thirty years old. It contains 152 pieces, of which
121 were discarded by the poet from his own collected
editions, the " Household " and the " Riverside," while
of the .'$1 pieces that were retained by him, the text of
many has been so thoroughly revised that the earlier
and cruder forms are scarcely recognizable by those who
have known them in later and legitimate editions. There
are in Aldrich's collected Poetical Works 230 poems.
There are, therefore, 199 of these, embodying the poet's
most mature and finest work, not to be found in this
"new collected edition," — though the publishers have
made amends for this deficiency by printing several
pieces twice.
The ethical question of the right of such a piece of
book-making to masquerade as a "new collected edition,"
I do not raise; but as to the propriety of representing,
without explanation or apology, the most fastidious of
American poets by a compilation of his discarded juve-
nilia, there can be, I think, no two minds.
Ferris Greensi.kt.
Boston, September 21, 1908.


20<;
[Oct. 1,
THE
DIAL
Fifty Years of Music and Musicians.*
"I dedicate these memories to the ghosts,"
is the short hut significant inscription preceding
the "Musical Memories" of that veteran critic
of music, and author of well-known hooks about
music and musicians, Mr. George P. Upton.
The "Memories" relate to those stars, of vari-
ous magnitudes, and now chiefly extinct, that
were in their glory on the operatic stage and in
the concert hall in the latter half of the nine-
teenth century, and that cast some rays of their
effulgence on the Chicago of that period. Mr.
Upton was for twenty-five years music critic,
and later editorial writer, on the staff of the
Chicago "Tribune." He has concerned him-
self actively and intimately with the musical
interests of the city, and has enjoyed more or
less friendly relations with a host of famous
musicians and singers and impresarios, from the
time when, in the early fifties, he left his native
Boston and cast in his lot with the prairie city
so largely colonized by Boston people and built
with Boston capital. From a rich collection of
notes and records, concert programmes and
newspaper notices, as well as from remembered
conversations and events, he has written a book
of unusual interest to those of his own com-
munity, and hardly less attractive to music-
lovers and readers generally. Jenny Lind is
the subject of his first chapter, and Theodore
Thomas figures in his closing pages; while
between these two there parades so splendid a
pageant of musical genius that one is almost
deceived into believing that Chicago, and not
Boston or New York or Cincinnati or New Or-
leans, was the music centre of America.
Although Jenny Lind never visited Chicago,
notwithstanding assertions to the contrary, the
author's vivid recollections of her appearance
at Providence, where he was then a freshman
in Brown University, are graphically recorded.
"At last the eventful night came—-October 7,1850,—
a red-letter date in memory. The usually staid oity
was in a state of delirium, which astonished those con-
servative old families — the Iveses, Browns, Goddards,
and Hoppins. I can see it all now — the crowds, the
enthusiasm, the great audience inside, and the vastly
greater crowd outside wishing it were inside. I see
Jenny Lind gliding down the stage with consummate
grace, — she never seemed to walk, — amid the accla-
mations of the audience; a girlish figure of medium
height, with fair hair and blue eyes, gowned in velvet,
• Musical Memories. Mr Recollections of Celebrities of
the Half-Century. 1860-1900. By George P. Upton. Illustrated.
Chicago: A. C. McClurtr & Co.
and wearing a single rose in her hair. She was plain
of feature, and yet her face was expressive and in a
sense fascinating. It was a wholesome face. She may
not have been beautiful, judged by the conventional
beauty tests; but if not extremely good-looking, she
'looked good,' as some one has said. And that good-
ness drew everyone to her, and she was 'Jenny' with
everyone — not Signora Lind, or Mademoiselle Lind,
or Miss Lind, but Jenny Lind, as we say Annie Cary
or Lilli Lehmann. Her voice, as I remember it, was of
full volume and extraordinary range, and had a peculiar
penetrating quality also, because of its purity, which
made its faintest tone clearly audible and enabled her
to use exquisitely soft pianissimos. Her high notes were
as clear as a lark's, and her full voice was rich and
sonorous. Her singing was genial and sympathetic
and marked by the fervor and devotional quality which
characterized her nature. It evinced a noble musical
endowment and great reverence for her art. She was
little affected by adulation, but acknowledged the wild,
frantic applause courteously and with evident pleasure."
Reminiscences of the Patti brothel's and
sisters, an extraordinarily gifted octette, afford
matter for more than one chapter. Adelina,"the
most consummate and brilliant singer of her
time," and " unrivalled in roles requiring grace,
elegance, and ornate vocalization," Mr. Upton
did not become personally acquainted with ; but
the following explanation of her success in resist-
ing the ravages of time may be taken as author-
itative.
"She apparently knew the secret of perpetual youth,
for to the very last of her stage appearances she seemed
to be the Patti of the olden days, fresh, young, and
charming. When she was sixty-four, she told a friend
that up to the time she was forty she ate and drank
what she pleased, but after that followed a stricter
regime, never touching liqueurs or spirits, but limiting
herself to white wine diluted with soda, eschewing heavy
food, and sleeping with open windows but avoiding
draughts. In this way she had preserved her youthful
appearance. She had preserved her voice so long by
her perfect Italian method and avoidance of exposure,
and by never forcing it."
It was from Ole Bull, we are told, that Adelina
learned the trick of farewelling. He was wont
to give plain farewells, "grand" farewells,
"last" farewells, " absolutely last" farewells,
and "positively last" farewells, blithely reap-
pearing the next season, until he bade farewell
to earth and was seen no more.
