s turn of mind a quarter-
century ago. John Hodder has, of course, his
own special problems and perplexities, but it
is an interest of a similar sort that is awakened
by both the English and the American story,
and that waits to be awakened again and again
by whatsoever master shall choose to refashion
the old materials in new form. Another note-
worthy book of the season carries the reader to
the rice swamps of South Carolina and shows
a plucky woman wrestling with the problems
of plantation-management, just as Mrs. Raven-
ell's life of Eliza Pinckney presented an earlier
experience of the same sort in the same imme-
diate region, though under more favorable
auspices. "A Woman Rice Planter," the auto-
biographic record of one who signs herself
"Patience Pennington," has in its pages so
much that is new and distinctive, and the writer
is evidently a person of so heroic traits (mod-
estly and unconsciously revealed), that no addi-
tion of reminiscent interest, of parallelism with
an earlier narrative, such as is here indicated,
was needed to insure the book an eager reading;
but it will not suffer by reason of that addition.
Although, as Whittier says, "the new tran-
scends the old," he presently adds that "the
olive waves with roots deep set in battle graves."
It would be but a thin and unsatisfying new-
ness that did not spring from the old and carry
much of the old with it. The same familiar
joys and sorrows of the race have to be
felt in new form by each individual, the very
fact of their antiquity and their commonness
giving value and meaning to the fresh expe-
rience. The time-worn themes of literature,
like abraded coins, have to be reminted; even
the separate words that clothe them lose their
power of vivid appeal, and new ones, or new
applications of the .old ones, are called upon to
take their place. The products, too, of the
illustrator's art that adorn the books of one
generation cease to be wholly satisfying when
the next generation has grown to maturity.
Hence the pleasing certainty that each succes-
sive Christmas season will in the future, as in
the past, see the bookshops overflowing with
literary wares not only attractive to the passing
shopper, but necessary to the transmission of
the torch from hand to hand down through the
ages.
CASUAL COMMENT.
The region of the unbomantic, where statis-
tics displace sentiment, and hard-and-fast certainty
crowds oat all the delightful possibilities that love
to lark in the penumbra of the uncertain and the
problematical, is deemed by some to be the chosen
abiding-place of librarians. Especially does the
presiding genius of the information desk have the
reputation of one who scorns the delights of vague-
ness and lives laborious days in clearing the cob-
webs of dubiety from his mind and in flooding its
every nook and corner with the pitiless glare of the
light of positive knowledge. The English delegate
who attended our late A. L. A. annual conference
reports to his fellow-librarians at home on this zeal
of our librarians for reducing the unknown if not
the unknowable to its lowest terms. "It is difficult,
perhaps," he says in the course of his report, "just
at this time to estimate the intellectual and spiritual
loss entailed on the race of men by the reaching of
the two poles, reducing almost to the vanishing
point those places of the earth where imagination
may still lose itself untrammeled by the deadening
reality of the topographer and the map-maker, and
foreshadowing the time when it will be as easy to get
to the poles as it is to Bournemouth. Let us express
the hope that the librarians may leave the poles and
a few other areas of what Bacon calls the Globe
Intellectual in their virgin remoteness, untouched
as long as may be by the 'civilizing' influences of
the cataloguer, the bibliographer, and all those
agencies for hustled information which centre them-
selves in that generally speaking excellent, but
unromantic, department of the American public
library known as the Information Desk." But after
all, there is no real cause for alarm. As Herbert
Spencer long ago reminded his readers, the enlarg-
ing of the sphere of the known, so far from dimin-
ishing the volume of the unknown, only increases
the amount of surface exposed to that circumjacent
element, or, in other words, multiplies our points of
contact with it and makes its magnitude more
appreciable to the senses.


466
[Dec. 1
THE DIAL
A vanishing type of scholarship, such schol-
arship as the late Dr. Furness possessed in addition to
his vast store of Shakespeare learning, and such as
Charles Eliot Norton had acquired together with his
special erudition as an eminent Dantean, is pictured
in the following "words of a contemporary," ap-
pended to the recently published "Letters" of Mr.
Norton: "The prescribed curriculum of our day —
for it had not changed much down to the time of
the war—had one great advantage, that it made a
solidarity or freemasonry of knowledge among the
graduates, which in the modern system must be very
much lost. All graduates [of Harvard] possessed
a common fund of learning and training which, as
far as it went, represented what was expected to be
known by those who called themselves educated
men—what had been handed down in the modern
world as the summary of necessary human knowl-
edge. And what was taught was taught accurately.
Slovenly students there were who scraped through,
but such a type as a slovenly teacher was to me
almost unknown. To be a professor at Harvard
under the old system was to be a 'master of those
who know.' In this, Child, Lowell, Gray, Gurney,
Longfellow, Lane, Torrey, Goodwin, Peirce — all
the members of the Faculty—resembled each other.
They were not merely specialists, but belonged to the
old fraternity of scholars to none of whom any branch
of learning was alien. The atmosphere in which
they lived was almost entirely academic. The idea
of a college as a place primarily for distinction in
sport, or even primarily for 'vocational' objects,
would have filled them with aversion." It used to be
said of President Chadbourne of Williams that he
was capable of holding any of the professorships in
the college. Could a like assertion be made of any
college president to-day?
Intelligent bookselling, as practiced by the
alert and cheerful salesman or saleswoman, well
informed on literature in general and familiar with
every book in the shop, is always a delight to the
book-buyer. In marked contrast to this intelligent
and wide-awake person is the dull-eyed attendant
not seldom met with at the book-counter of the
twentieth-century department store, whose look
brightens with no glad response when perchance
request is made for a copy of Johnson's "Rasselas"
or Mrs. Shelley's "Frankenstein." Instead, there
probably comes a weary request to repeat the title,
and then a hopeless shake of the head in half-
doubtful negation, or a vague shuffling of the piles
of current fiction as if in forlorn hope of discovering
the book beneath "T. Tembarom" or mixed up
with "The Coryston Family" and "The Passionate
Friends." The " Bulletin" of the Authors' League
of America calls attention to the indisputable fact
that the sales-clerk is a "most vital factor in the
make-up of a successful book shop," and it reprints
from the London "Book Monthly" the following,
which will be news to many readers: "It may not
be known on this side of the Atlantic that there is
now a bookseller's school in America. It has just
closed a successful first year with good promise of
becoming a permanent institution. The idea of it
was to help young men in the book trade to acquire
fuller knowledge of that trade in an all-round way.
Lectures were delivered sometimes in the great
book shops of New York amid very fitting surround-
ings. This shows us that modern America appre-
ciates the ancient craft of bookselling, and that if
we are not careful she will be producing better
booksellers than we do."
• ■ •
Plea foe a research institute is made by
Mr. Aksel G. S. Josephson, chairman of the recently
constituted Committee on Research Institute, in a
circular letter reprinted from "Science" of July 11,
1913. Fifty thousand dollars, or ten thousand an-
nually for five years, would suffice to establish the
proposed institute on a firm basis. It would soon
become partly self-supporting, or such is the expecta-
tion, since its practical value to commerce, manufac-
tures, and agriculture would be speedily recognized
and its services gladly paid for. It would, says Mr.
Josephson, "collect titles from all sources and of all
dates on a definite number of subjects, concerning
which information is actually wanted." It would
seek the cooperation of similar establishments in
other countries, such as the Institut International
de Bibliographie, at Brussels, and the Internationales
Institut fur Sozialbibliographie, at Berlin. And if
with the starting of the proposed research institute
there could also be called into being that bibliothecal
desideratum, a central library for libraries, for the
collection and preservation of those large and expen-
sive publications (serials, transactions, costly refer-
ence books, and so on) that only a few separate
libraries can now afford to buy, what more fitting
headquarters for the researchers could be conceived
of than this Central Library for Libraries? The
activities of the two organizations would fit together
and supplement each other like the two blades of a
pair of scissors—not the worst possible comparison
in connection with a clipping bureau. Seriously,
there is every reason to desire and to hope for the
early success of the plan here inadequately outlined.
• • •
The ideal editor, as conceived by Charles
Eliot Norton, who had himself had considerable
editorial experience in connection with "The North
American Review," the New England Loyal Pub-
lication Society, and in other less direct ways, is not
one whose policy is dictated to him by the capitalist
or capitalists financing his journal. As is well said
by Norton's brother-in-law, Mr. Arthur Sedgwick, in
a supplementary chapter to the Norton "Letters,"—
"The modern idea of an editor as a mere agent for
the dissemination of readable papers on all sides of
all subjects, however inconsistent with each other or
with his own opinions, would have been intolerable
to him; the object he had in view was a publication
for which he was willing to be responsible, with a
wide range of topics and discussion, but always


1913]
467
THE DIAL
with the idea of advancing what he believed to be
the truth. It was the adherence to this plan — the
tradition of editorship, once almost universal —
which gave the periodical press of fifty years ago a
weight for which no sensationalism and no amount
of contributors' names can ever make up. When
the publication spoke, it spoke for itself; with the
combined force of all the brains and character and
repute behind it." In harmony with this ideal were
Norton's habits and methods in all his literary and
editorial work. "Like all men who are conscientious
about their work," writes Mr. Sedgwick, "he took
the most careful pains with everything he did, leav-
ing no stone unturned to avoid inaccuracy and error,
and even all looseness of expression. He detested
exaggeration. This made his style sometimes seem
laboured, and affected his letters and conversation.
But it was as far removed as possible from that
preciseness of speech, tone, and style which affecta-
tion sometimes produces."
• • •
The overworked phrase probably causes a
fastidious reader even more annoyance and bore-
dom than does the startlingly new and boldly dar-
ing idiom. Fertility of invention speaks in the
novel epithet or unhackneyed metaphor; mental
sloth and poverty of imagination betray themselves
in the outworn turn of expression and the thread-
bare bit of imagery. Every reader of fine taste has
a dislike for the author whose characters are forever
"getting in touch with" this, that, or the other per-
son, or are "by way of being" amateur concholo-
gists, or are engaged "in the same line " of research,
or are working "along different lines," or are wait-
ing for their expectations to "materialize," or, in
the hunting field, are noted for their skill in "nego-
tiating" a hedge or a ditch. What an exhilarating
effect it has on a reader to encounter an author who
uses only an irreducible minimum of ready-made
phrases. There is no somnolence possible in read-
ing sentences every one of which brings to birth a
new and exquisitely apt or strikingly picturesque
idiom. The London "Times," in a recent comment
on stock phrases, says that where such phrases
abound and the demand on the reader's attention is
consequently small, "he may like this little holiday;
indeed, some writers are popular just because their
stock phrases are so numerous that the reader's
mind can enjoy a complete idleness among them."
This kind of popularity, if it really exists, is decid-
edly not a popularity to be envied.
• • a
A BIG CITY WITHOUT A PUBLIC LIBRARY U
almost as hard to find in this land of enlightenment
as a town without a telephone or a village without
a post-office. But recent reports from Virginia will
have reminded those interested in the extension of
our public library system that in the capital of that
State we see a city of considerably more than one
hundred thousand inhabitants still unprovided with
what is certainly not the least of educational agen-
cies. No other city in the United States, fortunately,
can show a population exceeding the hundred-
thousand mark and at the same time a lack of public
provision for the literary needs of its citizens. The
Business Men's Club of Richmond, however, is now
bestirring itself in an endeavor to procure the estab-
lishment of a library by the city, and early success
is hoped for. Professor Metcalf, of Richmond Col-
lege, has spoken before the club and called atten-
tion to the benefit sure to accrue from the starting
of a public library. What such an institution can
do for a community he illustrates by pointing to the
cities of Nashville and Grand Rapids, each of about
the size of Richmond. The Nashville library is
freely used by artisans and business men, as well as
by students and persons of leisure. No fewer than
36 blacksmiths, 563 bookkeepers, 483 brokers, 70
carpenters, 69 cash boys, 1859 clerks, 2000 labor-
ers, 1748 merchants, and 741 stenographers are
enjoying its privileges, says Mr. Metcalf, who dis-
closes an unfavorable contrast in his own city, where
current books of importance are in so little demand
that even Mr. Bryce's volume on South America
has had but ten buyers. Were a public library
once established, dozens of useful books on the
countries to the south of us would be freely avail-
able to all, and would be read by many. That so
necessary a part of municipal equipment, in this day
and generation, should still be lacking to Richmond,
is cause for surprise.
This tear's award op the Nobel prize in
literature is for the first time to an Asiatic,
the Bengali poet, Rabindranath Tagore, who has
visited both England and America and given public
lectures on the literary renaissance that for nearly
a century has been in progress in Bengal, and of
which his own poetry is the most noteworthy product.
Mr. Yeats's introduction to "Gitanjali" is the chief
source of what is popularly known of him in the En-
glish-speaking world; and from that we become
aware that the Bengali poet enjoys at home a renown
such as perhaps no living European poet can claim
among his own countrymen. Only of late has some
impression of his genius been conveyed to us through
the medium of translation — as if a poet could ever
be translated. "To read one line of his is to forget
all the troubles of the world," declares an enthusi-
astic admirer; and he is as gifted in music as in
poetry, his songs being sung wherever Bengali is
spoken. He comes of a family of distinguished men:
two of his brothers are artists, and another is a noted
philosopher. A greater interest in Rabindranath
Tagore will now be aroused in Europe and America
by reason of the late award of the Nobel prize.
Alfred Russel Wallace's impatience op
book-learning was undoubtedly one of the factors
that operated to make him a leader in science and a
conspicuously independent and original thinker and
writer. Now that the voice and pen of this eminent
nonagenarian have fallen silent, it is interesting to
look back upon his schoolboy days in Monmouthshire


468
[Dec. 1
THE
DIAL
and to see him chafing under the irksome restraints
of the schoolroom and condemning as useless the
antiquated methods of instruction there employed.
To him, at least, the printed page could convey no
lesson comparable in importance with that of the
larger page of nature; and he was but seventeen
years old when the love of botany and the collector's
passion seized him. Of his subsequent wanderings
and explorations as a naturalist, the story is a long
one, and may best be read in the autobiographic
work, "My Life," which came out a few years ago.
Probably his best-known contribution to the litera-
ture of science is his volume on " Darwinism," which
many readers have found more easily mastered than
the writings of the great evolutionist himself. Other
and later works of importance are his "Studies,
Scientific and Social," "The Wonderful Century,"
"Man's Place in the Universe," and "The World
of Life." A complete list of his writings, including
those published in periodicals, would more than fill
one of these pages. . , ,
EXTBAORDINARY VALUE IN AN ALMANAC comes
to our notice in the recent auction sale of a 32-page
pamphlet bearing the title: "Calendrier Francais
Pour l'Annee Commune 1781. Contenant le Calcnl
ordinaire du lever & du Coucher du Soleil, de la
Lune & leur Declinaison. Un Etatt des Officiers de
l'Escadre, & des principaux d l'Arme'e aux ordres
de M. le Comte de Rochambeau. Les Epoques les
plus interessantes de la Guerre presente, avec les
Routes du Continent. A Newport, De l'lmprimerie
de l'Escadre, pres le Pare de la Marine." Appar-
ently this is the only extant copy of a most inter-
esting memento of the French aid rendered to us in
our time of greatest need. It went, appropriately,
to the Rhode Island Historical Society for five
hundred and twenty-five dollars. Manuscript notes
on five of its pages, from the pen of a French officer,
add to its historic interest
COMMUNICATIONS.
THE STEVENSON FELLOWSHIP DINNER.
(To the Editor of This Dial.)
It_ may interest your readers to know that on the
evening of November 13 there occurred in San Fran-
cisco the ninth annual meeting of the Stevenson Fellow-
ship, an organization which held its initial meetings in
1901 and 1902, in the Bush Street restaurant where in
1879 Robert Louis Stevenson ate his frugal meals. In
the march of improvements the little restaurant gave
way to a larger building, which, in turn, yielded to the
great Are of 1906; but the Fellowship, without formal
organization, has persisted, and year by year, with few
exceptions, has oommemorated the birthday of Steven-
son by decorating with a wreath of bay the memorial
fountain erected to his memory in Portsmouth Square,
and by a dinner with appropriate toasts and addresses.
Many personal friends of Stevenson have had a part in
these proceedings, some by letter and others in person.
Among the former, Sidney Colvin, Will Low, Miss
Balfour, Alison Cunningham, and Metaafa, the Samoaii
chief, may be named; among the latter, Mrs. Virgil
Williams, with her husband, the friend of Stevenson's
San Francisco days, old Jules Simoneau, the French
restaurant keeper of Monterey with whom Stevenson
played chess and discussed the universe, and Miss
Annie Ide (now Mrs. Bourke Cockran) to whom, as a
child, Stevenson bequeathed his birthday. Now the
growing years find the personal friends of R. L. S.
more widely scattered, or passed to join him on the
other side; but those who cherish his memory, who
admire his writings and find inspiration in his life and
character, are no fewer than before. This year sixty
met around the board to do him honor, having first
placed a wreath on the monument a few blocks away.
Here Dr. Edwin T. Wiley, of the University of Cali-
fornia, gave a short and feeling address on "The
Optimism of Stevenson," which was followed by the
reading of Mr. John N. Hilliard's poem, " At the Robert
Louis Stevenson Fountain." Between the courses of the
dinner many tributes in prose and verse were read.
There were messages from several prominent literary
people, and poems from Ethel Talbot Scheffauer,
Clarence Urmy, George Sterling, and A. de B. Lovett,—
all testifying to the vital hold Stevenson still has on the
hearts of men. It is doubtful if the name of any other
author could be the nucleus for such a gathering, or
could call forth such heartfelt tributes of admiration
and affection, such testimonies of courage revived and
inspiration received.
The dinner was followed by a finished and careful
study of "Stevenson as a Book Reviewer" by Professor
William Dallam Armes, of the University of California,
These early book reviews of Stevenson's are not familiar
to the average reader, since they were not deemed
worthy of a place in the permanent collections of his
writings. The researches of Professor Armes brought
to light brilliant passages of satirical wit not unworthy
of Stevenson's later years, and some sharp thrusts only
a little less keen than the invective employed in " Father
Damien." Some of the opinions expressed are amusing
for a quality of cocksureness which Stevenson would
probably have modified in later years.
Helen Throop P^jrdy.
Berkeley, Calif., Nov. 20,1913.
SWINBURNE BIBLIOGRAPHY.
(To the Editor of The Dial.)
I am very grateful to your correspondent for his
interesting bibliographical suggestions regarding Swin-
burne, and shall add a note about "A Pilgrimage of
Pleasure" to my bibliography when I reissue it sepa-
rately in book form. May I solicit the aid of your
readers in my attempt to render more nearly complete
my bibliography of books, articles, and poems by Swin-
burne? It is admittedly incomplete. It does not, how-
ever, pretend to mention articles or poems which have
been gathered into volumes by Swinburne or his execu-
tor. It does aim to list all first editions, and such essays,
stories, and poems as Swinburne has not seen fit to re-
issue in book form. I shall be exceedingly grateful for
such assistance as your readers may give me in my
effort to publish a complete checklist of Swinburniana.
Edward J. O'Brien.
South Yarmouth, Mats., Nov. 22, 1913.


1913]
469
THE DIAL
Cfcc £tto looks.
The Greatest op American
Sculptors.*
Augustus Saint-Gaudens left no rival among
American sculptors, and there are not a few
who would claim for him the highest position in
the entire republic of the arts in this country.
During the last years of his all-too-short sojourn
among us he found leisure to dictate the frag-
ments of an autobiography. Sickness, weak-
ness, and finally death prevented his carrying
the work to completion; but, like several of his
sculptural sketches, the project has been taken
up by another, and in this instance at least the
result is most satisfactory. The artist's son, Mr.
Homer Saint-Gaudens, is a writer by profession,
and naturally his best efforts have been enlisted
in this labor of filial piety. He has united
and amplified the precious fragments (though
always keeping them distinct from his own con-
tribution through the use of a separate font of
type), and his familiarity with his subject, his
sympathy and frank admiration for his father's
achievement, make this work a delightfully
intimate and illuminating resume* of an excep-
tional life. It is something that was needed,
and it is an occasion for gratitude that the task
fell to hands so competent.
The strongest impression that comes to one in
reading these volumes is of the immense activity
of the man's life and of his splendid citizenship.
He seems to have been seized early with the
conviction that however fine a thing it may be
to be an artist, it is a vastly finer thing to be an
artist-citizen. Probably he never formulated a
confession of faith; but there was within him a
generous impulse, an innate sense of the respon-
sibilities as well as of the power of art, which
pointed the way toward a continual expansion
of his interests and sympathies.
Opportunity was his in abundance, and his
associates were men of affairs and broad outlook.
Given such an environment, it was inevitable
that this retiring and ever-modest man should
be marked from the first to become a national
figure. One can imagine another, possibly quite
as perfect a craftsman, with a horizon precisely
bounded by his studio walls, with interests
limited to the piece of work upon his modelling
stand. This could hardly be the case, however,
with a man who has endeavored to teach.
•The Reminiscences of Augustus Saint-Gaudens.
Edited and amplified by Homer Saint-Gaudens. In two
volumes, illustrated. New York: The Century Co.
Saint-Gaudens's sympathy with struggling be-
ginners, with the efforts of his many ardent
and oft-times bewildered pupils, was the logical
preparation for larger fields of usefulness. He
taught for many years the sculpture classes of
The Art Students' League, and no teacher ever
had more loyal and appreciative disciples. His
earliest public effort seems to have been in con-
nection with the founding of the American Soci-
ety of Artists, a secession from the National
Academy of Design. This strong organization
fulfilled most admirably its purpose, and then
returned amicably to the parent body. We still
have lively memories of the master's inestimable
service as adviser in the planning of the Col-
umbian Exposition; the splendid MacMonnies
fountain, the monumental "Republic," and the
imposing peristyle were his suggestions among
many. Later, even in illness, Saint-Gaudens
took an active share in the work of the import-
ant National Art Commission in Washington;
and finally, in the founding of the American
Academy in Rome, we have repeated glimpses
of his glowing enthusiasm and high endeavor.
Indeed, so strongly did this notable enterprise
appeal to him that he overcame for the moment
his almost invincible terror of speaking in pub-
lic, and made an address for the cause at a great
dinner in Washington. It is safe to say that no
hope of personal gain could ever have persuaded
him to attempt this. Obviously such service
cannot be bought or recompensed. In all of his
noble enthusiasms, Saint-Gaudens exemplified
Thoreau's admirable words: "An efficient and
valuable man does what he can whether the
community pay him for it or not."
One of our up-to-date—and therefore irrev-
erent—young critics has recently observed that
if there were no more passion in real life than
is to be found in Mr. Howells's characters,
then there are some eighty or ninety millions of
us who would not be here at all! One has at
first something of the same feeling in reading
Saint-Gaudens's chronicle of his work. One
protests that surely there must have been more
emotion than this behind those magnificent
achievements. Is it possible that masterpieces
which speak to us so convincingly, which fairly
thrill us over and over again, have had no pas-
sionate conception, no tender development, in
the soul of the artist? This is unbelievable. Is
it not more likely that Saint-Gaudens's reticence
upon the subject is rather a frank acknowledg-
ment of an emotion too profound and too sacred
to share with all? There is no pose in the atti-
tude of the artist-author. He does not disclaim


