a mere matter of check- mate, or that " Les trente-sept sous de M. Montaudoin" 1911.] 153 THE DIAL is a mere matter of arithmetic. Has anyone proposed a reduction to thirteen fundamental types? Or has the "thirteen original " been assimilated from our familiar "thirteen original colonies "? Or is there some con- fusion here with Professor Baker's dozen? Heretofore I have been immune from the disease, but this new- fangled Microbe Thirteen has found a foothold in my curiosity. Mr. Kennedy, it is a comfort to know, is in a worse state; for he has been suffering, apparently during some years of time, from the "seven original jokes" as well. Should it not be the seven cardinal jokes? And shouldn't the perennial attempt toward such enumerations as these be recognized as one of the seven? David Lloyd. New York City, Feb. 17, 1911. THE COSMOGRAPHY OF PLATO AND OF DANTE. (To the Editor of The Dial.) In Professor John A. Stewart's "Myths of Plato," page 102, the author speaks of the "strange coinci- dence " that in Dante's Inferno, "which is so largely modelled on the Sixth Book of the iEneid," there should re-appear the Phaedo "description of Tartarus as bored right through the earth," a conception "unique in Greek mythology and in no way counten- anced by Vergil." It certainly is a parallelism well worthy of notice ; and the Professor drops many another remark in the work which the student of Dante will find illuminating. The Dantean conception of hell, however, and the Dantean conception of its origin, have another parallel which seems to me still more striking. It is found in a sacred book of the Parsees, "The Bundahish," and as I have never seen it referred to as a parallel, I take the liberty of calling attention to it here. Dante, as every reader will remember, pictures Lucifer as having "by the force of his fall bored a passage down to the centre of the earth" (Stewart, p. 106). The Bundahish gives the same picture, say- ing : "The centre of the earth was pierced and entered by him," t. e., the Evil Spirit. Again, Dante represents Lucifer as remaining in the lowest hell thus formed at the precise centre of the earth. Similar is the repre- sentation of the Bundahish, which says: "Hell is in the middle of the earth; there where the Evil Spirit pierced the earth and rushed in upon it." Again, despite the fact that he was describing the fallen angel as pos- sessed of wings and legs, Dante calls him " the abhorred worm which boreth through the world" In like man- ner, in the Appendix to the Bundahish, Ahriman is described as coming on "through the middle of the earth, as a snake, all-leaping comes out of a hole; and he stayed within the whole earth. The passage whereon he came is his own, the way to hell, through which the demons make the wicked run." (West's translation in "Sacred Books of the East," Vol. V., 17, 19, 161). Could Dante have known anything of the Bundahish, or of any writer who drew upon the Persian teaching? William Fairfield Warren. Boston University, Feb. 18,1911. MISGUIDED POETS AND THE PUBLIC LIBRARY. (To the Editor of The Dial.) Apropos of your editorial on "Misguided Poets," permit me to call attention to a nuisance in our public libraries, especially to be found on the shelves devoted to the poets. Every loiterer among the stacks must he familiar with those slender volumes with a binding of peculiar style (a connoisseur can always know them by their bindings) with the words written inside " Don- ated by the Author." They are not entirely useless, as they furnish an endless supply of amusement. One gentleman of the tribe appended his biography to his volume, and in one sentence has so crystallized the folly of them all that it ought to be considered their classic expression: "I have donated copies of my ' Cudmore's Prophecy of the Twentieth Century' to libraries in the United States, Canada, Mexico, Central and South America, Europe, Asia, Australia, New Zealand, and Tasmania." The particular kind of provincialism of which these authors and donators are guilty is, it seems to me, a gross ignorance of the organization of publishing and marketing of books, and of the habits of the reading public. And besides the wholesome fun which they naturally call forth, perhaps an acquaintance with them leads one to a more conscious gratitude that we have great publishing houses with reputations and policies, who give to books the prestige without which their careers would indeed be precarious. Louis I. Bredvold. Bristol, So. Dak., Feb. 17, 1911. ANOTHER MOURNER OF "MIZZELED." (To the Editor of The Dial.) Your editorial note in the issue of Feb. 16, on the haunting associations of words, struck a most sym- pathetic chord in my heart. It is gratifying to find someone else who has been "mizzeled " as to the pro- nunciation of "misled," and who shares my grief at having our vocabulary robbed of a word so pregnant with meaning as "mizzeled," and given in its place a word so poor, cold, and undescriptive as "misled." You are the third person I know of who feels that way about it. I remember when I was about thirteen years old, hearing my father, who for many years occupied a seat on the bench of the Civil Court in New Orleans, tell of a brilliant young Creole lawyer using in his argument the word "mizzeled," to the complete mys- tification of the court. He afterwards asked the young lawyer to spell the word for him, and thereupon en- lightened him as to its real pronunciatiation. But I feel sure the young man was not so much mortified at his mistake as pained at his irreparable loss. Perhaps, however, in a better world where language is what it should be, our dear departed "mizzeled" will come into its own. Leua m rICHARD8. New York City, Feb. SO, 1911. THE NEWLY-DISCOVERED "BYRON MS." (To the Editor of The Dial.) I have before me as I write a facsimile of the "Byron MS." to the discovery of which you refer in your issue of February 1, and I have no hesitation in assuring you and your readers that this newly-found MS. is not in Byron's autograph. I have reached this conclusion after a careful study of the facsimile pub- lished in "The Pall Mall Gazette " and after a careful examination of facsimiles of Byron's handwriting at various periods in his life. The public ought to be informed, I believe, that the MS. now owned by Mr. Sawyer is, at the most, only a contemporary transcript of the original. Samuel A. Tannenbaum. New York City, Feb. IS, 1911. 154 [March 1, THE DIAL A PUBLISHER OF THE OLD SCHOOL,.* An enthusiastic lover of literature and, in an inconspicuous way in early life, an author him- self, Alexander Macmillan lived to become the cause of authorship in others to a degree rarely attained by publishers. The writers, one day to be famous, whose genius he and his brother Daniel recognized and encouraged, and whose books they published, form a long and notable list. And yet he was without early advantages in education, being the son of a poor Scotch farmer with a large family, and being left fatherless at the age of five and forced to shift for himself when he was not more than fifteen or sixteen. He was born at Irvine, in Ayrshire, Oct. 3, 1818. The schools of the town gave him his education, and there he himself became "head- master of Scott's School" at the surprisingly tender age of sixteen. The succeeding few years are mostly a blank in our knowledge of his interests and occupations, but with his going to London in 1839 to join bis older brother Daniel in the bookselling business the memorable period of his active and fruitful life begins. But some mention should be made of his youthful adven- ture as a sailor before the mast in a voyage to America in 1836, undertaken apparently in a fit of boyish unrest and seldom referred to by him in after life. In 1843 the brothers removed from London to Cambridge, and soon after- ward became publishers as well as booksellers, their first venture being "The Philosophy of Training," a short educational treatise by a Glasgow schoolmaster. Their acquaintance with Cambridge men and their keen interest in the literature of the day naturally led to their entering upon business as well as friendly relations with a number of the young writers about them. Books on education seemed at first to make the strongest appeal to them, but it was not long before they became interested in furthering the fortunes of such authors as Kingsley, Maurice, Trench, Thomas Hughes, and many others with what the shrewd Scotch brothers saw to be a promising future before them. The establishment of a London house or branch became a necessity with the rapid and unexpected success of their publishing business, •Life and Lettebs of Alexander Macmillan. By Charles L. Graves. With portraits. New York: The Mac- millan Co. but before this had been accomplished the elder partner, Daniel, died, and the entire burden of the enterprise was imposed on Alexander's shoulders. In 1858 the London branch was opened, and in five years it grew to such im- portance as to necessitate its proprietor's re- moval to London, which thereafter remained the headquarters of the business. The records of Macmillan's life at Cam- bridge, and especially his connection with the Cambridge Working Men's College, show him to have been a man of large heart and generous impulses, of deep moral purpose, and of remark- able influence upon young men. Indeed, he seems to have been sought out as adviser and confidant by men of all ages. His soundness of judgment, his sincerity, his breadth of view, and his freedom from all selfish interest, secured for him an enviable position in the university circle and in the larger world about him. The regard cherished for him by many of the noted men of his time may be gathered from the wide correspondence drawn upon by Mr. Charles L. Graves in his " Life and Letters of Alexander Macmillan," which comes from the publishing house founded by the two brothers more than sixty years ago. One of the Cambridge friends of the younger brother has contributed his rem- iniscences of Alexander Macmillan. A short extract will be here not out of place, before we follow him to London and to the more engross- ing cares of his increasing business. "I only knew of his work in connection with the Cambridge Working Men's College from what he told me himself and hearsay from others, but it was he who really supplied the driving power which started and kept going its whole machinery. There were many distinguished men on the teaching staff of the institu- tion besides himself, among them Harvey Goodwin, J. B. Lightfoot, F. J. A. Hort, and J. B. Mayor, whose names overshadowed that of the secretary and lecturer Alexander Macmillan, but none of them, in Maurice's phrase, 'got hold of the working men ' — if that were the true description of those who attended the classes— in anything like the same degree." With the establishment of the London house came the serious consideration of the project for starting a magazine. Thomas Hughes had been the first to advise this step, at the time when his "Tom Brown's School Days" was about to be published. Its author much wished to have the story come out as a serial, and would have had its publishers found a magazine for the purpose. Finally, in 1859, the start was made, with David Masson as editor; and Macmillan's activity in securing the best of contributors for its pages very early assured its success. His son George writes of this period: 1911.J 155 THE DIAL "For the next five years [from 1858] it was my father's regular habit to spend each Thursday night in London, and to keep open house that evening in Henrietta Street for any one who liked to come and take part in a modest meal, followed by free and easy discussion of literary and other matters. These 'Tobacco Parliaments' were a very important feature in the development of the publishing business, espe- cially after the foundation of Macmillan's Magazine in November, 1859." The autographs inscribed on the bevelled edge of the round table at which the "parliament" sat include those of Tennyson, Herbert Spencer, Maurice, Hughes, Huxley, Masson, J. M. Lud- low, Franklin Lushington, G. S. Venables, F. T. Palgrave, Llewellyn Davies, William Allingham, Coventry Patmore, and Alfred Ainger. Macmillan was by nature an able captain of industry, and he always had the loyal support of his company of fellow-workers. He knew how to delegate authority, but he could also carry in his head an infinity of details and thought no part of the necessary routine of his business beneath him. The pains that he took with the reading and judging of submitted manuscripts was incredible, and his flair for the desirable thing to publish was of the keen- est. It is, however, a matter of record that Mr. Barrie's " Auld Licht Idylls" was rejected by this passionate lover of everything Scottish, though his biographer seeks to account for so inexplicable a blunder by conjecturing that the manuscript must have been sent in and passed upon when the head of the house was absent. This inference is rendered the more probable by reason of his practice of writing long and critical though sympathetic and friendly letters to accompany the return of any meritorious but unaccepted offering; and no such letter to Mr. Barrie seems to have been discovered. An interesting letter to Mr. Thomas Hardy, dated 1868 and filling more than three pages of close print, is reproduced by Mr. Graves. It ex- plains, convincingly and kindly, the publisher's reason for rejecting "The Poor Man and the Lady," and the author appears never to have questioned the justice of the verdict, as the story remained unpublished, being withheld even after George Meredith had passed upon it favorably. The course of self-education that had qualified Alexander Macmillan to be his own professional "reader" is thus referred to by Canon Ainger: "He had mastered the leading English prose classics, and they formed for him a secret standard and criterion of excellence which saved him in a remarkable way from false admirations, or from being deceived by that specious mediocrity which is perpetually appearing in fresh shapes above the horizon. A life-long enthusiasm for the best novels was at the root of his highest suc- cess as a publisher." In illustration of his discriminating taste in novels, let us quote from a letter written by him to James T. Fields in 1861. It touches sympathetically also on our struggle, then in progress, to preserve the Union and 'free the slave; but that is apart from its main theme. "I wish much that Mr. Holmes would do a story which should be entirely one of natural manner and character, and have nothing of the wild or weird about it. The power of character-painting that is exhibited in the book is very high and very fine. The discrimina- tion and sharpness of his delineation are not to be sur- passed. The least interesting character is Elsie herself, and this only because it is conceived under circum- stances which are very partially true to fact and far from interesting if it were — at least to modern and Christian times. The idea of the old Greek unavoid- able fate having its consummation through all sorts of pain and crime in spite of sorrow and repentance, has a kind of grandeur about it, but that a human being should take to poisoning because her mother saw a serpent has something at once painful and paltry about it. Buckle's view of whale blubber and starch being the extremes of man's moral and physical nature has a kind of interest as you can make your choice —but how am I to prevent my wife from seeing a snake if she lives in a snake land?" Six years after this letter to Fields the writer was welcomed in the hospitable home of the Boston publisher, on the occasion of an Amer- ican visit that brought with it a variety of agreeable experiences. Even at that time the number and wealth of our colleges and univer- sities struck him with astonishment. "Within the last six years," he observes, "more endow- ments have been made than have been made in England for the last two hundred." And further: "You go nowhere where princely munificence, bestowed by plain citizens, does not meet you." Gratifying also is the following in reference to the general prevalence of cour- tesy and refinement: "One expected to find culture and refinement at a place like Boston, where Longfellow—who is the sweet- est and brightest of men — Lowell, Holmes, Wendell Phillips, Emerson and the like live. But one finds almost as good everywhere. ... I met farmers in the prairies who had read and understood Carlyle, Mill, Buckle, Ruskin, Lecky, and authors of that class." It was in this visit that Macmillan became im- pressed with the possibilities of extending his business to America, as was not long afterward done with signal success ; but he could not fail to note that" the high tariff is a terrible drawback." Not unnaturally, in the course of his dealings with all sorts of authors, sound-minded and the reverse, he came in contact with the advocates of 156 [March 1, THE DIAL, the Baconian theory of Shakespeare. Mr. Graves speaks, in this connection, of "the redoubtable Mrs. Pott's Baconian hypothesis," forgetful ap- parently of the honor,or dishonor, due to our own Delia Bacon, whose lunacy antedates Mrs. Pott's by nearly twenty years. As the publisher of the famous " Cambridge Shakespeare," Macmillan was very naturally approached by Mrs. Pott in the interest of her anti-Shakespeare ideas, and he frankly and fully replied to her in a courteous letter beginning: "I am afraid your enterprise is hopeless. Bacon assuredly is not the author of Shakespeare's plays, and assuredly Shake- speare wrote them himself. I know the Essays well, and all Shakespeare well. They are the products of our greatest intellectual and moral age. It is impossible but that they should have much in common." A later patient letter to this persistent woman contains the following striking passage: "The question about Shakespeare's education is one requiring more space than I can give it. But I don't think we quite realise how rapidly a man like Shake- speare might assimilate new words and forms of life. I have known—I know at present—a man who travel- ling through a street or town with a number of fairly intelligent men and women will learn twenty times as much as any of them with even less apparent observation. Do you know the story of Houdin, the conjurer, how in passing a shop window with hundreds of objects in it he could with a glance give an inven- tory of it?" How different this from Mr. Shaw's conception (in "The Dark Lady of the Sonnets") of a Shakespeare who, notebook in hand, painfully collects such scraps of useful material as fall in his way, chiefly from other men's lips! Macmillan's official connection with Oxford as publisher to the University, and the honorary M.A. conferred upon him when that connection ceased, were matters in which he took pride. A letter from Mr. John Morley congratulating his friend on becoming "a brother M.A. of my ancient and honourable University" concludes thus: "No honour was ever better deserved, as I have often said. It is really a most pleasant bit of recognition for good service, and I know that you will be gratified by it. My only doubt is whether you ought not to have been made a Doctor of Divinity, but they do n't know you so well as I do." Mr. Graves's life of the younger of the brother publishers forms a fit companion to Thomas Hughes's memoir of the elder, and is in fact a much more elaborate and, in general interest, more valuable work. Alexander Mac- millan's was a character worthy of a full-length portrait, and his biographer has done him justice. The many letters and other interesting reminders of the noted writers of the day which the book contains make it a notable contribution to liter- ary history. To supplement the graphic strokes of the biographer's pen, the photographer and the artist have been called upon to show us clearly what manner of man, in his outward person, this enterprising and cultured Scotch publisher really was. pERCy R BlCKNELL. English Literature in Shakespeare's Lifetime.