An occasional whimsical or humorous fancy
is allowed by the writer to give variety to his
narrative. After chronicling the death of
Wieniawsky, the violinist, in poverty brought
on by gambling, he continues:
"I have often wondered why it is that the violins
gamble so frequently. I cannot recall violas, 'cellos,
or double-basses doing it. I am quite certain the trom-
bone never loses money by chance, and that the bassoon,
clarinet, and trumpet never take risks in any kind of
game. But I know of several violinists who every now
and then have 'gone broke.' Is it because the violins


1908.]
207
THE
DIAL
alone of the orchestral family have all the wild, way-
ward, passionate work to do, and the other instruments
have more staid, dignified, and conservative duties to
perform?"
Rubinstein's piano-playing greatly impressed
the author, who thought the famous musician
best in concertos, where "by his titanic power
and impulsive force he not only made his piano
take its proper place in the sea of sound, but he
fairly led the orchestra in an authoritative man-
ner. In a word, he dominated audience, players,
and sometimes conductors." He was an artist
who belonged to no school and left no school,
but was a great musician playing Rubinstein.
Not exactly gratifying to national pride, but
still not without a crumb of comfort, is the
following:
"It is somewhat strange, considering his great suc-
cess and the large remuneration he received, that he
was dissatisfied with his American tour, with the busi-
ness arrangements, and with piano-playing altogether.
It is a little consoling, however, to know that he disliked
England more than he did the United States. He once
said in my hearing that Americans were too much en-
grossed with the love of money to have a real love of
art, but they were more impressionable than the English,
who were the most unmusical people on earth. I have
heard more than one eminent musician say the same
thing. In one of his letters about this time he says: 'I
put myself for a certain time at the entire disposition
of the impresario, and may God preserve you from ever
falling into such slavery. It is all over with art; only
the shop remains. You become an automatical instru-
ment, and the dignity of the artist is lost.' Long after
this tour he wrote to a friend: 'The whole time I was
displeased with myself to such a degree that when a
few years later another tour was proposed to me with
the offer of fees amounting to half a million, I flatly
refused.'"
Jolly times in Bohemia mingle with the more
serious and more professional remembrances of
the journalist-critic. A night of mirth and
merry-making is thus recalled:
"My pleasantest memory of Christine Nilsson is con-
nected with her birthday celebration at the Sherman
House in Chicago in 1871, to which I have already
made allusion. She was in the gayest of moods that
evening, waived all the conventionalities, and showed
herself a Bohemian of the most rollicking, sunshiny
kind. Verger sang musical caricatures of the leading
barytones on the stage. Vieuxtemps sacrificed his high-
art ideas to the humor of 'The Arkansas Traveller'
and the fascinations of ' Money Musk'; Brignoli played
bis Battle March, which he thought was an inspiration,
and was inclined to be offended when he looked round
and saw the company, with Nilsson in the lead, doing
an extraordinary cake-walk to its rhythm, for Brignoli
took that march very seriously. Nilsson gave some
ludicrous imitations of the trombone, double-bass, tym-
pani, and bassoon, and sang humorous songs. The
closing act of the revelry, which lasted far into the
small hours, was a travesty on the Garden Scene in
'Faust' by Nilsson and Brignoli, in which the big tenor's
gravity of mein and awkwardness of love-making was
admirably set off by Nilsson's volatile foolery. It was
a night of hilarity and fun-making long to be remem-
bered. And now I read that the once famous singer
spent her sixty-fourth birthday in the Swedish village
of Gardsby and delighted an enthusiastic audience with
the song, ' I think I am just fourteen.' I should not
be surprised if she honestly believes it, for she is one of
the elect who can never grow old in spirit."
Theodore Thomas is of course a congenial
theme to his old friend and authorized biog-
rapher, even though that biographer can have
little that is fresh and important to add to his
earlier extended account of the great conductor.
A puzzling bit of chronology arrests atten-
tion for a moment. After writing that " Mr.
Thomas had three failures in his life which were
bitter disappointments and for which he was in
no way responsible," Mr. Upton says that " one
of these failures was the Columbian Exposition
scheme in 1893," which is described; and that
"Mr. Thomas's second failure was his adminis-
tration of the Cincinnati College of Music in
1880"; and, finally, that " Mr. Thomas's third
failure was the American Opera Company,
organized in 1886 for the representation of
opera in English by American artists"—an
organization that went to pieces after two years
of strenuous effort. However, there is scrip-
tural precedent for causing the last to be first.
Five of Mr. Upton's twenty-two chapters
treat more particularly of the history of musi-
cal societies in Chicago, going back to the year
1833, when "the little village of six hundred
residents, squatted among the sloughs near the
mouth of the river, heard its first music in the
strains of Mark Beaubien's fiddle." The author's
charter membership in and presidency of the
Apollo Club qualify him to write understand-
ingly of Chicago's musical organizations. The
subjoined paragraph, touching on a matter of
recent musical and art history, is interesting for
various reasons.