470
[Dec. 1
THE DIAL
the deep feeling which must have given birth
to the Lincoln, the Shaw, and the Adams
memorials; he simply refuses to talk about it to
the curious crowd. But a man who could labor
upon a work like the Shaw relief for fourteen
years, fairly loving it into noble perfection, has
a right to leave the result to time and to the
work itself. Yet how we wish that we could
penetrate the silent past and see the master
in the midst of his vision, or hear his glad
cry of exultation over a hard-fought triumph!
The book preserves for us one such joyous
shout, where Saint-Gaudens, engaged upon his
Sherman, writes playfully to his niece: "I
think I told you that my 'Victory' is getting
on well. It is the grandest 1 Victory' anybody
ever made. Hoorah! and I shall have the model
done in a month or so." A studio resounds from
time to time with many a happy hurrah, but they
are not often recorded. Of his father's excep-
tional reserve, Mr. Homer Saint-Gaudens writes:
"In other directions, however, his autobiography
fails to awaken an interest beyond that of the more
outward events of his life. Because of his horror of
'art talks,' he has given few opinions on art or sculp-
ture, which frequently seemed good or bad to him only
through the presence or absence of a peculiar power
exceeding the reach of definition. Often he would say,
'I could not answer that man, but I knew he was
wrong.' So with a faith founded more on intuition than
on theory or reason, he became reluctant to discuss even
answerable questions."
True to this characteristic, Saint-Gaudens writes
in his opening chapter: "If the reader hopes
to find herein a disquisition on art or the pro-
duction of artists, it will be well to close the
book at once. There is nothing of that in these
pages."
But what an interesting life was his, — what
privileges of companionship and mental stimulus!
The two volumes are full of anecdotes, piquant
incidents, and experiences; and one feels that
there were many more exciting ones behind those.
Indeed, Saint-Gaudens says himself at the begin-
ning: "Like everyone else, were I to set down
everything about myself, as well as everything
I know of others, I could a tale unfold that
would make what follows appear like candle-
light in sunshine; but various considerations,
conventional and otherwise, bar the way vexa-
tiously." One is afforded delightful and some-
times amusing glimpses of Whistler and La
Farge, of Robert Louis Stevenson and General
Sherman, of Richard Watson Gilder, Daniel
H. Burnham, and many more. We catch old
Doctor McCosh in innocent prevarication the
while Stanford White quotes scripture, — such
are some of the surprises of the recital.
Saint-Gaudens was of humble parentage, and
probably owed much to this circumstance. The
one drawback was the lack of systematic educa-
tion, which hampered him somewhat in utterance,
so that he always found letter-writing a cruel
punishment. Time, and intercourse with the
best, gradually atoned in great measure for these
deficiencies, and we find his diction — always as
simple and purposeful as his clay sketches —
developing in flexibility and charm before our
very eyes. It is safe to say that he might have
become an admirable writer. As it is, these
pages betoken the kind of man that he was,
recalling in their unpretentious directness the
autobiography of General Grant,— showing the
same quiet humor, and strangely enough written
amid circumstances of similar heroic patience.
Born in Dublin in 1848, of a French father
and an Irish mother, America's greatest sculptor
grew up in New York City with his father's
little shoe-shop as his principal background. It
chanced that at an early age he was apprenticed
to a cameo-cutter. It was upon this slender
thread of the fates that depended our country's
good fortune! Had his parents selected any one
of a hundred other callings, his life would doubt-
less have remained as colorless and inglorious as
that of the boy next door. It was not entirely
chance, however, that turned the scales, for he
tells us:
"But, now, since I was just thirteen, my father said
to me one day: 'My boy you must go to work. What
would you like to do?'
"' I don't care,' I replied, < but I should like it if I
could do something which would help me to be an
artist.'
"Consequently father apprenticed me to a man
named Avet, a Savoyard, dark, with a mustache which
extended down along the side of his cheek and jaw.
When he was not scolding me he sang continuously. I
believe that I am not wrong in stating that he was
the first cameo-cutter in America, though stone seal-
engravers there were already in New York, as well as
shell cameo-engravers, at which occupation Palmer and
Launt Thompson were adepts in the early periods of
their careers. For it was the fashion at that time for
men to wear stone scarf-pins with heads of dogs, horses
and lions cut in amethyst, malachite and other stones.
I was A vet's first apprentice and the stones I prepared
for him he would finish, occasionally allowing me to
complete one myself. He was employed principally
by Messrs. Ball, Black, & Company, who had their store
on the corner of Spring Street and Broadway, and now
and then by Tiffany, to both of which shops I took
cameos when completed, always with a profound
impression of the extraordinary splendor of those
places."
At the end of three years the youth took his
last scolding, packed up his belongings, and
went home; and another period of three years
— happy ones this time — was begun in the


1913]
471
THE
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shop of a shell-cutter. During all this time he
was studying drawing in the night classes of
Cooper Union or The Academy of Design.
Thus, at the age when the average educated
man begins his special studies, this youth was
thoroughly grounded in drawing and already a
master of low relief, — a master in the sense in
which no belated beginner ever becomes a mas-
ter, for with him it was both mental and phys-
ical mastery.
In February, 1867, the boy of nineteen
sailed for Paris, with a steerage ticket and a
fortune of one hundred dollars in his pocket,
and his cameo-cutter's kit for his principal bag-
gage. Of the school days at the Beaux-Arts
there are delightful glimpses. Here, for in-
stance, is the description of the Professor:
"Jouffroy was tall, thin, dark, wiry, with little intel-
ligent black eyes and a queer face in profile, his fore-
head and nose descending in a straight line from the
roots of his hair to within an inch of the end of his
nose, which suddenly became red and round and pim-
ply— though the ball was discreet in size; it would
have been in bad taste had it been larger. He also had
stringy hair and a nasal voice. He made his criticism
in a low, drawling tone, nine-tenths of the time in a
perfunctory way, looking in an entirely different direc-
tion from the model and from the study. Occasionally
he worked on the figures in a strange fashion, his right
hand pawing the clay, while in his left he held a little
wad of bread which he constantly rolled. He was
much in vogue at the Tuileries at that time, although
he achieved his distinction some ten or fifteen years
before my arrival."
There was a famous walking trip in Switzer-
land with comrades of the atelier, and later,
upon the opening of the Franco-Prussian war,
a visit to Italy which prolonged itself ultimately
to a stay of some five years. Now follow the
familiar and sometimes plaintive stories of the
early essays at professional work, the hopes and
disappointments. The beautiful angel reliefs
which Saint-Gaudens modeled from drawings
of John La Farge for St. Thomas's Church in
New York were the chief work of 1877, and
did much to win friends. They were destroyed
by fire a few years ago. The story of the
struggle to obtain the Farragut commission is
a tense one, and we realize how near we came
to losing a masterpiece. From the moment, in
May, 1881, that this monument was unveiled
in Madison Square, New York, Saint-Gaudens
became a public character, taking his place at
the head of American sculpture; for the un-
known young sculptor had made the finest
portrait statue in this country, — to be sur-
passed only by himself.
There is a picturesque account of an eventful
journey in 1883 through the far west, from the
wastes of Arizona to Tacoma, and thence home.
It concludes as follows:
"The night we crossed the plains of Kansas we went
through the gilt-edged edition of Hell. But I had one
recompense. The sleeping-car conductor, after bard
spelling, got my name. 'Why, you 're the man who
made that great statue in New York? Well I declare I
Allow me to congratulate you!' Then a squeeze with
his big fist. Such is fame."
Of the evolution of the Shaw Memorial,
that extraordinary bronze relief which pictures
so poignantly the white commander leading his
colored regiment to almost certain death, Mr.
Homer Saint-Gaudens says:
"Through fourteen years of such endeavor, then, the
Shaw relief remained in the studio, while other com-
missions came and went; fourteen years, during which
my father returned to this work winter and summer
with an unflagging persistence. Even the hottest of
August days would find him high up on a ladder under
the baking skylight, as he developed and eliminated
these details of his task; for the details, as has been
seen, he changed and changed, though the original con-
ception, according to his almost consistent practice, he
never altered. Early morning would grow to noon,
scarcely marked by more than a hasty munching of an
apple. Noon would fade to dusk without a falter in the
steady toil. And then, after the evening meal, he would
take his place again beneath the flaring gas jets when
the special task was of a sort to permit night work."
And Saint-Gaudens betrays his own enthusiasm
in writing to Mrs. Van Rensselaer:
"I've done nothing but model, model, model furi-
ously for the last month. I've been putting negroes of
all types in the Shaw, and it's been great fun. I'm as
happy as a clam over it, and consequently beautifully
negligent of every friend, no matter how much they
may have passed before my vision as I was driving
away at my darkeys."
Every incident in connection with the growth
of the "Lincoln," the "Deacon Chapin," above
all the mysterious Adams Memorial of Washing-
ton, is of surpassing interest. It is wonderful
to get into the studio and watch the progress of
these mighty works,—to see the original sketches
and their rejected rivals, and to imagine what
the work might have been had the artist's taste
wandered to another choice.
Of the Columbian Exposition and Saint-
Gaudens's part therein much is said. He writes
thus of the MacMonnies fountain:
"I then urged that the execution be placed in his
hands, and there is no other piece of work with which I
have been associated as adviser that has approached
this in the satisfaction it has given me. It seemed to
fit in absolutely with his temperament, with his appre-
ciatiou of the joy of life, beauty, and happiness, and I
consider his composition as a whole, and particularly
the central motive of the boat, the rowing maidens, the
young figure of America on top, the most beautiful


472
[Dec. 1
THE
DIAL
conception of a fountain of modern times west of the
Caspian Mountains. It was the glorification of youth,
cheerfulness, and the American spirit, and I think it is
a calamity greatly to be deplored that it should have
gone to ruin. It would have made a remarkable
monument to that extraordinary exhibition.
"The days that I passed there linger in the memory
like a glorious dream, and it seems impossible that such
a vision can ever be recalled in its poetic grandeur and
elevation. Certainly it has stood far beyond any of
the expositions, great as they have been, that have
succeeded it."
Of a magnificent building which Chicago
permits to fall to decay as it permitted the
destruction of the MacMonnies fountain, Mr.
Burnham writes to Mr. Homer Saint-Gaudens:
"The Art Building had just been finished. Your
father came to my rooms late in the afternoon. He took
me by the shoulders and said, < Old fellow, do you realize
the rank of Atwood's building? In my judgment, it is
the best thing done sinoe the Parthenon.' This con-
clusion has been justified by the statements of many
eminent critics."
Saint-Gaudens "discovered" the little town
of Cornish, N. H., and loved it more than any
other spot on earth. Much of his later work
was done there, and there for many months he
peacefully awaited death, guiding his studio
force from his sick bed.to the very end. He
died on August 3, 1907.
One of the most charming bits in the whole
work, and wonderfully true in local color, is
the following glimpse of the maturer artist life
in Paris, showing the gift of the French to find
interest and contentment amid surroundings of
the humblest character. The occasion was a
flying visit to Paris in 1889:
"I was there but two weeks and was desirous of
returning in what measure I could to my student life
and environment, and, for that reason, occupied a little
box of a room that MacMonnies offered to me fronting
on a charming court where he had his studio. The first
day, on awakening, I turned to the tiny window over-
looking the little garden in the cool gray of the morn-
ing. Presently, from oue of the studio doors which
opened on the court, an old chap appeared in his
dressing-gown, peacefully smoking a pipe. He trudged
along in among the paths over to one particular flower-
bed which was evidently his little property, and with
great care watered the flowers with a diminutive water-
iug-pot. Soon another codger appeared from another
door, in trousers and slippers. He also fussed and
shuffled quietly in his little plot. And then a third
came from the other end of the garden, with a skull-
cap on. This one, with the greatest caution, mounted
a step-ladder, tying here and cutting away there, among
his plants, while the others raked away in the earth below
among the flowers, and murmured and chatted about
this little plant, and that little flower, this bit of earth
and so on, with apparently no other thought than that
of the Greek in 'Candide' to 'Cultivate your garden';
the blue smoke from their pipes of peace rising philoso-
phically among the greenery in harmony with it all.
These were the Satanic comrades of my youth at the
Beaux-Arts, the Devils who made me bawl Marseillaise
for months, and it was all so far away from the Hell's
Kitchen of Thirty-fourth Street and Broadway that it
gave me much to reflect on."
The many illustrations in these two volumes
are of exceptional beauty and interest. The
great works are adequately shown. Particu-
larly fascinating are the sketches and studies
for these well-known figures, and an unlooked-
for revelation is found in the sculptor's whim-
sical caricatures of himself and his friends.
The volumes are singularly free from errors.
But there never was a book without some mis-
takes, so its editor will pardon us for calling
attention to the fact that Saint-Gaudens's
"enthusiasm for Rodin's early work such as the
'St. John Preaching'" could not have been
"revived by the production of 4 Age of Brass,'"
since the last-named was Rodin's initial achieve-
ment and was followed by the "St. John."
"Brieux" and "Donnay" are not the names
of eminent sculptors, though given as such. In
1875-1877 George Bissell was undoubtedly
"as active as ever," but it chances that he had
not yet taken up sculpture. The use of Frederick
MacMonnies's boyhood name of William in later
chapters is confusing, and the familiar misspell-
ing of French names is regrettable. But these
are small matters, easily overlooked in the great
pleasure which this brave and cheery recital will
afford every person of culture. Saint-Gaudens
has left us his great message for all time in his
monuments; but this is a supplementary, hu-
manizing revelation, a sort of hand-clasp and
good-bye which will keep his personality vivid
in our memories. Would that the grateful
thanks of a nation could reach him!
Lorado Taft.
CONTEMPORARY VERSE.*
It used to be thought that anthologies were
the accompaniments of the death of a literature,
— that they partook of the nature of funeral
wreaths. However this may be, there is cer-
tainly a mania to-day for weaving these gar-
lands, and all sorts of expected and unexpected
persons are putting their hands to the work. If
their efforts help to increase the reading of poetry
they are doing the world a service. And per-
haps the bargain-loving public does prefer to
buy specimens of fifty or a hundred poets for
about the same price it would have to pay for
•The Little Book of Modern Verse. Edited by
Jessie B. Rittenhouse. Boston: Houghton Mifflin Co.
Georgian Poetry, 1911-1912. London: The Poetry
Bookshop.


1913]
473
THE
DIAL
one complete. But from a critical point of view
we doubt whether the majority of recent anthol-
ogies are helpful. Certainly anyone is entitled
to have a bede-roll of favorite poems; and if he
or she can induce some publisher to print these
in a book, it must be convenient and gratifying
to the compiler. But we must protest against
these collections being considered canonical;
we must deny that they have any authority or
finality of fame.
It is not so bad in regard to the poetry of
the past, for most gatherers of poetic flowers
are content to wander along the roads and ruts
made by Time. But in the present, which is as
uncharted as the air is for the aviator, how are
they to know which way to turn for the most
beautiful cloud-wreaths? Contemporary opin-
ion of poetry is so untrustworthy largely because
it is ignorant of what is being done. Who for
instance in England, say circa 1875, would have
dreamed of including poems by George Darley,
James Clarence Mangan, Emily Bronte, and
Edward FitzGerald in a collection of modern
verse? Yet, barring the four or five accredited
poets of the age, these writers are the stars of
Sir Arthur Quiller-Couch's last big, and we
think otherwise most unsatisfactory, anthology.
To be a good anthologist requires an almost
impossible combination of intensity and univer-
sality of taste. English lyric poetry has had but
one great editor of this kind, — Palgrave; and
he failed dismally when he tried to select from
his contemporaries. Palgrave's indebtedness to
Tennyson's judgment may have been more than
is known. Only the divining rod of a great poet
could have so surely indicated the true veins of
ore,—and Palgrave was not a great poet. In
America, Frederic Lawrence Knowles gave us
a nearly perfect, though small, anthology of
our poets of the past.
We have before us two recent anthologies,
—one American, "A Little Book of Modern
Verse"; and one English, "Georgian Poetry,
1911-1912." The English book seems to con-
tain a good deal of poetry in solution, but it does
not crystallize into anything distinct. Most of
the poems are intolerably long for lyrical verse,
— the writers sprawl and scrawl all over the
shop. As far as we can see, none of the pieces
are new or vital or supremely fine. The con-
cluding "Dirge" has a charming note, but it is
rather an echo of FitzGerald. "In the Poppy
Field" is good, but it is reminiscent of Words-
worth. We shall not be suspected, we hope,
of any desire to disparage verse; but we think
that the prose phantasies of Mr. Hilaire Belloc
are more poetic in conception and execution
than anything in this book. On the whole,
this Georgian poetry is very different from the
Georgian poetry of a hundred years ago.
We turn to the American volume and we
are in another atmosphere. Here, in the main,
the poems are short and succinct, their outlines
clear and definite. Nearly every one of the
American poets quoted has a sense of form,
both in verbal style and in the evolution of
their pieces. And poetry is almost as much a
form as the old French king was.
As the English anthology only gleans from
the poetry crop of the last two years, and as
many of the poets in the American volume date
back thirty-five or forty years, it would mani-
festly be unfair to treat the books as represen-
tative of the two literatures. The American
book, however, is quite inadequate even as a
glimpse of what we have done within the limits
indicated. What system of selection or exclu-
sion the compiler has followed would be diffi-
cult to say. Such names as Aldrich, S ted man,
Stoddard, Bret Harte, Bunner, Sill, Eugene
Field, Gilder, Lampman, Helen Hunt, Father
Tabb, and a score of others, who were easily
contemporaneous with many she quotes, are
omitted. As far as she does permit herself to
range, her work has apparently been done with
good judgment. It is perhaps invidious to
select from a selection, but we please ourselves
by naming a few pieces. Miss Louise Imogen
Guiney's "The Kings " is a superb lyric, hardly
surpassable in expression; it may fairly pair off
with Bryant's great piece, "The Battlefield."
Frederic Lawrence Knowles's "Love Triumph-
ant" has a classic perfection indicative of a
master, dead, alas, too soon. Mr. Arthur
Colton's "Harps Hung up in Babylon" and
Mr. Clinton Scollard's "As I Came Down from
Lebanon" have the lyric movement that stirs
and the verbal conciseness that stays. Miss
Helen Gray Cone's "The Eide to the Lady"
has the Rembrandt gloom and atmosphere of
the past; and Miss Anna Hampstead Branch's
"New York Shop-Girl" has the brightness,
lightness, and pathos of the present.
With the additional weight of metal which
could easily be thrown into it, an American
anthology of the work of the past thirty-five
years or so might, we think, be produced which
would hold its own against a similar English
volume. Our public is entirely too fond of im-
porting its literature, art, and wine from abroad.
Apropos of this, we are tempted to give a story
which has probably already appeared in print,


474
[L>ee. 1
THE
DIAL
but which will bear repetition. It was related
by Mr. Hall Caine as an experience of his own
in Iceland. He was out in the open country
with a guide; and, gazing at the spectacle about
him, he exclaimed: "Ah, yes I This is grand,
this is sublime! But I came to Iceland to see
your glaciers. Where are your glaciers?"
"Glaciers!" said the guide, "why, you are
sitting on them!"
We think it is unfortunate that during the
last generation, during the period when most of
us were getting more kicks and curses than half-
pence, attempts have been made to groom and
boom two American poets for the great succes-
sion. The first of these was Lanier. He came at
a juncture when the older American writers were
looking around for a new laurel wearer, and
were anxious to please and placate the South.
He must have been a charming personality,—
brave, good, untiring, eager, and interested in
many things. And he had considerable com-
mand over metres, — was, in fact, a miniature
and moral Swinburne. But his intellectual value
is not great, his criticism being more or less
absurd. And in poetry he lacked the one thing
necessary, — poetic expression. His first biog-
rapher admitted that he possessed little verbal
charm or distinction. Thomas Bailey Aldrich,
in one of his letters, relegated him to the rear
rank of minor poets, adding that he had never
talked with more than two or three literary men
who thought otherwise. S ted man, in his answer
to this letter, intimated that his own opinion was
not very different, but that considerations other
than literary had compelled him to force Lanier's
rank. English criticism has always smiled at
the attempt to place him as a great poet. We
fear that in the end his fate will be something
like that of Henry Kirke White, who, because
he was amiable and interesting and had consump-
tion, was borne for fifty years on the rolls of
English literature as a great poet, the equal of
Gray and Collins, Coleridge and Keats. The
bubble was finally pricked, and White has
vanished from the field of view.
William Vaughn Moody is the other poet
who has received an amount of praise which will
probably cause a reaction. His reputation was
made, and largely rests, on his " Ode in Time of
Hesitation,"a work of great moral force and sus-
tentation, which echoes the views of an immense
mass of intelligent readers. We will not criti-
cize it directly, but will ask if even its warmest
admirers really rank it with Lowell's "Com-
memoration Ode." To us, it seems as inferior
in literary merit as it is in theme and occasion.
Yet Lowell's poem is fading on our hands. It
does not hold its colors as do other of his pieces,—
"The Vision of Sir Launfal" or " The Courtin',"
for example; or as do the long elegiac poems of
his rival, Matthew Arnold. There are many rea-
sons for this. It suffers under the blight which
seems to await all political poetry. It is too long,
and is written in that pseudo-Pindaric form
which is too flabby and ungirt to race well with
Time. And it is rhetorical. Now a certain
alloy of rhetoric is needed in poems of length
to harden and toughen the pure gold of poetry.
A number of Shakespeare's plays, and the poems
of Coleridge and Keats, are almost the only con-
siderable poetic works in the language which are
without this alloy. But Lowell's "Ode" has
more of oratory than of poetry. Its effect was
overwhelming at the time of its production, like
the effect of a great speech. But, of all the utter-
rances of man, great speeches are the hardest
things to keep alive. All these considerations
apply to Moody's " Ode " as much as to Lowell's,
and wise underwriters will hardly insure its
immortality. Charles Leonard Moore.
A "Nbw» Dramatist.*
In England, ten years ago, there were cer-
tain young men of rich promise yet quiet
dignity who were frequently cited, by the illu-
minati, as the predestined literary leaders of
the theatre to-day. They were not leaders
then, — but they were earnest, sincere, self-
searching; and they never surrendered their
work to the devouring gaze of the public until
they really approved it, and were ready to stand
back of it. These same men are not the lead-
ers to-day, — for some are dead, some diverted
to other more urgent channels, some finally are
still struggling vainly for the "new" drama
which demands two indispensable factors: a
repertory theatre, with short runs periodically
repeated; and a sophisticated public of highly
cultivated people, cultivated in sensibility and
emotion, who will not judge, finally, every play
on the basis of the "happiness" of its ending.
St. John Emil Clavering Hankin, for some
inscrutable reason, left the scene with shocking
suddenness,—"arose from life's feast" and
left behind him a memorial of such striking
merit and arresting quality that the sense of
loss will deepen with the passage of time.
During the seven years preceding the year of
* The Dramatic Works of St. John Hankin. With
Introduction by John Drink water. In three volumes, with
photogravure portraits. New York: Mitchell Kennerley.