* There is probably no one in this country better fitted for writing a history of English literature in the time of Shakespeare than Pro- fessor Schelling, whose work in the Elizabethan drama and the Elizabethan lyric, the two pre- eminent forms of expression in this age, is uni- versally authoritative. As in his ' 'Elizabethan Drama," the book before us " departs in method from the customary arrangement of material by way of annals. It has neither listed authors in the order of their birth, nor books in the chronology of their publication; but it has sought to view the subject in large by the recognition of a succession of literary move- ments, and varieties in poetry, drama, and prose, at times identified with a great name, at others grouped merely because of subject-matter or likeness in origin or purpose." Naturally, it is about the author whose name appears in the title that a considerable portion of the book is centered. Thus, the first chapter, which is fit- tingly headed "The Literature of Fact," and as such introduces the Elizabethan period by an account of contemporary works on history and adventure, opens up the source-books of Shakespeare's chronicle history plays. Follow- ing this come two chapters on "The Literature of the Coterie" and "The New Cultivated Prose," which prepare the way for Shakespeare's sonnets on the one hand and his early dramatic work on the other. The eight chapters on the drama, in which is compressed Professor Schel- ling's larger treatment, and with an eye single to the dramatic type rather than to the dra- matist, are grouped about the greatest poet of the age. The dominance of Shakespeare's genius is, of course, felt in the lyric, and even in the prose work of the period we are aware of his presence. The range of treatment is, there- fore, not so arbitrarily limited as it might at first strike the casual reader. * English Literature during the Lifetime of Shakespeare. By Felix E. Schelling, Professor in the Uni- versity of Pennsylvania. New York: Henry Holt & Co. 1911.] THE DIAL 157 While it is true that a history of literature, no matter how limited the period considered, must be primarily concerned with details of historical fact, sources, influences, and the like, it is important that it should not neglect the more vital appeal of literature — that which, after all, is worthy of historical treatment. Extensive appreciation in such a work as the one before us is necessarily impossible; but it is easily apparent that the author has carried over into his pages his own fervid enthusiasm for the literature of this period. The book is not crowded with quotations, and those that do appear are admirably illustrative and are not stale from frequent use. Thus, the splendid stanzas on Belphoebe, in the second book of the "Faery Queen," furnish the text for the follow- ing eloquent appreciation: "Of such art we feel.that it is loving and leisurely; its very progress is like that of the shuttle in the loom, now forward now back. Neither weaver nor poet can be conceived as hurried, or as otherwise than content to add, hour after hour and thread after thread, the beautiful colors that grow insensibly into a pattern, ever recurrent and conventional, but ever holding, as with a soft compulsion, our approval and affection." The vexed question of the sonnet Professor Schelling treats with his usual sanity. Whether we agree with him or not in his belief that "'Astrophel and Stella' had its inspiration in a passion sufficiently real to take on a genu- inely tragic tone to one of the ardent nature of Sidney," we are glad that he does not lead us off into unprofitable discussions which generally end where they had begun. Granted poetic genius, however, it hardly seems necessary to demand an actual passion as a sine qua non of genuine love poetry; and it again seems unlikely that Sidney would dedicate to his wife sonnets cele- brating his passion for another woman, or that both his wife and his sister would regard with enthusiasm any such expression of his love. Especially sensible is Professor Schelling's dis- cussion of the Shakespearean sonnets. He does not seek to identify positively the " Mr. W. H." except that he refuses to regard him as William Herbert, Earl of Pembroke. He clears the whole question of useless argument, and in a single paragraph presents the story of the sonnets, which, as he says, "is neither difficult nor involved." As to the dark lady, he is content — and so should we be — with the wise comment that "the court of Elizabeth was fuller [of sirens] than was ever the ^gean ; and for my part I should be sorry to have the mask of anonymity torn from the face of that immor- tal shadow." All of which is in remarkable contrast to the pronouncements of the author of "The Man Shakespeare." The chapters on the Drama naturally begin and end in Shakespeare. The court as well as the popular drama leads up to his consummate accomplishment, for these embody in whole or in part the three influences which formed the drama,— those of the classical drama and of the popular vernacular farce, and that of Italy and the spirit of romance. The plays of Shake- speare are each considered briefly and with reference chiefly to their literary qualities. Questions of structure and characterization are only touched upon; more would not be possible in a volume of this character. The summaries and general criticisms at the close of the chapters are appreciative and scholarly. The theory that Shakespeare in his latest plays, the romances, was seriously affected by the new Fletcherian tragi-comedy, "and that this influ- ence worked to the detriment of Shakespeare's art, destroying especially the long lines of his characterization and reducing his art to the measure of the man he imitated," is disposed of by the vigorous protest against the "discovery" that "Shakespeare was prematurely old and decaying in his genius at forty-five, careless in his art, and content to leave his throne to sit on the footstools of his younger contemporaries." The protest is too strong. For it is impossible to maintain, in the face of the numerous resem- blances adduced by Professor Thorndike in the authoritative monograph on the subject, that Shakespeare's and Fletcher's dramatic romances were wholly independent of each other. Either Fletcher set a model for Shakespeare, or vice versa. Professor Schelling prefers to group these last plays of Shakespeare's with others like "Troilus and Cressida," " Timon of Athens," and "Pericles," which do not belong to any special category of history, tragedy, or comedy, and to scout the idea that he could have imitated or adopted the dramatic ideas of a younger con- temporary. But Shakespeare about this time and later was collaborating with Fletcher in "Henry VIII." and " The Two Noble Kinsmen," and in these plays the tone is Fletcherian rather than Shakespearean. Shakespeare never hesitated to adopt a dramatic fashion, and it was wholly consistent with his past conduct that he should try his hand at what he saw was popular with the London audiences. The fact remains that the late romances are not so great as the trag- edies, and it makes very little difference in our judgment of the intrinsic worth of these plays whether we say their lower rating is due to 158 [March 1, THE DIAL Shakespeare's imitation of a younger contem- porary or not. They are not less good when viewed as under the influence of Fletcher than when regarded as Shakespeare's original crea- tion. No one says that they are not superior to Fletcher's romances, or that the elder dramatist failed to improve upon the work of the younger. We might almost as well blame Shakespeare for adopting the revenge idea in "Hamlet" from Kyd's play on the same subject as criticize him for transforming the idea in the Fletcherian romances into the wonder of " The Tempest." Professor Schelling's work on the Lyric we already know, and his chapters in this volume are marked by the same discrimination and appreciation that have made his two lyrical anthologies familiar to scholars everywhere. Particularly good is his treatment of Donne, both as a corrective of a prevalent error about his relation to the so-called "metaphysical school," and as a just estimate of the salient qualities of his poetry. By his illumination of what had hitherto appeared commonplace, he deserves Jonson's eulogy, that he was "the first poet in the world in some things." "The golden summer " of the lyric of Herrick and his compeers we are shut out from by the limits of this volume; but this lyric, which is more artistic and less spontaneous than the Shakespearean, may be omitted without causing too sharp a break in our survey of the poetic development of this period. In this and in other provinces of literary expression, the book preserves a proper unity of treatment. James W. Tuppek. The Stephens Prison Diary.* If the term "human document" were not taking a well-earned furlough, it might be applied with peculiar fitness to the diary before us, penned by Alexander H. Stephens, Vice- President of the Southern Confederacy, during his imprisonment at Fort Warren, in Boston Harbor, from May until October, 1865. There is no side of Stephens's nature which does not find expression, and the reader feels in every paragraph the impression of absolute sincerity. From the historical standpoint, the volume is of great value for the light which it throws upon * Recollections of Alexander II. Stephens. His Diary, kept when a Prisoner at Fort Warren, Boston Har- bor, 1865; giving Incidents and Reflections of his Prison Life, and some Letters and Reminiscences. Edited, with a Biographical Study, by Myrta Lockett Avary. New York: Donbleday, Page & Co. the attitude of a large class of men who were ardent lovers of the Union and strongly opposed to the policy of secession, but whose political training made it inevitable that when once the die was cast they should go with their States and throw their energies into the cause of the Confederacy. In ability and character, Stephens stood easily at the head of this class of Southern statesmen; and the motives and principles underlying his course are fully outlined in this Diary, especially in his copy of a long communi- cation to President Andrew Johnson, accom- panying a request for amnesty, under the special provisions of the Proclamation of Amnesty and Pardon issued on the 29th of May, 1865. As a man of highly cultivated tastes, Stephens's prison days were largely devoted to reading; and we confess to a somewhat deeper interest in the books recorded than in the much talked about "pig-skin library " of a later date. Prescott's "Ferdinand and Isabella" and "Con- quest of Mexico" were purchased out of the little stock of gold coin brought with him, and carefully read, as various comments and appli- cations to current problems prove. The high state of culture and liberty to which Aragon had risen under an effectually decentralized system of government especially attracted his attention. A volume of the philosophical writ- ings of Cicero led to a comparison of the moral tone of the Roman with that of Paley, whose title to a place in the senior year of every college curriculum was never questioned in Stephens's time. The comparison is strongly in favor of Cicero. Bacon's Essays on the whole disappointed him, though he thought highly of the one on "Friendship," which in his opinion "embodies in a nutshell more true philosophy than all else I have seen upon this subject." Later, after a re-reading of Cicero's "De Ami- citia," he says: "This book is an almost fault- less production. Still, I believe Bacon's essay says more. But Bacon by no means supersedes Cicero. Bacon tears up the foundations of the philosophy, blasts the works from the quarries; Cicero polishes these rough materials for use and ornament. Every young man should study Bacon on this subject; then he should study Cicero." Aristotle on Economics pleased him, but the " Politics " he considered of little value. Particularly, Aristotle's failure to consider slaves as entitled to any standing as an element of society is criticised. Matthew Arnold's "Essays in Criticism" was presented to him, and he read the chapters on Spinoza and Marcus Aurelius, but with little sympathy. "I have not 1911.] 159 THE DIAL been able to satisfy myself as to this critic's general object. It seems to me that it is not good, that his spirit is evil, that he conceals himself as well as he can and attempts to incul- cate his own views through the teachings of others." A volume of F. W. Robertson's ser- mons was presented to him and read with high appreciation, as were certain volumes of Sweden- borg, in spite of his dissent in many particulars, and his conviction that Swedenborg was some- what unbalanced in mind. Many hours were given to study of various books of the Bible, and many of his comments thereon are surpris- ingly " liberal" for a strongly religious Southern man of that period. The inclusion of the Song of Solomon with the other books of the Bible he could not comprehend. He raises no question as to Solomon's authorship of the book, but fails entirely to find in it any evidence of allegorical intent. "It seems only such love-songs as Solomon may be supposed to have indulged himself in writing." To interpret it as refer- ring to Christ or the Christian Church seemed to him "not much short of impious." Burns and Coleridge were read occasionally. Tenny- son had never appealed to him until the effec- tive oral interpretation of a lady visitor revealed the beauty of his verse. In poor health, and troubled in mind over the failure of the authorities at Washington to pay any attention to his request for amnesty or parole, unable to get into communication with his family and friends at home, Stephens's prison days were gloomy enough, and without the company of his books he would probably have broken under the strain. Until the last few weeks of his imprisonment, his confinement was close, his quarters uncomfortable, and his food palatable only because he gave up the allotted rations altogether and supplied his table from other sources at his own expense. On July 26 he records: "Had a sort of row with bedbugs. Examined my bed to-day and found several." On August 2, " Had another row with bedbugs; discovered a good many, though small. To none did I give quarter." August 11, " Got through with the biggest row I have yet had with bedbugs." And a week later, when commenting on the failure of a mouse which he had been feeding to come into sight, he adds: "It may see from its hiding- place what I do with the chinches, and draw conclusions which prompt it to keep out of my power. I have often felt sorry for what I have to do to these blood-suckers. Most willingly would I turn them loose and let them go away if they would go and stay, but this they will not do." There are many personal comments in these pages which one would gladly quote if there were room. The most severe judgment of all, though thoroughly kindly in spirit, is that passed upon Jefferson Davis. His opinion of the abilities of Grant was very high, and the comparative failure of Grant in the Presidency must have come as a great surprise to him. As most of the really level-headed leaders of the South, he came to have a very high regard for Lincoln. Greeley also shares in his admira- tion, though his dissent from Greeley's political principles led him to oppose the union of the Democrats with the Liberal Republicans in 1872. There is no word of ill-tempered criticism for anybody. No kindlier and juster heart ever beat thau that of Alexander H. Stephens. W. H. Johnson. The Earliest Lords of the Ocean.* Ever since Newton and Wood delighted the western world with their discoveries of the ruined glories of the Mausoleum and the temple of Ephesian Artemis, the progress of Greek archaeology has been almost uninterrupted; and its claims to the rank of an orderly and definite science are now universally recognized. Its splendid chapters have been written by Schliemann and Dorpfeld, at Ilios, Mycenae, and Tiryns; by the Germans at Olympia, the French at Delphi, and the British and Ameri- cans wherever they could get a chance to put in their spades; and the annual reports of these various schools of classical study contain most comforting assurance that new and substantial additions are yearly being made to our knowl- edge of the past. That a rich, if somewhat barbaric, civilization could be identified and confidently assigned to pre-Homeric times, is now generally accepted. "Mycenaean " was the name—not altogether a satisfactory one — given it; and its dates were approximately placed at 1500-1000 B.C. With this as our furthest reach backward into the prehistoric past of Hellenic or pre-Hellenic races, we were perforce content until the end of the nineteenth century; but since the year 1900 the extensive excavations carried on by Dr. Arthur Evans at Cnossus in Crete, together with other excavations at various Cretan sites, * The Sea Kings of Crete. By Rev. James Baikie. Illustrated. New York: The Macmillan Co. 160 [March 1, THE DIAL have combined to make it evident that this ancient "hundred-citied" island was for cen- turies the home of a brilliant civilization, which antedates the Mycenaean age as much as the latter does the time of historic Greece. In honor of the most famous traditional Cretan worthy, this civilization has been called " Minoan," and Dr. Evans has proposed a chronological table dividing its life into three periods, known as Early, Middle, and Late Minoan; each period being subdivided into three divisions designated by Roman numerals. The whole stretch of time thus occupied ranges through two millen- nia, from 3000 B.C. to 1000 B.C. A number of publications have described and sought to appraise the results of these Cretan excavations. Dr. Evans himself has published full reports on his discoveries; and books by Ronald M. Burrows (" The Dis- coveries in Crete"), A. Mosso (" Palaces of Crete and their Builders "), and Harriet Boyd Hawes (" Gournia, Vasiliki, and other Prehis- toric Sites "), have served to maintain the public interest and increase the public knowledge. The latest work dealing with this subject is the Rev. James Baikie's "The Sea Kings of Crete," a handsome volume, well-printed and illustrated. The author writes with keen but tempered enthusiasm of the " finds " at Cnossus, Phaestus, and Hagia Triada, and what they seem to show. That the Minoan dynasties were sea-lords of the iEgean and eastern Mediter- ranean, he regards as fully established; and the significant fact that the great palace structures were not fortified, as were those at Mycenae and Tiryns, only strengthens the conclusion that here we have to do with a power that depended on the "wooden walls" of its fleet for both aggression and defence. Sooner or later, of course, this floating bul- wark would fail; and to some such crisis as this—a sudden dash by pirates, or a concerted invasion by rivals who managed to out-sail and out-fight the Cretan fleet — we are to refer the great catastrophe which destroyed the palace at Cnossus at the end of the period called Middle Minoan II. (about 1850 B.C.). On the ruins of this first palace a second seems to have arisen, which in turn met its destruction at the close of the Late Minoan II. period (circa 1400 B.C.). The temptation to construct history out of legend with the assistance of archaeological dis- coveries is always great: Schliemann, as is well known, yielded to it, and was sure that he had found the corpora ipsa of the Agamemnon and Clytemnestra mentioned by Homer and the Greek tragic writers. Something of this con- fidence confronts us in the pages of Mr. Baikie's book, — as where he contends for a historic background to the terrible story of the human tribute paid by Athens to Minos of Crete, and of the slaying of the Minotaur by the Attic hero Theseus. His support for this position is derived largely from the frequency of bull- combats and the suggestion of bull-headed divinities on the various works of art found during the progress of the excavations. More conservative and acceptable is one of the concluding paragraphs of the book: "No one now dreams of hesitating to accept the statements of Herodotus and Thucydides as to the great sea-empire of Crete. Whoever the Minos to whom they allude may have been — whether he was actually a single great historical monarch who brought the glory of the Kingdom to its culmination, or whether the name was the title of a race of kings, is a matter of small moment. In either case the sea-power of Minoan Crete was a reality which endured, not for one reign, but for many reigns; and it is practically certain that, during a long period of history, the whole sea-borne trade of Europe, Asia, and Africa was in the hands of these, the earliest lords of the ocean." The relations of Crete with Greece, the Cyclades, and Egypt, are discussed and illus- trated by parallelisms in pottery, sculpture, and metal-working; and about thirty excellent half- tone plates show the principal architectural and artistic results of the various excavations. The book is written in an intelligent and entertain- ing style, which, added to the fascination of the subject, makes it as readable as any romance. Josiah Renick Smith. The Memoirs of Heine.* "Heinrich Heine's Memoirs," in two beauti- ful thin, though comprehensive, volumes, doubt- less give the best opportunity of meeting the poet face to face that has yet been offered in English. The title is confusing, for the term Memoiren was preempted by Heine's small autobiographical fragment first printed in 1884. It was the idea of Karpeles to publish (in 1888) an extended cento of fragments of Heine's let- ters, verse, and prose, arranged in chronological order, under the more admissible title, "Auto- biographic" In the main the difficult English translations are spirited and idiomatic, and the metrical form of the lyrics is preserved, even though rhymes like "daughter: about her," •Heinkich Heine's Memoirs. Edited by Gusts* Karpeles. English translation by Gilbert Cannan. Intvo volumes. New York: John Lane Company. 1911.] 