"The Studebaker Theatre is the home of English
opera in Chicago, though the so-called grand operas have
frequently been presented upon its stage. It is but one
feature of the Fine Arts Building, and the Fine Arts
Building is the accomplishment of Mr. Charles C. Cur-
tiss. It is a hive of busy workers in music, painting,
sculpture, literature, and the arts and crafts. Its various
cells house the theatre, the Music Hall, the Assembly
Hall, the Amateur Musical Club, the Woman's Club,
the Fortnightly Club, the Caxton Club,'The Dial,' . . .
and many other associations of an artistic character, and
the studios of a small army of busy workers in beautiful
things. . . . From roof to basement it is filled with what
is somewhat tritely called 'the good, the true, and the
beautiful,' and no sordid or unclean things are allowed
entrance. Though not a musician himself, Mr. Curtiss
is one of the charter members of the Apollo Club, and
was its first secretary. His whole life has been spent


208
[Oct. 1,
THE DIAL
in the advancement of art in Chicago, and he has had
the satisfaction of living to witness the rich fruition of
his lofty ideals and to enjoy the rewards of his honor-
able straggle in the attachment of a host of friends and
the success of his undertaking."
The professional criticisms and judgments
that sprinkle the pages of this veteran student
and friend of music and musicians add to the
value of his book. Few of his readers will have
any memories of their own concerning a great
number of the musical artists introduced, and
we are thankful for the crisp and clean-cut char-
acterizations of these departed celebrities. The
style in which Mr. Upton tells his interesting
story makes it highly readable from beginning
to end. It is most fortunate that he yielded to
the solicitations of friends, and decided to pre-
serve, " in compact and accessible shape," these
rich memories of his prime. More than fifty
portraits, and views of the Sauganash Tavern
and the old Crosby Opera House, are included
in the volume. Percy F. Bicknell.
'•Neahnbss to Natihe" in English
Landscape Painting.*
Mr. Fletcher's book on Richard Wilson —
sometimes called "the father of English land-
scape painting"—will be welcome to many: it
is quite time something of the sort should have
appeared. Hitherto this interesting artist has
been little more than a name, or an appellation
joined to the remembrance of a few pictures and
a few anecdotes. And it has not been easy to
find anything more, —anything to be depended
upon, one must add.
The traditional view of Wilson is that he
was but one of the school of classical landscape
dominant in his day. Thus, in so widely read
a book as Muther's "Modern Painting" it is
said that "Wilson had the fixed idea that the
Creator had only made Nature to serve as a
framework for the Grief of Niobe and as a
vehicle for classical architecture." But such a
view is so opposed to what little is common
knowledge of Wilson that no one could form a
real idea of the man from it. It is a probable
tradition that the figures in Wilson's pictures
were sometimes painted by others. If this be
the case, can we imagine a man painting only
what he thought the framework, and leaving the
real thing to another? Again, it is one of the
stock quotations from Sir Joshua that Wilson's
pictures were too near common Nature to admit
"Richard Wilson.R.A. By Beaumont Fleteher. Illustrated.
New York: Charles Soribiier's Sons.
supernatural objects. We can hardly imagine
that a man who had all of Claude to imitate
should have spoilt his mythological pictures by
having the framework too much like Nature.
Such remarks, if not absurd (and of course
many will not think they are), are at least
elearly conventional and not based upon the
known facts.
So in his later study of English landscape,
Muther presents a different view : he sees some-
thing more in Wilson. Of the Niobe he now
writes: "Here sighs and groans Nature her-
self . . . this is a picture which points, not
backward to Claude, but forward to Turner."
So also Mr. C. J. Holmes, writing in the " Bur-
lington Magazine" a little while ago, says of
Wilson's "View on the Wye" that it might
almost stand for "a prelude to the revolt in
favor of Nature which was completed by Con-
stable"; and the same idea is suggested by
other of Wilson's later landscapes. With two
such different views — the traditional and the
artistic — it is certainly worth while for some-
one to look carefully into the subject.
The merit of Mr. Fletcher's work will best
come out if we consider his main contention; for
even though we may not agree with his final
result, we shall learn something from his pre-
sentation. Mr. Fletcher, so far from thinking
of Wilson as " the English Claude," as the last
petering-out of the classic landscape of Claude
and the Poussins, regards him as a virile origin-
ator, as a forerunner, as one who before his time
perceived beauties in Nature which others com-
ing after him were more fortunate in exhibiting;
in a few words, as the father of English land-
scape. I cannot agree with him in this respect:
and although he has many sources of opinion
not open to an amateur like myself, I believe it
will be not impertinent to review the case.
The revival of an interest in Nature was one
of the marks of the eighteenth century in
England, as elsewhere. It is to be seen in
literature and in painting, in landscape gar-
dening and in travel, — indeed, in all possible
forms of life. In England this interest in
Nature usually appeared in one of three forms.
First, there was the charm of the beautiful par
excellence, as it seemed, the large, free, well-
proportioned, and elegant, well enough repre-
sented in landscape art by the pictures of Claude
Lorraine. Then there was the charm of the
romantic, of the wild, rough, fierce aspects of
Nature that may be seen in the landscapes of
Salvator Rosa. And, lastly, there was the pleas-
ant, comfortable, pastoral kind of charm, very


1908.]
209
THE
DIAL
dear to the English heart, of which something
is to be seen in Ruysdael and Hobbenia. These
different kinds of beauty will be found in all
sorts of different forms; perhaps the last is the
most thoroughly English, and has remained the
chief element in natural scenery that has ap-
pealed to the English mind. However that be,
there is little doubt that it represented the main
feeling for Nature in England during the eight-
eenth century, — " the beauty of the grove and
the shade," not classic nor romantic, but still
charming and beautiful.