1913]
475
THE
DIAL,
his death (1909), he wrote seven plays and
began an eighth — which establish the founda-
tion of his reputation. Whether, under con-
temporary conditions, he bade fair to produce
plays of popular success, it would be hazardous
to affirm or deny; but certain it is that he had
the root of the matter within him. The tone,
the quality, the point of view, the "philosophy"
were fresh and naive, — and yet naive only in
their singular sophistication. If Hankin had
one capital fault, it was the oppressive sense of
"society," the crushing weight of the upper
social strata. Once this is conceded, and for-
gotten, critical judgment will surely own that
Hankin left upon all of his plays the stamp
of an alert and shrewd personality, and sur-
charged his terse creations with a tempera-
mental charm and color which constitute their
most poignant excellence.
In the deeper sense, surely, Hankin was a
stylist. That he followed Wilde was only an-
other way of saying, accurately, that he admired
Wilde extravagantly, employed his methods,
imitated him deliberately. The quality of the
amateur, which even the best of Hankin's
comedies reveal, is, I think, the result of just
this one thing: he was unable to conceal his
imitativeness. Yet, despite this patent fault, his
dialogue is, from the purely dramatic stand-
point, notably superior to that of the man whom
he chose as master. For with Wilde, as I have
more than once pointed out, real characteriza-
tion, in the deeper sense, is subsidiary to epigram.
And so we have the singular spectacle of a group
of characters uttering fascinating, clever gen-
eralizations in the most frivolous manner, which,
mutatis mutandis, would be equally appro-
priate to any of the other characters. Wilde's
characters cannot be recognized by the epigrams
which they create; all are equally facile in
their creation. With eyes closed, we cannot,
in Wilde's plays, guess the speaker from his
overheard conversation. Nevertheless, Wilde's
conversation is the most scintillating, the most
delightful, we have had upon the modern English
stage. It is often not drama, — not germane,
that is, to the emotional content of the play;
but it is always art.
Hankin has fairly distanced Wilde in dia-
logue; for his characters do two things with sin-
gular excellence, an excellence superior to that
exhibited by the irresponsible Wilde. Hankin's
characters are perfectly self-contained, perfectly
consistent, — both finely conceived and firmly
grasped. Each new play exhibits strengthening
of power in this particular—the power to create
characters who always speak and act "in char-
acter." In the second place, Hankin's char-
acters speak with a certain sharp neatness, a
certain distinct finality, which means, in the last
analysis, that they have the art of expressing
themselves with an effectiveness and a perti-
nency more crystalline and more clairvoyant
than the current speech of life. This is not the
epigrammatic coruscation of Wilde, the dialectic
shrewishness of Shaw; it is a very high form of
artistic simplicity. The note of naturalness is
enhanced, rather than vitiated, by the unusual
skill in interpreting a given situation or in
realizing a chosen mood.
In another respect, scarcely less noteworthy
and modern, Hankin's plays represent the
newer mode of expressing life through the
medium of drama. He realized, as dramatists
now must inevitably realize, that the drama is
a form of art which must be presumed to be
literature. To read a play of Hankin's is to
have a sense of actual happening irrespective of
the immediate categories of the theatre. There
is no suggestion of the stage or of the player:
we have only a sense of real people in real
situations. By that I mean that in all respects,
even to the minutest stage-directions, these
plays are authentic projections, representations,
of reality. The subconscious, instinctive feelings
and accompaniments of action are not left to
the none too ready imaginations of player or
spectator. We are made to realize how people
feel from being told, not only what the players
say, but also how they act and react, intellect-
ually and emotionally, from the dramatic con-
junctures which actually arise. A single stage
direction may give the clue at once to the actor
and through the actor to the situation.
"General Bonsor [too broken with the world's
ingratitude to protest further]. Boring! [Follows
Miss TriGGS, shaking his poor old head. There is a
pause while we realize that one of the most tragic
things in life is to be a bore — and to know it. Mrs.
Eversleigh, however, not being cursed with the gift
of an imaginative sympathy, wastes no pity on the
General. Instead of this she turns to her sister, and,
metaphorically speaking, knocks her out of the ring.]"
This stage direction clearly supplies a certain
convention for the newer drama. It has the
virtue of enforcing the intent of the dramatist,
too often missed through the inefficiency or
unimaginativeness of the actors. Without press-
ing home the point too hard, it must be at least
indicated that stage-directions, however artistic
or however skilful in enforcing the desired
effect, should remain impersonal. The printed
play should be as realistic as fiction; imperfect


476
f Dec. 1
THE DIAL
objectivity is the outcome of following Wilde's
dictum that the drama should be "as personal
a mode of expression as the lyric or sonnet."
But the aim which Hankin kept before him,
despite lapses into too obvious personalism, is
an aim truly commendable: to interpret situa-
tions with refined art and wholly graphic effect.
Hankin's plays, imaginatively conceived,
artistically executed, transfused with tempera-
mental quality, delight through qualities which
are not always, it must be acknowledged, in-
trinsically dramatic. The major situations of
his plays seem scarcely worthy of the elabora-
tion with which they are treated; and the
characters seem not infrequently too thin to
win our dignified attention. Even granting
this, the plays have a curious sort of satiric
effectiveness; and the characters, even when
they do not excite our admiration, seldom fail
to win our affectionate sympathy. The calcu-
lating dexterity of the mother in "The Cassilis
Engagement,'' with its mixture of mercilessness
and pity, has the memorable, the classic timbre.
However much our feelings may protest against
the sacrifice of Stella Faringford, in "The
Return of the Prodigal," we ungrudgingly
acknowledge that Eustace is and can be only
what he is: the invertebrate, of intellectual
shrewdness and moral impotence, taking the
easiest way literally because he is honest with
himself in the admission that he cannot suc-
cessfully achieve self-sacrifice. The most beau-
tiful and profound of the plays — the one
provocative of deepest reflection — is "The
Last of the De Mullins." The force and clar-
ity of vision of Janet De Mullin are memorable
and fortifying: we would love her if we but
dared. The scene between Janet and her erst-
while lover, in its economy and inevitability,
is truly great — only redeemed from the tragic
through the vision and utter insight of the
woman, compact of intuition without self-pity.
The author of this play, had he lived, might
have written one of the great dramas of the new
century. Archibald Henderson.
Recollections of an Active Life.*
When a man so active and busy as our stren-
uous ex-President snatches the time from other
occupations to tell the story of his life, he is
not likely to spend many hours in chewing the
end of his pen-holder in search of apt phrases,
elusive epithets, or the one supremely best word
•Theodore Roosevelt. An Autobiography. Illustrated.
New Tork: The Maemillan Co.
that the professed stylist delights to run down
and capture. Colonel Roosevelt's autobiography,
which not unfittingly bears its writer's name as
title, is thoroughly characteristic of the man;
and the man himself is so well known to all the
world that there would be something absurd as
well as superfluous in offering a formal and
extended review of the chapters wherein he re-
hearses the already familiar account of his boy-
hood, youth, early and later manhood, and the
chief things he has accomplished in the great
world of politics and public affairs. Parts of
these chapters have already appeared in print,
and much of the book as a whole has found
expression, in one form or another, in some of
the author's many utterances as writer and
speaker. The vigor and directness for which
he is justly admired show themselves in every
sentence of his book; and if here and there a
little more study of brevity or a little greater
practice of restraint might have been desired,
one must remember that it requires the leisure
of the man of letters to achieve conciseness, and
a modest reticence is incompatible with certain
other qualities that have every right to demand
recognition.
With the exception of a few most welcome
chapters of a personal or "intimate" character—
"Boyhood and Youth," "The Vigor of Life,"
"In Cowboy Land," and "Outdoors and
Indoors"—the narrative deals chiefly with pol-
itics and policies as exemplified in the writer's
public life and more or less connected with his
administrative acts. Much of it is in the nature
of an apologia, a word that might seem gro-
tesquely inappropriate if put here in its English
form. In defending, for example, his sending
a telegram of sympathy to the widow of a prom-
inent Pennsylvania politician, recently deceased,
the author says:
"A paper which constantly preached reform, and
which kept up its circulation by the no less constant
practice of slander, a paper whioh in theory condemned
all public men who violated the eighth commandment,
and in practice subsisted by incessant violation of the
ninth, assailed me for sending my message to the dead
man's wife. I knew the editors of this paper, and the
editor who was their predecessor. They had led lives
of bodily ease and the avoidance of bodily risk; they
earned their livelihood by the practice of mendacity
for profit; and they delivered malignant judgment on
a dead man who, whatever his faults, had in his youth
freely risked his life for a great ideal, and who when
death was already clutching his breast had spent almost
his last breath on behalf of humble and friendless
people whom he had served with disinterested loyalty."
As was to have been expected, the piquantly
personal—and not always first-personal—ele-
ment is not lacking in the book. References


1913]
477
THE DIAI
to a successor who "means well feebly" are
sufficiently frequent and full, and are not
counterbalanced by earlier and friendlier rem-
iniscences of the same person in other walks of
public life. But there is no need here to dwell
on the disputatious portions of the book. Those
who have a taste for the controversial in litera-
ture will enjoy the chapters on "Practical
Politics," "Applied Idealism," "The War of
America the Unready," "The Presidency;
Making an Old Party Progressive," and "The
Big Stick and the Square Deal." Let us for
the present cite a few illuminating passages of
especial autobiographic interest, and then leave
the rather bulky volume to those prepared to
undertake the reading of it in its entirety.
From the earlier pages dealing with the writer's
education, the following is significant:
"I thoroughly enjoyed Harvard, and I am sure it did
me good, but only in the general effect, for there was
very little in my actual studies which helped me in after
life. More than one of my own sons have already prof-
ited by their friendship with certain of their masters
in school or college. I certainly profited by my friend-
ship with one of my tutors, Mr. Cutler; and in Harvard
I owed much to the professor of English, Mr. A. S. Hill.
Doubtless through my own fault, I saw almost nothing
of President Eliot and very little of the professors. I
ought to have gained much more than I did gain from
writing the themes and forensics. My failure to do so
may have been partly due to my taking no interest in the
subjects. Before I left Harvard I was already writing
one or two chapters of a book I afterwards published
on the Naval War of 1812. Those chapters were so
dry that they would have made a dictionary seem light
reading by comparison. Still, they represented purpose
and serious interest on my part, not the perfunctory
effort to do well enough to get a certain mark; and
corrections of them by a skilled older man would have
impressed me and have commanded my respectful
attention."
With no expectation of entering public life, the
young collegian neglected elocution and took no
part in debate; and though this was a loss in
one way, in another the author considers it a
gain. He was not called upon to make the
worse appear the better cause, and he now feels
convinced that the present method of conduct-
ing college debates is injurious to the debaters.
Only from conviction and in defense of principle
would he have a young man make his voice heard
in public argument.
Here is a pleasing picture of family life, from
a later period of the writer's history. It has a
literary and an educational interest that warrants
its reproduction:
"There was also much training that came as a by-
product and was perhaps almost as valuable — not as a
substitute but as an addition. After their supper the
children, when little, would come trotting up to their
mother's room to be read to, and it was always a sur-
prise to me to notice the extremely varied reading which
interested them, from Howard Pyle's 'Robin Hood,'
Mary Alice Owen's 'Voodoo Tales,' and Joel Chandler
Harris's ' Aaron in the Wild Woods,' to 'Lycidas' and
'King John.' If their mother was absent, I would try
to act as vice-mother—a poor substitute, I fear—super-
intending the supper and reading aloud afterwards.
The children did not wish me to read the books they
desired their mother to read, and I usually took some
such book as ' Hereward the Wake,' or 1 Guy Manner-
ing,' or 'The Last of the Mohicans,' or else some story
about a man-eating tiger, or a man-eating lion, from
one of the hunting books in my library. These latter
stories were always favorites, and as the authors told
them in the first person, my interested auditors grew to
know them by the name of the 'I' stories, and regarded
them as adventures all of which happened to the same
individual."
Oolonel Roosevelt has wisely omitted from
his present volume the African hunting episode,
as that has already been fully related; but
there is abundant matter left, and a consider-
able part of it has been relegated to fine-print
appendices. There is also a wealth of graphic
illustration, including many photographs and
cartoons of especial interest. Emphatically and
unmistakably the author has stamped himself
on every page of his book, and no reader desir-
ing a better acquaintance with him will be
disappointed in this ample autobiography.
Percy F. Bicknell.
Mr. Arnold Bennett in Paris and
Elsewhere.*
"I am an author of several sorts. I have
various strings to my bow. And I know my
business. I write half a million words a year."
So, a decade ago, in an anonymous autobio-
graphical skit, as entertaining a piece of work as
he has ever turned out, declaimed Mr. Arnold
Bennett.
In the years that have passed since then, Mr.
Bennett has acquired an international reputa-
tion; his knowledge of his business, if it could
not widen, has deepened immeasurably; but his
indefatigable mental energy, his acute sensitive-
ness to all the tones and tints that life can show
him, his poignant pleasure in self-expression,
have abated not one whit. He is still, from
choice, "an author of several sorts." Thus, the .
youthful whimsicality of "The Grand Babylon .
Hotel" has been matched in this present year .
of discreet middle-age by the amusing extravar
gances of "The Old Adam." And, because
"Paris Nights and Other Impressions of Places and
People. By Arnold Bennett. Illustrated. New York:
George H. Doran Co.


478
[Dec. 1
THE
many of his most interesting ideas and experi-
ences cannot be utilized in a novel or staged in
a play, Mr. Bennett still continues the practice
of journalism.
Glorified journalism it is, to be sure; not the
hard-driving monopoly of his best hours with
which he began his literary adventure. Even
to the most perfunctory of it, Mr. Bennett, out
of his abounding energy, brings a zestfiil clever-
ness that redeems it from commonplace. Those
frankly manufactured reminiscences of his
American tour, for instance, were picturesque
and brilliant, though lacking in any depth of
conviction. And in the best of his fugitive
sketches, — the pastels of London life, for
example, that for some weeks, not long ago,
constituted a series of particularly delightful
columns in the London "Nation," — Mr. Ben-
nett shows the high gifts of subtle analysis,
imaginative illumination, and critical irony
that give distinction to his best work.
About fifty of these occasional sketches,
many very good and some decidedly mediocre,
have been chosen from the output of some seven
years, and gathered into a volume entitled
"Paris Nights and Other Impressions of Places
and People." It is a decidedly bulky volume;
large type and thick paper, and wide margins,
with many illustrations, all casual and some
very charming, by Mr. E. A. Rickards, make
a setting somewhat too pretentious to suit the
airy, unpretentious, unpremeditated notations
to which Mr. Bennett was inspired by various
contacts and experiences at home and abroad.
Mr. Bennett's genius is unfailing in the
matter of titles. "How to Live on Twenty-
four Hours a Day" was suggestive enough to
throw a glamour over the essential obviousness
of some excellent ideas about the saving of
time. "Clay hanger," again, vaguely connotes
symbols and mysteries, investing an unprepos-
sessing hero with a curious significance. And
so "Paris Nights" evokes a thrill, hinting at
passionate gaiety in high relief against sombre
shadow; at concentrated drama, swiftly played
and cynically ended, only to be perpetually
renewed; at shining romance rubbing shoulders
with sordid misery. "Paris Nights," in short,
may be paraphrased as a conventional designa-
tion for life at its highest pitch. And it is
exactly that of which Mr. Bennett writes; only
for him the special value, the titillating eharm
of life, lies largely in being able to pluck it in
unexpected places, in dim recesses, in experi-
ences that the average man accepts calmly as
utterly banal and unmeaning.
In Paris, for example, Mr. Bennett spends
one of his significant evenings dining with a
family of rich and stupid bourgeois. "Curious
existence!" is his final comment on their dull,
contented, unthinking, perfectly ordered, ex-
pensive round of living; and thus from their
impossible self-satisfaction he extracts a certain
characteristic interest.
His " Artistic Evening" has all the elements
with which he loves best to dally.
"The first invitation I ever received into a purely
Parisian interior might have been copied out of a novel
by Paul Bourget. Its lure was thus phrased: 'Un peu de
musique el d'agreablesfemmes.' It answered to my inward
vision of Paris. My experiences in London, which
fifteen years earlier I had entered with my mouth open
as I might have entered some city of Oriental romance,
had, of course, done little to destroy my illusions about
Paris, for the ingenuousness of the artist is happily
indestructible. Hence, my inward vision of Paris was
romantic, based on the belief that Paris was essentially
'different.' Nothing more banal in London than a
'little music,' or even 'some agreeable women'! But
what a difference between a little musio and un peu de
musique! What an exciting difference between agree-
able women and agreablet femmes! After all, this dif-
ference remains nearly intact to this day."
Such distinctions delight the indestructible
ingenuousness of Mr. Bennett's artistic soul.
Generally he contrives that they shall delight
his readers. There is nothing recondite about
this final analysis of the glitter of a great Lon-
don restaurant; one has felt it all before in a
way, but not articulately:
"This is a fearful and romantic place. The romance
of it rises grandiosely storey beyond storey. . . . And
the most romantic and impressive thing about it all is
the invisible secret thoughts, beneath the specious
bravery, of the uncountable multitude gathered together
under the spell of the brains that invented the organism.
Can you not look through the transparent faces of the
young men with fine waistcoats and neglected boots, and
of the young women with concocted hats and insecure
gay blouses, and of the waiters whose memories are full
of Swiss mountains and Italian lakes and German beer
gardens, and of the violinist who was proclaimed a
Kubelik at the Conservatoire and who now is carelessly
pronounced 'jolly good' by eaters of beefsteaks? Can
you not look through and see the wonderful secret pre-
occupations? If so, you can also pierce walls and floors,
and see clearly into the souls of the cooks and the sub-
cooks, and the cellar-men, and the commissionaires in
the rain, and the washers-up. They are all there, in-
cluding the human beings with loves and ambitions who
never do anything for ever and ever but wash up. . . .
The place is grandiose and imposing; it has the dazzle
of extreme success; but when you have Btared it down
it is wistful enough to make you cry."
Swiss hotels and Florentine pensions, Italian
opera, the roll of an Isle of Man steamboat, the
superiority of Manchester, system-playing at
Monte Carlo, the forest of Fontainebleau and
its villages, the British home, the Russian ballet-


1913]
479
THE DIAL
dancers, — these give a fair indication of the
variety of Mr. Bennett's inspiration. None of
his impressions are profoundly importan t. Some-
times the "indestructible ingenuousness of the
artist" seems a bit over-done, degenerating into
mere pose. But generally Mr. Bennett's com-
ment is vivacious, provocative, alert to modern
issues, investing the casual encounters of every-
day living with that fresh interest and charm
with which it is the function of the artist to
supply them. Edith Kellogg Dunton.
Holiday Publications.
I.
American Travel and Description.
Across the continent and back again the unre-
luctant reader is carried by Mr. Robert Haven
Schauffler in his volume entitled "Romantic Amer-
ica" (Century Co.), a work that ''hopes to appeal
alike to the traveler and the stay-at-home," and that
"would persuade the young victim of Wanderlust to
see America first, and the veteran wanderer to see
America last." Successive scenes are thrown on the
ample page of the royal octavo, from Provincetown at
the tip end of Cape Cod to the missions of southern
California, and from the Yosemite Valley and the
Grand Canyon to the rugged shores of Maine, with
passing glimpses of Old Virginia, of Pittsburgh
("the city of beautiful smoke"), of Mammoth Cave
and Yellowstone Park and the Creole city of New
Orleans. Indeed, it is more than a glimpse that
one gets of these different places. The writer's
narrative and description are full and vivid, and the
numerous full-page plates—the work of such artists
as Mr. Maxfield Parrish, Mr. Joseph Pennell, Mr.
Harry Fenn, Mr. Winslow Homer, Mr. Andre1
Castaigne, and Mr. George Inness — ably second
the author's endeavors to transport his readers to
the scenes depicted. The frontispiece presents in
different shades of orange and blue the Grand
Canyon of the Colorado; while the other plates,
each delicately tinted, show stretches of landscape,
bits of city life, scenes of industrial activity, curious
old buildings, seaside views, and so on, in rich variety
and profusion. In both conception and execution
the work is of no ordinary character.
To study the Mackenzie River Eskimo in his
native habitat and under conditions that would
make the Eskimo unconscious of being studied was
the happily fulfilled purpose of Mr. Vilhjdlmur
Stefansson in his second Arctic expedition of 1908-
12, in which the failure of the expedition's schooner
to pick him up at Herschel Island, whither he had
proceeded overland, left him, as he explains, "two
hundred miles north of the polar circle, with a sum-
mer suit of clothing, a camera, some notebooks, a
rifle, and about two hundred rounds of ammunition,
facing an Arctic winter, where my only shelter would
have to be the roof of some hospitable Eskimo
house." And these, he declares, were ideal condi-
tions, and his loneliness and poverty constituted his
greatest advantage. An exploring anthropologist
of that temper of mind is likely to accomplish some-
thing worth while and to contribute to the sum of
human knowledge. Not only the Mackenzie River
natives, but those of Victoria Island, remarkable for
their blond complexions, and other tribes, were
studied by Mr. Stef£nsson, whose book, "My Life
with the Eskimo" (Macmillan), gives a full account
of his strange experiences. A " Report on the Natu-
ral History Collections of the Expedition," by Dr.
Rudolph Martin Anderson, is added, with maps and
an index. Numerous illustrations, chiefly from
photographs, are also supplied. Though no north
poles are encountered, the chronicle gives ample
proof that other interesting things are not lacking
in those distant latitudes.
If one wishes to read about the beautiful Blue-
ridge Mountains, the Appalachian National Park,
which is now taking shape, the scenic attractions of
Asheville and its neighborhood, the speech and pecu-
liarities of the North Carolina mountaineers, the
ways of the law-defying "moonshiner," the genesis
of sorghum molasses, and other kindred matters of
not exactly every-day familiarity, the book to read is
Miss Margaret W. Morley's full and well-illustrated
work on "The Carolina Mountains" (Houghton).
Herself a resident of the region depicted, and of
proved skill in writing about nature and the denizens
of field and forest, Miss Morley shows herself thor-
oughly at home in the scenes and among the primi-
tive people she has chosen to describe. A veritable
paradise, she assures us, opens before the visitor to
this little-frequented part of our country. "As
finally you approach the mountains that form the
western end of North Carolina, you catch glimpses
of heights so divinely blue that you seem about to
enter some dream world through their magical
portals." A water-color view of these mountains is
supplied as frontispiece, and another appears on the
cover; and a map is given at the end of the book.
The many and good uncolored illustrations are from
photographs taken by the author.
Mr. Ernest Peixotto is well equipped for the pro-
duction of such a book of travel and description
and graphic illustration as "Pacific Shores from
Panama" (Scribner). The approaching completion
of the Panama Canal will open a way for winter
tourists down the little-visited west coast of South
America, and such books as this from Mr. Peix-
otto's pen will become much more common than at
present. Just now this volume is something of a
pioneer in its field, and is sure to attract attention
by its novelty, to say nothing of its other merits.
Peru and its wonders as the ancient domain of the
Incas, with a brief glimpse of Bolivia and some
passing calls at points of interest in the northward
voyage from Panama, furnish the substance of the
volume. The author's well-known skill as an artist
is exhibited in many an exquisite drawing to accom-
pany the work of his pen. So much excellence of


480
[Dec. 1
THE
DIAL
more than one sort is seldom included within a
single book of travel. A gorgeous but not inappro-
priate cover-design distinguishes the volume.
Mr. Clifton Johnson's manner of describing and
photographically illustrating the highways and by-
ways of various parts of our country is now so well
and so favorably known as to make necessary only
a brief notice of his latest achievement in this sort.
"Highways and Byways from the St. Lawrence to
Virginia" (Macmillan) is published as number six
of the series, and conducts the reader through the
states of West Virginia, Pennsylvania, New Jersey,
Delaware, Maryland, New York, and Virginia, and
also into the District of Columbia, the Adirondack
region being the nearest approach to the river named
in the title. As in the other volumes of the series,
local color, local idioms, local human nature, give
life and variety to the successive chapters, and the
illustrations are well chosen and of high quality.
Foreign Travel and Description.
Of a richness like that which distinguished his
book on the Holy Land is Mr. Robert Hichens's
sumptuous volume on "The Near East" (Century
Co.), presenting in six leisurely chapters the chief
attractions (to a seeker of the picturesque, the
striking, the characteristic ) of Dalmatia, Athens and
the surrounding country, and Constantinople. The
writer's descriptive powers are now well known,
and are at their best in placing before the reader
such matchless scenes as the view from the Acro-
polis on a fair summer day, or in rendering with a
few strokes the strange sights of the Turkish capi-
tal. Of the first-named he says: "Very pure, very
perfect, is this great view. Nature here seems
purged of all excesses, and even nature in certain
places can look almost theatrical, though never in
Greece. The sea shines with gold, is decked with
marvellous purple, glimmers afar with silver, fades
into the color of shadow. The shapes of the moun-
tains are as serene as the shapes of Greek statues."
In a later stage of his eastern journey, and in
another mood, he writes: "Pera has all that is
odious of the Levant: impudence, ostentation, sly-
ness, indelicacy, uproar, a glittering commonness.
It is like a blazing ring of imitation diamonds
squeezing a fat and dirty finger." Eighteen orien-
tally brilliant paintings by Mr. Jules Guerin, with
a much greater number of photographs, have con-
tributed to the illustration of the book, which is a
royal octavo in form, with beautiful print, wide
margins, and handsome binding.
One memorable Saturday afternoon, in the Mer-
cantile Library, Baltimore, a lad of seventeen, look-
ing up from his book, beheld the distinguished author
of "Vanity Fair," and has ever since cherished the
remembrance of that massive head and pink face,
and those bespectacled eyes. The lad was F. Hop-
kinson Smith, who now, many years later, reverts
fondly to the occasion in his introduction to a series
of illustrated chapters which bear the title, "In
Thackeray's London" (Doubleday). With both pen
and pencil he pictures some of the haunts frequented
by the great novelist, choosing first of all those asso-
ciated with Colonel Newcome, a prime favorite with
Mr. Smith. Thus we have both an exterior and an
interior view of the Colonel's rooms, and following
these are glimpses of Grey Friars, Smithfield Market,
Staple Inn, Berkeley Square, St. George's Church
in Hanover Square, the Cock Tavern, Lamb Court,
London Bridge, and so on, to the number of one-and-
twenty excellent drawings accompanied by hardly
less excellent chat on the themes they suggest The
volume is of quarto size, printed in large type, and
durably bound in cloth.
Mr. Howells's recent sight-seeing in Spain has
furnished entertainment to readers of "Harper's
Monthly," and his pleasant remembrances of that
outing are now gathered into a volume entitled
"Familiar Spanish Travels" (Harper)—familiar
because the ordinary tourist route seems to have
been followed, with no side trips into the unknown.
Thus the author's pen confines itself to picturing
the things seen at Madrid, Toledo, Cordova, Seville,
Valladolid, and other easily-accessible and often-
visited places. But to view these scenes through
Mr. Howells's eyes is a privilege to be prized by his
readers. The genial philosophy of a mellow ma-
turity pervades the book, and its pages reveal the
author at his best. Of its many illustrations, some
are the exquisite work of Mr. Norman Irving Black,
and one of peculiar charm bears the signature of
Mr. Walter Hale; the others are from photographs.
A pleasing and appropriate design adorns the cover,
and an "Argument" in verse, from Mr. Howells's
pen, is printed on the wrapper.
Miss Lilian Whiting's "Athens the Violet-
Crowned" (Little, Brown & Co.) is written in that
pleasing manner which has won so many readers
for her score or more of other books, from "The
World Beautiful" to her study of the Brownings.
Sensitiveness to beauty, and a faculty for discover-
ing it in the things about her, give her writings a
bright and cheerful and optimistic tone that renders
them not inappropriate as Christmas gifts and not
unsuited to Christmas reading. Her present volume
is especially enjoyable and informing in its descrip-
tion of things seen by the writer herself in the
Athens of to-day, though passages on the older
Athens are not lacking. An account of the archae-
ological schools established at different times in the
Greek capital, and a short chapter on contemporary
Greek literature, contain in brief space some facte
of interest. Her treatment of the literature and
arts of ancient Greece is necessarily of a cursory-
nature. A short chapter on "Ethical Poetry of
Greece" contains fragments from noteworthy En-
glish versions of Greek poets, and in her running
comment Miss Whiting takes occasion to inform
her readers that "the traditional counsel to 'Count
no man happy till he dies,' is condensed from a
passage in the (Edipus Tyrannut," a translation of