161 THE DIAL "undoing: ruin," go to the verge of what may be permitted. It is necessary to add that the badness of the work in many other respects goes far beyond this limit. Karpeles' plan, for which the translator is not responsible, is a horror to the professional scholar, and to the philologist an abomination. Without guidance of notes, a "harmony" is forced by methods more violent than those em- ployed by the most perverse theological zeal. Karpeles' lack of method has made a sorry mess of it, enhanced (let it be stated without rancor) by a more than British indifference to minute accuracy on the part of the translator. Chapters, divisions, and titles are purely arbit- rary. It seems impossible that any editor could omit the lyric "Ein Jungling liebt ein Mdd- chen," the very epitome of the most telling ex- perience of Heine's life, or " .4ms alten M'drchen winkt cs," that sublimated quintessence of the cruel conflict between romanticism and reality. The poet's saucy irrelevancies, his daring wit, even his word-plays, vulgarities, and blasphemies, are so much a part of himself that a Heine, with these completely purged away, would be no Heine at all. Omissions are often posited where none occur, while again and again sep- arate letters and lyrics are macerated into one undifferentiated substance, poems are mutilated with no indication, sentences torn limb from limb and grafted one upon another in a way that belittles Mr. Edison's most heroic tales of operative surgery. Often a new paragraph is placed so as to be related only to the im- mediately preceding text, whereas it applies, in fact, to a section that has vanished without a trace. Because of its allusion to the "Tragr- edies" (published 1823), Karpeles may be excused for including under the documents of 1823 a letter written on June 7,1826, but the bare-faced change of the date to " June 7,1823" is intolerable. Equally unpardonable is the crass stupidity shown in translation, and by no means limited to proper names. Liibtheen ap- pears as "Liibthern," Bovden as "Booden," Harburg as "Hamburg," Adolf Milliner is leveled to "Miiller," the great surgeon Dief- fenbach comes off with "Dreffenbach," while the famous lexicographer Adelung suffers a sea-change from a living person into " the bur- den of the aristocracy." Other examples of Mr. Cannan's art of translation are: biderbe, "solemnly"; Oratorium, "exhortation"; be- wegliche Figur, "mobile face"; ebenfalls, "ever '"; geheimnisvolle Wonne, "sweet glee." Khigendc Elamme, in the well-known stanzas in DeutscMand, certainly does not mean " flame of mourning," — and so the long series sounds every note from the irritating inaccuracy of Er war von alien Menschen derjenige, den ich am meisten auf dieser Erde geliebt, "Of all men he was the most beloved on this earth," to the inestimable climax of the repeated rendering of Heine's title Die B'dder von Lucca as "The Bathers of Lucca." Into this fair book are also set such gems of English as "This could however anyhow not suffice to-day," and "almost by one half to destroy these notes." But none of these ineptitudes, nor even the disconcerting sum of them all, can offset the perennial allurement of Heine's baffling and elusive personality. Perhaps more than any other, he is the vibrant sensorium of an acutely susceptible consciousness which makes the mod- em man of culture the recipient of a myriad of aesthetic impressions undiscovered in simpler ages. He caught quick glimpses of new truths, of shifted relations. He may, indeed, be consid- ered the first man of the future, and his life was rendered wretched chiefly by its rupture with the past. For pleasure or pain, all impressions reacted upon him from contrary poles: he thrilled to the majestic symbolism of the Catholic church, yet Christianity had never a more keen oppo- nent. He was awed by the mysterious sainthood of woman, and detested her as a cold-blooded serpent; he was the soul of chivalry, while destitute of an elementary sense of honor; his insatiable appetency for supreme culture proved not incompatible with a cynical vulgarity. No artist has more masterfully exploited the sim- plest poetical materials, even though we admit that his confession of a unique debt to Wilhelm Miiller is just. Goethe rested in serene and severe Hellenism, whereas Heine went forward, and his soul is still marching on, to modernism. The fascinating life-panorama of this intensely sentient being is unrolled upon these handsome pages, and every line tingles with interest to the modern combatant. The poetry of the future will hardly derive its spirit from the bemusing opiates of oriental or Celtic romanticism; the sweet deceptions of the past will yield place to the clear actualities of scientific doctrine, and to the task of recon- ciling man to his own existence. Modern poetry will rest upon realism, not the discarded type which dwells upon the abnormal and the revolt- ing, but that which fixes its calm vision upon the dignities of life, and renders them more acces- sible to men. It will choose as its chief subject- matter not merely " things as they are" but—to 162 THE DIAL [March 1, quote a valued human document not yet fully superseded —" whatsoever things are true, what- soever things are honest, whatsoever things are just, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report. James Taft Hatfield. Recent Poetry.* The fact that Mr. Eden Phillpotts is of the kin of Mr. Thomas Hardy has been noted by all readers of the two men's novels. It is evidenced anew by the volume of poems, entitled "Wild Fruit," that the former writer has now published. The title is well- chosen, for the poems have a wilding flavor that sets them far apart from the garden products of most versifiers. In this, they are suggestive of Mr. Hardy's verses, as well as in their unconventional phrasing and their ironic tang. There is a fine sardonic humor in this song of " The Owl and the Epitaph ": "The moon shone in the midnight sky As an old brown owl went gliding by. He lighted upon a ohurchyard tree, And shonted aloud right eerily — 'Hoity-hoo-hoo, Toity-too-too, Hullabaloo! The graves are many, the mice are few.' "Beneath his perch there stood a stone Where a young, dead woman lay alone. The owl conned over her epitaph, Then, blinking his eyeB, he began to laugh — * Hoity-hoo-hoo, Toity-too-too, Hullabaloo! This was a fine damsel that once I knew. * Wild Fruit. By Eden Phillpotts. New York: John Lane Company. The Voick of the Ancient. By Cyril Scott. London: J. M. Watkins. Thirty-six Poems. By James Elroy Flecker. London: The Adelphi Press, Ltd. Verses. By V. Oxford: B. H. Blackwell. A Son of Cain. By James A. Mackereth. New York: Longmans, Green, tfc Co. Chords of the Zither. By Clinton Scollard. Clinton, N. Y.: George William Browning. Songs and Sonnets. By Webster Ford. Chicago: The Rooks Press. Lavender and Other Verse. By Edward Robeson Taylor. San Francisco: Paul Elder & Co. The Town down the River. A Book of Poems. By Edwin Arlington Robinson. New York: Charles Scrib- ner's Sons. Beauty's Lady, and Other Verses. By Donald Robertson, Actor. Chicago: Ralph Fletcher Seymour Co. Herds and Apples. By Helen Hay Whitney. New York: John Lane Company. .(Egean Echoes, and Other Verses. By Helen Coale Crew. Boston: The Poet Lore Co. The Earth Cry, and Other Poems. By Theodosia Garrison. New York: Mitchell Kennerley. Lips of Music. By Charlotte Porter. New York: Thomas Y. Crowell & Co. Cactus and Pine. Songs of the Southwestf. By Sharlot M. Hall. Boston: Sherman, French & Co. "1 " Here lies the dust of Mercy Ann, The faithful wife of Jonathan ('aim. Such virtue could not inhabit clay, So Heaven hath plucked the flower away." Hoity-hoo-hoo, Toity-too-too, Hullabaloo! ■ But, gentlemen all, the tale is n't true. "' Dear Mercy Ann, the lovely elf, Was another night-bird, like myself. Look in the woods by the manor gate: You'll find a cot in a ruinous state. Hoity-hoo-hoo, Toity-too-too, Hnllabaloo! Her gravestone should really be writ anew. "',; Here lies the dust of Mercy Ann, The faithful mistress of young Squire Mann. She gave him five years of joy and bliss, And now she's a flower in the realms of Dis." Hoity-hoo-hoo, Toity-too-too, Hullabaloo! There's a mouse on her grave !1 And down he flew." As an example of a sincere and purely serious lyric we may quote "The Kisses ": "Your gentle kiss fell light upon my lips As when a hovering Vanessa sips One instant and away. Oh, blessed touch! How little then I guessed What seeds of aching grief and wild unrest Were sowed that summer day. "Bnt now the secret garden of my heart Can scarcely hold them; every throbbing part Blooms with a mad desire. Oh, precious woman of the misty eyen, Would to dear God that futile kiss of mine Had planted such a fire. "Yours carried life and flying seed of flame Until the very letters of your name Chime out a glorious song.- Mine found no fruitful resting-place to'dwell, But humbly sank to that sad haunt of hell Where sterile kisses throng." We must find space also for one of the fine sonnets of 11 lis poet, and there is no fitter example than this heartfelt tribute to the memory of Swinburne, a brother-poet: "Children and lovers and the cloud-robed sea Shall mourn him first; and then the mother-land, Weeping in silence by his empty hand And fallen sword, that flashed for Liberty. Song-bringer of a glad new minstrelsy, He came and found joy sleeping and swift fanned Old pagan fires, then snatched an altar brand And wrote, 'The fearless only shall be free!' Oh, by the flame that made thine heart a home, By the wild surges of thy silver song, Seer before the sunrise, may there come Spirits of dawn to light this aching wroug Called Earth! Thou saw'st them in the foreglow'roam; But we still wait and watch, still thirst and long." This is a tempting volume to quote from, and we do not find it an easy one to lay aside. It reveals a poetical faculty, the plenitude of which we had hardly suspected from the stray pieces by Mr. Phillpotts that had hitherto come to our attention. Perhaps we shall gradually come to think of him, 1911.] 163 THE DIAL in the end, as we are gradually coming t Gale8>a keen-eyed observer ami other with a good memory and a lively sense dUquUitioru. 0£ numor) na8 been among the nortb- of-England folk taking notes, which he prints under the title, "Studies in Arcady, and Other Essays from a Country Parsonage" (Herbert & Daniel, London). The writer's cloth excites expectation of grace and learning in his wit and humor; nor is expectation disappointed. The mellowness of ma- ture years, also, and the charity that comes with a considerable knowledge of the world, speak in his pages. An American reader cannot but marvel at the stunted intelligence and narrow outlook of the average rural dweller in England, as depicted in 1911.] 169 THE DIAL Mr. Gales's pages. In the matter of figures, five hundred would seem to be the highest number even dimly conceivable by his simple-minded parishioners, and their notions of geography are so ludicrously vague that we have one person referring to Rome as "in Paris," and another speaking of Manchester as in the south of England. Pathetic, too, as well as amusing is their eager but unintelligent interest in the lives of "the quality." This hunger for a more abounding life they seek to feed with such sensational reports from the great world as are sup- plied by the Sunday newspapers, for which the au- thor has an unexpected good word to say. "After all," he feels compelled to admit, "they are the Greek tragedies, the Strauss operas, of the poor. Here for them is the 'pity and terror,' the sense of destiny and awfulness, which an intellectual Mite finds in antique choruses. Some of the Greek plays are almost insupportably dreadful, the mythological stories are in themselves, as a matter of fact, often repulsive and grotesque, but there is always a re- deeming sense of largeness, and this the poor find amid the horrors of the Sunday newspaper." It may well be that these plodding rustics are mentally too heavy and dull to be either much hurt or much helped by anything they might read. In addition to these Arcadian studies from real life, the book contains a number of chapters on "Folk-Lore and Tradition," and on " Speech and Language," while a final half-dozen are grouped together as " Discussions and Digressions." Of books as well as human nature the author shows himself to be a diligent student. Through the Henry James Forman's "In the Han in Heine's Footprints of Heine" (Houghton) footprints. jg an ingratiating, if slight, perform- ance, deriving native charm from being written on the spot by one who has absorbed some of the real spirit of the Harzreise. With the convenient help of the railway, which was not available to his pre- decessor, and omitting (unfortunately) the ascent of the Ilsenstein, the author repeated most of the memorable footrtour of 1824. Although not notable in style, the book gives back the free and generous joy of the open road: "I drank in the balmy pine- laden air: it was a kind of spiritual second wind "— and the breezy book itself may well serve a similar tonic purpose to overwrought and distracted readers. The author is susceptible in various directions, and falls in with more liberal spoils in the way of living folk-lore and delicately-attuned German ladies than most pedestrians in those parts are like to en- counter. So generous is he in sharing these prizes, that they have a suggestion of premeditated and not altogether pertinent embellishment The pungent Harz-atmosphere scarcely needs this conscious spic- ing. The legend of the partridges (p. 78) reads like a retelling of Die Kraniehe des Ibyhus, a myth-making popular redaction of Schiller's poetry for which there are convincing parallels. The spell- ing wavers between English and German usage, with occasional forms that belong nowhere. "A man bearing the pastoral name of Blumenbach" is a tame designation for the immortal founder of the science of anthropology, and is no sort of a pre- paration at all for the crushing shock caused by the startling apparition of Walther von der Vogelweide "emerging from a gabled house humming a tune of the Meistersinger." The full-page illustrations by Mr. Walter King Stone are most satisfactory impres- sions of the region, and reflect not a little of its per- ennial charm. "The American The new edition just published of Commonwealth" T-, i « » • n twenty-two Mr. Bryces "American Common- years after. wealth" (Macmillan) is the third re-issue of this memorable work since its first ap- pearance in 1888, and is so considerably revised and enlarged as to constitute almost a new work, though the ground-plan remains much the same and certain chapters have called for but little modifica- tion. In the two hundred additional pages of the present edition are contained four new chapters of importance, — one on our transmarine possessions, another on the vast influx of immigrants from cen- tral and southern Europe, still another on the more recent aspects of the negro question in the South, and, finally, a consideration of the notable develop- ment in late years of American universities. In the subsidiary matter prefixed and appended there are some omissions and some additions. The con- stitution of California has been reduced to a one- page extract, and the constitution of Oklahoma has been added, to the extent of twenty-three pages of fine print. The handy table of "Area, Population, and Dates of Admission of the States" has been omitted, as has also "The Federal System of En- glish Universities," doubtless to avoid swelling the volumes to unmanageable size. The author's hopes for our future have by no means given place to despair since he first essayed, with optimistic pen, to portray our public institutions and our social life. "It was with some anxiety," he confesses, "that I entered on this revision, fearing lest the hopeful spirit with which my observations of American institutions from 1870 to 1894 had inspired me might be damped by a close examination of their more recent phases. But all I have seen and heard during the last few years makes me more hopeful for the future of popular government The forces working for good seem stronger to-day than they have been for the last three generations." This work from the hand of a foreigner becomes, in its enlarged form, more emphatically than ever the most noteworthy treatise on our political and social system. The first chapter of "An English- man in Ireland: Impressions of a Journey in a Canoe by River, Lough, and Canal" (Dutton), by Mr. R. A. Scott James, strikes the note of this opening season as follows: "There comes a time early in the spring when the decrepitude of years or the precocity of youth is wont to fall from you. On that real first day of Across the Isle of Erin in a canoe. 170 [March 1, THE DIAL the year you suffer reincarnation, and feel that your opportunity in life, as the lay preachers express it, begins again: that you have another chance to be the superman, your dislike for whom has always been tempered by a reserve of envy." Yielding to the vernal impulse, the author, with a congenial companion, secured a canoe, studied well the map of Ireland and the course of the river Shannon, with its connecting water-ways, and then proceeded to tour the island, from Belfast on the northeast to Limerick on the southwest, in the manner indicated in the title. Descriptions and reflections and bits of dialogue diversify the chronicle of this leisurely journey. Of the typical Irishman the writer ob- serves: "Perfectly he fulfils the maxim 'Take not thought for the morrow'; and because he does not take thought he is poor, but in his poverty he is provided with more that the heart needs, with more that makes for happiness, than we with all our prac- tical but inhuman industrialism can achieve." A map and illustrations from photographs help the reader to a more vivid participation in this pleasant Irish jaunt. Municipal In .Mr; Delos .F- Wilcox's « Great adminittraUon Cities in America" (Macmillan) we in America. have a very instructive and readable account of certain aspects of municipal administra- tion in six of our largest urban communities. The author has already rendered valuable service in pre- vious discussions, and this study goes more deeply into the essence of the struggle between the repre- sentatives of individual interest and public welfare. The criticism of abuses is not cynical but distinctly patriotic, — the message of those who believe the American people need only the light of truth to call forth earnest effort and sane action. No citizen can read this work without setting his teeth for a new attack on mercenary control of the colossal ma- chinery of city government The facts are brought up to date, and the reader can connect the daily news with the story of the development of the institutions which thus far represent the sorriest defects of uni- versal suffrage. 'NOTKS. Sir A. Conan Doyle is about to publish with Messrs. Smith, Elder & Co. of London, a volume of poems, entitled " Songs of the Road." New novels by Messrs. John Galsworthy, Maurice Hewlett, Frank H. Spearman, A. T. Quiller-Couch, and E. W. II orming are promised for Spring issue by Messrs. Scribner's Sons. The Autobiography of Richard Wagner, to the forthcoming publication of which extended mention was made in our last issue, will be issued in this country by Messrs. Dodd, Mead & Co. An enlarged and revised edition of Mr. William Winter's charming sketches of travel in England, " Gray Days and Gold," is promised for Spring publication by Messrs. Moffat, Yard & Co. An English translation of Gustav Frenssen's novel, "Klaus Hinrich Baas," will be issued within a few weeks by the Macmillan Co. It is a tale of strenuous commercial life in Germany of to-day. The United States Minister to Denmark, Mr. Maurice F. Egan, is preparing a series of lectures on " Hymnody," which will be delivered at the John Hopkins University this year, and subsequently published in book form. Mr. Eden Phillpotts's forthcoming novel, " Demeter's Daughter " depicts the war of different natures, and the single-handed struggle of a strong and noble woman to lift and reclaim her family. The scene is again Dart- moor. "The Obvious Orient," by Dr. Albert Bushnell Hart of Harvard, is announced by the Appletons for issue next month. Dr. Hart travelled around the world with his family a year or two ago, taking the Pacific Coast and Alaska on the way. Mr. George B. Utley, librarian of the Public Library of Jacksonville, Fla., has been chosen as the new secretary of the American Library Association, with headquarters at Chicago. Mr. Utley's resignation as librarian at Jacksonville took effect last week. The forthcoming definitive edition of Stevenson's letters, upon which Mr. Sidney Colvin has been at work for some time past, will be issued in this country by Messrs. Charles Scribner's Sons. The edition will com- prise four volumes, and will include about one hundred and fifty new letters. "The Agonists: A Trilogy of God and Man," by Mr. Maurice Hewlett, will be published in the early Summer. In presenting the stories of Minos, King of Crete, Ariadne in Naxos, and the Death of Hippolytus. the author seeks to express "the fallacy in the ancient conceptions of God-kind and mankind, and in the ancient views of their relationships." Three volumes of considerable literary interest soon to be issued by Messrs. A. C. McClurg & Co. are the following: "Men, Women, and Books" by Miss Betham-Edwards; "Friederick Nietzsche: The Diony- sian Spirit of the Age," by Mr. A. R. Orage; and a second series of "The Humbler Poets," an anthology of newspaper verse, edited by Wallace and Frances Rice. "The Washington Square Classics," a series of stand- ard books for youug people, is soon to he launched by Messrs. George W. Jacobs & Co. Each volume will be set in large type, and will contain eight or more full-page colored illustrations. The first titles to be published will be Stevenson's "Treasure Island," Hawthorne's "Wonder Book and Tanglewood Tales," and Miss Sewell's "Black Beauty." Mrs. Alice Morse Earle, known to all American readers through her graceful writings on colonial and gardening subjects, died at her son's home in Hemp- stead, Long Island, February 16. She was born in Worcester, Mass., in 1853. Among her best-koown books are the following: "Sundials and Roses of Yes- terday," "The Sabbath in Puritan New England," "China Collecting in America," "Customs and Fashions in Old New England," "Life of Margaret Winthrop," "Diary of a Boston Schoolgirl," " Historic New York," "Old-Time Gardens," and "Two Centuries of Costume in America." Mrs. Earle was for several years a frequent and valued contributor to Thk Dial, but persistent illness during the last years of her life made this and all other literary work impossible. 1911.] 171 THE DIAL Topics in Leading Periodicals. March. 