As these three views of Nature came to expres-
sion in the English painting of the eighteenth
century, it is the classic landscape (if we may so
call it) which is to be seen in Wilson. Whether
he was or was not something more than the lover
of classic landscape, as Mr. Fletcher thinks, he
was certainly that. The second kind, the roman-
tic landscape of Salvator Rosa, is represented,
in the eighteenth century at least, by no one.
Wilson has something of the quality, and the
earlier pictures of Gainsborough have something
of it; but of neither was it the prevailing spirit.
A few poets and novelists loved the wild and
horrid crag, the solemn and awful mountain;
but the painters cared less for them. For the
third — the pastoral beauty, the beauty of the
grove and the shade, — of course the man is
Gainsborough.
Now the prevailing spirit not only of the
greatest landscape of the nineteenth century,
but particularly of English landscape, has been,
not the classic, and not the romantic either, but
the charming, the familiar, the pastoral beauty.
Take a few representatives: Constable and
Cotman, Rousseau and Monet, the Worpswede
group in Germany, for instance, and George
Inness in our own country, — these represent
not such landscape as Claude or Salvator, but
something more like Gainsborough. If you ask
a landscape painter why he does not go into the
mountains to paint, he will be likely to tell you
that mountain crags are not pain table. If you
ask him why he does not paint classic landscapes
like Turner's, he will tell you, possibly, that
Nature has not yet quite caught up to Turner.
But the beauty and the truth of paysage in t ime
is felt by everyone, and is certainly the dominant
spirit of English landscape, from Crome, Cot-
man, and Constable, down. And of such paint-
ing, of such feeling for Nature, Gainsborough
is without question the first great figure. It
may be a superficial view, perhaps, but certainly
a glance at " Cornard Wood " or " The Water-
ing Place " will make one feel that Gainsborough
is distinctly modern. On the other hand, no
picture of Wilson's that I have seen will give
one any such idea: Wilson, like Claude, has a
very great and definite charm, but his feeling
for landscape — so far as concerns the spirit of
it — is not modern at all.
Such, I presume, would be the contention of
those who see in Gainsborough rather than
Wilson the father of English landscape; and
such a contention is doubtless entirely familiar
to Mr. Fletcher, for he bases his own opinion
on very different views. Mr. Holmes, in the
passage quoted, says that some of Wilson's later
pictures make one think of Constable. So the)'
do; not only the one which Mr. Holmes men-
tions particularly, but several others reproduced
in Mr. Fletcher's book. Indeed, many Ameri-
can readers, at least, in looking at the reproduc-
tions of Wilson's English landscapes will feel
that they have not really known the man so far,
that he had sides they were not aware of. The
quality will strike any observer; still, it seems
but slight when we turn to Gainsborough.
Mr. Fletcher presents a different view. He
presents Wilson's classicism in a very interesting
way, and also the native quality of which we
have just spoken. But when he calls Wilson
the father of English landscape, he has some-
thing else in mind. He does not press the
matter of dates, wherein Wilson has the advan-
tage, nor does he admit the importance of the
spirit and sentiment, where he has not; he takes
another position. "To see and feel was the great
thing, and that was what Wilson was the first
landscapist to do." "Even if it were true that
he saw only Italy, he would still rightly be
regarded as the artist with whom in Britain
sincere landscape art may be said to have had
its beginning." Closeness to Nature — that was
the thing in Wilson, thinks Mr. Fletcher
(pp. 167,168); in Wilson to a degree in whicli
it was not in Gainsborough.
That is a point where I, at least, shall not
venture to dispute with Mr. Fletcher. Whether
Wilson or Gainsborough were really closer to
Nature, is a matter that I must leave to those
who know their pictures more thoroughly, as
well as the especial forms of Nature that they
painted. Wilson, according to Mr. Fletcher,
usually painted in his studio, and was even con-
tent with a Stilton cheese and a pot of porter as
a suggestion for one of his finest pictures. Now
Gainsborough, in his early years at Ipswich,
said that he had painted every tree and every
stile within ten miles around; if, then, Wilson's
pictures are closer toNature than Gainsborough's,


210
[Oct. 1,
THE DIAL
it will be admitted that he was a man of remark-
able powers. "His plains and mountains, and
the very forms of his trees and tints of his ver-
dure, are, far more than in Gainsborough, of
the actual shape and substance of the same
things in Nature." It may be so; it is a matter
of fact and not of inference, and in this country
at least one cannot really be a master of the
materials for judgment. But on the basis of
the material that does exist, such a view appears
very eccentric.
Such as it is, however, Mr. Fletcher practi-
cally devotes his book to it; and whether one
agree or not, the book is interesting. He shows
us Wilson as a lover of classic landscape cer-
tainly, but as distinctly a sincere, original painter,
firmly intent on rendering Nature as he saw it.
Unappreciated he was, of course; but that very
fact shows that he was not the follower of a
fashionable tradition, but a man who was bound
to see and paint for himself. That sort of criti-
cism, and the twenty reproductions of Wilson's
pictures, are the chief things of interest in Mr.
Fletcher's book. The biographical part is slight,
because there is very little material for it. But
Mr. Fletcher has used what he could get, and
has so thought over and appreciated Wilson's
painting that his book does much to give us some-
thing of an idea of one who, whatever else he was
or was not, was an artist of power and charm.
Edward E. Hale, Jr.