1913]
481
THE
DIAL
which is added. Has she forgotten Solon's famous
reply to Croesus, long before Sophocles was born?
The book is well and profusely illustrated from
photographs.
"On the first day of May, 1911, we began our
exploration of the 'Scott Country.' I say we, be-
cause I was accompanied by the companion of a
much longer journey, of which that year was the
twenty-fifth milestone." Thus begins "The Country
of Sir Walter Scott" (Houghton), by Mr. Charles
S. Olcott, who three years ago gave us a good book
on the scenes and characters of George Eliot's novels.
After an introduction and a biographical chapter,
the author takes up Scott's chief works in the order
of their writing, and brings together the pertinent
facts of geography and history, with other and more
personal items of interest, adding also a great num-
ber of fine full-page views of historic scenes and
beautiful landscapes from his own camera. The
Raeburn portrait of Scott serves as frontispiece.
With a final chapter entitled " A Successful Life,"
and a full index, the book comes to an end.
The tone and spirit of Mr. Oliver Huckel's
"Through England with Tennyson" (Crowell)
distinguish it from most travel books of its kind, in
that the journey in this instance seems not to have
been undertaken primarily for book-making purposes,
but out of an earnest desire to see the places once
so familiar to the traveller's favorite poet, and to
tread the ground once pressed by that poet's foot.
Mr. Huckel's descriptions of Tennyson's haunts and
homes, in Lincolnshire, in the Isle of Wight, and
among the Surrey hills, are agreeably interspersed
with anecdote, reminiscence, quotation, and ever and
anon a glimpse of his travelling companions, the
Lady and the Laddies, and of the incidental hap-
penings by the way. A map and numerous views
and portraits, with a list of Tennysonian poems con-
nected with the places visited, and a concluding
index, round out this attractive and instructive
volume.
Subjects in plenty for historical research and
for readable description have been found by Miss
Ella Noyes in the rolling plain about Salisbury,
in the famous cathedral of that city, in the city
itself, in the stones that propound their riddle to
every visitor to Stonehenge, in Old Sarum and
Wilton and Wileybourn, in the Avon valley, the
roads that traverse the plain and the villages that
sprinkle it "Salisbury Plain: Its Stones, Cathedral,
City, Villages, and Folk" (Dutton) presents the
results of long and loving study on the part of one
who evidently knows every nook and corner of the
region dealt with, knows its history and legends,
its people and its customs, its natural beauties and
its features of interest due to the hand of man.
Miss Dora Noyes has illustrated the book with deli-
cately pleasing colored drawings and equally grace-
ful line sketches — both in abundance, and of more
than ordinary artistic merit. Literary and historic
associations make the region, and hence the book,
memorable to every intelligent reader.
"AStained Glass Tour in Italy" (Lane), by Mr.
Charles Hitchcock Sherrill, enjoys the advantage
of having a title rather out of the ordinary, and the
kind of promenade on which it takes the reader is
not exactly of an every-day sort. The beauties of
stained glass windows are studied in successive
Italian cities, — Rome, Orvieto, Perugia, Assisi, and
so on, to Milan and Pavia, not omitting Florence
and Pisa and Siena and Venice. Illustrations in
plenty help out the verbal descriptions, but no
attempt has been made to reproduce in color the
glories that inspire the writer's pen — perhaps
because such attempt was sure to disappoint The
technicalities of the subject are but cursorily
treated, as the book is evidently intended for gen-
eral reading, as are the same author's similar works
relating to France and England.
Forest-lovers will enjoy Mr. Arthur 0. Cooke's
fine volume, "The Forest of Dean " (Dutton), with
its graphic descriptions of things to be seen in the
great Crown woodland lying between the Severn
and the Wye in Gloucestershire, and also of other
scenically or historically noteworthy places that were
formerly within the limits of the Forest but now
outside. Walks and talks with the foresters are
agreeably reported, a multitude of matters relating
to forestry, to local history, to the people and the
industries of the region, are mentioned in passing,
and every now and then a pencil sketch or a colored
drawing is introduced to give point and fuller mean-
ing to the narrative or description. If the reader
wishes additional information as to the Forest's
history, he is referred to H. G. Nicholls's " Historical
and Descriptive Account," published half a century
ago.
An amusing preface in the form of an imaginary
conversation between publisher and author explains
the plan and purpose of Mr. Frankfort Somerville's
book, "The Spirit of Paris" (Macmillan). The
author attempts to seize and embody in his pages
something of the je ne sais quoi that makes the
French capital so irresistibly fascinating to all the
world. Description, narrative, dialogue, anecdote,
and, not least of all, colored drawings by Messrs.
Fraipont, Gautier, Kirchner, and others, contribute
in their several ways to the production of some such
effect as an actual visit to Paris and a mingling
with its light-hearted, pleasure-loving, quick-witted
populace might produce. Parisian amusements,
costume, cooking, Parisian theatres, fgtes, cafe's, the
races, the artists, the typical Parisienne, Americans
in Paris, with much beside, give liveliness and
variety to Mr. Somerville's chapters. Some of the
colored drawings are remarkably good, others not so
good, but all in accord with "the spirit of Paris."
With a camera, a motor-car (even a hired one),
and a fairly abundant supply of ready money, one
can in a few days of assiduous touring collect mate-
rial for an entertaining and plentifully illustrated
book of travel. "Old Countries Discovered Anew"
(Estes) gives in bright and rather novel form Mr.
Ernest Talbert's experiences in a family flight by


482
[Dec. 1
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automobile through parts of Holland, Germany, and
France, in a few weeks of early summer. Many
curious and little-frequented scenes were visited,
local history and photographed views were gathered
for the prospective volume, and on the whole a
rollicking good time seems to have been enjoyed.
Much useful information for future auto-tourists is
furnished, with earnest advice to hire rather than
transport over-seas the needed automobile. A map,
appendix, special index of practical matters, gen-
eral index, and seventy-one illustrations, including
a colored frontispiece, are a part of the book's
handsome equipment.
Mr. Henry C. Shelley's assiduous pen gives us a
small and useful volume on "Shakespeare and
Stratford" (Little, Brown & Co.), which points out
agreeably and with sufficient erudition the places of
Shakespearean interest in the Warwickshire town,
and presents them to the eye in illustrations from
photographs taken by the author. In connection
with the so-called birthplace of the poet, the reader
is duly advised of the serious doubt as to its being
really the birthplace, and of the claims of the so-
called Brook House, no longer standing, to the honor
in question. Chapters on New Place, on the Strat-
ford church, the town, and the eight neighboring
hamlets known as the Shakespeare villages, make
up, with a few pages of notes for tourists, the rest
of the book.
A new edition of Mr. W. J. Loftie's excellent
historical and descriptive account of Westminster
Abbey is offered through the J. B. Lippincott Co.
In addition to the colored frontispiece, the repro-
ductions of old prints, and the illustrations from
photographs, there are many fine drawings of espe-
cially interesting parts of the Abbey from the
skilled hand of Mr. Herbert Railton. A fuller
index might have been made for the book's three
hundred and sixteen compact pages of varied infor-
mation, instead of the meagre performance that
now completes the book. Mr. Loftie's chapters
on the monuments, the epitaphs, and the heraldry
of the Abbey, as also that on the Poet's Corner,
and that on royal coronations, make the work both
useful to the tourist and interesting to the arm-
chair reader.
Holiday Editions of Standard Literature.
Like each of his four previous volumes from
Thoreau's works, Mr. Clifton Johnson's edition of
sundry selections grouped under the title "Excur-
sions" (Crowell) has thirty-three illustrations from
his camera, chiefly views taken here and there in
the Thoreau country, as we may call Concord and
the neighborhood most frequented by the naturalist.
Emerson's biographical sketch of his famous fellow-
townsman opens the book, and is followed by
Thoreau's notes on certain Massachusetts natural-
history reports that appeared about 1842, his
description of a walk to Mt. Wachusett, his short
paper on "The Landlord," another describing a
winter walk, his address before the Middlesex Agri-
cultural Society on "The Succession of Forest
Trees," considerable passages of his in praise of
walking, others relating to the splendors of autumn
foliage, his well-known chapter on wild apples, and,
finally, some observations on night and moonlight.
Indication of the exact source of these selections is
often wanting; also, the pictures, beautiful and gen-
erally appropriate as they are, have seldom a close
connection with the reading matter. Nevertheless
it is a well-planned, well-executed, and very attract-
ive book, beautifully bound and suitably boxed.
New books of travel appear and disappear, but
Kinglake's "Eothen," first published sixty-nine years
ago, reappears in edition after edition, usually with
a diminishing interval between each later edition and
its successor. In England alone, nineteen editions
had been issued between 1844 and 1910, and the
twentieth, which makes its appeal to American pur-
chasers through the J. B. Lippincott Co., is now on
the market. An appreciative introduction by Mr.
S. L. Bensusan prefaces the book, and some gor-
geously oriental colored plates, by Mr. Frank
Brangwyn, with smaller drawings from the same
hand as chapter-headings, enliven its pages. King-
lake was a pioneer in eastern travel, and his braving
of its dangers and hardships was no train-de-luxe
or motor-car tour. That journey of his into the
unknown Near East of 1835 was an adventure well
worth recording; and the record will live.
The yearly reprints from Jefferies and Gilbert
White and Thoreau attest the unfailing interest of
the reading public in those gifted interpreters of
nature. "The Story of My Heart," that wonderful
mingling of spiritual autobiography and impassioned
nature-study and wide-ranging speculation, appears
this year in a new and fitting dress, with eight beau-
tifully drawn and almost as satisfactorily colored
illustrations by E. W. Waite. The letters from
Jefferies to Longman, his publisher, leading up to
the publication of the book, also his analysis of the
work as given in the publisher's "Notes on Books"
of November 30, 1883, are prefixed to the present
edition, together with an anonymous "foreword" of
the briefest sort. In all the particulars of its form
and appearance, this reissue of a favorite classic is
everything that could be desired. A box protects the
book's ornamental binding. (E. P. Dutton & Co.)
"The Jungle Book" seems to be the most endur-
ingly popular, or one might say the most increasingly
popular, of Mr. Kipling's works, with young readers,
as well as many older ones; and its circulation will
be further enlarged by this season's issue of an edition
having sixteen full-page illustrations of tropical lux-
uriance in their color-effects, designed by Messrs.
Maurice and Edward Detmold. Uncolored drawings
introduce the several chapters, and each page is
bordered with representations of jungle foliage in
light green. Similar decorations adorn the end
leaves, and a cover design in gold and three shades
of green presents in still another form the beauty


1913]
483
THE DIAL
and charm of the jungle. A splendid setting is this
for the fortunes of Mowgli and his four-footed
friends. (Century Go.)
So good a story as "Tom Brown's School Days"
can well bear occasional re-issuing. A handsome
edition, furnished with interesting historical and
biographical comment, and provided with illustra-
tions from various sources, including, of course,
portraits of Thomas Hughes and Dr. Arnold, takes
its place among the more important reprints of the
season. Lord Kilbracken, an old Rugbeian, con-
tributes a short preface, and Mr. F. Sidgwick writes
an extended introduction. Both the camera and
the pencil furnish illustrations in profusion, and the
cover-design shows a view of the school buildings.
It is indeed an elaborate and tasteful form that the
famous story now assumes. (6. P. Putnam's Sons.)
In a rich volume of spacious dimensions and
bearing the title, "Tales from Washington Irving's
Traveller" (Lippincott), are gathered a baker's
dozen of the immortal stories of " Geoffrey Crayon,"
with nearly as many large colored plates, the work
of Mr. George Hood. Typography, paper, and
binding are all in harmony with the general design
of the book, and the vivid and variegated hues of
the illustrations also accord not badly with the spirit
of romance pervading the volume. The work will
commend itself to lovers of what is striking and at
the same time not too gaudy in book-manufacture.
The striking illustrations, oriental in their rich
coloring, which made Mr. Willy Pogany's edition
of Omar Khayyam's Rubaiyat a memorable work a
few years ago, are all reproduced without change
in the less expensive reprint of the book now
offered by its publishers (Crowell Co.) and certainly
worthy of a large sale. The version is of course
FitzGerald's, in which one is glad to see the earlier
and more admirable opening, " Awake! for morning
in the bowl of night," etc. Tinted paper, graceful
border-designs, a text imitating in general appear-
ance the Persian original (not the Arabic, as the
publishers announce), a beautiful binding,and, above
all, the twenty-four full-page illustrations, combine
to make this an artistically satisfying edition.
Two tasteful volumes in white covers of parch-
ment-like appearance, delicately ornamented, are
devoted to the more pleasing of Shakespeare's songs,
sixteen in number, and to a selection (fifteen) from
the sonnets. Ornamental text, illuminated initials
and borders and vignettes are the handiwork of
Miss Edith A. Ibbs. Each page is a separate work
of art; there are no repeated designs, and the whole
effect is most pleasing. As gifts to and from per-
sons of discrimination, these little books will be
appreciated. (Dutton.)
Holiday Art Books.
Bringing to his task a devout and appreciative
spirit, the late John La Farge executed a remark-
able piece of work in "The Gospel Story in Art"
(Macmillan), the final product of his genius, and one
that he had planned many years before it was act-
ually carried through. Born and reared in the older
faith of Christendom, as we are reminded by the
author's close friend who prefaces the book, Mr.
La Farge was in thorough sympathy with his sub-
ject, and also, of course, amply equipped with the
technical knowledge necessary for its satisfactory
treatment. Beginning with characters and events
antedating the gospel story, he weaves his discourse
about the great works of sacred art, from Raphael's
"Heliodorus " to Bordone's " Pentecost," with repro-
ductions of these masterpieces to the number of
eighty, in full-page plates, delicately tinted. A few
last touches have been given to the work by the
editor, but virtually it is all as the author himself
left it when death stayed his hand. The narrative
and comment make nineteen chapters, which fill
more than four hundred quarto pages. An illu-
minated design of great beauty adorns the cover,
and the book is suitably boxed. A more acceptable
Christmas gift to one qualified to appreciate it could
not easily be imagined.
Evolution in household furniture during the first
two centuries of American history becomes a fasci-
nating study as treated by Mr. Luke Vincent Lock-
wood in his "Colonial Furniture in America"
(Scribner), which now, eleven years after its first
appearance, is expanded into two massive quarto
volumes with eight hundred and sixty-seven illus-
trations of representative pieces. In fact, so much
new material has been discovered by the author
that he has felt it necessary to rewrite his book
throughout, so that the much enlarged work is now
virtually a new treatise, and its several chapters as
exhaustive as they could well be made without be-
coming too technical for general interest. After
an introductory sketch of the origin and character
of our early furniture, the author begins the body of
his work with chapters on chests and chests of
drawers, passing in logical sequence to cupboards
and sideboards, thence to desks and writing-tables,
and closing his first volume with looking-glasses.
Volume two treats of chairs, settees, couches, and
sofas, tables, bedsteads, and clocks. How the rude
pine chest mounts through all the spires of form to
the carved mahogany dressing-table of exquisite
Chippendale design, and how the severely plain
settle becomes elaborated into the gracefully orna-
mented settee and the luxurious couch, may be
traced in Mr. Lockwood's graphic pages with their
lavish accompaniment of excellent half-tones. The
ideal that at last successfully got itself realized was
the production of furniture combining a minimum
of material with a maximum of grace, and at the
same time having due regard to strength and ser-
viceability. The attainment of this ideal coincides
pretty nearly with the close of our colonial period,
so that the study of colonial furniture has a certain
completeness in itself that gives an added satisfac-
tion to its pursuit. Incidentally there is much politi-
cal and religious history to be read in the lines of
an old rush-bottomed chair or oak bedstead or
grandfather's clock. The Plymouth settlers' years


484
[Dec. 1
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DIAL
of residence in Holland were attested in such
simple articles of furniture as they brought with
them to the New World, and the Puritan emigrants
from the west of England also carried with them
similar evidences of their former place of habita-
tion and more prosperous mode of life. Indeed, it
is in New England that the author has found the
most abundant and the most interesting examples
of early furniture, while the South, he says, "is
wof ully lacking in any pieces prior to the mahogany
period, although the inventories show that such
pieces existed more abundantly there even than in
the North." The causes of this dearth might not
be very difficult to trace. In preparing his work,
Mr. Lockwood seems to have ransacked most of
the available sources of information, examined
the principal collections, and pushed his researches
wherever there was promise of a valuable discovery.
An owner's unwillingness to let photographs be
taken of his treasures has sometimes balked him in
part, but the result of his labors is, on the whole,
highly satisfactory.
Mr. Seymour de Ricci's study of "Louis XVI.
Furniture" (Putnam) is a quarto of sumptuous
appearance, comprising chiefly full-page plates and
smaller illustrations, picturing the grace and charm
of the tables, chairs, mantel-pieces, bedsteads,
mural carving, and so on, that are associated with
the name of the monarch whose reign came to so
dire an end with the outbreak of the French Revo-
lution. A short account of the origin and rise of
the Louis Seize style precedes the rich collection of
photographic representations of typical examples,
and in the course of this brief treatise the author
maintains that the culmination of the style was
reached considerably earlier than is commonly sup-
posed, or at about the close of the reign of Louis
XV. The illustrations, covering two hundred and
fifty-six large pages, furnish a feast to the eye of
him who loves beauty of form and wealth of orna-
mentation in the appointments of a room. Such
rich collections as those of the Musee des Arts
Decoratifs, Paris, and the Kunstgewerbe-Museum,
Berlin, as well as many private collections, have
been drawn upon for typical examples. Art stu-
dents and collectors will find the book of great
value, and hardly anyone can turn its pages without
enjoyment and instruction.
Nature and Out-door Life.
Fourteen papers, "written in many moods, and
in many places, during the past half-dozen years,"
and originally published in various magazines, are
collected by Mr. Walter Prichard Eaton in a vol-
ume entitled "Barn Doors and Byways" (Small,
Maynard & Co.), which with deft strokes of pen
and pencil and brush opens to view a variety of
scenes chiefly in rural New England, with a few
Southern vistas to mark a contrast. Two papers —
one on "Wild Life in New York" (city, not state),
and the other entitled "Washington Square: A
Meditation"—-are of a slightly urban character,
though even here the things seen are things sugges-
tive of the country. For example: "The spring
hats this year are wonderful affairs—an acre sown
with flowers. Beyond the fountain one of the green
'busses rolled by, its top loaded with sight-seers,
and the hats of the women made it a gay garden in
transit down the Avenue." Even the sky-scrapers
suggest mountain scenery and are spoken of as an
"Andean pile." Tasteful full-page plates in tint,
with smaller black-and-white drawings as decorative
headings to the successive chapters, are supplied by
Mr. Walter King Stone.
Mr. Ernest Thompson Seton has long ago proved
that he can see with his eyes and draw with his
hand and reason with his brain. In his "Wild
Animals at Home" (Doubleday) there is much
sketching and photographing of untamed creatures
in their native haunts, and admirable discourse con-
cerning them. In the Yellowstone Park and else-
where in the great West the author has carried on
the nature-studies now reduced to writing and pre-
sented in twelve enjoyable chapters with a wealth
of illustrations. The coyote, the prairie-dog, the
famous fur-bearers, the swift runners, the squirrel
and the rabbit, and other wild animals, are inti-
mately interviewed by this skilled reporter of the
forest and the field; and' what he has to say, com-
bined with his manner of saying it, is not likely to
disappoint. Humor of a choice kind speaks in both
the printed page and in the accompanying marginal
sketches, while the half-tone plates have the soberer
excellences of such products of the illustrator's art.
Human nature is not neglected in the author's stud-
ies; animals were not the sole living beings he en-
countered. Mrs. Seton furnishes an original and
appropriate cover design, and has otherwise assisted
in the preparation of the book.
It is evident that no expense has been spared in
the preparation of Mr. H. Inigo Triggs's "Garden
Craft in Europe" (Scribner), a handsome quarto
abounding in reproductions of old engravings, paint-
ings, illuminations, and of photographs from nature.
Having published ten years ago a work on "Formal
Gardens in England and Scotland," Mr. Triggs here
confines his attention chiefly to the Continent, and
especially to France, Italy, Spain, Germany, Austria,
and the Netherlands. Russia and Scandinavia have
not greatly distinguished themselves in landscape
gardening. After two necessarily short chapters on
ancient and mediaeval gardens, the author lavishes
his resources on the garden craft of the sixteenth,
seventeenth, and eighteenth centuries. Le Notre
and the triumphs of his art at Versailles naturally
claim extended notice, and it is Le N6tre's portrait
that serves as appropriate frontispiece to the volume.
The final chapter deals with "The English Land-
scape School and its Influence on the Continent."
A ten-page bibliography gives a list of nearly two
hundred and forty special works on garden design,
and a full index to text and illustrations closes the
volume.