1911. A1 ma-Tadema's Hall of Panels. Rudolph de Cordova. Scribner. American. The Provincial. Meredith Nicholson. Atlantic. Anti-Clericalism in France. Kenneth Bell. Forum. Architectural League of New York. H.W.Frohne. Int. Studio. Argentina. Progressive. James Davenport Wbelpley. Century. Boys and the Theatre. Frederick Winsor. A tlantic. Campaign Management. Emily Newell Blair. Outlook. Capital in America. John Moody and GeorueTurner. McClure. Carcassonne. George Allan England. Century. Census, The Thirteenth. Eatherine Cavanagh. Bookman. China, Christianity in. Edward A. Ross. Century. ( lass-Consciousness. Vida D. Scudder. Atlantic. Crawford, Earl Stetson. A. Lenalie. International Studio. Crime. Outdoor Treatment of. H. R. Cooley. Outlook. Decoration. A New Motive in. Harrison S. Morris. Century. Etchers. The Chicago Society of. Maude Oliver. Int. Studio. Express Monopoly, The Great. Albert W. Atwood. A merican. Faith, Scientific. John Burroughs. Outlook. Fashion, The Glass of. Edward Fuller. Bookman. German Book Arts, The. William Allen. Bookman. Get-Rich-Quick Game. The. C. M. Eeys. World't Work. Gifted, The—Should They Marry? MinnaT. Antrim. Lippincott. Gilder, Richard Watson. Maria Lansdale. Century. Harrison. Mrs. Burton, Recollections of — I. Scribner. Himalayas, A Quest in the. Mary B. Beebe. Harper. Human Conservation. Experiments in. R. W. Bruere. Harper. India, Religion and Caste in. Price Collier. Scribner. Japanese Basket Work. OliverWheatley. International Studio. Labor Union, The Case against. Washington Gladden. Outlook. La Farge — An Appreciation. F. J. Mather, Jr. World't Work. Letters and their Writers, Some. Ellen Terry. McClure. Liberty, A Definition of. Isaac L. Rice. Forum. Lincoln, Abraham, Recollections of. Hamilton Busbey. Forum. Living, Regulating the Cost of. H. J. Howland. Outlook. Lowell, John. The Legacy of. H. Addington Bruce. Outlook. Luther, Martin, and his Work. Arthur C. McGiffert. Century. McAdoo and the Subway. Burton J. Hendrick. McClure. Miniature Painters, Society of. Alice Searle. Int. Studio. Nationalism and the Judiciary. Theodore Roosevelt. Outlook. New York's New Library. 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John A. Fitch. American. Taylor. Frederick W. Ray Stannard Baker. American. Translations of Classics, Famous. Calvin Winter. Bookman. Trees, Living, A Museum of. F. L. Bullard. World't Work. Trusts. German Good-Will toward. Elmer Roberts. Scribner. Two-Party Politics, A Criticism of. J. N. Lamed. Atlantic. United States Army. The—II. H. L. Clotworthy. World't Work. Virginia in Fiction. Louise Collier Willcox. Bookman. Wagner Memoirs. The Real. Albert Banselow. Bookman. Washington in a Revolutionary Crisis. W. C. Ford. Century. Washington's Sense of Humor. Wayne Whipple. Century. World Peace, The Dawn of. Hamilton Holt. World't Work. ZuBi, The Little World of. Charles F. Saunders. Outlook. List of New Books. [The following list, containing 84 titles, includes boohs received 6y The Dial since its last issue.] BIOGRAPHY AND REMINISCENCES. The Growth of Napoleon: A Study in Environment. By Norwood Young. Illustrated, large 8vo, 468 pages. Duffleld &Co. $3.76 net. 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Index Catalogue of the Woodside District Library. Glasgow. Second edition; 12mo, 680 pages. Glasgow. Scotland: Robert Maclebose A Co. Jokes That We Meet: Humorous Illustrations for the Writer. Talker, and Speaker. Edited by Edwin Da Bois Shurter. 16mo. 206 pages. Austin, Texas: South-Wert Publishing Co. Business Letters. By Calvin O. Althouse. 16mo. 208 psees Penn Publishing Co. 60 cts. net. Soript and Print: A Practical Primer for Use in the Prepara- tion of Manuscript and Print. By Philip L. Jones, lfimo. 54 pages. Griffith A Rowland Press. 25 cts. net. THE DIAL & j&cmi'ffionti)Ig Journal of ILitrrarg CDrittifem, IHaraggum, ano Jnformation. THE DIAL f/minded in 18S0) is published on the 1st and 16th of each month. Tkbms or Subscription, 82. a year in advance, pottage prepaid in the United States, and Mexico; Foreign and Canadian postage 60 cents per year extra. Kkmittances should be by check, or by express or postal order, payable to THE DIAL COMPANY. Unless otherwise ordered, subscriptions will begin with the current number. When no direct request to discontinue at expiration of sub- scription is received, it is assumed that a continuance of the subscription is desired. Advkktisikq Rates furnished on application. All com- munications should be addressed to THE DIAL, Fine Arts Building, Chicago. Entered u Second-Clu> Matter October 8, 1893, at the Post Office at Chicago, Illinoia, under Act of March 3, 1879. No. 594. MARCH 16, 1911. Vol. L. Contents. PAGE FRIEDRICH SPEELHAGEN . 199 WANTED: A HANDBOOK OF CRITICISM. Charles Leonard Moore 201 CASUAL COMMENT 203 A national library for Canada. — How our copyright laws impress an outsider. — The advent of "Marie- Claire."— A record of recrimination. — A librarian, poet, and humorist. — The morbid sensitiveness of some novel-readers. — The limited edition. — Two new Academicians.—The "Orchard House " at Con- cord. — Count Apponyi and Kossuth. — The human- ities in France. — The Carlyle house at Ecclefechan. COMMUNICATIONS 205 A Word for Acrobatic Art. Irving K. Pond. Words and their Ways. Charles Welsh. NEW LIGHT ON BROWNING'S PERSONALITY. Anna Benneson McMahan 206 PROBLEMS OF RACE ADJUSTMENT. Kelly Miller 209 A FRENCHMAN'S STUDY OF THE FRENCH REVOLUTION. Fred Morrow Fling .... 212 DIVERTING DISSERTATIONS ON DICKENS. Percy F. Bicknell 214 \ A NEW STUDY OF CHANCELLORSVILLE. James M. Garnett 216 BRIEFS ON NEW BOOKS 217 Personal traits of Cecil Rhodes. — A survey of pre- Renaissance literature. — More of Emerson's Jour- nals.— Bookbinding for libraries. — A sound piece of historical scholarship. — Notes from a novelist's sketch-book.—Christianity and ethics.—Freebooters of the West Indies. — An Italian soldier of the 16th century. BRIEFER MENTION 220 NOTES 222 ANNOUNCEMENTS OF SPRING BOOKS .... 223 A classified list of books to be issued by American publishers during the Spring and Summer of 1911. LIST OF NEW BOOKS 235 FRIEDRICH SPIELHA GEN. There was a period which may be roughly designated as that of the seventies when the American public was engaged in a series of interesting discoveries in foreign literary parts. This spirit of enterprise had been sporadically manifested long before 1870, and did not by any means subside with the close of the decade, but it was perhaps most evident during the time in question. It was a phenomenon coincident with the disappearance of many of the great English-speaking writers (especially novelists) who had shaped our ideals during the genera- tion just preceding, and with a decline in the powers of those still remaining to us. It seemed to be the instinctive expression of the feeling that we had sucked our own orange nearly dry, and that we needed new sources of refreshment. Considerably earlier than the seventies, of course, the curious New England mind had occasionally fared abroad, and returned with treasure-trove from Germany, or France, or Italy. It may have been "Hesperus," or "Consuelo," or "I Promessi Sposi "—there was nothing very systematic in the quest; but whatever it was, transcendentalists and farmers and school-teachers pounced upon it, and ex- tracted from it some sort of nutriment. Ideas were much astir in those New England days, and a new supply was welcome from any quarter. It was well before the seventies that we had discovered George Sand and Dumas and Hugo (" Les Miserables" is indissolubly associated, not by a wretched jest alone, with our memories of the Civil War), but it was not until the middle eighties that Balzac became more than a name to English readers. The idyllic side of Bjbrnson and the impeccable artistry of Tour- guenieff became our cherished possessions in the seventies, but it was not until the following decade that we found our way to Ibsen, and learned that Tolstoy had written such books as "Anna Karenina" and "War and Peace." Meanwhile, many of our most interesting dis- coveries were being made in the field of German fiction. We had hardly known that there were suchthings as German novels, aside from Goethe and Jean Paul, and now we found out that there were a great many of them, and some exceed- ingly good. Particularly, we made the acquaint- ance of Auerbach and Freytag and Spielhagen 200 [March 16, THE DIAL and Heyse, and were plunged deep into the dis- cussion of "Auf die H6he" and "Soil und Haben" and "Problematische Naturen" and "Kinder der Welt." They were books that stirred the stagnant waters and opened new avenues to the imagination. They were books, moreover, that embodied in their several ways definite idealisms, and thus supplied an element that seemed to be singularly lacking in our rather opportunist fiction in English. Were these books as good as we once thought them, when they made their appeal to the gen- erous impulses of youth, and seemed to bear just the message for which the spirit craved? Prob- ably not, since few people think them worth reading nowadays, and the water that then flowed under the bridges has long since been merged with the sea. But with some men of middle age here and there they remain as ineffaceable memories, just now powerfully evoked from the slumbering past by the news of Spielhagen's death on the twenty-fourth of February, at the exact age of eighty-two. We are inclined to hold him, despite certain obvious limitations, as good a novelist as Germany has ever nurtured. This does not mean that he is of the rank of Scott and Hugo, or of Thackeray and Balzac, for it has not been given to the German genius to produce such men, but it does mean that he will have a high and lasting place among those who made prose fiction the distinctive literary form of the nineteenth century. He was possessed of creative power, intellectual grasp, and aesthetic intuition in remarkable degree, and the fine balance of his faculties, as displayed in the works written be- tween 1860 and 1880, offers an object worthy of our sincere admiration. If our modern generation has lost the power to be moved by those works of Spielhagen's middle period, it is by so much the poorer, and the loss is hardly to be offset by gains in other directions. Friedrich Spielhagen's fourscore years span- ned the period between Goethe's age and our own. He was born February 24, 1829, at Magdeburg, in the heart of Saxony, but his impressionable boyhood time was largely spent on the Pomeranian coast, and this Baltic land- scape is often pictured in his novels. After leaving the university, he became a teacher, but soon drifted into journalism. After some years in Leipzig and Hannover, he removed to Berlin in the early sixties, and thereafter made the capital city his home. He was not quite thirty when he published "Klara Vere" and "Auf der Dune " — the novelettes which began the long series of his works of fiction. His first great novel, "Problematische Naturen," ap- peared in 1861, and "Durch Nacht zum Licht," its sequel, in the following year. Be- fore the sixties were over, he had placed to his account three other novels of the first magni- tude, "Die von Hohenstein," "Hammer und Amboss," and "In Reih und Glied." It is by this group of works that he became known to English readers in the seventies, although we do not recall that an English translation of the last-named novel ever saw the light. They gave us unforgettable pictures of the life of Young Germany — its moods and its struggling aspira- tions — during the years when it was still under the spell of Goethe, and was seeking to apply his wisdom to the rapidly changing conditions of modern life. This was the time of revolu- tion, focussed in the great year of Forty-eight, and it found in Spielhagen one of its chief spiritual interpreters. His sympathies were with the people, and the arrogance of the aristocracy was depicted with bitter severity in "Die von Hohenstein." The hero of "Problematische Naturen" and its sequel was a youth of the people who nevertheless dared to be a man, and his figure became endeared to all romantic hearts. The hero of "In Reih und Glied" is thought to have had the young Lassalle for a prototype. The message of "Hammer und Amboss," on the other hand, was social rather than political; here was a powerful preachment of the gospel of work — alone efficacious in healing the diseased mind, alone helpful in the struggle for genuine freedom. "Nur die Arbeit kann uns frei machen." How the words rang in the ears of the generation that heard them, how wholesome and authentic was the message they conveyed I It will be seen from what has just been said (if there be any who need to have it indicated) that Spielhagen was no mere dabbler in words, no writer who stood aloof in aesthetic indiffer- ence from the spectacle of life, but a thinker and a man of convictions, so little afraid of didacticism that he sometimes carried it too far, so strong in his feelings that he could not be wholly objective in his portrayal of the world about him. Ideas were things to be championed, as well as expressed, and he re- mained semi-militant to the end of his long career, passing in review the successive develop- ments of political and social life, as the world of Goethe, into which he had been born,! passed by gradual transformations into the! world of Bismarck. Upon this succession off 1911.] 201 THE DIAL dissolving views he was a sharp commentator, as the long series of his later novels testifies. They were not, for the most part, as good as the earlier ones, although the old fires of indig- nation once more flamed up with the old force in "Sturmflut" (1877), a merciless study of the spiritual deterioration that followed upon the victory of Sedan and the payment of the French milliards. We recall with peculiar affection "Allzeit Voran," the novel that had the war with France for its theme; "Was die Schwalbe Sang," one of the briefer and earlier tales, and "Quisisana," that tender and beautiful story in which sentiment and description, style and characterization, are almost perfectly blended into an artistic whole. Besides his fiction, Spielhagen was responsible for much journal- istic writing of the higher sort, for a fair amount of verse, for noteworthy contributions to the literature of aesthetics, for a book of travels and two or three plays, and for numer- ous translations, including American examples from Emerson, Curtis, and some of our poets. His death has broken one of the last links that have held us until recently to the German past; the only link of comparable strength now re- maining is the life of the octogenarian Paul Heyse, just one year the junior of the writer whose death we now mourn. WANTED: A HANDBOOK OF CRITICISM. There is needed a handbook of criticism, — a primer which in small space will give some account of the various {esthetic activities of mankind, relate them to each other, and make an effort to arrive at a statement of their absolute and relative impor- tance. Probably no two critics in the world would agree on all the points included in such a work, but it ought to be possible to give a sketch of the battle- ground of opinion and indicate the position of the various forces. I therefore venture to suggest the following scheme for such a work. I should divide the book into three parts — the first entitled "The Clash of Criticism"; the second, "The Whole Matter "; the third, "The Great Exem- plars." I should begin with some remarks about the uncertainties of criticism: the blunders of great men about themselves and their contempo- raries; the changes of taste from age to age. Then the eternal questions of art would come in. Is Pleasure the only purpose of art? Is Beauty its only means? What is the didactic claim—the part of morals in art? Is the idea, the conception, the important thing? Is the execution, the expression, the sole matter to be considered? Are artists poets, or reporters ? — that is, do they weave their web out of their own brains, or do they merely work on materials furnished by nature? These, with a brief resumi of the opinions of the great critics of all times, from Aristotle down, would fill out the first part of the book. The most wide-sweeping, all-embracing method by which man makes himself known is literature. Literature is really everything that is expressed in words;' the divisions, however, being: (1) The Basic Group — Religion, Philosophy, Science, His- tory, Politics, and Law; (2) The Central Group—the Epic, the Drama, the Lyric, the Novel, the Ballad, and the Short Story; (3) The Subsidiary Group — the Didactic Poem, the Satire, the Fable, the Essay, Letter-Writing, and Conversation. There are prob- ably minor forms in each group, but these would do as headings. I am unable to draw the line that separates the first group from pure literature. In all of the components that go to form this Basic Group, imagination, reason, the thoughts and passions of men, are exhibited. All of them use language as their medium, and all of them may be irradiated by wit, poetry, felicitous expression. They melt into each other and into creative literature. Religion and philosophy are works of art themselves, and the parents of other works. Science has its con- ceptions which thrill and enthrall. History is the poems and dramas of the actual. Law is the codi- fication of the customs, manners, and opinions of mankind. Politics is law in making, as law is past politics. The mental effort of men which goes into these kinds of work far surpasses in quantity that which goes into pure literature. There is probably more written and printed about politics in a single year than is included in all the books of the world. And religion and law have an output nearly as great. The claim that this group serves truth may, I think, be set aside. Its components change and alter and prevaricate too much. There is often more truth in a fairy-tale than in a piece of history. The one solid distinction between this and the next group is utility. All the efforts of religion, metaphysic, science, politics, law, and those of history mainly, are for a purpose. The end of the second group is play. It components are disinterested. Whatever their practical influence is — and undoubtedly they sway and sweep men here and there almost as much as the others do — it is all by the way, and not con- sidered or intended in their making. In the third group we get back to the idea of use — though of use mixed with entertainment. The central group really exhibits only three forms; for the novel, the ballad, and the short story are bantlings of the epic. The drama has numerous varieties, and the lyric as many. The epic is a tale told; the drama, an action exhibited; the lyric, an emotion or thought projected. In the subsidiary group it may seem strange to include conversation—to say that we do not merely, like M. Jourdain, talk prose, but that we talk liter- S 202 [March 16, THE DIAL ature. But conversation is really the great sea from which all the clouds and fountains of literature arise. It can be a love-song, an epigram, a drama, or a tale. And of course there are great books made up of actual conversations—Boswell's Johnson, Ecker- mann's Goethe, Coleridge's Table Talk, and others. Architecture is the earliest and perhaps most necessary of the arts. Man may have made him- self a bower of woven boughs, or sought shelter in a cave, before he could talk. It does not seem pos- sible that we shall ever get beyond the two final elements of architecture—the beam and the arch. The day of the arch seems over at present, with the aspiring, indefinite, infinite emotions which it sym- bolized. In America, at least, we are going back to the architecture of Greece and Rome. But there is a Spanish or Moorish influence at work which counts. And the new material of reinforced cement, by its plasticity and the readiness with whieh it lends itself to decoration, seems destined to evolve a new school of architecture. Sculpture, in its great efforts, is based on the human form. It is therefore an exotic in cold climates, where people huddle themselves up in clothes, and where not only mock modesty is alarmed, but there is a real sense of discomfort, of goose-flesh, at the sight of a nude statue. Yet even the races that succeeded best in sculpture did not habitually go unclothed. The nude is a con- vention and must be accepted as such, like the conventions in the other arts: the line in pictures,— there are no lines in nature; verse in literature, — people never talk in rhymed and measured words; the heaped up and pressed down conventions of the stage. And anyhow there is no reason why the human head, "and features, the great soul's ap- parent seat," should not be reproduced in bronze or marble. If we would only set up pedestalled portrait busts, of natural or colossal size, instead of the awful effigies in frock-coats and trousers which we perpetrate in public places, there would be a great gain for our sense of beauty and solemnity. The most interesting warfare in the arts is on to-day in painting. The latest French landscape school has discovered or revived one new thing, and is trying to make that thing seem the sum and total of art. It is hardly probable that they will push the masters of the past from their thrones, but what is good in their discovery will be assimilated and have a place with other methods and purposes in painting. Apart from this, there is the eternal question of the subject in pictures. Of course, as in every art, expression is the first desideratum. Unless an artist has command of his medium, unless he can paint, write, sing, it is useless for him to try to body forth thought, emotion, or passion. But this gift granted, it would seem that the more he expresses the greater he must be. The theories of the modern art-extremists lead directly to still-life painting. If nothing is of any value in pictures but the vibration of light, the juxtaposition of colors, textures, and things of that kind, what is the use of going beyond a basket of fruit or a bunch of flowers? The Arabs did with less than this. Their religion forbade them to imitate nature or human- ity, and they had to content themselves with com- binations of lines and colors. And they developed schemes of decoration that outdo anything that European art can show. Few oil paintings could stand the competition of a Persian rug or an India shawl. But are we to forgo the intellectualized art of the Christian world for this kind of work? If "The Last Supper," the "Sacred and Profane Love," the " Night Watch," the " Lances," and thou- sands of other pictures that tell stories or express emotions and thoughts, are merely illustrations, then Illustration is a great art, fully equal to Decoration. Post-Impressionism seems to be the painting of sug- gestion, rather than of reality of any kind. In music, too, chaos is stirring; but whether with creation or not, it is too soon to say. The effort is to make music a definite language, to create a sort of musical Volapuk. It is possibly within the scope of human ingenuity to assign to each thought or act of man a certain sound which would be its symbol as words are; but the prospect of having to learn this seems an appalling one. Of the lesser arts, clothing and furniture come nearest to man and influence him most profoundly. We bow to a suit of clothes more often than we do to a man. But modern female dress, being amenable to no law or reason, is beyond criticism, as modern male dress, in its uniformity of ugliness, is beneath it. It may be that the hideous habilaments forced upon men to-day are part of a subtle feminine plan for his subjugation. I remember once reading to a woman that description in Scott's "Kenilworth" of Leicester in his court dress. "Why," she said, "if a handsome man dressed like that were to come into this room, I would get right down under the table." Furniture has hardly less power over our thoughts and feelings. Human beings on an average spend three-fourths of their time within walls, and the furniture and decorations of their rooms must dye their brains and souls. Ugly or unpleasant objects out of doors have no such power to hurt. Nature takes them into her power, the sun redeems them, and as a rule we only notice them temporarily. But to sit day after day in a room with uncouth or squalid surroundings must decivilize. An ounce of example is worth a pound of preach- ing. After the dry theories of the preceding sec- tions of the projected book, I would gladden my readers' minds and eyes with concrete models. In literature I would give as many citations, in prose and verse, as might be needed to exemplify the various kinds of style at their best. And I would give an analysis of the greater figures of fiction. In the other arts I would give a few reproductions of the very finest works — though music, being so recondite and esoteric in its visible form, might have to be excluded. Such, I think, would be a pretty useful book. Charles Leonard Moore. 