The Political Goal of Canada.*
In an address before the Canadian Club of
Toronto, which forms the first of the series
of addresses and essays in the volume entitled
"The Kingdom of Canada," Mr. John S. Ewart
draws attention to the significance of the wide-
spread movement for the creation of Canadian
Clubs in all the cities and towns of the Dominion.
He says:
"Canada has commenced to realize herself, to believe
in herself, and to recognize that for her, too, there is
a principal part to play upon the stage of the world.
Canada has become conscious of the feelings and aspi-
rations and the strong strivings of strenuous manhood,
and, on the other hand, of the utter impossibility of full
expression and assertion in mere colonial status. Divine
discontent (the necessary pre-condition of all improve-
ment), in regard to her political semi-servitude, has
taken strong hold upon Canada, and she is taking stock,
and extending the figures, and considering where she
now is, and what her future is to be."
"Political semi-servitude" seems rather an
•The Kingdom of Canada. Imperial Federation, The
Colonial Conferences. The Alaska Boundary, and other Essays.
By John S. Ewart. Toronto: Morang & Co.
extreme expression to use in defining the present
status of a country possessing the measure of
self-government enjoyed by Canada. Neverthe-
less there can be no doubt in the mind of any
thoughtful observer as to the widespread discon-
tent on the part of Canadians with their status
as a part of the British Empire. Canada is ap-
proaching, perhaps slowly but certainly surely,
the parting of the ways. Self-respect will not
permit her to remain satisfied with a union which
savors of paternalism, however nominal the ob-
noxious link may be, and however tactfully it
may be hidden.
But while there exists practical unanimity
among thoughtful Canadians as to the impossi-
bility of maintaining the status quo, there is a
wide divergence of opinion as to the goal toward
which Canada should set her face. Mr. Ewart
himself, in the last of these essays, "The Future
of Canada," suggests five possible alternatives:
1, Union with the United States; 2, an inde-
pendent republic; 3, Union with the United
Kingdom; 4, an independent monarchy with a
Canadian king; and, 5, an independent mon-
archy with the same sovereign as the United
Kingdom. After arguing the probability or
otherwise of Canadians accepting each of these
alternatives, he rejects all but the fifth. Here
is his own summary of the argument:
"The road of our political development has not led
us away from monarchy, nor from the British Sovereign;
it has led us to almost complete independence [which,
by the way, is hardly the same thing as "political semi-
servitude "]; the termination of the road is not far off,
and it is the Kingdom of Canada under the British Sov-
ereign; probably we shall not turn from that road to
join the United States; nor shall we become a republic
by ourselves; Imperial Federation either in the lump or
by instalments is impracticable and impossible."
Mr. Ewart argues his case with the skill and
persuasiveness that one expects from one of the
ablest members of the Canadian bar, but it is
just in his point of view that one feels the weak-
ness lies. His essays are not so much an impar-
tial examination of the arguments for and against
these several alternatives, and the probable atti-
tude of Canadians toward them, as they are an
argument in favor of one and against all the
others. He holds, in fact, a brief for the King-
dom of Canada, as against the other alternatives,
and particularly as against Imperial Federation.
It is open to question if the movement toward
Imperial Federation is anything like as dead in
Canada, and in other parts of the British Empire,
as Mr. Ewart supposes. It might, in fact, be
nearer the truth to say that ambitious young
Canada — young Canada that forms the back-
bone of the movement that is finding expression


1908.]
211
THE
DIAL
just now in the formation of scores of Canadian
Clubs—is divided into at least two camps. One
of these, for which Mr. Ewart may be accepted
as spokesman, looks toward a British Empire
composed of several nations owning allegiance
to one and the same sovereign, but otherwise
absolutely independent. The other, represented
by Dr. Parkin and Professor Leacock, seeks to
bring about a federation of the Empire, which,
while safeguarding the liberties and interests of
each, will make it part and parcel of one vital
and powerful whole. The former, in fact, stands
for decentralization; the latter for centraliza-
tion. Apart from these two great schools of
thought in Canada, there is a less clearly de-
fined sentiment which might in time take form
in a movement for the creation of an independ-
ent Canadian republic. Finally, there is the
party whose platform is annexation to the
United States — Dr. Goldwin Smith.
While there may, therefore, be differences of
opinion as to the correctness of all Mr. Ewart's
conclusions, his essays may be taken as repre-
sentative of the views of at least one strong and
growing school of thought in Canada; and to
that extent they are of distinct interest and value.
Lawrence J. Burpee.
The "IiiTTLE Giant" of Illinois.*
It was in the Valley of the Mississippi River
that the sentiment of the nationality of our
country was most consistently nurtured and
longest maintained. From here, where North-
erners and Southerners settled side by side along
the banks of the great river on whose waters
floated their commerce, the two most prominent
leaders who stood for the perpetuity of the
national union were chosen at a critical moment
by the two great political parties; and it is not
strange that both of these leaders came from the
state wherein the Northern and Southern ele-
ments had been amalgamated most completely
— Illinois.
Because Lincoln at the end of his career was
connected with events belonging to post-bellum
days — a newer and more modern period — it
is yet too early to expect a dispassionate and
scientifically conceived biography of him; at
least, none such has yet appeared. On the
other hand, Douglas's main career ended with
the period of agitation about slavery, and the
events in which he was most concerned are now
* Stephen A. Douglas. A Study in American Politics. By
Allen JohEBon. New York: The Macmillan Co.
so far removed from the present that a true
picture of him and his activities may be success-
fully attempted. This attempt Professor Johnson
has made in his biography of Douglas; and it
must be conceded that for the most part he has
admirably succeeded.