1913]
485
THE DIAL
Mr. David Grayson, fearing that his farm and
his live-stock and the rest of his worldly possessions
were beginning to own him, rather than to be owned
by him, broke loose from them one day and ran
away, or walked away, out over the inviting ribbon
of road that stretched alluringly into the romantic un-
known. The story of his adventures is told by him
in a book called " The Friendly Road" (Doubleday).
As a dusty pedestrian, and often regarded as not
much better than a tramp, the author met with
sundry experiences of suggestiveness and value, the
result, he says, of "coming up to life from under-
neath; of being taken for less than I am rather than
for more than I am." This was refreshing after those
long and weary earlier years of trying to keep in
proper position a sort of dummy that he had set up
and striven to make appear as he imagined the man
bearing his name ought to appear in the eyes of the
world. As in his "Adventures in Contentment"
and "Adventures in Friendship," the writer here
conies close to the real things and the only things
that matter in life. "New Adventures in Content-
ment" is the book's appropriate sub-title. Mr.
Thomas Fogarty illustrates it well and generously,
both in color and in black-and-white.
A set of strikingly beautiful views of Williams-
town, Massachusetts, and its surroundings, not
omitting the more important college buildings,
serves as a fitting frame for a half-dozen nature
poems by Professor George Lansing Raymond,
introduced by an appreciative preface from the pen
of Dr. Marion Mills Miller. "The Mountains
about Williamstown" is the book's title, and Grey-
lock, West Mountain, and Berlin Mountain are
especially celebrated in the poems. Ford's Glen
gives its name to another, while the remaining two
are entitled "A Woodland Reverie" and "Amid
the Mountains." They are all in ten-syllable verse,
usually unrhymed, and hence a little monotonous in
effect, though full of high feeling. The thirty-three
full-page plates are excellent, and the scenes they
represent well chosen by the poet and his assistants
at the camera. (G. P. Putnam's Sons.)
In "The Four Seasons" (Dodd), a poetic apologue
by Herr Carl Ewald, translated by Mr. Alexander
Teixeira de Mattos, the seasons are represented as
great and powerful princes who divide the year
among themselves and then proceed to exhibit their
prowess and might, each in characteristic fashion,
with birds and beasts and plants and trees as minor
characters in the wonderful drama. Frequent songs,
turned into English by Mr. Osman Edwards, give
pleasing variety to the story, and the whole is taste-
fully printed with decorative page-borders and a
suitable frontispiece.
Records of the Past.
In "The Story of Harvard" (Little, Brown &
Co.) is presented a conveniently succinct account
of our oldest university by one of her graduates,
Mr. Arthur Stanwood Pier, of the class of 1895.
Those who have read Mr. Pier's early novel, that
vivid and amusing story of the Harvard Summer
School, "The Pedagogues," will be prepared to
find him handling with a light touch and a pleasant
humor certain aspects of Harvard history and Har-
vard life. Notably do these graces of style blossom
forth in his opening chapter, wherein are depicted
the experiences and sensations of a graduate of
twenty years ago upon revisiting his old haunts,
now so changed, and in the closing chapter, which
is entitled "Freshman and Senior." In the body
of the book are gathered the main facts of Har-
vard's history, drawn largely from such standard
authorities as Peirce and Quincy and Peabody,
with occasional suggestions and quotations from
other sources, to all of whom indebtedness is duly
acknowledged. Mr. Vernon Howe Bailey has made
sixteen pencil drawings, pleasing and appropriate,
to accompany the reading matter, and both binding
and box are embellished with the depiction of a
familiar Harvard building.
The hackneyed term, a "human document," will
suggest itself to readers of "A Woman Rice
Planter" (Macmillan) as the best brief description
of the vivid though quiet and unpretending pages
of that remarkable narrative. Mrs. Patience Pen-
nington tells in the form of a diary the story of
her struggle to carry on a large rice plantation on
the South Carolina coast, a struggle heroic in its
nature, though so simply and modestly and un-self-
consciously narrated that a careless reader would
never suspect half of what is to be read between the
lines. Death and other misfortunes had left on her
shoulders a burden such as a strong man might
have sunk beneath; and the courage and spirit, as
well as the quiet humor and infinite patience and self-
control, revealed in her pages, are qualities beyond
a hurried reviewer's powers to do justice to. Mr.
Owen Wister introduces the book with a few para-
graphs of cordial commendation, and a sympathetic
artist illustrates it with drawings redolent of the
South. The previous serial appearance of the work
in the New York "Sun" is a voucher, if such were
needed, for its readable quality.
As is remarked in the preface to "The Romance
of the American Theatre" (Little, Brown & Co.),
by Miss Mary Caroline Crawford, there exists no
complete history of the stage in this country, though
scores of pens have written entertainingly about it.
To these scattered chapters Miss Crawford makes a
notable contribution in her ample sheaf of memo-
ries gleaned from many sources and extending from
Nance Oldfield and Peg Woffington (whose connec-
tion with the American theatre is certainly not
close) to Miss Marlowe and Mrs. Fiske and Mr. John
Drew and other stars of the present-day stage.
Among themes of interest are her observations on
the ups and downs of the theatre in the South, her
account of Edwin Forrest as actor and man, her
passages devoted to Booth and his immediate con-
temporaries, and her concluding remarks on the
theatre of New York and the drama of to-day. The
book shows diligence in compilation and skill in


486
[Dec. 1
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arrangement of material, with evident intent to
be broadly and generously inclusive. But among
things perhaps unavoidably omitted one notes with
some surprise that, good Bostonian though she is,
Miss Crawford has barely mentioned that favorite
comedian of Boston play-goers of half a century
ago, William Warren, while other names are looked
for quite in vain. The book is generously and
suitably illustrated, handsomely bound, and neatly
boxed.
Between the dandy with a leaning toward letters
and the man of letters with a leaning toward dandy-
ism there are many grades, representing varying
proportions of the two ingredients of foppery and
devotion to literature. Some typical examples of
more or less literate men of fashion and more or less
fashionable men of letters are presented in rapid
and dexterous portraiture by Mr. Leon H. Vincent
in his "Dandies and Men of Letters" (Houghton),
which contains a dozen chapters on as many celeb-
rities of the early nineteenth century in England.
Beau Brummel naturally leads the list, followed
by Count D'Orsay, Lord Byron, Samuel Rogers,
Thomas Moore, Thomas Hope, William Beckford,
Thomas Love Peacock, Charles Kirkpatrick Sharpe,
Benjamin Disraeli, Bulwer-Lytton, and Henry
Crabb Robinson. Portraits of these gentlemen
illustrate the book, which is of that informal, inti-
mate, anecdotal sort that seldom fails to entertain.
A resplendent binding is appropriately provided for
these followers of fashion.
A vast store of facts interesting to those who
follow the progress of ship-building is contained in
Mr. E. Keble Chatterton's "Ships and Ways of
Other Days" (Lippincott), a book setting forth in
a baker's dozen of ample chapters, aided by one
hundred and thirty illustrations of various kinds,
the eventful story, "how men managed to build,
launch, equip, and fit out different craft in all ages,"
from the time of the Phoenicians to the last quarter
of the nineteenth century. The iron or steel steam-
ship, or "tea-kettle" as the old-time sailor contempt-
uously styled it, has no place in Mr. Chatterton's
pages. As already shown in his "Sailing Ships and
their Story" and in his "Fore and Aft," his love
is not for the ocean greyhound or the modern fight-
ing craft. In his chosen field he writes with full
knowledge and with experienced pen.
Holiday Fiction.
An ingeniously constructed little romance, brisk,
eventful, dramatic, and with a capital climax most
happily led up to, comes from the pen of Mr. Jeffery
Farnol in a dainty volume with colored pictures by
Mr. Charles E. Brock, and entitled "The Honour-
able Mr. Tawnish" (Little, Brown & Co.). The
time of the action is in that indefinite past when
wigs and ruffles and laced coats were in fashion, as
also were duelling and gambling and hard drinking;
and the story is enlivened with plenty of adventure,
with highway robbery and dexterous play of swords
and some letting of blood, with a love affair to bind
everything together within the limits prescribed by
the dramatic unities. The hero, who first poses as
a fop, turns out to be a gallant and fearless gentle-
man, and all ends happily with his winning of the
heroine and rescue of her father from certain death
at the hands of the villain. Mr. Farnol here shows
himself at his least prolix and, some will say, his
best.
This season's love-story from the pen of Mr. Ralph
Henry Barbour has the alluring title of "Lady
Laughter" (Lippincott), and relates how Richard
Hollidge, Harvard graduate and formerly Harvard
instructor in English, thought himself to be hard at
work on his forthcoming textbook on "The Princi-
ples of Good English, for the Use of Schools and
Colleges," while in reality he was falling more and
more irretrievably in love with his second cousin,
Betty Lee, the Lady Laughter of the little romance,
which of course ends happily with declarations of
undying attachment on both sides and the prospect
of wedding bells and orange blossoms in the near
future. This story of the preoccupied scholar who
has to be helped into a consciousness of the state
of his heart, and then requires what is virtually a
proposal from her who has caused all the mischief,
is older than the Pyramids, but always a favorite.
Good colored pictures and graceful decorations
embellish Mr. Barbour's inviting volume, which is
ornately bound and boxed.
In a beautiful holiday edition, with sixteen
brightly-colored illustrations from the brush of Mr.
Frederick S. Coburn, Miss Anna Fuller's idyl, "A
Venetian June" (Putnam), makes its appearance in
the twenty-third printing since first it delighted its
readers seventeen years ago. Venice forms a pleas-
ing setting for tale or romance, as has been proved
often enough; and with the resources of art and fine
book-making placed at her disposal, Miss Fuller can-
not complain of any sombreness in the dress that now
clothes her graceful work. Venice is a city of color,
and even if Mr. Coburn's tints are perhaps rather
gaudy—as is likely to be the case at present in all
colored illustrations—the general effect is cheerful
and festive, or, in other words, appropriate to the
season.
"The Valley of Shadows " (Lane), by Mr. Francis
Grierson, appears in a new edition with good illus-
trations in color by Miss Evelyn Paul. The Grier-
son family removed to Illinois, from England, not
long before the outbreak of our Civil War, and the
boy Francis received indelible impressions of prairie
life and prairie folk, which are realistically repro-
duced in his book. He heard Lincoln and Douglas
in one of their famous debates, he acted as page to
General Fre'mont just after Fremont had succeeded
General Harney as military commander in St. Louis,
and he had an older cousin in Grant's army who
made the family name illustrious by his daring
cavalry raids. His abundant material for the fur-
nishing of a good book has been skilfully handled
by the author in the narrative that has already made
him favorably known to many readers.


1913]
487
THE
DIAL
Miscellaneous Holiday Books.
The story of "Parsifal" this year receives the
benefit of Mr. T. W. Rolleston's interpretative skill
in a poetic version of beauty and charm. He will
be remembered as the author of a notable rendering
of the "Tannhauser" legend a year ago. He allows
himself considerable freedom in his treatment of the
themes already popularized by Wagner and others,
adding new features and reshaping the old where
such liberties seem desirable. For instance, of the
character Blanid, in his "Parsifal," he says in his
preface: "She and her relations to the hero are an
invention of the present writer, who in this and other
respects has used the same freedom in reshaping the
details of the old legend as the mediaeval writers,
who often differ widely from each other, did not
scruple to employ." He uses the rhymed iambic
ten-syllable verse, and his poem runs to the length
of about two thousand lines. Due acknowledgment
is made to Wagner. The setting of the poem, in
an elaborate accompaniment of colored illustration
and ornamentation, the work of Mr. Willy Pogany,
is of very unusual richness and beauty. There are
sixteen full-page color-plates, and many drawings
in monochrome. Even the letter-press is from
the artist's hand, and is reproduced by lithography,
together with the border designs. Apart from the
literary excellence of the work, it is a splendid piece
of book-making. (Thomas Y. Crowell Co.)
Chiefly noteworthy among Mr. Thomas B.
Mosher's offerings for the present season is the
folio volume containing "Ten Spiritual Designs"
engraved by Edward Calvert, one of that little group
of Blake's contemporary disciples whose work has
been too heavily dimmed by the refulgence of their
master. Calvert's imagination, like Donne's, led him
into a realm where the spiritual and the sensuous
were strangely blended; and the " visionary gleams"
which he has given us in these drawings will always
be cherished for their rare and exquisite beauty.
Enlarged as they are, the reproductions here pub-
lished doubtless do fuller justice to the originals than
even the artist's proofs from which they were made.
A "Foreword " by Mr. Mosher, a reprinted essay on
Calvert by Mr. Herbert P. Home, and some brief
notices from various sources, contain whatever in-
formation is necessary to a proper understanding of
the artist and his work.—Next in interest is a q uarto
reprint of Alexander Smith's " Dreamthorp: A Book
of Essays Written in the Country." First published
a half-century ago, "Dreamthorp " has made its way
all too slowly into popular recognition, though the
elect long since gave it a place on their shelves at
no great distance from the acknowledged masters
among English essayists. With Mr. James Ashcroft
Noble's eloquent appreciation included by way of
Introduction, this first adequate edition of " Dream-
thorp" is a boon for which lovers of literature should
be heartily grateful.—Professor Gilbert Murray's
fame as a translator of the great Greek tragedies
has rather obscured the reputation of his original
three-act play, an experiment in the Greek manner,
entitled "Andromache," first published in 1900.
Mr. Mosher has therefore done well to give this a
place on his list, in an edition that is typographi-
cally all that could be desired.—Three of Mr.
Mosher's new books are reprints, in different form,
of works previously published by him but which have
long been out of print. These are Mr. Robert
Bridges's sonnet-sequence, "The Growth of Love,"
now issued with a portrait of the author; that charm-
ing anthology, "Songs of Adieu: A Little Book of
Finale and Farewell"; and Mr. Charles Johnston's
remarkable renderings from the ancient wisdom
books of India, "From the Upanishads," now in-
cluded in the "Vest-Pocket Series." — It only
remains to mention three small miscellaneous vol-
umes: a rubricated edition of "The Sermon on the
Mount"; Ernest Dowson's dramatic fantasy, "The
Pierrot of the Minute," now added to the "Lyric
Garland" series; and " Songs from an Italian Gar-
den " by Mrs. A. Mary F. Robinson, issued in the
"Venetian Series."—We have so often praised the
form in which Mr. Mosher publishes his books, that
anything further on that score would be superfluous.
From the elaborate folio to the little paper-covered
pocket volume, every title on his list is given a
typographic setting at once strikingly attractive and
distinctive. Among Christmas gift-books conforming
to Dorothy Wordsworth's familiar petition we know
of nothing better.
A book about Cambridge University life from
the pen of a Tennyson (even though not an Alfred
Tennyson) cannot fail to excite pleasurable expec-
tations on being opened. Mr. Charles Tennyson's
"Cambridge from Within" (Jacobs) has that per-
sonal and reminiscent quality that can raise chronicle
and description out of the bleak category of guide-
book literature and make the writer's pages glow
with something of the warmth and color of life. In
his introductory chapter Mr. Tennyson observes
that "a prudent chronicler will do well to confine
himself to the comparative certainty of personal rem-
iniscence" in handling a subject of so many varied
aspects as his. Then follows a series of pen-pictures
of academic routine and academic customs, college
dons and college undergraduates, methods of work
and modes of diversion, interspersed with frequent
illustrations, in water-color or in sepia, from Mr.
Harry Morley's experienced hand. The book's hu-
morous dedication, "to the friends who may recog-
nize each other, but I hope not themselves, in the
following pages," is in itself a promise of good
things to come.
To her series of "Myths and Legends" Miss
Katharine Berry Judson adds this year a fourth
volume entitled "Myths and Legends of the Great
Plains " ( McClurg), which she frankly acknowledges
to be a compilation from such sources as the annual
reports of the Bureau of American Ethnology, the
publications of the United States Geographical and
Geological Survey, and the works of various ethno-
logists. A great number of legends, ascribed to
various Indian tribes, are brought together in brief


THE DIAL
[Dec. 1
and readable form, sometimes in verse, and with
occasional illustrations of native origin. A petro
glyph in Nebraska is reproduced, portraits of two
Indian chiefs are given, and other suitable pictures
are provided. The book is excellent as a popular
and at the same time faithful treatment of its subject.
Zeal and industry and an equipment of rather
unusual learning have gone into the making of Mr.
Lewis Spence's elaborate volume on "The Myths
of Mexico and Peru" (Crowell). The subject is
one that still invites the researches of archaeologists
and philologists, and the author laments that so
little interest in it has yet been taken by English
scholars. Notable is his emphatically-declared belief
in the native origin of the civilization of Mexico,
Central America, and Peru, a subject on which, as
he remarks, much mistaken erudition has been lav-
ished. Rather more than two-thirds of his book is
devoted to Mexico, the concluding portion to Peru,
with appended maps, bibliography, language notes,
and a combined glossary and index. Sixty full-
page illustrations, some in color, add to the book's
attractiveness.
Some of the last productions of the pen of her
whom her readers will ever remember by her maiden
name of Myrtle Reed, rather than by her married
name of Mrs. James S. McCullough, are gathered
into a lavender-bound volume under the title,
"Happy Women" (Putnam). Happy these women
were in that they had a high purpose in life and
attained it. Here is the list: Dolly Madison, Queen
Louise of Prussia, Dorothy Wordsworth, Caroline
Herschel, Elizabeth Barrett Browning, Charlotte
Cushman, Lucretia Mott, Florence Nightingale,
Dorothy Pattison, Jenny Lind, Louisa Alcott, and
Queen Victoria. A portrait of each is given, also
a sympathetic introduction, biographical and appre-
ciative, contributed by Mrs. Mary Badollet Powell,
a friend and admirer of the author of the book.
A series of " Fellowship Books " (Dutton) under
the general editorship of Miss Mary Stratton, starts
with four short and wholesome treatises on "Friend-
ship," by Mr. Clifford Bax,« The Joy of the Theatre,"
by Mr. Gilbert Cannan, "Divine Discontent," by
Mr. James Guthrie, and "The Quest of the Ideal,"
by Mrs. Grace Rhys. Each writer is left to choose
his or her own subject, and only those who are in
sympathy with the purpose of the series are invited
to contribute. The series is described as "a new
contribution toward the expression of the human
ideal and artistic faith of our own day," and it seeks
"to recall the elemental truths whence springs all
that makes life worth living, the factors that increase
our common enjoyment of nature, poetry and art."
A list of able writers for forthcoming volumes is
announced. Each issue is attractively bound in blue
and gilt, with paper wrapper. Press-work is of the
best. The quality and inexpensiveness of these
little books should secure them a good circulation.
They are an excellent corrective to materialism in
its manifold forms.
A delightful spirit of frivolity pervades the five
little volumes of the "Onyx Series," books made up
of snippets of prose and verse — rather more verse
than prose—all from the nimble pen of Miss Car-
olyn Wells. The titles of these five smile-begetters
are: "Girls and Gayety," "The Eternal Feminine,"
"Pleasing Prose," "The Re-echo Club," and
"Christmas Carollin'." The connoisseur will prob-
ably like best of all "The Re-echo Club," in which
bits of verse on nonsensical themes are given in the
manner of various eminent poets. Faithful to its
name, the series is printed on paper of onyx pat-
tern and hues, and a cover-design in imitation of
lace decorates the binding. Miss Wells proves her-
self the possessor of an all but inexhaustible fund
of fun; her hilarity chimes well with the Christmas
season. (Franklin Bigelow Corporation.)
Another book is added to Mr. Wayne Whipple's
"Story-Life " series in "The Story-Life of the Son
of Man" (Revell), which, following the plan so
successfully adopted in the similar biographies of
Washington and Lincoln, has brought together into
an elaborate mosaic nearly a thousand well-considered
selections from many sources — from Geikie, Eders-
heim, Farrar, Beecher, and a large company of more
recent writers, with occasional extracts from the
poets, and frequent insertions of suitable illustra-
tions, also gathered from a variety of sources. A
comprehensive index closes the book, which extends
to nearly six hundred pages. Such unity and sym-
metry as it is possible to give to a structure built of
so varying material, the guiding mind of the com-
piler seems to have given to this "book of a thou-
sand stories," as he calls it, and "story of a thousand
books."
The water-color illustrations from the brush of
Mr. Harry Morley constitute not the least admirable
feature of Mr. Alfred Hyatt's latest additions to his
series of topographical anthologies that began with
"The Charm of London," illustrated by Mr. Yoshio
Markino, and continued with a similar work on
Venice, illustrated by Mr. Harald Sund, and is now
further enlarged by the addition of "The Charm
of Paris" and "The Charm of Edinburgh." Each
volume has twelve colored plates, light and graceful
in character, and the reading matter includes both
prose and verse from a wide range of authors.
(George W. Jacobs & Co.)
Seven popular songs of the South are grouped in
a lavishly illustrated volume under the title "The
Old Plantation Melodies" (Caldwell), the words
and music of each song, plainly printed, being
followed by an ornamental reproduction of the lines,
one or two on a page, with pictorial accompaniment
on the opposite page. "My Old Kentucky Home,"
"The Swanee River," "Massa's in the Cold, Cold
Ground," and "Nellie Was a Lady," all by Stephen
Collins Foster,make their welcome appearance; also
"Tenting on the Old Camp Ground," by Walter
Kittredge, "Marching through Georgia," by Henry
C. Work, and "Tramp! Tramp! Tramp! the Boys
are Marching," by George F. Root. Portraits and
other illustrative accessories are supplied.


1913]
489
THE
DIAL
The Season's Books fob the Young.
The following is a list of all children's books pnblished
during the present season and received at the office of
The Dial up to the time of going to press with this
issue. It is believed that this classified list will com-
mend itself to Holiday purchasers as a convenient guide
to the juvenile books for the season of 1913.
Stories of Travel and Adventure.
Treasure Mountain; or, The Young Prospectors.
Bv Edwin L. Sabin. Illustrated. Thomas Y.
Crowell Co. $1.50.
The Voyage of the Hoppergrass. By Edmund Les-
ter Pearson. Illustrated. Macmillan Co. $1.50 net.
Airship Cruising from Silver Fox Farm. By
James Otis. Illustrated. Thomas Y. Crowell Co.
$1.50.
The Four Corners in Egypt. By Amy E. Blanch-
ard. Illustrated. George W. Jacobs & Co. $1.50.
Dorothy Brooks across the Sea. By Frances
Campbell Sparhawk. Illustrated. Thomas Y.
Crowell Co. $1.50.
Apache Gold. A Story of the Strange Southwest.
By Joseph A. Altsheler. Illustrated. D. Appleton
&*Co. $1.35 net.
The Wild White Woods; or, A Winter Camp on
the Canada Line. By Russell D. Smith. Illus-
trated. E. P. Dutton & Co. $1.35 net.
An Army Boy in the Philippines. By C. E. Kil-
bourne. Illustrated. Penn Publishing Co. $1.25 net.
Messmates: Midshipman "Pewee" Clinton's First
Cruise. By William 0. Stevens. Illustrated. J.
B. Lippincott Co. $1.25 net.
The Wilderness Castaways: Adventures in Sub-
Arctic Regions. By Dillon Wallace. Illustrated,
12mo, 322 pages. A. C. McClurg & Co. $1.25 net.
Roger Paulding, Gunner. By Edward L. Beach.
Illustrated. Penn Publishing Co. $1.25 net.
The Land of Mystery: Adventures in Egypt and
Cairo. By Cleveland Moffett. Illustrated. Cen-
tury Co. $1.25 net.
Camping on Western Trails: Adventures of Two
Boys in the Rocky Mountains. By Elmer Russell
Gregor. Illustrated. Harper & Brothers. $1.25 net.
Young Alaskans in the Rockies. By Emerson
Hough. Illustrated. Harper & Brothers. $1.25 net.
Camping on the Great Lakes. By Raymond S.
Spears. Illustrated. Harper & Brothers. $1.25 net.
Ned Brewster's Bear Hunt. By Ohauncey J.
Hawkins. Illustrated, 12mo, 285 pages. Little,
Brown & Co. $1.20 net.
There She Blows! A Whaling Yarn. By
James Cooper Wheeler; with Introduction by
F. A. Lucas. Illustrated. E. P. Dutton & Co.
$1.20 net.
A United States Midshipman in the South
Seas. By Yates Stirling, Jr. Illustrated. Penn
Publishing Co. $1. net.
The Boy Scouts on Swift River. By Thornton
W. Burgess. Illustrated. Penn Publishing Co.
$1. net.
Midshipman Days. By Roger West. Illustrated.
Houghton Mifflin Co. $1. net.
Jean Cabot in the British Isles. By Gertrude
Fisher Scott. Illustrated. Lothrop, Lee &
Shepard Co. $1. net.
Boy Scouts in the Dismal Swamp. By Walter
Prichard Eaton. Illustrated. W. A. Wilde Co.
$1. net.
Barbara's Philippine Journey. By Frances
Williston Burks. Illustrated. Yonkers-on-Hudson:
World Book Co.
The Young Trappers; or, The Quest of the Giant
Moose. By Hugh Pendexter. Illustrated. Small,
Maynard & Co. 65 cts. net.
The Boy Patrol Series. By Edward S. Ellis. New
volumes: The Boy Patrol on Guard; The Boy
Patrol Round the Council Fire. Each illustrated.
John C. Winston Co. Per volume, 60 cts.
Stories of Past Times.
The Young Sharpshooter: A Story of the Civil
War. By Everett T. Tomlinson. Illustrated.
Houghton Mifflin Co. $1.50.
On the Plains wtth Custer. By Edwin L. Sabin.
Illustrated. J. B. Lippincott Co. $1.25 net.
Tom Strong, Boy-Captain: A Story of America
after the Revolution. By Alfred Bishop Mason.
Illustrated. Henry Holt & Co. $1.25 net.
Storming Vicksburg: Grant's Campaign along
the Mississippi. By Byron A. Dunn. Illustrated.
A. C. McClurg & Co. $1.25.
The Boy-Sailors of 1812: A Story of Perry's Vic-
tory on Lake Erie. By Everett T. Tomlinson.
Illustrated. Lothrop, Lee & Shepard Co. $1.25.
Flamehair the Skald: A Tale of the Days of
the Old Norse King, Harald Hardrede. By H.
Bedford-Jones. Illustrated. A. C. McClurg & Co.
$1.20 net.
The Trail to El Dorado: With an Emigrant
Wagon Train from Minneapolis to Walla Walla.
By Joseph Mills Hanson. Illustrated. A. C. Mc-
Clurg & Co. $1. net.
A Little Maid of Province Town: A Story of
the Revolution. By Alice Turner Curtis. Il-
lustrated. Penn Publishing Co. 80 cts. net
In the Rockies with Kit Carson. By John T.
Mclntyre. Illustrated. Penn Publishing Co.
75 cts. net.
In Kentucky with Daniel Boone. By John T.
Mclntyre. Illustrated. Penn Publishing Co.
75 cts. net.
Boys' Stories of Many Sorts.
Around the End. By Ralph Henry Barbour. With
frontispiece. D. Appleton & Co. $1.35 net.
Deering at Princeton: A Sequel to "Deering of
Deal." By Latta Griswold. Illustrated. Mac-
millan Co. $1.35 net.
Danny Fists: A Football Story. By Walter Camp.
Illustrated. D. Appleton & Co. $1.35 net.
The Responsibilities of Buddie. By Anna Chapin
Ray. Illustrated. Little, Brown & Co. $1.50.
The Texan Triumph. By Joseph A. Altsheler.
Illustrated in color. D. Appleton & Co. $1.35 net.
Henley on the Battle Line. By Frank E. Shannon.
Illustrated. Little, Brown & Co. $1.50.
The Luck of Laramie Ranch. By John Harbottle.
Illustrated. D. Appleton & Co. $1.30 net.
Five Yards to Go! By Hawley Williams. Illus-
trated in color. D. Appleton* & Co. $1.25 net.
The Townsend Twins, Camp Directors. By Warren
L. Eldred. Illustrated. Century Co. $1.25 net.
Strike Three. By William Heyliger. Illustrated
in color. D. Ap'pleton & Co. $1.25 net.
Dick among the Miners. Bv A. W. Dimock.
Illustrated. F. A. Stokes Co. "$1.50.
Billy To-morrow's Chums. Bv Sarah Pratt Carr.
Illustrated. A. C. McClurg & Co. $1.25.
Boy Scouts in a Lumber Camp. By James Otis.
Illustrated. Thomas Y. Crowell Co. $1.25.
For Uncle Sam, Boss; or, Boy Scouts at Panama.
By Percy K. Fitzhugh. Illustrated. Thomas Y.
Crowell Co. $1.25.