1911.] 203 THE DIAL CASUAL COMMENT. A NATIONAL LIBRARY FOR CANADA has long been felt to be needed, and the need has recently been cogently urged in a carefully prepared and apparently unanswerable argument for its early establishment, from the pen of Mr. Lawrence J. Burpee, of the Carnegie Library at Ottawa. "A Plea for a National Library," reprinted from the February number of "The University Magazine," opens with a statement of the manifest deficiencies of the Library of Parliament, proceeds to show that every country comparable in population and im- portance with Canada has its adequately equipped national library, and closes with a recommendation that a worthy building for library purposes be erected on the site of the present Printing Bureau (the Bureau itself to be provided for elsewhere) and to this building there be transferred, as a nucleus for the desired National Library, all books in the present Parliamentary Library that are not of a legislative character. The possibility, however, is considered of following the model of our own library at "Washington and uniting the legislative reference with the more generally useful collection. But this, Mr. Burpee observes, "is a rare combina- tion; one that only the genius of the present Libra- rian of Congress has made practicable; and one the ultimate wisdom of which is open to question. In most countries the practice is to maintain a national library and a legislative library as separate and quite distinct institutions, each devoted to its own peculiar functions." With such unimportant coun- tries as Costa Rica and Honduras rejoicing in na- tional libraries of their own, it is no wonder that Canada, vast territorially and increasing rapidly in population, should be regarded as in a shameful position with no worthy institution of the sort. That its dependent political status is partly answer- able for this, seems more than probable. • • • HOW OUR COPYRIGHT LAWS IMPRESS AN OUT- SIDER can be pretty accurately surmised by any one gifted with moderate intelligence and a little imagi- nation. Nevertheless an occasional reminder of the ridiculous figure we are cutting in the world of letters by reason of our absurd interpretation of the rights of literary property may serve to give a salutary sting to our sense of shame, and finally to arouse us to the pitch of amendment. "The Author" (London), noting its receipt from the Con- gressional Library of a communication to the effect that on the 8th day of December there was issued by President Taft a proclamation under which Germany and America are entitled to reciprocal benefits under the American and German copyright laws, goes on to say: "It is to be hoped that with the extension of these reciprocal rights the United States will see their way finally to join the Berne Convention, and deliver themselves from the shackles which make them at present the laughing-stock of civilized nations as far as copyright is concerned." The same writer, referring to the late copyright agreement adopted by the Pan-American Congress at Buenos Aires, continues: "If the Pan-American Union can be completed, with the participation of the United States, the next and indeed final step should be the consolidation of the International Copyright Union in one body of world-wide rela- tionship, like the Universal Postal Union." On the whole, the civilized world, and we with it, however sluggishly, are moving toward better things in this matter of copyright legislation ; but the distinction of covering the rear instead of leading the van in this march, is not enviable. • • • The advent of "Marie-Claire," in English dress, is heralded as nothing short of a literary event, even as its original appearance in French was hailed with enthusiasm by the book-world of Paris. "The greatest novel that the present century has yet produced," declare its most passionate admirers, just as the entranced readers of the interminable "Jean-Christophe " made the same assertion regard- ing M. Remain Holland's masterpiece. The name of the author of "Marie-Claire" will presently be as familiar to us as that of M. Rollasd. Mile. Marguerite Audoux, dressmaker, was thirty years old before opportunity combined with lifelong inclin- ation to make her an artist in story-telling as well as in women's costumes. Some would perhaps deny that art is to be found in her naively realistic and impressionistic chronicle of Marie-Claire's by no means thrilling experiences; but if the highest form of art is that which conceals art, even though the concealment be instinctive, Mile. Audoux must be called an artist. Autobiography, touched with the kindling glow of imagination and penetrated with insight, seems to form the substance of "Marie- Claire," though only her intimates can pretend to trace a rough boundary line between what is assured fact and what is the product of creative fancy. M. Octave Mirbeau stood sponsor to the work in its original shape, while Mr. Arnold Bennett renders a like service upon the book's publication in England and America in Mr. John M. Raphael's translation, and supplies it with an interesting biographical introduction. The reader is likely to be almost as much interested in Mr. Bennett's account of Mile. Audoux as in her history of Marie-Claire. A record of recrimination fills a number of pages of Part II. of the Fifth Annual Report of the Carnegie Foundation for the Advancement of Teaching. The first part is devoted to the business of the year,—the granting of pensions, the placing of additional universities and colleges on the "accept- ed" list, the publications of the Foundation, etc.,— and the second and more interesting part to the inter- relations of colleges and secondary schools, and the general character of the training our students re- ceive, with comments (largely adverse) from busi- ness men and from the Oxford tutors who have 204 [March 16. THE DIAL been questioned by President Pritchett on the edu- cational equipment and the intellectual ability of our Rhodes scholars. A decided lack of harmonious cooperation between fitting schools and the colleges appears to exist, and neither party shows any eager- ness to shoulder the blame. On the contrary, some frankly uncomplimentary things are said by high- school teachers concerning college professors and their aims and methods, and vice versa. Then the outsider is called upon for testimony, and he says, "A plague o' both your houses!" In other words, the business man, with a need for young helpers of energy, sagacity, initiative, and persistence, fails to find that either our secondary schools or our colleges impart to their students the qualities he most desires. The Oxford authorities praise the American stu- dent's natural ability, but criticize his previous training, his superficiality, and his disinclination to concentrate his attention and grind away unre- mittingly at an appointed task. Some suggestions toward remedying the existing defects in our school and college system are made by the President in closing this part of his report Part III. is devoted to brief biographies of recently deceased benefici- aries of the Foundation, and the Treasurer's annual statement follows. . . . A LIBRARIAN, POET, AND HUMORIST, a lover of his kind and a philosopher with much shrewd insight into the homely realities of every-day life, Sam Walter Foss, who died at his home in Somer- ville, Mass., Feb. 26, in the fifty-third year of his age, had won the hearts of his community and also had made a place for himself in the affection of the larger world that read his volumes of verse or listened to his own public readings of his poems. Born of poor parents on a New Hampshire farm, and forced to work his way through school and college, he had acquired a grit and energy that stood him in good stead when at the age of twenty- five he, with a friend, revived the Lynn "Satur- day Union" and for four years kept it alive and moving. "The Yankee Blade," of Boston, was his next journalistic enterprise, and the fame of that sprightly publication became little short of national. Editorial work on the Boston "Globe" followed in 1894, and thenceforward Mr. Foss devoted much of his spare time to the preparation of the poems that were to be his best-remembered contributions to literature. "Back Country Poems" was published in 1894, "Whiffs from Wild Mea- dows" in the following year, "Dreams in Home- spun" in 1897, "Songs of War and Peace" in 1898, and "Songs of the Average Man" in 1907. Mr. Foss became librarian of the Somerville Public Library in 1898, and was chosen president of the Massachusetts Library Club in 1904. There was something of Poor Richard's homely wisdom and a touch of Holmes's flashing wit in this philosopher- poet, who at the same time was always and un- mistakably Sam Walter Foss. The morbid sensitiveness op some novel- readers almost passes belief. The monomaniacal musician who a few weeks ago murdered David Graham Phillips, because the violinist chose to fancy himself portrayed in unbecoming guise in one of the novelist's characters, furnishes a conspicuous in- stance of this touchiness. Recent reports from London tell of an actor's suit for damages against a fiction-writer because a certain personage in a serial story chanced to bear the very name (in full) of the sensitive actor. The writer's sworn assevera- tion of previous ignorance of the actor's existence was not received by the court in mitigation of the offense, and damages were awarded. The editor of the London "Book Monthly " recalls in this con- nection the similar surprising experience of Mr. Pinero in the troublesome uprising of an actual and indignant Mrs. Ebbsmith soon after "The Notorious Mrs. Ebbsmith" had appeared on the stage. As a matter of fact "Mrs. Ebbsmith" was explained as a sort of inverted imitation of the name of a certain Mr. Flood Jones. All the world has heard of Mark Twain's fictitious colonel of wonderful name who disconcertingly presented himself in the flesh to embarass the innocent author and prove that truth is at least as strange as fiction. Though tbe novelist take the wings of the morning and dwell in the uttermost parts of his imagination, in quest of impossible names, yet is there no assurance that he has transcended the limits of actual nomenclature. • ■ ■ The limited edition has its place in the world of books. It appeJs to the lover of things rich and rare and withheld from the ordinary mortal, and sometimes wholesoiiely ministers to the aesthetic sense even though it maj occasionally also feed tbe self-complacency of the purse-proud. The relation of the limited edition to tto public library is another matter. The library's bock-fund is a trust fund, commonly collected from the pockets of the people, and to be spent for the best good of the people. In the lately-published "Procetdings of the Second Annual Meeting of the Paciic Northwest Library Association " occurs this passige from the address of one of the speakers: "Linited editions have no place in a library's economy ani should be shunned altogether unless picked up cheiply as remainders or at second-hand. . . . If the buyers of these limited sets follow the book mtrket, do they not become discouraged when, after a few years, they find these rare sets thrown on he market as re- mainders at from one-fifth to ore-tenth the price they paid? Yet the next time tley again fall vic- tims." Only a work of real merit unprocurable in a cheaper form and not likely to te soon reprinted, should be bought in a limited editon by the public library. Of course the host of de -uxe humbugs in book form, which batten on thi illiterate rich, should be shunned with contemptand loathing by private purchasers and libraries alke. 1911.] 205 THE DIAL Two new Academicians have been elected to the French Academy. They are M. Henry Roujon and M. Denys Cochin, concerning both of whom flattering reports are now in circulation. Born in the early fifties, they have both had time to make reputations for themselves. That of M. Roujon rests chiefly on his volumes of "chroniques" or short essays ("En Marge du Temps," "Au Milieu des Hommes," "Dames d'Autrefois," etc.), and on his connection with the Academie des Beaux-Arts, whose permanent secretary he became seven years ago. His style as a writer is blithe and brilliant, with a touch and go peculiarly French. M. Cochin appears to be rather more solid and serious in his make-up. First and foremost he is a Catholic, we are told, and after that he is a statesman, an orator, a scientist, an art-lover, and a collector of fine paint- ings. As long ago as 1893, after twelve years of municipal service, he was elected to the Chamber of Deputies, where his speeches have become famous for their combined simplicity, clearness, precision, and sober elegance of style, all touched with the fervor of intense conviction. Besides his mastery of religious questions, he is an authority on foreign relations, and he plays no unimportant rule in French parliamentary proceedings. The "Orchard House" at Concord, where the Alcott family once lived, and where "Little Women " was written, is standing to-day, in general appearance much as of old, but deserted and subject to the ravages of time. The Woman's Club of Concord is now interested in the preservation of the historic dwelling, which can be bought, with suffi- cient land adjoining, for eight thousand dollars. Some further amount would doubtless be required for repairing and maintaining the building as an Alcott memorial. Its present aspect, with windows boarded up, doors closed, and the dilapidation of an unhonored old age beginning to make its melancholy appearance, is saddening to the summer tourist and pathetic to all who cherish in fond remembrance the name, the history, and the achievements of Bronson Alcott and (more especially) his gifted daughter. In the closing words of a public announcement signed by the officers of the above-mentioned asso- ciation, "the Concord Woman's Club appeals to all lovers of Miss Alcott to help by contributions, large or small." • ■ • Count Apfonyi and Kossuth are naturally thought of together at this time, when the former is visiting our country and addressing enthusiastic listeners from the same Faneuil Hall platform where, nearly fifty-nine years ago the great Hungarian patriot well remembered by our fathers and grand- fathers, if not by us, spoke for the cause of freedom amid such plaudits and cheers as had scarcely ever before been heard in that cradle of liberty. An agreeable reminder of that triumphal progress of Kossuth's through the North Atlantic States may still be seen in many large public libraries, and in not a few private ones, in the shape of a handsome volume published by John P. Jewett & Co. of Boston for the benefit of the Hungarian cause, and entitled "Kossuth in New England." Of course this is but one of the many publications attesting the popular interest in the Hungarian hero. The handy little biographies of the man issued at that time to gratify a very general and not unpraiseworthy curiosity are now nothing but literary lumber, but they serve as evidence that hero-worship in America was then of a fervor seldom or never equalled since. The humanities in France lost prestige to a considerable extent some years ago when the higher education of the country underwent a reform in favor of science studies. But now there are en- couraging signs of a turn of the tide once more toward the neglected classics of Greece, Rome, and France itself. Among recent advocates of this re- form appears the review "Les Marges" (edited by M. Eugene Montfort) in a petition to the Min- ister of Public Instruction. The petition, to which signatures are being solicited, calls attention to the decrease of general culture noted by observers whose opinion carries weight, and goes on to say that "convinced, like them, that there is an intimate con- nection between the study of the ancient languages and the persistence of the French genius, we have the honor of calling your benevolent attention to the necessity of a revision of the curricula of secon- dary education elaborated in 1902, which have well-nigh abolished the study of Latin in the lycees and have also diminished deplorably the study of French." ... The Carltle house at Ecclefechan, where Thomas Carlyle was born, has been bought, says a London literary correspondent, by a London syndi- cate, and is to be preserved as a Carlyle memorial. The humble cottage has had a succession of tenants since it first became an object of interest to the literary world, and it has been visited by hundreds of tourists, notably American tourists, in Dumfries- shire. Henceforth the sight-seer may have to pay a small admission fee, which will make him value more highly the privilege of inspecting the birth- place of the greatest of Victorian men of letters. But that a '* syndicate" (ominous name) should turn to commercial account the hero-worshipper's eagerness to render this act of homage, seems not exactly in harmony with the fitness of things. COMMUNICA TIONS. A WORD FOR ACROBATIC ART. (To the Editor of The Dial.) The editorial on "Stage Children" in your issue of March 1 was sane and pointed, and so of course I agree with its conclusions and commend its spirits. One sentence, however, which was clearly interjected, as it bears little relation to the rest of the argument, serves as 206 [March 16, THE DIAL an excuse for this communication. The editor disparages "a law which places trapez tricks and Shakespearean fairies under the same ban." And so, indeed, would I, though not as he would seem to. I take it that, as quoted above, " trapeze tricks " stands for the practice of the art of acrobatics and "Shakespearean fairies" stands for the practice of the histrionic art, and I for one should dislike to see subjected to the operation of the same laws or rules of criticism an art in the expres- sion of which the mind of the practitioner is of neces- sity swayed and controlled by the very essence of rhyth- mic beauty to the exclusion of all else, and an art in the exercise of which, even in its highest flights, the thoughts of the practitioner may be far away in realms fair or foul, while in present word and gesture he reaches the consummation of his art. I say this to disparage no art; but consider, please, if it has no moral bearing. There is in the art of the acrobat not one sensation inducing to impurity in thought or act, not one ideal that is not lofty. One has no need to censor this work to determine if it be detrimental to the morals of the child actor or to the adult player or to the susceptible audi- ence. As to the danger to life and limb, any active boy between six and sixteen years of age takes more chances and runs greater risks of getting hurt that does the child acrobat. Restraint should be placed upon foolhardy acts as upon immoral plays, but not for the same reason. A fracture of a youthful limb, though not to be courted, is more easily healed and sooner for- gotten than is the open sore which evil impressions leave upon the youthful mind. The life of the acrobat must necessarily be one of self-restraint; the child of the acrobat is reared with his father and mother and as they were, and the gaities of life do not lure him. His work is glorified play to him, and it is not tainted with selfishness or vanity. I have some conception of the meaning of the art of the actor and of the art of the acrobat. I have dabbled a bit in each since my earliest youth, and have studied their bearings and their rela- tions to the other arts. They are corollaries of the great rhythmic art of architecture to which I have given the service of my life, and it is from my standpoint of student and practitioner that I speak. Please, Mr. Editor, do not disparage the purest and loftiest and most abstract of the arts of rhythmic motion or lightly place it under the ban. Irving K. Pond. Chicago, March 10, 1011. WORDS AND THEIR WAYS. (To the Editor of The Dial.) It is wonderful how one can go on reading for years — " with the spirit and with the understanding also "— and without knowing the exact meaning of every word. I am one of those for whom "misled" was for years a word of mystery. I had a vague feeling that it meant a conglomeration of evil things, for I had read of a misled person, in my early days, who seemed to answer to this description. When at last I looked it up in the dictionary, I was wiser, it is true; but I lost a word which had been more " blessed" to me than *' Mesopo- tamia." No other word has ever had quite the same thought or content for me as the one whose meaning I so long misunderstood. Charles Welsh. Scranton, Pa., March 7, 1911. New Light on Browning's Personality.