Stephen A. Douglas was a politician of the
type that flourished before the Civil War, and
it is as such that the author has pictured him;
and this justifies the sub-title, "A Study in
American Politics." Yet the very limitation
of the subject has led to omissions that prevent
the study from being a complete picture of
Douglas. Professor Johnson has not chosen to
enter into his career as lawyer and judge except
in the most casual manner, since these activities
were so subordinated to Douglas's political ca-
reer; and for the same reason we find little dis-
cussion of his business enterprises — such as his
land speculations, etc. It will be necessary to
work out more carefully such phases of Douglas's
activities before the man will be presented to us
in a final portrait.
The description of the politician, however, is
very satisfactory. The author has traced his
career carefully through all available material,
and for his painstaking study he is deserving of
the highest praise. Private letters, the Douglas
autobiography, and the various public docu-
ments, have been used with care and discrim-
ination. Particularly to be commended is the
treatment of Douglas's promotion of Western
State building enterprises through the Commit-
tee on Territories both in the Senate and the
House of Representatives. Douglas was so
closely identified with the slavery agitation that
for this phase of his exertions he has not always
received the credit that is due him.
At an important epoch in the development
of the West, in the year 1845, Douglas was
appointed Chairman of the House Committee
on Territories. His work in this capacity is
thus summarized by Professor Johnson:
"The vision which dazzled his imagination was that
of an ocean-bound republic; to that manifest destiny
he had .dedicated his talents, not by any self-conscious
surrender, but by the irresistible sweep of his imagina-
tion, always impressed by things in the large and rein-
forced by contact with actual western conditions.
Finance, the tariff, and similar public questions of a
.technical nature, he was content to leave to others; but
those which directly concerned the making of a conti-
nental republic he mastered with almost jealous eager-
ness. He had now attained a position which for fourteen
years was conceded to be indisputably his; for no sooner
had he entered the Senate than he was made chairman
of a similar committee. His career must be measured
by the wisdom of his statesmanship in the peculiar
problems which he was called upon to solve concerning


212
[Oct. 1,
THE DIAL
the public domain. In this sphere he laid claim to
expert judgment; from him, therefore, much was re-
quired; but it was the fate of nearly every territorial
question to be bound up more or less intimately with
the slavery question."
In this estimate the author is correct. To
Douglas, the occupation of the public domain
by settlers and the acquisition of new territory
for the same purpose appeared the paramount
issues of his time. The list of States and Terri-
tories for which he was sponsor is a long one,
and the importance of his work may be shown
by the fact that the list includes Oregon, Texas,
California, New Mexico, Kansas, Nebraska.
Douglas's attitude toward the slavery agita-
tion is first to be explained by his interest in
this Western expansion, and his political ambi-
tion is a contributory cause. In every discussion
concerning the formation of Territories or the
admission of States, the slavery question was
introduced. The South saw itself being out-
stripped in the race of expansion, and demanded
more than equal privileges, which the fanatic
zeal of the abolitionists would take away entirely.
This antagonism of purposes and policies forced
the issue on the chairman of the Committee on
Territories; and his solution was that panacea
with which his name is so closely associated —
"Squatter Sovereignty." Such a solution must
have appeared absurd to the men of the older
communities of the East, but to the Westerners
it seemed logical. As Professor Johnson writes:
"The taproot from which squatter sovereignty grew
and flourished was the instinctive attachment of the
Western American to local government; or, to put the
matter conversely, his dislike of external authority. . . .
Under stress of real or fancied wrongs, it was natural
for settlers in these frontier regions to meet for joint
protest, or, if the occasion were grave enough, to enter
into political association, to resist encroachment upon
what they felt to be their natural rights. Whenever
thej felt called upon to justify their course, they did so
in language that repeated, consciously or unconsciously,
the theory of the social contract with which the political
thought of the age was surcharged. In these frontier
communities was born the political habit that manifested
itself on successive frontiers of American advance
across the continent, and that Anally in the course of
the slavery controversy found apt expression in the
doctrine of squatter sovereignty" (p. 161).
In tracing out the development of this idea
in national politics, and Douglas's defense of
it, Professor Johnson is particularly happy.
There have been excellent treatments of the
subject before; but the personal element that is
naturally so conspicuous in this narrative gives
an added vividness to the discussion. Conspic-
uous for its clearness and impartiality is the
account of the Lincoln-Douglas Debate, wherein
full justice is done to the better qualities of
Douglas's speeches.
The " Little Giant " was, however, first of all
a politician; and Professor Johnson fails to
make a hero of him, nor does he try. His
attempt is that of the true historian, the draw-
ing of a faithful portrait; and he does not seek
to gloss over the weakness of his subject. In
writing of the public indignation at the passing
of the Kansas-Nebraska bill, he passes the fol-
lowing just judgment:
"Douglas was so constituted temperamentally that he
both could not, and would not, confront the situation
fairly and squarely. This want of sensitiveness to the
force of ethical conviction stirring the masses is the
most conspicuous and regrettable aspect of his state-
craft. Personally, Douglas had a high sense of honor
and duty; in private affairs he was scrupulously honest;
and if at times he was shifty in politics, he played the
game with quite as much fairness as those contemporary
politicians who boasted of the integrity of their motives.