490
[Dec. 1
THE
DIAL
The Half-Miler. By Albertus T. Dudley. Illus-
trated. Lothrop, Lee & Shepard Co. $1.25.
The Freshman Eioht. By Leslie W. Quirk. Illus-
trated. Little, Brown & Co. $1.20 net.
Cur Stirling, Freshman at Stormbridge. By Gilbert
Patten. Illustrated in color. David McKay.
$1.25.
Donald Kibk, the Morning Record Correspondent.
By Edward M. Woolley. Illustrated. Little,
Brown & Co. $1.20 net.
The Steam Shovel Man: A Boy's Experiences in
Panama. By Ralph D. Paine. Illustrated.
Charles Scribner's Sons. $1. net.
Mark Tidd: Adventures of Four Country Boys.
By Clarence B. Kelland. Illustrated. Harper &
Brothers. $1. net.
The Boy Editor. By Winifred Kirkland. Illus-
trated. Houghton Mifflin Co. $1. net.
Tad Sheldon, Bot Scout: Stories of His Patrol.
By John Fleming Wilson. Illustrated. Sturgis
& Walton Co. $1. net.
Uncle David's Boys. By Edna A. Brown. Illustrated.
Lothrop, Lee & Shepard Co. $1. net.
The Young Homesteaders: A Story of How Two
Boys Made a Home in the West. By J. W. Lincoln.
Illustrated. W. A. Wilde Co. $1. net.
The Little Master: The Story of a Little Scotch
Nobleman. By Laura E. Richards, author of
"Captain January." Dana Estes & Co. 50 cts. net.
The Cub Reporter. By Edward Mott Woolley.
Illustrated. F. A. Stokes Co. $1. net.
The Bert Wilson Series. By J. W. Duffield. New
volumes: Bert Wilson, Wireless Operator; Bert
Wilson, Marathon Winner. Each illustrated.
Sully & Eleinteich. Per volume 60 cts.
The Roaring Lions; or, The Famous Club of Ash-
bury. By James Otis. Illustrated. Harper &
Brothers. 60 cts. net.
The Rambler Club's Ball Nine. By W. Crispin
Sheppard. Illustrated. Penn Publishing Co.
50 cts. net.
The Rambler Club's Motor Car. By W. Crispin
Sheppard. Illustrated. Penn Publishing Co.
50 cts. net.
Girls' Stories of Many Sorts.
Nancy Lee's Spring Term. By Margaret Warde,
author of the "Betty Wales" books. Illustrated
in color. Penn Publishing Co. $1.25 net.
Country Cousins. By Ellen Douglas Deland. Illus-
trated. D. Appleton & Co. $1.30 net.
Christmas Thee House. By Mary F. Leonard.
Illustrated. Thomas Y. Crowell Co. $1.50 net.
The Katy Did Series. By Susan Coolidge. New
editions: In the High Valley; Clover. Each illus-
trated by William A. McCullough. Little,
Brown & "Co. Per volume, $1.50.
Helen and the Uninvited Guests. By Beth Brad-
ford Gilchrist. Illustrated. Penn Publishing Co.
$1.25 net.
A Senior Co-Ed. By Alice Louise Lee. Illustrated.
Penn Publishing Co. $1.25 net.
Happy Acres: A Sequel to "Honey Sweet." By
Edna Turpin. Illustrated. Macmillan Co.
$1.25 net.
Camp Brave Pine: A Camp Fire Girl Story. By
Harriet T. Comstock. Illustrated. Thomas Y.
Crowell Co. $1.25 net.
Jane Stuart, Twin. By Grace M. Remick. Illus-
trated. Penn Publishing Co. $1.25 net.
Faith Palmeb at Fordyce Hall. By Lazelle Thayer
Woolley. Illustrated. Penn Publishing Co.
$1. net.
Her Daughter Jean. By Marion Ames Taggart.
Illustrated. W. A. Wilde Co. $1.20 net.
The Girl from Arizona. By Nina Rhoades.
Illustrated. Lothrop, Lee & Shepard Co. $1. net.
Dorothy Dainty's Vacation. By Amy Brooks.
Illustrated. Lothrop, Lee & Shepard Co. $1.
Hazel: Everyday Happenings among Some Negro
Children in Boston. By Mary White Ovington.
Hlustrated. New York: Crisis Publishing Co.
$1. net.
Betty Tucker's Ambition. By Angelina W. Wray.
Illustrated. Lothrop, Lee & Shepard Co. $1. net.
Elizabeth, Betsy and Bess. By Amy E. Blanchard.
Illustrated. W. A. Wilde Co. $1. net.
PHrLLTDA's Glad Year. By Grace Blanchard. With
frontispiece in color. W. A. Wilde Co. $1. net.
Harmony Wins: A Bright Little Girl Brings Music
out of Discord. By Millicent Olmsted. Illustrated.
Lothrop, Lee & Shepard Co. $1. net.
The Fairy of the Snows: A Girl's Life in the City
Tenements. By Francis J. Finn, S.J. With
frontispiece. Benziger Brothers. 85 cts.
Polly Prentiss Goes A-Visiting. By Elizabeth
Lincoln Gould. Illustrated. Penn Publishing Co.
80 cts. net.
Mabjorie on Beacon Hill. By Alice Turner
Curtis. Illustrated. Penn Publishing Company.
80 cts. net.
The Little Runaways and Mother. By Alice
Turner Curtis. Illustrated. Penn Publishing Co.
80 cts. net.
Letty's Treasure. By Helen Sherman Griffith.
Illustrated. Penn Publishing Co. 50 cts. net.
Stories about Camp Fire Girls. By Margaret
Vandercook. First volumes: The Camp Fire Girls
at Sunrise Hill; The Camp Fire Girls amid the
Snows. Each illustrated. John C. Winston Co.
Per volume, 35 cts.
The Ranch Girls at Boarding School. By Mar-
garet Vandercook. Illustrated. John C. Win-
ston Co. 35 cts.
A Regular Tomboy. By Mary E. Mumford. Illus-
trated. Penn Publishing Co. 25 cts. net.
History and Biography.
Wonderful Escapes by Americans: Adventures in
Peace and War. By William Stone Booth.
Houghton Mifflin Co. $2. net.
Brave Deeds of Revolutionaby Soldiers. By Robert
B. Duncan. Hlustrated. George W. Jacobs & Co.
$1.50 net.
Boys' Life of General Sheridan. By Warren
Lee Goss. Illustrated. Thomas Y. Crowell Co.
$1.50.
Beyond the Old Frontier: Adventures of Indian-
fighters, Hunters, and Fur-traders. By George Bird
Grinnell. Illustrated. Charles Scribner's Sons.
$1.50 net.
Historic Adventures: Romantic Events of Amer-
ican History. By Rupert S. Holland. Illustrated.
George W. Jacobs & Co. $1.50 net.
The Boys' Life of the Duke of Wellington. By
Harold F. B. Wheeler. Illustrated. Thomas Y.
Crowell Co. $1.50 net.
The Story of Kino Robert the Bruce. By R. L.
Mackie, M.A. Illustrated. Thomas Y. Crowell Co.
$1.50 net.
The Story of the French Revolution. By Alice
Birkhead, B.A. Illustrated. Thomas Y. Crowell
Co. $1.50 net.
The Conquerors of Peru. Retold from Prescott's
"Conquest of Peru." by Henry Gilbert. Illustrated.
Thomas Y. Crowell Co. $1.50 net.


1913]
491
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Book of Indian Braves. By Kate Dickinson
Sweetser. Illustrated in color, etc. Harper &
Brothers. $1.50 net.
The Northmen in Britain. By Eleanor Hull. Il-
lustrated. Thomas Y. Crowell Co. $1.50 net.
Stories from Dutch History. By Arthur H. Daw-
son. Illustrated. Thomas Y. Crowell Co. $1.50 net.
Heroes of Modern Europe. By Alice Birkhead,
B.A. Illustrated. Thomas Y. Crowell Co.
$1.50 net.
In the Days of Lionheart, Richard Coeur de Lion.
By Wallace Gandy. Illustrated in color, etc.
Thomas Y. Crowell Co. $1.50 net.
Harriet Beecher Stowe: A Biography for Girls. By
Martha Foote Crow. D. Appleton & Co. $1.25 net.
The Man with the Iron Hand: The Life of Henri
de Tonty. By John C. Parish. Illustrated.
Houghton Mifflin Co. $1.25 net.
The Adventures of Akbar the Great, Mogul of
the Indian Empire in the Sixteenth Century. By
Flora Annie Steel. Illustrated in color. F. A.
Stokes Co. $1.25 "net.
Holding a Thorne: The Story of Alphonso XIII.,
King of Spain, Told by a Royal Kitten. By
Helen Eggleston Haskell. Illustrated. D. Apple-
ton & Co. $1. net.
The Child's Book of American History. By Albert
T. Blaisdell and Francis K. Ball. Illustrated.
Little, Brown & Co. 75 cts.
Tales from Literature and Folk-lore.
The Book of the Sagas: Old Stories of the North.
By Alice S. Hoffman; illustrated in color, etc.,
by Gordon Browne. E. P. Dutton & Co. $2.50.
The Story of Chanticleer. Adapted from the
French of Edmond Rostand by Florence Yates
Hann. Illustrated in color. F. A. Stokes Co.
$1.50 net.
The Story of Saint Elizareth of Hungary. By
William Canton. Illustrated in color. Dana Estes
& Co. $1.50 net.
Shakespeare's Stories. By Constance and Mary
Maud. Illustrated. Longmans, Green & Co.
$1.50 net.
Stories of Old Greece and Rome. By Emilie Kip
Baker. Illustrated. Macmillan Co. $1.50 net.
Glooscap, the Great Chief, and Other Legends of
the Micmac Indians. Retold by Emelyn Newcomb
Partridge. Illustrated. Sturgis & Walton Co.
$1.25 net.
Blackfeet Indian Stories. By George Bird Grin-
nell. Illustrated. Charles Scribner's Sons. $1. net.
The White Duckling, and Other Russian Folk
Tales. Translated by Nathan Haskell Dole. Illus-
trated in color. Thomas Y. Crowell Co. $1. net.
The Children's Dickens. New volumes: Great
Expectations and Nicholas Nickleby. Retold for
children by Alice F. Jackson and illustrated in
color by F. M. B. Blaikie. George W. Jacobs
4 Co. Per volume, 75 cts. net.
A Book of Fairy-Tale Bears: Selections from
Favorite Folk-Lore Stories. Edited by Clifton
Johnson. Illustrated in color. Houghton Mifflin
Co. 75 cts. net.
Nature and Out-door Life.
Wild Animals at Home. By Ernest Thompson
Seton. Illustrated. Doubleday, Page & Co.
$1.50 net.
Children of the Wild. By Charles G. D. Roberts.
Illustrated. Macmillan Co. $1.35 net.
Field and Forest Friends. By Clarence Hawkes.
Illustrated. Browne & Howell Co. $1.25 net.
The Boy Woodcrafters. By Clarence Hawkes. Il-
lustrated. Browne & Howell Co. $1.25 net.
Laddie, the Master of the House. By Lily F.
Wesselhoeft. Illustrated. Little, Brown & Co.
$1.20 net.
The Three Bears of Porcupine Ridge: Sketches of
Out-door Life. By Jean M. Thompson. Illus-
trated. W. A. Wilde Co. $1.20 net.
Mother West Wind's Neighbors. By Thornton W.
Burgess. Illustrated. Little, Brown & Co. $1.
Lessons from Nature's Workshop. By William J.
Claxton. Illustrated. Thomas Y. Crowell Co.
$1. net.
The Story of Heather: The Autobiography of a
Pony. By May Wynne. With frontispiece in
color. Sully & Kleinteich. $1. net.
The Adventures of Reddy Fox. By Thornton W.
Burgess. Illustrated. Little, Brown & Co.
50 cts. net.
The Adventures of Johnny Chuck. By Thornton
W. Burgess. Illustrated. Little, Brown & Co.
50 cts. net.
Secrets Out of Doors. Told and illustrated by
William Hamilton Gibson. Harper & Brothers.
50 cts. net.
Floral Fairies: The Mistletoes' Pranks. A series
of illustrated children's classics humanizing and
personifying plant life. By Gertrude Ina Rob-
inson; illustrated in color by F. A. Carter. New
York: Floral Fairies Publishing Co. $1. net.
Nancy in the Wood. By Marion Bryce; illustrated
in color by K. Clausen. John Lane Co. $1. net.
Wonder Oak: A Nature Fairy Book. By Bertha
Currier Porter. Illustrated in color, etc. Eaton
& Mains. $1. net.
Little Rob Robin. By Carro Francis Warren;
illustrated in color by H. Boylston Dummer.
David McKay. 75 cts. net.
The Outdoor Chums. By Alice Turner Curtis.
Illustrated. Penn Publishing Co. 25 cts. net.
Queer Creatures. By E. S. T. Illustrated. B. H.
Blackwell.
Fairy Tales and Legends.
The Fairy Book: The Best Popular Fairy Stories
Selected and Rendered Anew. By the author of
"John Halifax, Gentleman"; illustrated in color
by Warwick Goble. Macmillan Co. $5. net.
Hans Andersen's Fairy Tales. Illustrated in color,
etc., by W. Heath Robinson. Henry Holt & Co.
$3.50 net.
Round the Yule Log: Norwegian Folk and Fairy
Tales. By P. Chr. AsbjSrnsen; translated by
H. L. Braekstad; with Introduction by Edmund
W. Gosse. Illustrated. J. B. Lippincott Co.
$1.50.
Pinocchio under the Sea: Voyages of a Marionette.
Translated from the Italian by Carolyn M. Delia
Chiesa; edited by John W. Davis. Illustrated in
color, etc. Macmillan Co. $1.50 net.
Fairy Tales. By Oscar Wilde. Illustrated in color,
etc. G. P. Putnam's Sons. $1.25 net.
The Pipes of Clovis: A Fairy Romance of the
Twelfth Century. By Grace Duffle Boylan. Il-
lustrated in color. Little, Brown 4 Co. $1. net.
The House with the Silver Door. By Eva March
Tappan. Illustrated in color. Houghton Mifflin
Co. $1. net.
The Fairy Minstrel of Glenmalure, and Other
Fairy Stories. By Edmund Leamy. Illustrated in
color. Desmond FitzGerald, Inc. 75 cts. net.


492
[Dec. 1
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Old Favorites in New Form.
The Jungle Book. By Rudyard Kipling; illustrated
in color by Maurice and Edward Detmold. Cen-
tury Co. $2.50 net.
The Wonderful Adventures of Nils. By Selma
LagerlOf; translated from the Swedish by Velma
Swanston Howard. New edition, illustrated in
color by Mary Hamilton Frye. Doubleday, Page
& Company. $2.50 net.
Mother Goose Nursery Rhymes. With numerous
full-page plates in color, and other illustrations,
by Arthur Rackham. Century Co. $2.50 net.
Heidi. By Johanna Spyri; translated from the
German by Helene S. White. Illustrated in color.
Thomas Y. Crowell Co. $1.50 net.
Tanolewood Tales. By Nathaniel Hawthorne;
illustrated in color, etc., by George Soper. Thomas
Y. Crowell Co. $1.50 net.
The Arabian Nights. Edited by Frances Jenkins
Olcott; illustrated in color by Munro Orr. Henry
Holt & Co. $1.50 net.
Gulliver's Travels. By Jonathan Swift; with
Introduction by W. D. Howells; illustrated by
Louis Rhead. Harper & Brothers. $1.50 net.
Robinson Crusoe. By Daniel Defoe; illustrated in
color by Elenore Flaisted Abbott. George W.
Jacobs & Co. $1. net.
Cbowell's All Time Series. First volumes: The
Wonderful Voyages of Gulliver, retold by Edith L.
Elias; The Voyage of the Argonauts, by Charles
Kingsley; The Children's Robinson Crusoe, by
Edith L. Elias; Heroes of Old Britain, retold from
"Geoffrey of Monmouth" by David W. Oates;
Tales from Shakespeare, by Charles and Mary
Lamb, Books One and Two; Tales of Wallace and
Bruce, selected from Scott's "Tales of a Grand-
father" by Madalen Edgar, M.A.; Old Celtic
Tales, retold by E. M. Wilmot-Buxton; Ivanhoe,
abridged from Sir Walter Scott by E. P. Prentys;
Tales of Early England, retold by E. M. Wilmot-
Buxton. Each illustrated in color, etc. Thomas
Y. Crowell Co. Per volume, 75 cts. net.
The Orange Tree Series of Children's Books.
New volumes: The Three Golden Apples, by Na-
thaniel Hawthorne; The Paradise of Children, by
Nathaniel Hawthorne; The Story of Richard
Doubledick, by Charles Dickens; The Trial of Wil-
liam Tinkling, by Charles Dickens; Captain Bold-
heart, by Charles Dickens. Each illustrated in
color, etc., by Patten Wilson. Houghton Mifflin Co.
Per volume, 50 cts. net.
Tales from Many Lands. Edited by F. C. Tilney.
First volumes: Robin Hood and His Merry Out-
laws; La Fontaine's Fables; Aesop's Fables;
English Fairy Stories; Andersen's Fairy Tales;
Bayard, by Christopher Hare; Perrault's Fairy
Tales; Gulliver's Travels; Fairy Stories from
Spain; King Arthur and His Round Table. Each
illustrated. E. P. Dutton & Co. Per volume,
50 cts. net.
Children of Other Lands and Races.
Little Schoolmate Series. Edited by Florence
Converse. New volumes: In Sunny Spain, by
Katharine Lee Bates; Under Greek Skies, by
Julia D. Dragoumis. Each illustrated. E. P. Dut-
ton & Co. Per volume, $1. net.
TnE Squaw Lady. By Emilie Blackmore Stapp.
Illustrated. David McKay. $1.25.
The Quest of the Fish-Dog Skin: Indian Days in
the West. Bv James Willard Schultz. Illustrated.
Houghton Mifflin Co. $1.25 net.
The Irish Twins. By Lucy Fitch Perkins. Illus-
trated by the author. Houghton Mifflin Co.
$1. net.
Colette in France. By Etta Blaisdell McDonald
Illustrated in color, etc. Little, Brown & Co.
60 cts.
In the Realm of Work and Play.
The Railroad Book. By E. Boyd Smith. Illus-
trated in color by the author. Houghton Mifflin Co.
$1.50 net.
The Handy Boy: A Modern Handy Book of Prac-
tical and Profitable Pastimes. By A. Neely Hall
Illustrated. Lothrop, Lee & Shepard Co. $1.60 net.
With the Men Who Do Things: Seeing the Engi-
neering Wonders of New York. By A. Russell
Bond. Illustrated in color, etc. Munn & Co., Inc.
$1.50 net.
Uncle Sam, Wonder Worker. By William Atherton
Du Puy. Illustrated. F. A. Stokes Co. $1.25 net.
Harper's Wireless Book. By A. H. Verrill. Il-
lustrated. Harper & Brothers. $1. net.
The Rainy Day Railroad War. By Holman Day.
Illustrated. Harper & Brothers. $1. net.
The Young Farmer. By George B. Hill. Illustrated.
Penn Publishing Co. $1. net.
Joe, the Book Farmer: Making Good on the Land.
By Garrard Harris. Illustrated. Harper i
Brothers. $1. net.
Harper's Beginning Electricity. By Don Cameron
Shafer. Illustrated. Harper & Brothers. $1. net.
Harper's Aircraft Book. By A. Hyatt Verrill.
Illustrated. Harper & Brothers. $1. net.
When Mother Lets Us Act. By Stella George
Stern Perry. Illustrated. Moffat, Yard & Co,
75 cts. net.
The Story of Wool. By Sara Bassett. Illus-
trated. Penn Publishing Co. 75 cts. net.
Pictures, Stories, and Verses for the
Little Tots.
The Brownies' Many More Nights. Pictures anJ
Jingles by Palmer Cox. Century Co. $1.50.
The Tumble Man. Verses by Charles Hanson
Towne and pictures in color by Hy. Mayer. D.
Appleton & Co. $1.25 net.
The Torn Book. By A. Z. Baker. Illustrated in
color. D. Appleton & Co. $1.25 net.
Elfin Song. Written and illustrated in color, etc..
by Florence Harrison. H. M. Caldwell Co.
$1.75 net.
Ballads of the Be-Ba-Boes. By D. R. Stevens.
Illustrated. Houghton Mifflin Co. $1.50 net
The Kewpies: Their Book. Verse and pictures in
color by Rose O'Neill. F. A. Stokes Co. $1.25 net.
The Capers of Benjy and Barbie. By Agnes
McClelland Daulton. Illustrated in color. D.
Appleton & Co. $1. net.
Daddy Do-Funny's Wisdom Jingles: A Book of
Negro Rhymes. By Ruth McEnery Stuart. Illus-
trated. Century Co. $1. net.
The Jingle-Jungle Book. Verses and pictures by
Oliver Herford. Century Co. $1. net.
Dolls of Many Lands: Doll Stories. By Mary
Hazelton Wade. Illustrated. W. A. Wilde Co.
$1. net.
Tales of Two Bunnies. Bv Katharine Pyle-
Decorated. E. P. Dutton & Co. $1. net.
Sonny Boy's Day at the Zoo. Verses by Ella Bent-
ley Arthur; illustrations by Stanley Clisby Ar-
thur. Century Co. 90 cts. net.
Story Book Treasures. Compiled by Clara Mur-
ray. Illustrated in color, etc. Little, Brown
& Co. 75 cts.
Twilight Town. By Mary Frances Blaisdell. Il-
lustrated in color. Little, Brown & Co. 60 cts.