* It does not always happen that those who have known a man in the "dreary intercourse of daily life " are the ones who truly know him best. The circumstances that shape a man's conduct, direct his thinking, determine his utter- ances, are often obscure to his neighbors. A view in perspective is sometimes better than one at close range. When Robert Browning died, twenty-one years ago, it seems to have been assumed that his personal friend, Mrs. Sutherland Orr, would be his most competent biographer. Accord- ingly, much material was placed in her hands, and in a little over a year her book was pub- lished. It was a storehouse of valuable data, for which we were then and must always be duly grateful. But, as was noted by the present reviewer (The Dial, 1891), Mrs. Orr failed signally to show Browning amid the currents of thought of his time, to reveal how he influenced them and was influenced by them. This, to the poet's lovers, seemed to omit a very vital char- acteristic of his writing. Another cause of dis- appointment in Mrs. Orr's work was her failure to trace the connection between the poet's life and the poet's work. Hers was a cold piece of biographical writing, and it left the reader cold. Since then, many able and eloquent pens—such asthoseof Symons,Herford, Dowden,etc.—have given us illuminating and sympathetic studies of Browning; but these have been interpreta- tions and criticisms, rather than biographies. Without much attempt to collate new sources of information, they have accepted the data at hand as sufficient. But the lapse of twenty years has brought to light many new and original sources to which Mrs. Orr had no access — notably the two vol- umes of " Letters of Robert Browning and Eliza- beth Barrett Browning "; Mrs. Browning's two volumes of Letters, collected by Mr. Kenyon; "Robert Browningand Alfred Domett," by Mr. Kenyon; besides four volumes of the poet s letters to various persons privately printed by Mr. Wise, and the unpublished diary of Browning's earliest and closest friend, Alfred * The Life of Robert Browning. With Notices of his Writings, his Family, and his Friends. By W. H»U Griffin and Harry Christopher Minchin. Illustrated. N«* York: The Macmillan Co. 1911.] 207 THE DIAL Domett, better known as "Waring" or "the friend over the sea." These new materials, together with the re- collections of many of Browning's surviving friends, were in the hands of Professor W. Hall Griffin, who had in view the writing of a more complete and definitive life of Browning than had yet appeared. For many years the poet's writings had been a principal subject of Pro- fessor Griffin's thought and study. Moreover, he had been at great pains to identify the sites of Browning's early homes in South London; thence he had followed him to Asolo and to Florence, and had gone on pilgrimage to num- erous cities and regions that had been the poet's home in summer wanderings or in winter sojourns. At many of the lesser known places— such as La Saisiaz, Arezzo, Asolo — he made charming photographs. But when the work was little more than half finished, Professor Griffin died, and his manu- script and notes were transferred to other hands. The book, as we have it now, is com- pleted and edited by Mr. Harry Christopher Mine hi n. who offers it "not as a study of the life of Robert Browning seen through a tempera- ment, but a record based upon a sympathetic review and interpretation of accepted facts." In the main, it may be said, this intention has been well carried out: we do get a clearer conception of Browning's character and bearing than before; some of the old misapprehensions are removed; there is not a little of fresh re- velation concerning the poems, in their origin, growth, and reception by the public. Partic- ularly delightful is it to make a closer acquaint- ance with the Camberwell household — that united, harmonious, and intellectual family of four persons, where Robert Browning grew up, an only son. ■ A knowledge of the early home-life is partic- ularly essential in Browning's case, since there, to all intents and purposes, he acquired his whole literary education. His school-life counts for very little; of college drill he had practically none; but he read continually and voraciously in the library of six thousand volumes in his own home — a library collected by Robert Browning senior, nominally a business man, but with "the scent of a hound and the snap of a bull-dog" for any old or rare volume. No wonder that with such an encyclopaedic father, and with unlimited browsing among such books, the poet acquired a very pronounced liking for out-of-the-way learning and out-of-the-way peo- ple,— Paracelsus, Sordello, a Roman murder case of the year 1698, to say nothing of " Parley- ings " with a lot of dead-and-gone and always little-known worthy gentlemen. To account for the "supremely passionate nature" with which he credits himself, we must look further back than this serene household, to the first of the three Robert Brownings, the irascible grandfather. For the boy's artistic nature, the means of self-education also lay close at hand. Dulwich was only two miles away, and the Dulwich Picture Gallery was then the best collection of pictures open to the public in England. Older by twenty-four years than the National Gallery of London, it contained three hundred and fifty paintings of a very representative character. The " green half-hour's walk " across the meadows between Camberwell and Dulwich led often to this gallery, and the boy, even before he was in his teens, sitting long before one or another of these paintings, learned to know and love pictures almost unconsciously. Also, without leaving his suburban home, he gained that knowledge of musical theory that helped him to set songs to music, to compose fugues, and emboldened him before he was twenty-one to contemplate writing an opera. A-neighbor living in an adjoining street was his teacher; but this neighbor was no less a personage than John Relfe, musician in ordin- ary to His Majesty, and considered one of the best piano-teachers in London. Passionately fond of the theatre, the young Browning found means to see Edmund Kean in his principal roles, while that distinguished actor was playing at Richmond what proved to be his last engagement. Although Camberwell was ten miles away from Richmond, the distance was made on foot both ways, young Browning and his favorite cousin James Silverthorne re- turning after the performance of the play through the country lanes in the early hours of the morning. Epoch-making occasions truly, since it was seeing Kean in the part of Richard III. that inspired Browning to the composition of his first poem," Pauline." We know this on his own authority from a pencil note in his own hand written in a copy of "Pauline" now preserved in the Dyce and Foster collection of the South Kensington Museum. It is the veritable copy sent to John Stuart Mill for review; and in it he wrote, also in pencil, the notice which he sent first to "The Examiner" and then to "Tait's Edinburgh Magazine." It was rejected by the editors of both of these publications, and had remained 208 [March 16. THE DIAL imprinted, we believe, until it appeared in The Dial of 1901, when the present reviewer was kindly allowed by the Museum authorities to make a copy of it. It had then only recently come into the Museum's possession. We are glad to see this highly interesting memorial of two such men as Browning and Mill now given to the public in the pages of a book. Altogether, it is a vivid and charming impres- sion that this volume gives us of a richly- endowed nature that has been allowed to grow. No effort seems to have been put forth to make Browning something other than he naturally inclined to be ; the tendencies of his boyhood are visible, sanely and fruitfully developed, in his maturity; always the words he put into the mouth of Fra Lippo Lippi seem to have been true of himself: "The world's no blot for us, Nor blank; it means intensely and means good; To find its meaning is my meat and drink." But " Pauline" had to be privately printed, and gained little recognition, most of that little being distinctly unfavorable. Yet surely it must be too sweeping to say that " not a single copy of his poem had been sold," though doubt- less it is true that "a bale of unbound sheets was destined to be sent home by the publishers." With the next poem, "Paracelsus," it was different; and the older poets—Landor, Words- worth, Talfourd—honored themselves and him by inviting him to a dinner in which the toast to the "Poets of England" was associated with the name of the author of " Paracelsus." But there is less that is new about this period, because we already knew much. With "Sordello," the next poem, the situa- tion is different. The story of the evolution of this poem and the circumstances attending its production has never been recounted as fully or as well as we now have it. The poem was cast and re-cast many times, and its publication long delayed by such untoward happenings as the earlier appearance of another poem on the same subject, the modification of the Sordello legend suggested by Browning's visit to Venice, the introduction of a new love element, the portrayal of a spiritual conflict of a different character from the one first contemplated. Dante's influence over the poem is traced, and is shown to be more immediate and fundamental than has been usually recognized. Of great interest is the chapter on " Brown- ing and the Drama." We are shown the de- gradation of the English stage in the thirties, the lack of good dramatists, and the repeated but somewhat disappointing results of Brown- ing's efforts to redeem the stage and to elevate the literary repute of England. But the poet had too little practical knowledge of stagecraft to make a good playwright. "Colombe's Birth- day" remained unacted for nine years. After this, he ceased to write for the actual stage, al- though his poems continued to be, as he himself said of them, "always dramatic in principle." Midway in the volume we come upon that momentous hour in Browning's life—the meet- ing with Elizabeth Barrett, on the 20th of May, 1845. Her picture as a girl is given in a full-page plate, made from a sketch by her sister, Arabella Barrett. It shows a plump round face, long curly hair parted on one side, and features of very great regularity, beauty, and vivacity of expression. Pictures of Mrs. Browning in later life reveal so plainly the in- fluence of the sickness and suffering from which she was never wholly free after her thirtieth year, that it is a pleasure to see this healthy, alert, almost mischievous, but at the same time earnest and thoughtful, face. Apparently she was about twelve years old at the time this sketch was made. The story of the courtship under adverse conditions, the quiet wedding in St. Marylebone Church with only two witnesses, and the flight to Italy, is contained in a single chapter. During all this time, it is to be remembered that the society which surrounded them did not consider Browning a great poet, nor the equal of Mrs. Browning. Six years after her death he wrote (1867) to Mrs. Millais, "I am the most unpopular poet that ever was." We all know his apostrophe to the British Public,— "Ye who love me not." But the very volume in which this apostrophe occurs — " The Ring and the Book" (1868) — changed the whole attitude of that public. If it was not exactly captured, it was at least forced to acknowledge that English poetry had been enriched by a new masterpiece, the roll of English poets lengthened by the addition of the name of Robert Browning. For the story of the remaining twenty years of Browning's life the biographer has drawD upon a very large number of sources — letters, memoirs, conversations, published and unpub- lished, with the result that we feel we are getting a fuller presentment of the whole man, "in his habit as he lived," than has been given us before. We are told that "He had a horror, carried almost to excess, of «*■ suming anything like a bardic pose; indeed, he seemed, in general society, anxious not to be reminded, or to 1911.] THE DIAL 209 ■ remind others, that he was a poet. But in moments of noble enthusiasm of which a few were witnesses, when he would move a listening group to tears by his read- ing of 'Andrea del Sarto,' or would recite with fire Smart's 'Song to David,' or his own 1 Thamuris Marching,' then indeed the disguise or armor of daily life fell from him, and the true poet was revealed. "He was never unduly elevated by his own achieve- ment . . . The corollary of this attitude was a generous appreciation of the work of other poets. He never wavered in his assertion of Tennyson's supremacy . . . When William Morris's 'Defence of Guenevere' ap- peared in 1875, Browning wrote of it enthusiastically to Mr. W. M. Rossetti: 'I shall hardly be able to tell Morris what I think and re-think of his admirable poems, the only new poems, to my mind, since there's no telling when.' He was always eager to encourage new practitioners, where he could discern promise . . . Among the last of his letters which have been preserved is one addressed to a lady who had submitted to him her verses in manuscript, in which he assures her, in words borrowed from one of her own poems, that < There is room in the blue for a new song-bird.'" We all know the unconquerable spiritual optimism that dominates Browning's poetry; it is gratifying to find that it was also his most salient characteristic as a man. Throughout his life, he did indeed "Hold on, hope hard in the subtle thing That's spirit; though cloistered fast, soar free." Instinct impelled him to invest every human interest in its appropriate poetic garb. That language did occasionally succeed in getting the upper hand of him, must be granted; but in his highest efforts, language is his servant— the servant of his great and creative nature. To the lovers of Browning as a poet there is no shock in becoming more intimately acquainted with him as a man. Appendix A gives a list of five poems headed "Shorter Poems by Robert Browning not in- cluded in any edition of his Works." This statement is true only if the words "by him" are inserted after "included." They have been for many years accessible through both the "Camberwell" and the "Cambridge " edition of Browning's works, published in America. But in this, as in other matters, the biographer ignores entirely the labors of American editors and publishers. To an American reader, it is somewhat amusing to find that in making a quotation from Dr. H. H. Furness, the author considers it necessary to add, "eminent as a Shakespearian scholar"; and to follow the men- tion of Charles Sumner with the description, "an American statesman." The second appendix contains a very val- uable document, translated from an Italian man- uscript found in 1900 in the Royal Casanatense Library in Rome. The manuscript deals with the same "Roman murder-case " that Browning found in his "square old yellow book" in Florence; it has much in common with the information in that book, but supplements it in various ways and is the best prose account of the whole case that is known to exist. This, also, has been previously published in America, in a translation made by Mr. Hodell. Brown- ing never saw this document, hence it is almost startling to find in it so many similarities with thoughts and incidents that grew out of his poetic imagination. No less than eight portraits show how Brown- ing looked at different ages, two or three of which we do not remember to have seen before. Fourteen photographs, mostly of landscape or scenery, made by Professor Griffin himself, are both beautiful and interesting. Careless proof- reading has left some errors in spelling under- neath certain pictures, as "Annunciata" for Annunziata, "Feode" for Fede, etc., though the same words are correctly given in the index. Anna Benneson McMahan. Problems of Race Adjustment.* The contact attrition and final relations of the various races of mankind constitute the one all-embracing problem of modern civilization. Two bold and comprehensive attempts to grap- ple with the world-wide problems of race adjust- ment are presented in two recent volumes, "The Negro in the New World" and "The Conflict of Color." The two volumes are de- voted to the same general object, although the one is world wide, while the other is hemis- pheric, in scope. The one last named deals, in separate chapters, with the yellow and brown and black races in their relations to the Euro- pean; while the former is concerned only with the African and the Caucasian in the New World. There are many points of agreement in the two works, as well as striking diver- gencies. "The Negro in the New World" is the production of a scholar, with broad histor- ical knowledge, long tropical residence and experience, wide observation, a scientific spirit, and a philosophic turn of mind. On the other hand, "The Conflict of Color" is the attempt of an impatient publicist to promote a pro- gramme, with reliance upon race antipathy as * The Neobo in the New World. By Sir Harry H. Johnston. Illustrated. New York: The Macmillan Co. The Conflict of Color. The Threatened Upheaval throughout the World. By B. L. Putnam Weale. Illus- trated. New York: The Macmillan Co. 210 [March 16, THE DIAL the chief dynamic. The authors are alike un- mitigated materialists, and place as full and final reliance upon the concrete and practical factors of power in the final settlement of things as if they were dealing with the parallelogram of forces. They casually waive aside all restraints of conscience and the higher sanctions of re- ligion. Sir Harry Johnston ventures the judg- ment that the Negro may in time rise to a position "of all-round equality with the white man"; while Mr. Weale passionately espouses the age-worn dogma that he " cannot rise in the scale beyond a certain point." Both books lack the cohesiveness of consecutive and integral treatment, due to the fact that the collected articles first appeared as scattered magazine essay 8. "The Negro in the New World" narrowly misses being a monumental treatise in the field traversed. In the wide range of historical, scientific, and sociological knowledge, in firm- ness of grasp upon every essential feature of race relations during the last four centuries, it easily ranks among the first, if not itself the first, of books on the subject. Its faults are incident to the manner of its making. "The rolling stone gathers no moss" because its perpetual rolling does not give the spores the requisite time to take lodgment and reach structural maturity. And so the globe-trotting sociologist is not likely to formulate a seasoned philosophy. Successive impressions are not given time to ripen into positive opinion or settled knowledge before others are super- imposed, making a composite rather than a positive photograph. The sociological sojourner is always prone to hasty preachments, and is not willing to let his impressions convey their own lesson. The value of an impression is proportional to the nature and quality of the object impressed; it may be made on mud or on marble. But the value and convin- cing power of a reasoned philosophy is inde- pendent of the medium by which it is conveyed. This book is a conglomerate of facts, historical and actual, and of impressions and preachments. The author also reaches general conclusions from an insufficient induction of particulars. Single impressive incidents are magnified out of proportion to their inherent importance. For example, the author was so profoundly impres- sed with the work of Hampton and Tuskegee, involving some 2500 pupils, that he confined his treatment of Negro education almost to these two foundations, with barely a word con- cerning the other Negro universities and col- leges with ten times as large a number, or the great system of public schools with an enroll- ment of over a million. The plan of the book is excellent. The gen- eral conclusions, as set forth in the preface, are underpinned by subsequent chapters devoted to a detailed recital and analysis of history and actuality. There are several good maps and numerous excellent photographic illustrations. The first chapter is devoted to a labored effort to show that the Negro belongs to a sub-species of the genus homo. The general reader will glance at the pictures as he flits through the pages, but will pay little attention to finely and profoundly drawn ethnological analogies. How- ever fascinating the discussion of the "os calcaneum" and the "plica semilunaris" may be to the scientific student, it makes the general reader somnolent. The bulk of the book is devoted to a histori- cal and present account of slavery under the several European powers, and of the present position of the descendants of the African cap- tives and their European captors in the West Indian archipelago and in the two continents of the Western world. These chapters give the book its permanent importance and value. Indeed, if these chapters were disengaged from what precedes and what follows, and bound in a separate volume, the weight of its authority would be greatly enhanced. The observations, impressions, and conclusions, concerning the present-day Negro in the United States cannot be said to be in any marked way superior to those of several other writers, except that the author shows throughout an inveterate hatred of cruelty and oppression, a genuine sympathy for the weak and overborne, and a fine sense of fair play. , In » The Conflict of Color," Mr. Weale ap- proaches his. subject from the standpoint of a passionate advocate defending a dogma, rather than a philosopher in quest of the truth. His general proposition is that the white race has been vouchsafed eternal dominion over the "lesser breeds" of men, yellow, black, and brown, and that this dominion must be main- tained though the heavens fall. With pic- turesque and dramatic portrayal, he proclaims imminent world-wide revolution unless his pro- gramme is followed. He holds a brief for the white race in general, and for England in particular. In this threatened struggle between white men and non-white men, "it is flesh and blood which forms the true barrier." The dominant forces of the world are physiologic 1911.] 