He preferred to be frank; he meant to deal justly by
all men. Even so, he failed to understand the impell-
ing power of those moral ideals which border on the
unattainable. . . . His was the philosophy of the attain-
able. Results that were approximately just and fair
satisfied him" (p. 270).
Douglas's failure to grasp the significance of
the moral issue then dominating the North was
the cause of his failure to maintain his leader-
ship. Western expansion, whose long and force-
ful advocacy was one of the most conspicuous
events of his career, had become of secondary
importance on account of the controversy over
slavery to which that very expansion had given
birth. So bitter had grown the feeling over
slavery, that the nation itself was endangered:
and in the coming strife Douglas was obliged
finally to make a choice. His feeling for nation-
alism, learned by him on the Illinois prairies,
pointed out his course. He clung to the Union;
but in this new issue, which he had so long
attempted to suppress, there was no place for
his leadership. An almost unknown man had
usurped his position in the West. The picture
of Douglas holding Lincoln's hat at the inau-
guration of his rival is symbolic of the new era
in the life of the Republic.
Clarence Walworth Alvord.
An important work of literary biography is an-
nounced by Messrs. Charles Scribner's Sons for early
publication — " The Life and Letters of the Brontes,"
by Mr. Clement Shorter. This is described as "an
attempt to present a full and final record of the Lives
of Three Sisters — Charlotte, Emily, and Anne Bronte.''
Mr. Shorter has had recourse to a large number of
hitherto unpublished letters — collected during the past
eleven years. The work will be published in two vol-
umes, with eight photogravure illustrations.


1908.]
THE DIAL
Recent Fiction.*
The story to which Mr. Robert Herrick has given
the simple but significant title "Together" is the
strongest book that he has thus far written, and estab-
lishes his title to a place in the front rank of our
contemporary American novelists. It is a study of
married life as it appears to a keen observer of our
society, whose method is that of the realist, and
whose sincerity is beyond question. The result of
his observations is not pleasing, and he is certain to
be dubbed "cynic" and "pessimist" by the outraged
liosts of hypocrisy. We do not think that he deserves
either ascription, although there is some touch of bit-
terness in his treatment of the conjugal relation, and
although the absence of any trace of humor makes
gloomy reading of his book. But Mr. Herrick is at
heart an idealist of the passionate Ibsen type, and
his surgery is founded upon the belief that the most
debased society has within it a principle of self-
regeneration. He has clearly voiced his own views
through the lips of one of his minor characters, who
thus comments upon our diseased modern life:
"Egotism is the pestilence of our day,—the sort of base
intellectual egotism that seeks to taste for the sake of tasting.
Egotism is rampant. And Worst of all it has corrupted the
women, in whom should be Nature's great conservative
element. So our body social is rotten with intellectual
egotism. Yes, I mean just what you have prided yourself
an, — Culture, Education, Individuality, Cleverness,— ' lead-
ing your own lives/ Refinement, Experience, Development,
call it what you will. — it is the same, the inturnmg of the
Spirit to cherish self. ... So what have you made of mar-
riage, ' leading your own lives'? Yon make marriage a sort
of intelligent and intellectual prostitution—and yon develop
divorce. The best among you — those who will not marry
unless the man can arouse their 'best selves' — will not bear
children even then. And you think you have the right to
choose again when your so-called souls have played you false
the first time. . . . And now you know what I meant when
I said that a neurasthenic world needed a new religion! . . .
Not the old religion of abnegation, the impossible myths that
come to ns out of the pessimistic East, created for a relief,
a soporific, a means of evasion, —I do not mean that as re-
ligion. But another faith, which abides in each one of us,
if we look for it. We rise with it in the morning. It is a
faith in life apart from our own personal fate. Because we
live on the surface, we despair, we get sick. Look below
into the sustaining depths beyond desire, beyond self, to the
depths, — and you will find it. . . . And as for beauty and
satisfaction and significance, — it is infinite in every moment
of every life — when the eyes are once open to see."
It is not a philosophy of despair which is thus epito-
mized; still less is it a gospel of cynicism. But
the author is vehement in his denunciation of the
present-day conditions of American society, as re-
vealed in the home, the mart, and the pleasance alike.
He finds the root of most of the evils which he por-
• Together- By Robert Herrick. New York: The Mac-
raillan Co.
Pbtsb. A Novel of Which He Is Not the Hero. By F. Hop-
kinson Smith. New York: Charles Scribner's Sons.
The Firing Line. By Robert VV. Chambers. New York:
D. Appleton & Co.
The Little Brown Jog at Kildare. By Meredith Nichol-
son. Indianapolis: The Bobbs-Merrill Co.
Weeping Cross. An Unworldly Story. By Henry Longan
Stuart. New York: Doubleday, Page & Co.
Halfway House. A Comedy of Degrees. By Maurice Hewlett.
New York: Charles Scribner's Sons.
trays in false ideals of married life, and these he
embodies in a number of concrete examples, sub-
jected to the most merciless analysis. One case,
indeed, he gives us of a union which is fundamen-
tally sane and happy, but it occupies only an incon-
spicuous place upon his broad canvas. With this
exception, married life, as Mr. Herrick portrays it,
appears as a failure, and his characters suffer ship-
wreck as the consequence of their inconsiderate mat-
ing, or of their absorption in sordid and vulgar
ambitions. To what extent is his picture typical of
the essential truth of our civilization — this is the
insistent question which his discussion puts before
us. We think the view taken is too dark to be alto-
gether just, although such examples as he provides
are doubtless to be found in great numbers in our
modern life. But the logical corrective of his posi-
tion is supplied by one of his own paragraphs.