1913]
493
THE
DIAL
The Tippitt-Flippitts. By Edith B. Davidson.
Illustrated in color, etc. Little, Brown & Co.
60 cts. net. p
Little Girl Blue Plays "I Spy!" By Josephine
Scribner Gates. Illustrated in color, etc.
Houghton Mifflin Co. 50 cts. net.
Baby Lion and the Bump-Head Animal. By C. E.
Kilbourne. Illustrated in color, etc. Penn Pub-
lishing Co. 50 cts. net.
Baby Elephant and the Zoo Man. By C. E. Kil-
bourne. Illustrated in color, etc. Penn Publish-
ing Co. 50 cts. net.
'Fbaid Cat. Pictures in color and text by L. J.
Bridgman. George W. Jacobs & Co. 50 cts. net.
The Goop Directory of Juvenile Offenders. By Ge-
lett Burgess; illustrated by the author. F. A.
Stokes Co. 50 cts. net.
Good Books of all Sorts.
The Children's Blue Bird. By Georgette LeBlanc
(Madame Maurice Maeterlinck); translated by
Alexander Teixeira de Mattos; illustrated in color,
etc., by Herbert Paus. Dodd, Mead & Co.
$2.50 net.
Miss Santa Claus of the Pullman: A Christmas
Story. By Annie Fellows Johnston, author of
"The Little Colonel" books. Illustrated in color,
etc Century Co. $1. net.
In Music Land: Fireside Stories on Musical Sub-
jects for Little People. By George P. Upton.
Illustrated in color, etc. Browne & Howell Co.
$1.25 net.
The Bible Story and its Teaching for Children.
Bv Baroness Freda De Knoop. Illustrated in
co"lor. E. P. Dutton & Co. $2.50.
Snow White: A Fairy Play in Seven Acts from the
Brothers Grimm. Illustrated in color, etc. Dodd,
Mead & Co. $2. net.
When I Was a Little Girl. By Zona Gale. Il-
lustrated in color, etc. Macmillan Co. $1.50 net.
In the Once Upon a Time: A Fairy Tale of Sci-
ence. Bv Lilian Gask. Illustrated. Thomas Y.
Crowell Co. $1.50.
Young People's Story of American Literature.
By Ida Prentice Whitcomb. Illustrated. Dodd,
Mead & Co. $1.50 net.
Blossoms from a Japanese Garden: A Book of
Child-Verses. By Mary Fenollosa; illustrated in
color by Japanese artists. F. A. Stokes Co.
$1.50 net.
Little Wars: A Game for Bovs. By H. G.
Wells; illustrated by J. R. Sinclair. Small,
Maynard & Co. $1.20 net.
The Mouse-Colored Road: A Christmas-time Jour-
ney along the Road to Yesterday. By Vance
Thompson; illustrated by Oliver Herford. D.
Appleton & Co. $1. net.
Little Shavers: Sketches from Real Life. By J. R.
Shaver. Century Co. $1. net.
Plays for the Home: Adapted from Favorite Fairy
Tales. By Augusta Stevenson. Illustrated in
color. Houghton Mifflin Co. $1.25 net.
Children's Book of Christmas Stories. Edited by
Asa Don Dickinson and Ada M. Skinner. With
frontispiece in color. Doubleday, Page A Co.
$1.25 net.
Chatterbox for 1913. Founded by J. Erskine Clark,
M.A. Illustrated in color, etc. Dana Estes & Co.
$1.25.
The Shepherd of Us All: A Life of Christ. By
Mary Stewart. Illustrated. Fleming H. Revel'l
Co. $1.25 net.
This Wonder-World. By Agnes Giberne. Illus-
trated. American Tract" Society. $1. net.
JfOTES. .
A volume of "Essays, Political and Literary" by
the Earl of Cromer is to be published shortly by
Messrs. Macmillan.
A Life of Admiral Semmes, by Mr. Colyer Meri-
wether, will be added soon to Messrs. George W.
Jacobs & Co.'s "American Crisis Biographies."
The recent edition of Mrs. Meynell's collected poems
is to be followed shortly by a uniform volume of
selected essays from her pen.
Miss Inez Hayues Gillmore's story, "Angel Island,"
now appearing as a serial in the "American Magazine,"
will be published in book form next month by Messrs.
Holt & Co.
"Maximilian in Mexico," by Mr. Percy M. Martin,
is a timely volume to be issued at once by Messrs.
Scribner. The narrative is based on original documents,
official and private, in English, French, and Spanish.
An illustrated holiday edition of Mr. E. V. Lucas's
popular anthology, "The Open Road," will be pub-
lished immediately by Messrs. Holt. Sixteen pictures
in color are supplied by an English artist, Mr. Claude
Sheppardson.
It is evidently Mr. G. K. Chesterton's intention to
attempt every known literary form. A play from his
pen is now announced by Messrs. Putnam. Its title is
"Magic," and it is described by the author as "a fan-
tastic comedy."
The publication of Mr. G. K. Chesterton's forthcoming
noveL "The Flying Inn," has been postponed by the
John Lane Company until January, 1914. This will
permit of simultaneous publication in Canada and Eng-
land also.
The story of one of Marie Antoinette's favorite musi-
cians, a great singer of his time and an arbiter of fashion,
is told in "Pierre Garat: Singer and Exquisite" by Mr.
Bernard Miall, announced for immediate publication
by Messrs. Scribner.
Among other Oxford Press books in active prepara-
tion are a volume of "Studies in the Odyssey," by Mr.
J. A. K. Thomson; " English University Drama, 1540-
1603," by Mr. F. S. Boas; "A Glossary of Tudor and
Stuart Words," by W. W. Skeat, completed by Mr.
A. L. May hew; and a " Concise Dante Dictionary" by
Dr. Paget Toynbee.
"The Sonnets of William Shakespeare: New Light
and Old Evidence," by the Countess de Chambrun, is
announced by Messrs. Putnam. According to its pub-
lishers, this new edition of Shakespeare's sonnets con-
tains, in the editor's introductory discussion, "a piquantly
readable as well as scholarly contribution to one of the
most unsettled of literary problems."
Two new volumes by Rabindranath Tagore, to whom
the Nobel Prize for literature was recently awarded,
will be issued at once by Messrs. Macmillan. These
two books are "The Crescent Moon," a volume of child
poems with illustrations in color by a Hindu artist, and
"Sadhana: The Realization of Life," a number of
essays, some of which were delivered as lectures at
Oxford and Harvard.
The Indiana Library Association has issued a "hand-
book," in pamphlet form, giving the history of its origin
in 1891 and its subsequent growth. Miss Mary Eileen
Ahem, whose portrait appropriately faces the title-page,
called the association into being when she was assistant
librarian of the Indiana State Library; and from an


494
[Dec.l
THE DIAL
initial membership of eight it has grown to a member-
ship of one hundred and forty, not including nineteen
"institutional members," chiefly libraries. It is a highly
creditable record.
To the library of Brown University has been presented
by the class of 1872 the private library formerly owned
by Dr. Adrian Scott, a member of that class and at one
time Associate Professor of Germanic Languages in the
University. The collection numbers about one thousand
volumes, chiefly philological and literary in their con-
tents, and is especially rich in Sanskrit, Pali, and Ice-
landic works. It also has many of the Greek and Latin
classics, often interleaved and enriched with translations
from Dr. Scott's pen.
That the discontinuance of the Doves Press, about
which we have heard rumors of late, is not a matter of
the immediate future at least is rather proved by the
announcement of nine new volumes now under way
at the Press for issue in 1914 and 1915. During the
coming year we are to have the "Coriolanus," which
has been held back for some time by Mr. Cobden-
Sanderson'sillness; "Amantium Irae: Letters addressed
by T. J. S. to Lord and Lady Amberley in the years
1864—1867 "; volumes of poems by Keats and Shelley,
as selected and arranged by Mr. Cobden-Sanderson;
and Shakespeare's "The Rape of Lucrece."
Topics in Leading Periodicals.
December, 1913.
Anglo-Saxon Cooperation. August Schvan North American
Aries, A Pilgrimage to. Richard Le Gallienne . Harper
Athletics, America First in. Carl Crow . World's Work
Australian Bypaths. Norman Duncan .... Harper
"Black Death," The, in Manchuria. B. J.
Hendnck World's Work
Buffalo and Eland, African. Theodore Roosevelt. Scribner
Business, Better. William Hard Everybody's
Business Success Secrets — II. E. M.Woolley World's Work
Cancer, Campaign against. Roswell Park Review of Reviews
Cancer, Treatment of, with Radium. Burton J.
Hendrick Review of Reviews
Capital Punishment and Life Imprisonment. Winifred
L.Taylor Scribner
Celtio West, The. Vernon Lee Scribner
China Summons Confucius. Bradley Oilman Rev. of Revs.
Christian Science, Protestantism and.
A Churchman North American
Christmas, A, for Cities. Gerald S. Lee . . Everybody's
Christmas, The Meaning of. George A. Gordon . Atlantic
Constitutionalism, Crisis in. David J. Hill North American
Contented Heart, The. Lucy E. Keeler .... Atlantic
Currency Reform under Wilson. E. S. Mead . Lippincott
Drayton, Sherwood, The Case of. F. B. Copley . American
Educated, The Luxury of Being. H. S. Canby . Harper
England and Ireland. H. Fielding-Hall.... Atlantic
Feminist Intentions. W. L. George Atlantic
Fire-proofing a City. Joseph Johnson . Review of Reviews
Foreign Policy, The American. W. Morgan Shnster Century
Fraternity Women. Sarah G. Pomeroy .... Century
Girl, The Unchanging. Edward S. Martin . . . Harper
Gold— If It Were Dross. C. A. Conant . . No. American
Golf, Mind vs. Muscle in. H. S. Langfeld . . . Century
Grant and Hayes Administrations, The. Madame
de Hegermann-Lindencrone Harper
Homesteader, Woman, Letters of a—III. Elinore
R. Stewart Atlantic
Houston, of Agriculture. Arthur W. Page World's Work
Human Thoroughbreds. W. A. Frost . . World's Work
Immigration, Social Effects of. Edward A. Ross. Century
India's Life of the Soul. Charles Johnston . . . Atlantic
Justice, Swift and Cheap—III. G.W.Alger. Worlds Work
Lincoln, Schoolboy Impressions of. W. A. Paton . Scrilatr
Literary Conventions, Our. L. C. Willcox. North America
Love, Some Allies of. Richard C. Cabot .. . . Atlantic
McClure, Mr. S. 8., Autobiography of MeCim
Manchu Court, Secret Annals of the. Edmund
Backhouse and J. O. P. Bland Atlantic
Materialists, The. Margaret Sherwood . North Americas
Mexico, The President and. George Harvey North Amenta*
Mission Play, The, of California. Henry Van Dyke Cfltfpj
Mitohell, Dr. S. Weir, Versatility and. R. H.
SchaufHer Coitwj
Money — How to Make It Earn. A. W. Atwood. JfcCfo
Monroe Doctrine, New Basis for the. George H.
Blakeslee North Ameriat
Norton, Charles Eliot. William D. Howells North Amur.
Peanut Industry, The. E. M. Woolley .... XcClm
Psychology, Naive. Hugo Mtlnsterberg .... Atlanta
Religion, Modern Quest for a. Winston Churchill Centvy
Rihbany, Abraham Mitrie, Autobiography of . . Atlantic
St. Thomas's Chnrch, The New, of New York.
Montgomery Schuyler ScrSnvr
Sand, George. Florence L. Ravenel . . North Americas
Singers, Three American. Willa S. Cather . . McCiw:
Single Tax, The. F. W. Garrison Atlantic
Socialism — III. Morris Hillquit and John
Augustine Ryan Everybody's
Tariff Reduction, Business and. Arno Dosch World's Work
Theatre, The New, and the Man of Letters. Walter
Prichard Eaton Ceatw?
Trenton Idea, The. W. H. Hamby . . . World's Wm
Washington, Segregation at, and the President. Oswald
G. Villard North America!,
Water-Power War, The. H. B. Fuller . . World's Work
Wild Life, A Champion of. Geo. Gladden Review ofRevim
Williams, John Langbourne, of Virginia . Review of Revim
IiisT of New Books.
[The following list, containing S09 titles, includes �oAx
received by The Dial since its last issue.]
HOLIDAY GIFT BOOKS.
The Rmmlan Ballet. By A. E. Johnson; illustrated
In color, etc., by Rene Bull. 4to, 240 pages.
Houghton Mifflin Co. $7.50 net.
The Gospel Story In Art. By John La Farge. With
80 full-page reproductions from famous paint-
ings, large 8vo. Macmillan Co. $5. net.
In Thackeray's Londoni Pictures and Text by
E. Hopkinson Smith. 4to, 200 pages. Double-
day, Page & Co. $3.50 net.
Paris Nights, and Other Impressions of Places and
People. By Arnold Bennett; illustrated by E.A.
Rickards. Large 8vo. George H. Doran Co.
$3. net.
Thomas Jefferson as an Architect and a Designer
of Landscapes. By William Alexander Lambeth,
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Irishmen All. By George A. Birmingham; illus-
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pages. F. A. Stokes Co. $1.75 net.


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Page & Co.
Songs from nn Italian Garden. By A. Mary F.
Robinson. 16mo. Thomas B. Mosher. 50cts.net.


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The Pierrot of the Minutes A Dramatic Phantasy
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Painting In East and Weat. By Robert Douglas
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Milton's Knowledge of Musics Its Sources and Its
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EXPERT REVISION OF MANUSCRIPTS AND PROOFS.
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MISS BEARD, 3S3 East Ontario Street, Oak Pabk, Chicago.


THE DIAL
a Semi-fHontijIg Journal of ILttrrarg Criticism, ©tstugaton, ariti Information.
THE DIAL ffounded in 1880J is published on the 1st and 16th of
each month. Terms of Subscription, 82. a year in advance, postage
prepaid in the Untied States and Mexico; Foreign and Canadian
postage 50 cents per year extra. Rem itta n t its should be by check, or
by express or postal order, payable to THE DIAL COMPANY.
Unless otherwise ordered, subscriptions vtill begin with the current
•number. When no direct request to discontinue at expiration of sub-
scription is received, it is assumed thai a continuance of the subscription
is desired. Advertising Rates furnished on application. All com-
munications should be addressed to
THE DIAL, Fine Arts Building, Chicago.
Entered ma Second-Clam Matter October 8, 1892, at the Poet Office
at Chicago, Illinois, under Act ot March 3,1879.
No. 660. DECEMBER 16,1913. Vol. LV.
Contents.
A FEW WORDS ABOUT MOSS 511
CASUAL COMMENT 513
A notable tribute to an American historian. — The
translator's opportunity. — The value of Greek
studies. — Reminiscences of a veteran librarian.—A
well of English not always undefiled. — A neglected
art.—A certain defect in the manners of literary folk.
— Book-selection for public libraries.—The work of
a master printer.—The story teller's vade me cum.—
First steps to the acquisition of knowledge. — The
Rusqell Sage Foundation Library. — The tatterde-
malion of the printing press.
COMMUNICATIONS 516
The Old Academic Spirit and the New. Nathan
Haskell Dolt.
Slovenly English in Popular Books. O. D. Wanna-
maJccr.
"Ye " and " Ampersand." Samuel T. Piclcard.
A Memorial to Sydney Smith. Ernest E. Taylor.
THE ENGLISH AT THE SOUTH POLE. T. D. A.
Cockerel! 518
MODERN IDEAS ON STAGE SETTING. Edward
E. Hale 520
Carter's The New Spirit in Drama and Art.—Craig's
Towards a New Theatre. — Jacobsohn's Max Rein-
hardt.
RECOLLECTIONS OF AN AMERICAN SINGER.
Louis James Block 523
INDIA THE CONTRADICTORY. Fred B. B.
Htllems 525
Sister Nivedita's Studies from an Eastern Home.
— Miss Munson's Jungle Days. — Mitra's Anglo-
Indian Studies.
THE POETRY OF ANCIENT IRELAND. Winifred
Smith 527
HOLIDAY PUBLICATIONS —II 528
Books of Travel and Description.—Holiday Editions
of Standard Literature. — Holiday Art Books. —
Miscellaneous Holiday Books.
NOTES 535
LIST OF NEW BOOKS 536
A FEW WORDS ABOUT MOSS.
A correspondent writes to inform us that, in
his amiable opinion, The Dial no longer gives
"the time o' day," and "is getting moss-grown."
By way of specification, he adduces certain
recent "reactionary defences of some of our
crumbling inheritances,—a Constitution framed
for a social condition no longer actual; an edu-
cation which wastes years on irrelevant matters,
a chaotic spelling which does not represent the
phonetic values of our speech to-day." At one
point in his charge, our correspondent is decid-
edly astray. As regards the metaphorical
"moss" indicated by this bill of particulars,
we must avow that it is no recent growth, but
is at least as hoary as our thirty odd years of
existence. Our opinions upon these three sub-
jects have been expressed during all that period
with unswerving fidelity to our convictions.
Stripped of their question-begging qualifications,
the animadversions cited become very harmless
indeed. We hold the federal constitution in
reverence because we realize that for a century
and a third it has given stability to our national
life and continuity to our history, and the virtue
by which these things have been achieved is
precisely that it was not framed for any fleeting
social condition, but upon such broad lines of
principle that it provides a polity no less fitted
to the needs of one hundred millions of people
than it was to the three millions who first put it
into operation.
By the irrelevant matters on which our cor-
respondent thinks years of education are wasted,
he probably means the language disciplines and
the humanistic studies described by such terms
as the classics, literature, and history. At least,
that is what people of his mental habit usually
mean when they employ such language. Now
we have always stood for these studies as the
only ones really relevant to education in its
deeper meaning, and have stigmatized as the
most consummate folly the attempt to displace
them by what are thoughtlessly called "prac-
tical" subjects. If to do this is to be muscous,
we welcome the aspersion. A writer in "The
Nation" from Los Angeles tells us that the
schools in that city have become bo modern as to
acquire a deficit of half a million dollars, while


512
[Dec. 16
THE DIAL
"distinguished, self-made men tell children how
to become educated without studying," and
"the Teachers' Institute meets at Christmas-
tide to talk about social obligation and brotherly
love and sneer at intellectual effort and attain-
ment." There is nothing moss-grown about that.
In a more elevated strain, we may quote from
a recent address by Mr. Paul Elmer More, who
says: "The classics have pretty well gone, and
if we study them at all it is as if they were dead
languages, useful it may be as a gymnastic dis-
cipline for the mind, but with little or no sense
that they contain a body of human experience
and tried wisdom by which we may still guide
our steps as we stumble upon the dark ways of
this earth." Quotations of this sort might, of
course, be multiplied indefinitely, for everybody
who has ever written anything worth saying on
the vital subject of education has paid a similar
tribute to the value of the classics, and in sub-
scribing to this opinion we find ourselves in the
very best of intellectual company.
As for the orthodox spelling, our position
on that subject has been so frequently expressed
as to need no restatement now. Our corre-
spondent dislikes the spelling because it "does
not represent the phonetic values of our speech
to-day." Bnt suppose we made it represent
them, would it do so fifty years from now? Or
shall we keep on reforming it at stated intervals,
so that the palseographist of the future may be
able to refer any page of English print to the
decade of its origin by a study of its ortho-
graphical vagaries? It required centuries of
effort to standardize our spelling, but the thing
was finally done sometime in the eighteenth
century, and ever since then we have had the
immense advantage of possessing a corpus of
printed literature varying but slightly from the
standard, and all intelligible without difficulty
to every reader of to-day's newspaper. This is
a boon not lightly to be scorned, and certainly
not to be rejected for any of the petty reasons
suggested by apologists for the new phonetic
heterodoxy.
Our correspondent describes himself as " im-
patient of that futile iconoclasm of conservatism
which pettishly condemns every new image
which is tried in the vacant niches of our de-
populated Pantheon." This is turning the tables
with a vengeance! We had not thought to be
classed with the iconoclasts for defending the
old established ways, and insisting upon the
value of the fruits of experience. To the motto,
"Whatever was, is wrong," which seems to be
the watchword of the host that commits violent
assault upon the old politics and the old ideals,
we much prefer the Pauline injunction: "Prove
all things; hold fast that which is good." In
any given case, the chances are at least nine out
of ten that the old way is the better one, and
no reform that does not accept the principle of
festina lente is likely to accomplish anything in
the way of real progress. The most plausible
suggestion, once put into operation, is sure to
bring unanticipated evils in its train, and its
actual working is incalculable in advance. For
the sentimental gain immediately offered there
is more than likely to be bartered some very solid
good the loss of which will prove irremediable.
It was with a sense of these truths that Euskin,
whom most of our reformers-in-a-hurry would
claim for their own, described himself as "a
violent illiberal," and refused to accept the pre-
posterous proposition that the new thing must
be good just because it is new and untried.
Quite the most ominous characteristic of our
unsettled modern thought is, its apparent readi-
ness to cast off all the political, social, and ethical
moorings that hold it in its hard-won haven, and
to steer an uncharted course into the unknown.
It is the duty of every sober lover of his kind
to counsel prudence in all such reckless depart-
ures, and to offer the teachings of history as a
counterbalance to the speculative visions of the
theeorist and doctrinaire. The Zeitgeist is now,
as perhaps never before, obsessed by night-
mares, and needs to be restored to the normal
condition of waking mental activity. Criticism
in the broadest sense — criticism not of art alone,
but of life — is the crying need of the time, for
its searching light alone can dispel the mists that
obscure our thinking and people with Brocken
spectres our groping upward path. It is above
all things else for the open mind that we plead
— not for the mind that admits light through
a few cracks only—and especially for the mind
that is opened wide on the side of the past, with
its accumulated wisdom for our guidance, and
which respects, because of the immense weight
of its authority, the present institutions and
ideals into which the thought of that past has
become crystallized. On the other hand, the
querulously intolerant type of mind represented
by the correspondent from whom we have quoted,
seems to us quite impotent to contribute any-
thing of value to the advancement of the race.
Its fundamental postulate is a denial of sincerity
to the mind that is not in agreement with its
ill-considered conclusions, and upon that basis
no real threshing-out of the questions that per-
plex the modern world is possible.


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CASUAL COMMENT.
A NOTABLE TRIBUTE TO AN AMERICAN HIS-
TORIAN was that paid to Professor John Bach
McMaster in Philadelphia on November 22. To
commemorate the completion of his thirty years'
work in writing his "History of the People of the
United States" a testimonial dinner was given to
Dr. McMaster in the great hall of the Historical
Society of Pennsylvania by eminent men of Phila-
delphia, New York, and other places. The guests
included Presidents and leading professors of Yale,
University of Pennsylvania, Johns Hopkins, Prince-
ton, University of Michigan, Columbia, and many
colleges. There were present railroad presidents
and directors, Governors of States, United States
Senators, magazine editors including the editors of
"The Atlantic Monthly" and "The Review of
Reviews," famous military leaders, economists,
ambassadors, judges, publishers, historians, biogra-
phers, novelists, poets, lawyers, preachers, and phy-
sicians. The toast-master was Dr. S. Weir Mitchell.
Addresses were made by Dean West of Princeton,
Provost Smith of the University of Pennsylvania,
Ex-Governor Pennypacker of Pennsylvania, Pro-
fessor Max Farrand of Yale, Dr. Albert Shaw of
"The Review of Reviews," Professor McGuckin of
the College of the City of New York, Dr. Talcott
Williams of Columbia, and Professor McMaster.
Cordial letters of congratulation came from many
countries. Ex-President Roosevelt wrote that he was
taking McMaster's final volume to South America.
Mr. George Otto Trevelyan wrote from England:
"I have turned my third quarter of a century. It
is sad to know that I shall never visit Philadelphia.
Professor McMaster is indeed fortunate in being
entertained on such an occasion in a city so devoted
to historical inquiry and so rarely acquainted with
everything that relates to its own famous past. To
the generosity with which Philadelphia imparts the
results of that knowledge to others I have for many
years owed a large debt of gratitude. The senti-
ment with which Professor McMaster's readers
regard the completion of his invaluable work is one
of genuine admiration of the warmest character."
Guglielmo Ferrero wrote from Turin expressing his
gratification at the realization of the importance of
the social mission of the historian. Brooks Adams,
George W. Cable, Joseph H. Choate, W. L. Grant
of Queen's University, Ontario, Professor Albert
Bushnell Hart of Harvard, Chancellor Kirtland of
Vanderbilt, Senator Lodge of Massachusetts, Pro-
fessor McLaughlin of the University of Chicago,
Professor Marcks of Munich, James Schouler,
James Ford Rhodes, Professor Stephens of the Uni-
versity of California, President Thwing of Western
Reserve University, and the Ambassadors Thomas
Nelson Page, Walter H. Page, and Henry van Dyke
were among the hundreds of prominent men sending
hearty letters of congratulation to Dr. McMaster
and of admiration for his work.
The translator's opportunity to do what
might almost be called creative work in interpreting
a foreign author has been perceived and grasped by
a few gifted writers. An exact reproduction of the
effect of the original is manifestly impossible, and
a slavishly literal rendering, except in scientific or
technical literature, is about the last expedient to
be resorted to for the conveying of that effect.
This being the case, adaptation, more or less free,
but not by any means lawless, remains the only
method available for adequate interpretation of a
foreign poem or drama or other work of the imagi-
nation. In this connection, the name of Edward
FitzGerald naturally comes to mind as that of a
highly gifted adapter or reshaper of other men's
productions. His famous quatrains from the Persian
are perhaps indefensibly free in their variations
from the original, but the incontestable fact remains
that no other rendering of the Rub&iya't has been
offered that can compare with his in poetic charm.
And his versions from Calderon are scarcely less
remarkable for their easy flow and their entire
freedom from the stiffness of ordinary translation.
Mr. William Poel, writing in "The Contemporary
Review" on "Poetry in Drama," gives high praise
to these Calderon pieces of FitzGerald's as being
suitable for actual production on the stage, and
contrasts them with the scholarly verse translations
of Professor Gilbert Murray from the Greek tragic
poets, which, he says, "do not act well," since they
fail to reach the height of tragic poetry and afford
insufficient scope for vocal flexibility. "Decorous
but dull," he calls them. FitzGerald, too, it should
not be forgotten, did good work in turning Greek
tragedy, notably the "Agamemnon" of JEschylus,
into English verse. Coleridge's adaptation of Schil-
ler's "Wallenstein" is another instance of the ad-
vantages, for acting purposes, of free rather than
literal translation, and Mr. Poel does not omit to
cite it. In a humbler walk of literature, Mrs.
Wister's long series of unusually popular renderings
of German fiction offers a remarkable example of
what a translator's genius can effect in reshaping
material not too promising in itself. Though the
Italian proverb, traduttore, traditore, warns one of
the pitfalls yawning at the translator's feet, they can
be avoided and are avoided by the translator with a
real gift for his work.
• • •
The value op Greek studies is not perceived
or acknowledged by many men immersed in the
cares and perplexities of modern business. All the
more remarkable, therefore, is the recognition of
their utility as well as charm on the part of Mr.
S. S. McClure in his noteworthy autobiography now
appearing in the magazine bearing his name. A
more strenuous struggle for a college education has
seldom been witnessed than that of this determined
Irish-American lad at Knox College (of which he
is now a trustee) in the old days before the time-
honored classical course had fallen into its present