211 THE DIAL, and not psychologic. Of course the inate ever- lasting superiority of the white man is assumed — a superiority which, it is declared, exists even after death. We read: "The vigorous white man even after death possesses a certain majesty of form — a certain resolution — which is totally lacking in the rice fed Asiatics." Shakespeare tells us that "Imperious Caesar, dead and turned to clay, might stop a hole to keep the wind away." Mr. Weale thinks that even the dust of the European is of a finer quality than that of other men. Separate chapters are devoted to the yellow, the brown, and the black factors of the problem. The final conclusion is reached that the peace of the world depends upon a nicely calculated balance of power among these elements, the white man holding the scales, and England taking heed that the balance is true. Of course the Negro is accorded the lowest position on the scale, from which he "shall be lifted nevermore" according to Mr. Weale's dismal philosophy. On this point the author is devoid of originality. He adopts the same hoary dogmas that have been bandied about the world every since the oldest son of Noah took advantage of the bibulous proclivities of that ancient patriarch. The black man is some- thing apart—"somethinguntouchable." Along with received doctrines and animosities, the author falls into traditional inconsistencies on this subject. "The anxiety to preserve race- purity is a natural and a commendable one; it is one of nature's most zealously guarded laws." This we read on page 230; five pages further on we note: "How to keep races pure from his [the Negro's] contact will then certainly be an acute problem; for as he scatters far and wide, he will leave — in spite of all precautions — some traces of his blood." The writer must have forgotten his premises before reaching his conclusion, within the space of four pages. What need is there of precaution to enforce nature's "most zealously guarded laws "? How is it that nature allows her laws to be set aside, even in spite of the vicarious assistance of pre- cautionary human prudence? A casual visit to Rio de Janeiro, Brazil, or to Richmond, Virgi- nia, would surely convince Mr. Weale that for some centuries nature has been a great laggard in enforcing her own zealously guarded laws. Mr. Weale has also imbibed the traditional intolerance of spirit. Such expressions as "pulpit orators," "arm-chair philosophers," "ardent evangelists," and "the individual who refuses to see things as they appear to the mass of his countrymen, and who, simply argues aca- demically on all so-called color questions, is not worthy of being read, " sound quite familiar to the student of pro-slavery literature. The real value of the book from a sociological point of view consists in the display and the interpreta- tion of the statistics of the various races, the potentiality of physical population, and the keen observation that the momentum of racial flesh and blood will probably fix the future bounds of habitation. Taking together these books which portray this great drama of which the world is the stage and the various races but players, one must feel that their vital weakness is that they both, pur- posely and in set terms, rule out of account the religious motives which have exercised the highest influence on human conduct throughout all history. It is, indeed, rather fashionable in present-day philosophy to ignore religion as a practicable sociological factor. Sir Harry Johnston avows that religious traditions are not of the slightest practical utility in the Negro world of to-day. Mr .Weale declares that' 'religion has little to do with the standard of living; religion has still less to do with the balance of power; and it is these things alone to-day which have a paramount racial importance." Again, Sir. Harry avers: "Given the same temptation and the same opportunities, there is sufficient of the devil left in the white man for the three hundred years of cruelty of Negro (or other) slavery to be repeated, were it worth the white man's while." This is the severest indictment drawn against the claim of the Christian religion to assuage the inherent deviltry of man. The Christian conscience of this continent cannot allow this indictment to stand unchallenged. We need not be surprised, after this, at Sir Harry's final statement: "Money solves all human difficulties." "The one undoubted solu- tion of the Negro's difficulties throughout the world is for him to turn his strong arm, his sturdy legs, his fine sight, subtle brain, deft fingers, and rapidly developed brain, to making money." This doctrine is of the earth earthy. The gospel that is based upon the dollar as the highest common divisor of values can never solve problems which touch the deepest human feelings and passions. The dollar is mighty, but not almighty. The love of money is the root of all evil, says St. Paul; and subsequent history confirms the verdict. It is certainly the cause of " the conflict of color" throughout the world to-day. It was this " cursed love of gold" which brought the African to the Western world to exploit his physical capacities, and 212 [March 16, THE DIAL which has carried the European to the ends of the earth seeking what lands and peoples he might devour. Until there is developed a higher sanction, which transcends the physiological basis of flesh and blood, and the desideratum of the market- place, there never can be peace and good-will among the rival nations and races of men. To bring the world under the controlling sanction of a science and a religion which ignore the preju- dices and pretensions of the higher or haughtier sections of the human race is " the one far-off divine event to which the whole creation moves." Kelly Miller. a frenchman's study op the French Revolution.* To all but scholars, the name of Alfred Aulard is almost unknown in America. Read- ers who are familiar with their Thiers and Carlyle, their Tocqueville and Taine, have never heard the name of Aulard; and yet Aulard has done more to promote the scientific study of the French Revolution than all of the above men- tioned gentlemen taken together. Among his- torians in France, and among special students of the Revolution everywhere, his name is as familiar as the name of Pasteur is to scientists. Students of the French Revolution the world over are preparing a memorial to present to him in commemoration of the twenty-fifth annivers- ary of his activity as Professor of the French Revolution at the Sorbonne; and at the same time he is being introduced to the American public by a translation of his most important work, "The French Revolution: A Political Study." Verily, fame travels at a laggard pace! A quarter of a century ago, the city of Paris voted funds to found a chair of the French Revolution at the Sorbonne. The first occupant of that chair — and the present occupant — was Alfred Aulard, known at that time by his work on "The Orators of the Revolution" in three volumes. The first volume appeared in 1882, while he was professor of French liter- ature in the University of Poitiers. It was written from a literary point of view, and in a second edition, published in 1905, Aulard states *The French Revolution. A Political Study, 1789- 1804. By Alfred Aulard, Professor of Letters at the Uni- versity of Paris. Translated from the French of the third edition, with a Preface, Notes, and Historical Summary, by Bernard Miall. In four volumes. New York: Charles Scrib- Sons. that were he to write the work to-day he would "conceive it in a more historical manner." He would apply to it " a more rigorous method, a better documentation, making less use of Memoires written after the events, and would refrain more from the judgment of men and their work, aiming at a more objective im- partiality." In spite of the literary flavor and method, it was a good work then and is a most useful work to-day. Aulard's reputation as a scholar, however, rest upon something more solid than his " Orators." His selection for the chair of the French Revolution at the Sorbonne has been amply justified by his effective and untiring activities since his appointment in 1886. These activities have been of four kinds: those of the professor at the Sorbonne, consist- ing of lectures and exercises upon the Revolu- tion; those of the editor of documents relating to the Revolution, of the editor of " La Revolu- tion francaise," the monthly publication of the "Societe" de la Revolution francaise," and of the historian of the Revolution. Naturally, the work of the professor has helped the work of the historian and the editor, much of what was presented in the lecture room afterwards appearing in the review or in book form. Not the least valuable part of Aulard's work at the Sorbonne has been his success in arousing an interest in research work among his students, and in forming a large group of trained men who speak of him as "le cher maitre." If to-day a larger body of scholarly monographic material is being put out upon the French Revolution than upon any other period of European history, much of the credit must be given to Aulard. The " Review has aroused and kept alive an interest in the Revolution, has supplied a place for the publi- cation of rare documents and short papers and for the criticism of current literature on the Revolution. Posterity will probably decide that Aulard's most valuable contribution to the study of the Revolution is to be found in his work as editor of source publications, his six volumes of docu- ments on the Jacobins, his nineteen on the Committee of Public Safety, his four on the Consulate, and five on the reaction of Thermi- dor and the Directorate. A formidable list to place to the credit of one man! Under the same head must be counted his activity duriDg the past few years as a member of the com- mittee engaged in the most important labor of directing the publication of the great mass of documents relating to the economic side of 1911.] 213 THE DIAL the Revolution. If Aulard's productiveness as a historian does not bulk as large as one might expect, the explanation is to be found here. The writer of historical narratives may acquire greater renown than the editor of historical sources, but it is a debatable question as to whether he does a more valuable service to historical truth. Besides the work recently translated into English, Aulard has written an excellent vol- ume on "Le Culte de la Raison et le Culte de l'Etre Supreme" (second edition, 1904); six volumes entitled "Etudes et Lecons sur la Revolution francaise," consisting of lectures and articles reprinted from reviews; a large part of the volume on the Revolution (VIII.) in the "Histoire generale," and a volume on "Taine Historien de la Revolution franchise" (1907), a destructive critical study on Taine's "Les Origines de la France Contemporaine." To my mind, this last work is the most impor- tant volume of criticism dealing with a work on modern European history that has appeared in our day. I believe this is a just estimate of the volume, although I do not consider Aulard as critical a writer as some other historians of the Revolution in France and Germany. His success in demolishing Taine was due to the fact that he knew the printed and manuscript sources of the Revolution as no other man has known them: and through the study of Taine's journal and correspondence he was able to show that Taine did not have the time to examine many manuscripts, and did not examine them; that he neglected some of the most valuable of the printed sources, and often blindly followed unreliable sources. That Aulard has made tremendous strides in the knowledge of the criti- cal historical method since the days when he was professor of French literature at Poitiers, will be patent to anyone who compares the first volume of his "Orators" with the studies on Danton in the " Etudes et Lemons " (quatrieme serie); but an examination of his chapters on "Les Premieres Historiens de la Revolution," in the last volume of the " Etudes" (sixieme), will make clear that he has not fully outgrown the literary point of view nor fully assimilated the historical method. He does not seem to appreciate fully the importance of analyzing a contemporary account, like the "Histoire par deux amis de la liberte-," for the purpose of determining the sources of information, of com- paring newspaper accounts to ascertain whether or not the accounts are independent, or of prov- ing a fact by the citation of at least two inde- pendent witnesses. He knows his sources, and the best sources; but he does not always use them in the most critical manner. Although his historical writing must be ranked high, it cannot be placed without reserve in the same class with the work of such a master of histori- cal method as Leopold von Ranke, for example. The work just translated and published in four volumes originally appeared in one large volume in French. It bears the title " Histoire politique de la Revolution francaise," and is already in'its fourth edition (1909). It is not a comprehensive history of the Revolution, not even a " political" history in the larger sense; but it is what we Americans commonly desig- nate as a " constitutional" history. Aulard him- self states that his aim was "to show how the principles of the Declaration of Rights were, before 1789 and 1804, put into operation by the institutions of the time, or interpreted by speeches, by the press, by the policies of the various political parties, and by the manifesta- tion of public opinion. "In other words," he added, "I wish to write the political history of the Revolution from the point of view of the origin and the development of Democracy and Republicanism." He notes that "Democracy is the logical consequence of the principle of equality, Republicanism the natural conse- quence of the principle of national sovereignty. These two consequences did not ensue at once. In place of Democracy, the men of 1789 founded a middle-class government, a suffrage of property-owners. In place of the Republic, they organized a limited monarchy. Not until August 10, 1792, did the French form themselves into a Democracy by establishing universal suffrage. Not until September 22d did they abolish the Monarchy and create the Republic. The Repub- lican form of government lasted, we may say, until 1804 — that is, until the time when the government of the Republic was confided to an Emperor. Democracy, however, was suppressed in 1795, by the constitution of the year III., or, if not suppressed, at least it was pro- foundly modified by a combination of universal suffrage and suffrage with a property qualification." Here is a clear statement of the nature of the work, and of its extreme limit. The whole subject, 1789 to 1804, is divided into four parts—1789-1792, 1792-1795, 1795-1799, and 1799-1804. These parts do not corre- spond exactly to the division of the English translation into four volumes, although very nearly so for the first and last volumes. The second volume, although it promises to go of 1795 — to correspond to Aulard's division — goes only to July 1794, to the revolution of Thermidor. To do this work simple justice, it must be judged by what the writer intended to accom- 214 [March 16, THE DIAL. plish. If we are disappointed in not finding brilliant pictures of the great days of the Revolution, accounts of diplomacy and war, of economic and financial conditions, of the bloody deeds of the Revolutionary tribunal, and of the vicissitudes of civil war, we have no ground for complaint; these things do not enter into the plan of the work, and Professor Aulard never forgets for a moment what he is writing about. His eye is fixed upon two things: (1) public opinion, and (2) public institutions, studied in their mutual relations and in relation to the Declaration of Rights. Much as Aulard knew about the subject, for some parts of it the con- ditions are such that no one man can control the source material and formulate conclusions. Where such a situation exists, he calls the reader's attention to it, making no claims to infallibility in knowledge. Although an enthusi- astic democrat, Professor Aulard aims to pre- sent the truth as he finds it in the sources; and his efforts have been crowned with success. His work is that of a ripe scholar, who has lived with his sources, printed and manuscript, for a quarter of a century, and who sees his subject as a whole. He advances no statement without the support of valuable source material, and he always indicates what this source is, that the reader may control his work. What a mass of evidence often lies behind a single sentence, what an amount of labor has preceded a single cautious generalization, only the initiated can know. M. Aulard's volume dealing with political opinions and political institutions during the Revolution is a pioneer work, and will doubt- less suffer the fate of all pioneer work in being corrected in part by later and more detailed in- vestigations. I think, however, that its final fate will be that of great works like those of Ranke. It will never be fully outgrown. It is grounded upon a study of the sources; the large lines are undoubtedly true, and destined to stand. It is not superficial, dilletante work, like that of Thiers and Taine, but sound and scholarly as far as it goes, and certain to be the starting-point for all work of the future on the political history of the Revolution. The translator has done his work well, pro- ducing a vigorous and readable English text. It would not be difficult to pick flaws in it, some due to the translator, some doubtless due to the compositor ; but such criticism would be without point. No scholar will go to a trans- lation, if he is doing intensive work; while for the public at large, minor inaccuracies are not important. The work of the editor is less sat- isfactory than that of the translator. In fact, the results would have been more acceptable if the editor had been less in evidence. It was a great mistake to undertake to supplement such a work as this by matter that would re- lieve the reader of the necessity of turning to other works for a knowledge of the Revolution as a whole. It would have been more dignified to have presented the translation unadorned, to have left the field entirely to M. Aulard. For, in the first place, the task of supplement- ing his work by prefaces, biographies, and chronological tables, was an impossible one; in the second place, it was poorly done. It would have been much more to the point to refer the reader to such a work as the volume on the French Revolution in the " Cambridge Modern History," to Lowell's "Eve of the French Revolution," or even to Gardiner's or Mathews's short sketches. Aulard's footnotes have been inconsistently treated, many being reproduced in full, some omitted, and others left incomplete. The translator's own footnotes, many of them incorrect, might well have been omitted. The volumes are well printed and attractively bound, giving a fitting dress to the most important work on the French Revolution translated into English in our day. Fred Morrow Fling. Diverting Dissertations on Dickens.* In the Introduction to his "Appreciations and Criticisms of the Works of Charles Dick- ens" Mr. Chesterton says, with characteristic sacrifice of accuracy to rhetoric, that while he has read " Treasure Island" twenty times and feels that he knows the book, he has, in the case of "Pickwick," "not so much read it twenty times as read in it a million times," and that he seems to find something new in its pages every time he turns them. A goodly number of these fresh discoveries, not only in the work mentioned, but in all its companions as well, are collected in the "Appreciations," which are themselves so many prefaces contri- buted to a recent edition of Dickens. After the well-known volume on that writer issued by Mr. Chesterton four years and a half ago, it is interesting to note how much fresh inspira- tion he has derived from his novels; and it is rumored that the end is not even yet, additional •Appreciations and Criticisms of the Works or Charles Dickens. By G. K. Chesterton. With portrait*. New York: E. P. Dutton & Co. 1911.] 