"Perfect justice, a complete picture of society in a
civilization of eighty millions, requires many shades.
The darker shades are true only of the rotting refuse,
the scum of the whole. Among the married millions
most are, fortunately, still struggling through the
earlier types from the pioneer to the economist. But
as the water runs there lies the sea beyond." It is,
then, as a tendency rather than as a finality that this
depiction of married life must be considered, and the
social documents of the time certainly give us much
corroborative evidence of the tendency toward which
the novelist directs our attention. But it is not logi-
cal to conclude that the future of America is with the
alien races that pour themselves through Castle Gar-
den. We still have as healthy a native stock as any
that conies to us from abroad, and there is no reason
to despair of a regeneration that shall spring from
within our own organism. On the whole, Mr. Her-
rick's indictment of our materialistic and pleasure-
seeking society donne furieusement h penser, and is
not to be quashed by the shallow platitudes of optim-
ism. Such a study as his, holding the mirror up to
the unlovely phases of our existence, and reflecting
a searching light into the darker recesses of our
national character, must make for good, since its
truthfulness is undeniable, although it does not give
us all the truth. The book has obvious faults. It
lacks the virtue of reticence where that virtue is most
needed, it is over-vehement in its exhortation, and
its didactic zeal makes it miss the broad humanity of
the highest Active art. It is over-particular, and its
very realism makes many of the characters (especially
the men) unreal. But it is a strong and earnest book,
wrought with conscientious skill, and its best passages
achieve a marked degree of moral impressiveness, at
times rise to an almost lyrical height of beauty.
It is something of a relief to turn from "To-
gether," with all its merits, to a book like Mr. F.
Hopkinson Smith's "Peter," which affords reading
of a less disquieting sort. Mr. Smith is a senti-
mental optimist by temperament, although he by no
means ignores the sterner and ignobler aspects of
life, and he chiefly delights in the depiction of lov-
able characters. All the principal characters in


214
[Oct. 1,
THE
DIAL
"Peter" are lovable —■ the bank teller whose name
is the name of the book (although he is not its hero),
his sister Felicia, the "gentleman journeyman
tailor," Isaac Cohen, who lives under the same roof,
the sweet heroine, and the candid youth who loves
and wins her. By way of contrast, there is only
the hero's uncle, who fleeces lambs in Wall Street,
and is righteously made to cut his own fingers in the
process. The hero, when he discovers the sources
of his uncle's wealth, is unwilling to accept from
him either home or employment any longer, and
bravely sets out to make his own way in the world —
a course which the end justifies, both practically and
sentimentally. Once more the author finds in a
novel the medium for setting forth the old-fashioned,
simple, and gracious ideal of life which he has
brought before our eyes many times before, an ideal
in which manhood counts for more than money
and breeding for more than worldly success. He
affects — like so many other novelists from Thack-
eray down — the confidential attitude toward his
readers, and easily persuades them to his ways of
thinking. This new story of his has both charm
and fragrance; if it does not reach very far into the
depths of life, it at least shows us the surface in most
alluring colors.
Since Mr. Chambers has taken to writing novels
about the lives of the idle rich, he has lost much of
the charm which compelled us in his earlier books.
There is little human interest in his new theme, and
neither artificial sentiment nor smart dialogue is an
acceptable substitute. It is true that his genuine
feeling for nature — the feeling of both naturalist
and artist — contrives to find some expression in
these later inventions, and that saves them from
absolute aridity. It is also true that he usually
takes the precaution to give us a heroine who is
superior to her moneyed environment, and a hero
who is not handicapped by millions, and these are
saving graces. But such books as "The Younger
Set," "The Fighting Chance," and "The Firing
Line," are weak productions when considered as
successors of "Cardigan" and "Lorraine." "The
Firing Line " might as well have been called by any
other name. It is the story of a young landscape
gardener called to plan a park in Florida for a
wealthy winter resident The heroine is an adopted
daughter of his employer, and the rest of the char-
acters are irresponsible or mischief-making idlers.
Some two years before the story opens, the heroine,
learning of her nameless origin, and ashamed thereof,
had rushed into a meaningless marriage, which
naturally proves an impediment when the rightful
lover appears. By this device the agony is drawn
out for some hundreds of pages. Then the husband
(who is one in name only) considerately commits
suicide, and the story is brought to the inevitable
end. The best thing about this rather cheap book
is its semi-tropical setting, which is the author's
opportunity for a great deal of observant and loving
description. The worst part of it is the slangy talk
of most of the characters.
What the Governor of North Carolina said to the
Governor of South Carolina upon a certain occasion
has become a part of our national legend. What
actually happened (if we may believe so veracious
a historian as Mr. Meredith Nicholson) was that
they trumped up a public quarrel as a sop to jour-
nalism, and then quietly repaired to a secluded cabin
in the woods, put on old clothes, supplied themselves
with the necessary provisions, and went into a week's
session over the Great American Game (the one that
is played with chips). Among the cares of state
which they thus temporarily escaped was the vexing
problem of a notorious moonshiner, who asserted
his inalienable rights in the border region of the two
states, and was at the same time so useful as a vote-
getter that each governor wished the other to deal
with him. Now each of these governors had a daugh-
ter, and