215 THE DIAL, rich veins having been struck by the indefati- gable miner since the prefaces were written. We wonder what Dickens himself would have said to all this wealth of interpretation and comment. Had he the faintest suspicion that he was writing books so astonishingly profound in meaning? Did he ever once dream that he was a myth-maker, whose myths it would tax the robust powers of a distinguished twentieth- century critic to render intelligible to twentieth- century readers? "Zounds!" we can perhaps conceive him exclaiming in Shakespeare's lan- guage as he now looks down from his immortal eminence on all this pother, "I was never so be thumped with words since I first called my brother's father dad." Mr. Chesterton's prefatory essay, written for this reprint of his Dickens prefaces, has the attraction of freshness, and merits more than passing notice from the reviewer. In the course of an argument to prove that what have com- monly been regarded as caricatures in Dickens's novels are on the contrary very real and natural characters, the author confidently asserts: "Those comic monstrosities which the critics found incredible will be found to be the immense majority of the citizens of this country. We shall find that Sweedlepipe cuts our hair and Pumblechook sells our cereals; that Sam Weller blacks our boots and Tony Weller drives our omnibus. For the exaggerated notion of the exaggerations of Dickens ... is very largely due to our mixing with only one social class, whose conventions are very strict, and to whose affectations we are accustomed. . . . For the Euglish, of all nations, have the most uniform upper class and the most varied democracy. In France it is the peasants who are solid [stolid?] to uniformity; it is the marquises who are a little mad. But in England, while good form restrains and levels the universities and the army, the poor people are the most motley and amusing creatures in the world, full of humorous affectations and prejudices and twists of irony. Frenchmen tend to be alike be- cause they are all soldiers; Prussians because they are all something else, probably policemen; even Americans are all something, though it is not easy to say what; it goes with hawk-like eyes and an irrational eagerness. Perhaps it is savages. But two English cabmen will be as grotesquely different as Mr. Weller and Mr. Wegg. Nor is it true to say that I see this variety be- cause it is in my own people. For I do not see the same degree of variety in my own class or in the class above it; there is more superficial resemblance between two Kensington doctors or two Highland dukes. No; the democracy is really composed of Dickens charac- ters, for the simple reason that Dickens was himself one of the democracy." In further defense of these grotesque char- acters of the novelist, Mr. Chesterton maintains that they are real because their creator "took the poor individually," whereas "all modern writing tends to take them collectively." He likens the modern picture of a poor man to a composite photograph, " unlike anything or any- body." This and more in the same strain he allows himself to assert in the very face of that gallery of sharply differentiated characters in humble life painted by Mr. William De Morgan — to name no other modern artist in that department of fiction. From the same preliminary section of this entertaining book we take a short and sug- gestive summing-up of " A Tale of Two Cities." Further on in the volume the same novel is made the subject of a nineteen-page essay, with some interesting comparison of Carlyle's "French Revolution" with Dickens's tragic tale, and the assertion that " the French Revol- ution was a much simpler world than Carlyle could understand; for Carlyle was subtle and not simple. Dickens could understand it, for he was simple and not subtle." The nature and purpose of the novel for which its author caught his inspiration from Carlyle are thus interpreted by Mr. Chesterton: "It was well for him, at any rate, that the people rose in France. It was well for him, at any rate, that the guillotine was set up in the Place de la Concorde. Unconsciously, but not accidentally, Dickens was here working out the whole true comparison between swift revolutionism in Paris and slow evolutionism in London. Sidney Carton is one of those sublime ascetics whose head offends them, and who cut it off. For him at least it was better that the blood should flow in Paris than that the wine should flow any longer in London. And if I say that even now the guillotine might be the best cure for many a London lawyer, I ask you to be- lieve that I am not merely flippant. But you will not believe it." No one can glance however hurriedly through Mr. Chesterton's book without having his eye caught by innumerable striking guesses at truth, although these guesses are clothed in language that is poles asunder from the timid phraseology of modest conjecture. Every Ameri- can reader will be glad to learn of Dickens that "all his grumblings through this book of American Notes, all his shrieking satire in Martin Chuzzlewit are expressions of a grave and reasonable fear he had touching the future of democracy. And remember again what has been already remarked— instinctively he paid America the compliment of looking at her as the future of democracy." In the opening paragraph of the essay on " Sketches by Boz" the author allows himself, not for the first time, to generalize from a single instance, or at most from an insufficient number, and assures us that "the fact is almost unquestionable: most authors made their reputation by bad books 216 [March 16, THE DIAL and afterwards supported it by good ones." If Dicken is as simple as Mr. Chesterton, in a sentence already quoted, pretends to regard him, how strange, as well as fortunate, that this substantial octavo of exegetical essays on the novelist's works should have been called into being! Possibly the agreeable phenomenon is largely due to the subtlety of Mr. Chesterton. At any rate, it is a thought-stirring and at times a protest-evoking volume, and is not likely to put the reader to sleep. At the very worst, one can say of its author what he himself says of Dickens: "If his writing is not amusing us, at least it is amusing him. Even when he is tiring he is not tired." Eight portraits of Dickens, chronologically arranged, increase the interest and value of the book. Pekcy F. Bicknell. A New Study of Chancell,orsvil,le.* In 1894 Major John Bigelow, U. S. A., was assigned as Professor of Military Science and Tactics at the Massachusetts Institute of Tech- nology, and selected the Campaign of Chancel- lorsville as his subject for a course of lectures. This campaign had been treated, in 1867, by Captain Hotchkiss and Lieut-Col. Allan, both staff officers of the Second Corps of Lee's army, and later by Bates, Dodge, and Hamlin, of the Federal service, not to mention the well-known works of Swinton, Ropes, Henderson,and others. There was, however, room for another book on the subject, as Major Bigelow has well shown. It would be difficult to find a volume on any campaign of the Civil War that has treated its subject more fully, and embellished it with more numerous and excellent maps, so necessary to the intelligent study of military campaigns. Major Bigelow well says, in his Preface: "There is no comfortable way of reading mili- tary history. Whoever expects to follow a cam- paign reclining in an easy chair, with a book in one hand and a cigar in the other, is doomed to disappointment." I would add that he is doomed also to know little or nothing about the campaign when he finishes the volume. The student must read carefully, with maps spread out before him, and frequently referred to for information; for without them it is not possible to bear in mind the mass of details needed in •The Campaign of Chancellobsville. A Strategic and Tactical Study. By John Bigelow, Jr., Major U. S. A., retired. With maps and plans. New Haven: Yale Univer- sity Press. following a campaign. There is no more inter- esting study than military history; but the work studied must be worth while, and the writer must be able to grasp the salient points, not to let the details master the situation, not to let the irrelevant obscure the relevant. Also, he should "hew to the line, no matter where the chips fall." Fifty years after the events there is no excuse for maintaining prejudices, for ex- aggerating the achievements of the one side or depreciating those of the other. That might have been excused some years ago; but the day . for such writing of so-called history is gone, and now we want the abiding truth. The great mistake on the part of the Federal commanders at Chancellorsville was a total misconception of the situation. They get it into their heads that the Confederates were withdrawing, which they had no idea of doing: and it took Jackson's sudden flank attack on their extreme right to correct this fatal mis- conception. The original mistake was made by Hooker; and Howard did not correct it. Schurz appears to have been the only one of the Federal generals who had a correct idea of what was going on; and he was third in rank on the right, and so was not chiefly responsible. It is seldom that troops on the field of battle are found so unprepared when the thunderclap comes. No troops could have stood their ground under such circumstances. The Confederates had things all their own way until darkness fell upon the scene. Jackson was eager to press on, even in the dark; but the change of the Confederate troops ruined his plan. Lane's brigade had not seen Jackson and his staff go to the front, hence their unexpected return caused the Confederates to anticipate a cavalry attack and to fire the volley which laid Jackson low. Oh, the irretrievable disaster of that volley! But for that, a glorious victory would have been won by the Confederates that night. The next day the situation had changed. Even Stuart's elan, with his troopers' loud and joyous refrain," Old Joe Hooker, won't you come outof the Wilderness?" required hours to win success. Considering the number of Federal troops at hand—three corps really being unengaged — Hooker's failure to retrieve the day can only be attributed to the shock he received by the cannon-ball's striking near him at his head- quarters, and to the hesitation of Couch to take command and to give the necessary orders. (See Bigelow, p. 362, ad Jin., and compare pp. 477-8; note Doubleday's question and Hooker's answer.) 1911.] 217 THE DIAL Just as Hooker was forced back to his second position, and Lee was ready to attack his lines, a halt was called to the Confederate forces in consequence of Sedgwick's success over Early's Division on the Federal left at Fredericksburg, compelling Lee to suspend his attack and hasten with McLaws's Division to the field at Salem Church. Here was another splendid chance for Hooker to take advantage of the division of the Confederate forces; but he did not avail himself of it. It took Lee all the afternoon to fight the battle of Salem Church, and push Sedgwick back across the Rappahan- nock at Banks's Ford, which was accomplished by dark, but too late to return upon Hooker at United States Ford and renew the attack. This shows the mistake of Hooker in separating his wings so far that neither could support the other. Either was strong enough to sustain itself, but the respective commanders did not think so. In view of the actual results, how curiously were fulfilled Hooker's General Or- ders No. 47 of April 30 and No. 49 of May 6, for which there was no excuse! The unequal numbers of the two armies are seen from Major Bigelow's statements ;• and so with respect to casualties and prisoners. I have no fault to find with his figures, and consider that he has been eminently fair in his account. Hooker has thrown too much blame upon Sedg- wick. While the latter might have moved faster, Hooker might have got along without his assist- ance if he had had more confidence in himself. It is almost amusing to read the correspondence between the two as given in Dodge's book on ChanceUorsville. Each expected the other to prove the Deus ex machina who would rescue him from his dilemma. A word of comment may be given, in con- clusion, to the movements of the cavalry in this famous campaign. Neither of the Federal com- manders accomplished what was expected of him, and Hooker removed Averill from com- mand, considering him the most to blame. But Stoneman can hardly be regarded as having carried out his orders. It would seem that, having been in chief command, Stoneman bore the chief responsibility; and he could not rid himself of it by telling Averill he turned the enemy over to him. Hooker was to blame for separating himself from his cavalry, as he was for his other grave error of placing his wings so far apart that neither could support the other. Worse than all was his failure to take advantage of two critical situations when the Confederate forces were dangerously divided and exposed to an attack which, if made vigor- ously and at the right moment, could hardly have failed of success. With a commander of the first military order in place of Hooker, ChanceUorsville might have been the Gettys- burg of the Confederacy. Hooker congratulated his army on having crossed the rivers and taken position at ChanceUorsville, but only then did his troubles begin; for Lee had no intention of resisting the passage of the rivers, any more than when Grant crossed the Rapidan in 1864, and then found himself unable to move out of the Wilderness. Major Bigelow's book de- serves the highest praise. James M. Gaknett. Briefs on New Books. As an agreeable supplement to the of Cecil Rhodes's life and labors, there now comes from the pen of Mr. Philip Jourdan a reminiscent volume entitled "Cecil Rhodes: His Private Life, by his Private Secre- tary" (Lane). Avoiding as far as possible all reference to the politician, the statesman, the empire-builder, and drawing merely upon his notes and recollections of Mr. Rhodes in the intimacies of a personal connection that extended over the eight years preceding his death, his private secretary has filled nearly three hundred pages with anecdotes and bits of conversation and other miscellaneous matter, all tending to show the great man as a person of amiability and charm and of unstinted kindness to those whom he liked. In fact, it was to correct prevalent contrary impressions of his personality that the writer at last, after seven years of silence, consented to share with a misinformed public his store of authoritative personal reminiscences; so at least he informs us in his Introduction. There is, naturally, a good deal of hero-worship in the book. The author's ecstatic admiration of Rhodes becomes evident on an early page, where, describing the events leading up to his secretarial engagement, he says: "I used to take long solitary walks, some- times extending over several hours, into the country, thinking of nothing else but Rhodes, Rhodes, Rhodes and my devotion towards him. I had heard if one had a great wish, if it was a genuine and earnest one, that in the end it would be fulfilled. I did not really believe it, but still I clung to it in the same way as a drowning man clings to a straw." To be able to figure as a hero to one's private secretary, if not to one's valet, is certainly much to a man's credit. Among the marks of confidence reposed in Mr. Jourdan by his employer we note the latter's explanation of his choice of celibacy. "I know everybody asks why I do not marry," said he. "I cannot get married. I have too much 218 [March 16, THE DIAL work on my hands. I shall always be away from home, and should not be able to do my duty as a husband towards his wife. A married man should be at home to give the attention and advice which a wife expects from a husband." Of such and also of some more weighty matters the book is filled. The near view we get of Rhodes during the siege of Kimberley is instructive. Portraits and South African scenes illustrate the volume. a turvev of Only the modest sub-title of Mr. pre-RmaUtance Ezra Pound's "The Spirit of Ro- Uteraturc. mance: An attempt to Define Some- what the Charm of the Pre-Renaissance Literature of Latin Europe" (Dutton) disarms the inevitable criticism that a book of two hundred and fifty pages can give only the barest treatment of this very con- siderable field of literature. The work opens with "The Phantom Dawn" of Apuleius in the second century, jumps to Arnaut Daniel in the twelfth, and proceeds through the leading writers and schools of Romance to Camoens in the sixteenth. Somewhat characteristic of the temper of the book is the re- mark about Daniel, that he has been forgotten for five hundred years, since "poets have not been able to read his language, and the scholars have not known anything about poetry." The whole treatise is a protest against regarding the literature of this period merely as a stamping ground for philological investigation, no matter how thorough or, as Mr. Pound says, how "Tedescan" such investigation may be. The book, therefore, aims to survey the whole field of Romance literature before the Renais- sance in such a way as to give an idea of the worth of this literature as art. The method pursued is that of interpretation by means of brief expository and narrative comment, and of illustrative selec- tions in translation. Within his limits Mr. Pound succeeds pretty well in making real the spirit of Romance, though these limits are considerably contracted at times. Thus, what can be done with the vast subject of "Geste and Romance" in a chapter of twenty-five pages, which attempts appre- ciation of the *' Poema del Cid," the "Chanson de Roland," the lais of Marie de France, "Aucassin et Nicolette," the "Romance of the Rose," along with passing reference to the work of Crestien and the versions of "Tristan and Ysolt"? More satis- factory are the chapters on Dante, Villon, and Lope de Vega. Mr. Pound's enthusiasm for Dante leads to his speaking of Milton's "Paradise Lost" as con- ventional melodrama and to his saying other unpleas- ant things about Milton and his epic. The translations are chiefly the author's own; they are not attempts, like Ro88etti's, to substitute the poetry of one nation for that of another, but are "merely exegetic." For example, this from Betrans of Provence: "No man is worth a damn till he has taken and given many a blow." After one such shock we are the more prepared for this calm deliverance: " If in the future anyone should ever become interested in the mid-eighteenth century atmosphere of Massachusetts, he would find the works of Longfellow most valu- able as archaeological documents." Perhaps it is not necessary to carry comment further- More of *ne curwus reader, who enjoys Emerton't memoirs and diaries for their "human Journal,. interest," the third and fourth vol- umes of Emerson's Journals (Houghton Mifflin Co.) will be of value chiefly for the account of the author's European journeyings in 1833. It is something to be in the confidence of the New England preacher and philosopher as he attends the governor's masked ball at Malta, or sees his first ballet at Florence, or hears French opera and visits Frascati's gambling house at Paris; and it is still more profitable to trace the impressions that he receives from classic art and from the formalism of the Roman Catholic worship. For once Emerson wrote of the affairs of his daily life, and interspersed his ethical and religious specula- tions with shrewd and thrifty traveller's com- ments on manners, customs, and prices. After his return to America in October, 1833, however, the so-called Journals were merely commonplace books in which he stored sentences and paragraphs to be used as occasion demanded. There are six words on his marriage, and a page on the birth of his child, and a few other brief references to per- sonal matters; but most of the entries are the de- tached utterances of Emerson the professional author. It was apparently his own practice that he had in mind when he wrote (August 31, 1834): "It is as lawful and as becoming for the poet to seize upon felicitous expressions and lay them up for use as for Michael Angelo to store his sketch-book with hands, arms, triglyphs, and capitals to enrich his future compositions." From this store of material he drew freely, as the editor's notes continually remind us, in the preparation of lectures and essays. What is now published is, therefore, the residue left after many cullings. It presents few ideas that are not as well or better stated elsewhere in the author's works, though occasional comments and observations too personal to be incorporated in published writing show the human side of the philosopher. On the whole, the Journals are something of a disappoint- ment at first reading, though they are likely to prove an invaluable document to the careful student of Emerson's mental development. The need of a handy practical book fo?iibr"ar"el of information and instruction on bookbinding must have been felt by many librarians and others with collections of books to keep in usable and presentable condition. From the London house known as Libraco Limited there now comes the desired handbook, with the title, "Manual of Library Bookbinding, Practical and Historical," written by Mr. Henry T. Coutts. Branch Librarian of the Islington Public Libraries, and Mr. George A. Stephen, Chief Assistant Li- brarian of the St. Pancras Public Libraries, and 1911.] 219 THE DIAL prefaced with an Introduction by Mr. Douglas Cockerell, known as a writer on the craft of biblio- Pegy an. Whitechurch, $1.20 net.—Gilead Balm, Knight Errant, bv Bernard Capes, illus., $1.25 net. (Baker & Taylor Co.) The Prodigal Judge, by Vaughan Kester, illus., $1.25 net.—The Imprudence of Prue, by Sophie Fisher, illus., $1.25 net.—The Professor's Mystery, by Wells Hastings and Brian Hooker, illus., $1-25 net.—Colonel Todhuntcr of Missouri, bv Ripley D. Saunders, illus., $1.50.—The Honor of the Big Snows, by James Oliver Curwood, illus. in color, $1.25 net.—Four in Family, by Florida Pope Sumerwell, illus. in color, $1. net. (Bobbs-Merrill Co.) The Miller of Old Church, by Ellen Glasgow, $1.50. —Panther's Cub, bv Agnes and Egerton Castle, illus., $1.20 net.—The Golden Silence, by C. N. and A. M. Williamson, illus. in color, $1.35 net.— Margery, by E. F. Benson, $1.20 net.—The Vanity Box, by Alice Stuyvesant, illus., $1.20 net.—The Coward of Thermopylae, by Caroline Dale Sne- 1911.] 227 THE DIAL deker, illus. in color, etc, $1.20 net.—"813," by Maurice Leblanc. illus., .$1.20 net.—The Har- vester, by Gene Stratton-Porter, illus., $1.35 net. —The Green Curve, by Ole Luk-oie, $1.20 net.— Joyce of the North Woods, by Harriet T. Corn- stock, illus., $1.20 net.—Fenella, by Henry L. Stuart, $1.20 net.—A Comedy of Circumstance, by Emma Garf, illus., $1. net.—The Southerner, by Walter H. Page, new edition, $1.20 net. (Doubleday, Page & Co.) 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