514
[Dec. 16
THE
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neglect. "This course," writes Mr. McClure in the
December instalment of his life-story, "still seems
to me the soundest preparation for a young man,
and I still feel that Greek was the most important
of my studies. During the years that he reads and
studies Greek a boy gets certain standards that he
uses all the rest of his life, long after he has for-
gotten grammar and vocabulary. I enjoyed Greek
and mathematics more than any other subjects I
took at college, and Homer more than anything else
we read in Greek. After I began Homer, I used
always to give four hours to the preparation of the
next day's lesson, my best hours, too—from six to
ten in the evening. I looked forward to those hours
all day." Moving and at times intensely pathetic is
the story of the young student's undiminished passion
for learning in the desolate period when a tireless
room, a diet of frozen bread, a hopeless attachment
to a professor's daughter (who finally became his
wife), and other items of dreariness and discourage-
ment combined to test his pluck and endurance to
the utmost. Not since Mr. Riis issued his "Making
of an American" have we had so stirring an account
of marked achievement under the most forbidding
of conditions. . . .
Reminiscences of a veteran librarian con-
tributed recently to the entertainment of those who
read the Peoria "Herald-Transcript" Nearly half
a century ago — forty-eight years, to be exact—Mr.
E. S. Willcox, leaving his position as teacher in
Knox College because of the drain on the student
body caused by the Civil War, removed to Peoria
and at once became interested in the library affairs
of that city. A small subscription library was func-
tioning rather feebly, with a collection of two thou-
sand volumes and under a directorate not alive to
the possibilities of the institution. Mr. Willcox, with
other progressive spirits, procured the removal of the
old board and the voting-in of themselves instead.
In 1872 he drafted a Free Library Bill and was
successful in having it passed by the State legislature;
and its wise provisions are still in force. Stimulated
by this success, Mr. Willcox and his fellow-directors
started a campaign for a new library building,
achieved their purpose, and after a few years found
still another change of quarters desirable. Then in
1897, an advantageous sale of this property being
effected, the present library building in Monroe
Street was erected on land granted for the purpose
by the city; and there it is probable that Mr. Willcox
will finish out his term of conspicuously useful ser-
vice to his community—his term as librarian, we
mean, for that office he has held twenty-two years,
with a constant and rapid growth in the library's
activities, as evidenced in part by the opening of a
branch library in Lincoln Park and the promise of
another in the northern section of the city.
• • •
A well of English not always undefiled
is the daily newspaper press of English-speaking
countries. A compliment, comparable with that paid
by Spenser to Chaucer, is just now being quoted
with self-complacence by the newspapers from the
reported remarks of an Iowa State College professor.
"With all its faults," avows the Iowan, "I still
believe in the news style as the most efficient style
of this modern day for presenting information
through the written word. It has been hammered
out in the heat and stress of newspaper work to
meet the demands of millions for something to com-
pel their attention, interest them, and give them
information in the quickest, clearest way. . . . The
news sense, the ability to see what is new, and its
new meaning to the great world of humanity, is
necessary to men in every field of endeavor, but
especially to men who write." No less an authority
than Mr. H. G. Wells, with his well-known passion
for the new and his depreciatory estimate of the old,
has been heard to declare, if memory errs not, that
journalism deserves to be ranked very high, perhaps
in the highest class, among the different forms of
literature. All honor to those that have helped to
dignify the profession of journalism; but not yet
will it be universally conceded that the highest
function of literature is to "compel attention," to
startle, to "see what is new" and therefore too
often ephemeral and of trivial import; and undoubt-
edly the Iowa professor would assent to this. As
a contributor, however, of an element of crispness,
raciness, breeziness, and often of admirable pictur-
esqueness to English style, the American journalist
does render a service not to be despised, and his
British cousin is now not far behind him in this
particular. ...
A neglected art, that of reading aloud, has
already been the subject of comment in these col-
umns, and is likely to receive further attention from
time to time in the future. In a recent talk to the
Teachers' Club of Philadelphia, Provost Edgar F.
Smith of the University of Pennsylvania complained
that students of to-day do not know how to read
aloud intelligibly and agreeably. "It is a deplorable
fact," he affirmed, "that we have many students in
the university who are unable to read a page from
a textbook aloud to the class and read it correctly."
He might with truth have added that there are many
professors as well as students who lack the art of
accurate and effective interpretation of the printed
page. Curiously enough, the decline in this one of
the formerly indispensable "three R's" seems to date
its beginning with the discontinuance of the teach-
ing of the alphabet in the old-fashioned way, and
the relaxation of severity in the matter of spelling.
Perhaps our best readers-aloud—the compound
must be pardoned since no simpler term presents
itself—are still to be found among those whose
education was acquired in the little red schoolhouse,
whose advantages comparatively few of the present
generation of infants can ever hope to enjoy. It may
be, furthermore, that the great increase of reading
matter in modern times has discouraged the practice
of reading aloud, so slow is that process compared


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515
THE DIAL
with the silent skimming of book after book. Bat
there is a time to skim and a time to read slowly.
This we ought to have done, and not to have left
the other undone. ...
A CERTAIN DEFECT IN THE MANNERS OF liter-
ary folk has been remarked over and over again,
but will probably never be remedied. It is, indeed,
a defect noticeable in others beside the men and
women of the pen; but it is in those who write
much and rapidly that the fault is commonly most
pronounced. A former Harvard professor of the
history of art, whom just now one feels especially
tempted to quote with considerable frequency and
freedom, used to say that "a plain handwriting is
a part of good manners," and one of his old pupils
recalls the assiduity with which he devoted himself
to the imitating of his instructor's beautifully legible
style, as a first step toward acquiring some of his
fine culture. Another Harvard celebrity of the past
who wrote a hand of exceptional clearness was John
Fiske, whose term of useful service as assistant
librarian is pleasantly recalled, in connection with
the passing of Gore Hall, by a writer in the Boston
"Transcript." He says, in the course of his remin-
iscences: "His very manuscript itself was a thing
of beauty, and must have delighted the compositors
who had to struggle with the librarian's scraps and
scrawls. Mr. Fiske wrote the round, clear, open
style which he said he inherited from his English
ancestry of clarks, or clerks, and so perfect was his
first draft that he rarely rewrote a page." Not all
of us are born artists, even in handwriting; but
unless one is physically crippled, one ought to be
able to write in such a manner as not to encourage
in others a resort to impolite language.
Book-selection for public libraries is not
the least important or least difficult part of public
library work. Some libraries make their selections
largely through a book-committee formed of several
members of the directing board; others throw the
burden chiefly on the librarian; others invite the
public itself to take as active a part as may be in
this branch of the library's functions; and nearly
all are glad to receive intelligent suggestions from
those for whose benefit all the book-purchases are or
should be made. At Manitowoc, Wisconsin, as the
latest report of its librarian explains, " the purchase
of books is under the direct supervision of the board,
the books being divided into classes, and to each
member of the board there is assigned one or more
of these classes. In that way the different kinds of
books in the library are kept well balanced, no one
kind being shown favoritism." This plan of making
the whole board of directors a book-committee, each
member specializing in one or more classes of litera-
ture, is certainly somewhat unusual, and has other
considerations beside novelty in its favor. Notice-
able also in the government of the Manitowoc
library is the exact balancing of male and female
members on its board; and (a minor detail, it is
true) in the list of "officers " we find, at the bottom,
not a janitor, but a janitress. It hardly needs to be
added that the librarian, as well as the assistants,
is a woman. Evidently the rights of women are
respected in Manitowoc.
...
The work of a master printer may attain an
importance approximating that of a prince of pub-
lishers. Indeed, the printer was the publisher in
early times, and the two industries are still more or
less closely allied. The recent death of J. Stearns
Cushing, founder of the Norwood (Mass.) printing
house of J. S. Cushing & Co., brings to its close a
long term of remarkably productive and successful
activity in the manufacture of books. The firm
name, on the reverse of so many title-pages, is famil-
iar to thousands of readers, who will now feel some
interest in the history of the head of that firm.
From the age of fourteen Cushing was engaged, first
as compositor and later in a less humble capacity, in
the printing business. After working some years
for the University Press at Cambridge and in other
printing establishments, he began, in 1878, with a
few hundred dollars' capital, to do printing in his
own name, making a specialty of textbooks and pro-
viding himself with fonts of type in Greek, Hebrew,
Assyrian, and other alphabets, and in the symbols
used in mathematics. These fonts were of widely
recognized excellence, and spread his fame as a
printer over the country and even beyond its bor-
ders. The great establishment at Norwood is the
significant monument to his ability and honorable
success as a printer. Honors of another sort also
came to him, as the command of the Ancient and
Honorable Artillery Company, the commodoreship
of the Winthrop Club, a seat in the Governor's
Council, and a high place in the order of Masons.
...
The story teller's vade mecum, a book for
all who find themselves called upon,, from time to
time, to furnish oral entertainment for importunate
and insatiable young folk in those eager "believing
years" that should be made the most of while they
last, is furnished in Miss Helene A. Guerber's
"Book of the Epic," a compact collection of the
world's chief romantic tales that have been immor-
talized in epic form. Miss Guerber tells these
stories again in simple prose, condensing consider-
ably, but leaving the kernel intact in its nutshell of
abbreviated narrative. A score or more of the great
epics are given in some detail, with frequent quota-
tions in verse, and many others are less elaborately
outlined. Where not exactly suited to the age of
one's listeners, Miss Guerber's versions can easily
be modified by a skilful story-teller and thus made
acceptable to young hearers of whatsoever age or
mental equipment. Thus the "Ramayana" and
the " Mahabharata," and the Japanese epic of " The
White Aster," and perhaps also the Persian "Shah-
Nameh," may be presented in attractive form to
children by an expert and sympathetic narrator.
Material for the story-hour that so many public libra-


516
[Dec. 16
THE DIAL,
lies now make it their business to conduct, is ever
in demand, and the demand increases year by year.
Hence the propriety of calling especial attention
to Miss Guerber's thesaurus of story-telling matter
collected from a wide range of approved sources.
• • •
FlKST STEPS TO THE ACQUISITION OF KNOWLEDGE
are not seldom the most difficult, for it is the first
step that costs, as the French maintain. A little
familiarity with the equipment of a public library
is the beginning of useful learning; and yet how
few there are, comparatively, who seem equal to the
effort of acquiring that familiarity. "That an
'educated' person of to-day," says Mr. Edward F.
Stevens, Librarian at Pratt Institute, "should find
himself helpless in the presence of a modern library
equipment so that his sole confidence in making his
approach lies in his dependence on the help of a
library assistant, is as pitiful as it is inexcusable.
To see an able-bodied person of undoubted mental
powers feebly standing about while an overworked
librarian dances attendance upon him in a matter
of commonplace inquiry, is neither unusual nor in-
spiring." Mr. Stevens then tells some of the things
the library and the library school attached to the
Institute are doing to make library-users more self-
dependent. One public lecture, if the "educated"
citizens would only attend it, ought to give them all
the information needed to relieve them of the neces-
sity of standing feebly about while an overworked
librarian thumbs the encyclopedia or consults the
card-catalogue for them. It is to be hoped that the
time will come, before many decades, when it will
be as humiliating to confess inability to use a public
library's resources with intelligence as it now is to
acknowledge one's helplessness in the presence of a
dictionary or a time-table.
The Russell Sage Foundation Library has
issued its first Bulletin, wherein is set forth the his-
tory of the library's formation, with an account of
its present resources, its methods, its generous policy
toward all who may be interested in its special
department of literature, and some intimation of
what it hopes to accomplish in the future. Four
charitable associations of New York have united
in establishing this library, which starts with the
advantage of ample and suitable quarters in the
new building of the Russell Sage Foundation, at
Lexington Avenue and Twenty-second Street, and
already has about ten thousand bound volumes and
fifteen thousand pamphlets, with two hundred and
fifty periodicals on its subscription list. The library's
purpose is to make itself as nearly complete as pos-
sible in publications relating to charity and social
work, including a great number of related and sub-
sidiary topics, and to extend its privileges and
courtesies to all applicants. Already it has 878
registered users, and a yearly circulation of more
than thirty thousand volumes. Bulletins will be
issued bi-monthly, and they will give much attention
to the bibliography of those subjects in which the
library specializes.
m • a
The tatterdemalion of the printing press
is, of course, preeminently the daily newspaper,
being in its texture nothing but pulverized wood
fibre, and subject to speedy disintegration from
atmospheric causes even when handled with the
extreme care which it never receives. In the cur-
rent yearly Report of the Pratt Institute Free
Library occurs a significant paragraph under the
heading, "Rag in Paper or Papers in Rags," from
which we learn (or are reminded) that" the Brooklyn
'Daily Eagle' has earned the distinction of being
the first daily newspaper in America to print an
edition on paper containing a considerable propor-
tion of rag for purposes of preservation in public
libraries." With the beginning of the present year
the Pratt Institute Library has procured this special
edition "in monthly consignments for immediate
binding," and it deplores the failure of the other
great dailies to pay similar regard to the needs of
future historians and other students engaged in
research requiring much consultation of old files of
newspapers. At present the "Eagle" seems assured
of an enviable future preeminence of which other
journals could easily win a part for themselves.
COMMUNICA TIONS.
THE OLD ACADEMIC SPIRIT AND THE NEW.
(To the Editor of The Dial.)
Is not the paragraph regarding "a vanishing type of
scholarship " in your latest number a bit pessimistic, —
like the lament of the aged Nestor: "Such men I never
saw nor shall I see again I" In a way, of course, each
generation produces its own type of scholarship, which
does its work and is succeeded by a better, which does
a better work. Only a few years ago the chemist was
able to know practically the whole field of chemistry:
just as in the Middle Ages, Roger Bacon, known as the
doctor admirabilis, was acquainted with everything then
worth knowing. Now, the field of chemistry is so enor-
mous that often one "element"—carbon, for example —
offers room enough for a dozen specialists, each working
separately.
No man in the wide world could be found capable of
acting as a college president and at the same time
of teaching one subject satisfactorily. The college
president, even in the smaller institutions, is mainly a
business-manager; he is a living trolley meant to con-
duct some of the electricity from the great overhead
system of finance so as to run the machinery which he
has in charge. If we could turn backward the wheels
of progress and restore the conditions that prevailed
fifty or seventy-five years ago, there would be found
among the multitude of university and college profes-
sors, now engaged in their specialized work, just as many
such men to do the individual work as Child, Lowell,
Gray, Gurney, Longfellow, Lane, Torrey, Goodwin, and
Pierce. And, per contra, if those men were living now,
they would have to meet the demands of the present in
accordance with modern methods, or fail. They prob-


1913]
517
THE
DIAL
ably would meet them; and, by doing so, they would
make their reputation in a different way. Lowell's
somewhat slipshop scholarship as well as his appeal to
a very limited band of scholars, and Norton's views as
to the vulgarity of American life and scenery, would
have to be greatly modified to satisfy the hopeful and
inspiringly optimistic attitude which one may find, for
instance (to go to an almost absurd extreme), in the
struggles of Cubism to break away from the academic
and to open the eyes of the world to the vibrations of
color.
The academic spirit is the dry-rot of Education; and
while there is undoubtedly too much of it still prevalent
in most of our Eastern colleges, still the clouds are
breaking. Such books as Professor Jones's expositions
of the marvels of modern chemistry and Professor
Morgan's "Heredity and Sex" are in line with the
awakening of Idealism all over the country, as shown
by the growing interest in poetry. These new move-
ments may be crude; but they have vital powers, and
they are influencing the higher institutions of learning
in spite of the pessimistic head-shakings of the old
fogies. I predict that there will soon come a renaissance
of interest in the classic languages. Professor Good-
win's knowledge of Greek was undoubtedly extraordi-
nary, but ray recollection of his teaching it is one of
the most melancholy of my intellectual life. If Greek,
instead of being forced upon immature minds, were
kept for a special season of mental maturity, a man of
even mediocre ability could read all of Greek literature
in a few months, and his acquisition would be a treasure
of enormous pleasure and profit. Even more is this
true of Latin. Both languages are out of place, as
taught at present. We want to ring out the old, ring in
the new- Nathan Haskell Dole.
Jamaica Plain, Boston, Mass., Dec. 6. 1913.
SLOVENLY ENGLISH IN POPULAR BOOKS.
(To the Editor of The Dial.)
When correspondence courses in various phases of
English can be had for only twenty dollars apiece, surely
a usage free from errors of grammar should not be
beyond the attainment of anyone who aspires to see
his uame on the title-page of a book. And yet present-
day American books of travel and other informative
literature do not measure up to such a standard. A
reader of such books soon ceases to be shocked by slips
in grammar. As to any higher requirement than mere
grammatical correctness, one dare not apply it. Many
a book issues from the presses so vulgarly slip-shod
that a moderately sensitive reader is offended on almost
every page by poverty of vocabulary, ignorance of sen-
tence forms, failures in clearness, false placing of em-
phasis. If the authors of such publications are too far
advanced in life to profit from instruction in high school
English classes, they should engage the teacher of En-
glish in a neighboring high school to revise the manu-
script for the press. These teachers would feel per-
fectly at home, since the task would be similar to their
daily grind in the correcting of student themes. Their
remuneration should be very slight, for the wretched
English we have to read is a stigma upon their own
reputations. With all the millions of themes written,
criticized, and rewritten by millions of students in our
high schools and colleges, why is it that in simple clear-
ness we fall so far behind such writers as Bunyan,
Defoe, and Franklin? And where is the conscience of
the publishers of such books? Does a monetary profit
atone for the absence of all literary fineness, all dis-
tinction of tone, all sense for style? We might do
better if half our writers of popular books of informa-
tion would go into training and become revisers for the
other half! O. D. Wannamaker.
Auburn, Ala., Dec. 5, 1913.
"YE" AND "AMPERSAND."
(To the Editor of The Dial.)
How does it happen that in copying and readingancient
manuscripts we call the character our ancestors meant
for "the " by the ridiculous "ye'? They said "the " just
as we do, and the only apparent reason for mistaking
the character is that two centuries ago the letter "h"
was usually written with a tail below the line, and with
a razeed top, which made it look like our "y." Then
the word was so frequently used that it was contracted,
just as the word "and" was then treated, and continues
to be treated to this day by many of us. When I was
a boy, more than eighty years ago, the alphabets in our
school books always ended with the "short and." We
called it "ampersand," and considered it a fine snapper
when we rattled off the alphabet. Sometimes when
sufficiently cultured we gave it the full title "and-per-
se-and." Now it is likely that our "&" will become
obsolete, just as "ye" has become. Then our descend-
ants of the next century or two will be puzzled, perhaps;
but I do not think they will be so foolish as to say
"ampersand " when reading our manuscripts and com-
ing to the little quirk we meant for " and." Do let us
drop saying "ye." Samuel T. Pickakd.
Amesbury, Mass., Dec. 3, 1913.
A MEMORIAL TO SYDNEY SMITH.
(To the Editor of The Dial.)
I beg the favour of your and your readers' kind con-
sideration of an appeal which several English public
men and women (including the Countess of Carlisle, the
Secretary to the Board of Trade, the Right Hon. Sydney
Buxton, M.P., the Archbishop of York, Viscount Knuts-
ford, and the Hon. Sydney Holland) are issuing, for a
suitable memorial to the memory of that great friend
of America, the wise and witty Sydney Smith, founder
of "The Edinburgh Review," able writer, and phil-
anthropist. He has been described as "the greatest
humorist whose jokes have come down to us in an
authenticated and unmutilated form."
He had an unstinted admiration for your great coun-
try, which afforded in his opinion "the most magnificent
picture of human happiness" which the world had ever
seen.
We hope to commission a good artist for a bas-relief
portrait and inscription in the fine old Church of Foston;
and we also want to provide a good institute for the twin
villages where Sydney Smith lived.
The Committee hopes that you may incline to help
us. Subscriptions should be sent to (Canon) W. H. Carr
or myself, care The London Joint Stock Bank, York,
England, and will be acknowledged formally.
Any help you can give will be gratefully appreciated
by the Committee. Ernest E. Taylor,
Hon. Secretary.
Malton, Yorkshire, England, Nov. 28, 1913.


518
[Dec. 16
THE DIAL
The English at the South Pole.*
Curious mixtures of good and evil, wisdom
and folly, ability and incompetence, we jog
along through this world, making what we can
of ourselves and our environment. Then, some-
where in our midst, arises a man who does the
things we have vaguely wished to do, and
expresses in tangible form the realization of
our ideals. It is not, properly speaking, a mat-
ter of genius. The man of genius is one who
possesses a particular kind of ability in a very
high degree, and is, as a rule, anything but
representative of the social ideals of his age.
He is not necessarily honest or virtuous outside
of his particular field of activity. Our debt to
genius is enormous, but these intellectual giants
are no more to be imitated by us than the
physical giants of the dime museum. There is
of course every transition between the different
types of men, and few if any fall without quali-
fication into a particular category; but we seem
to need a new descriptive term for the small
but enormously important group of those who
represent the gold of the common people with-
out the dross, and thus appeal to that which is
in every one of us, awaiting new stimuli to
development. Pedagogically, the distinction here
indicated is of the greatest importance. What
we may become, individually and nationally,
depends to a critical degree upon our ideals,
and these ideals will never fructify unless they
are more or less capable of being realized. Incal-
culable harm has come from holding up before
the young, as worthy of emulation, those who
by no means illustrate the normal development
of our abilities or desirable social activities.
Christianity itself exhibits the classical example
of this unhappy confusion. Christ as a miracle-
worker, Christ as the Lord of Heaven, is above
and beyond us; it is Christ as an illustration
of the possibilities inherent to some degree in
every man who is the real mainspring of the
Christian faith; and the idea that he was an
actor playing a part, instead of a man living a
man's life, is fatal to the very spirit of the
religion he founded, as well as contrary to the
obvious historical facts.
We have in the history of the world and of
our nation men who, in their day and genera-
"Scott's Last Expedition. Arranged by Leonard
Huxley. With a preface by Sir Clement R. Markham. In
two volumes. Illustrated in color, photogravure, etc. New
York: Dodd, Mead & Co.
tion, realized social ideals, but it is not enough
that such men once were great, as were our
Lincoln and Washington. It is already diffi-
cult to picture them in this environment; and
the attempt, while profitable up to a certain
point, begins to savor a little of that incongruity
which attached to speculations as to what would
happen if Christ came to Chicago. It appears
to be necessary that each new period should
have heroes of its own, belonging to it and
characteristic of its particular field of progress.
When we ask ourselves what sort of man the
modern hero may be, we realize at once that he
may be of many kinds, suiting the diversified
civilization in which we live. He must, however,
represent his country in its function of helping,
not destroying, the prosperity of the rest of the
world. If he is engaged in scientific work, he
may be said without qualification to do this
thing. He must work hard and continuously,
paying as close attention to small as to great
matters, not seeking to succeed by some sudden
spectacular play. He must rise superior to the
common vices of his kind,—to commercialism,
sensationalism, and the rest. Then, beneath all
this, he must be filled with the zeal and love of
his fellows which have always marked his kind;
and then, as the one thing which enables him
to use his powers to the utmost, he must be
without fear. Such a man may be an example
to us, not because we may be like him, but be-
cause his virtues are all such as we may cultivate,
and can vastly improve by cultivation.
General as our definition is, we have only to
attempt to apply it, to see how few men it will
absolutely fit. It does, however, entirely fit
Captain Scott and his companions who perished
on their journey from the South Pole. This
fact must answer forever the question "Was it
worth while?" Was it worth while, indeed, to
vivify and confirm the best ideals of the whole
Anglo-Saxon race? Was it worth while to show
the whole world that the sacred flame is yet alive,
that the mass of degradation which has piled
upon us in so many ways has not yet extin-
guished the basic virtues of mankind? Was it
worth while, especially, to show that the best
spirit of to-day, which stands for hard work
unaccompanied by pomp and circumstance,
offers possibilities of achievement second to
those of no other age?
The circumstances attending the death of
Scott and his fellows appeal strongly to our
emotions. Probably very few have read of them
unmoved. We cannot help wishing very, very
keenly that they had come through alive. Yet,


1913]
519
THE
DIAL
when we consider the whole history of the ex-
pedition, and the lives of those men as revealed
by the record, it is impossible not to see that
the sacrifice is justified.
When we read the whole record, as now pub-
lished, we get some idea of the vast amount of
scientific work accomplished, and the difficulties
and dangers overcome in doing it. Unfortu-
nately it is not possible as yet to give any proper
abstract of the scientific results, as it will take
many months, at least, to go over all the ma-
terials collected, and arrange the data obtained.
In the meanwhile, the public must believe those
who know something of this work, when they
say that it will contribute to the understanding
of innumerable problems of importance for sci-
entific progress. The second volume describes
the various journeys for scientific purposes,
other than that to the Pole. The men did not
spare themselves in the effort to make the most
of their opportunities, and in fact took risks as
great in many directions as they did in going to
the Pole. Thus the midwinter journey to Cape
Crozier, undertaken to obtain the eggs of that
singular and primitive bird the Emperor Pen-
guin, certainly justified Captain Scott's remark
when the men returned: "But look here, you
know, this is the hardest journey that has ever
been made." The three men who did this work
were Wilson, Bowers, and Cherry-Garrard, the
first two afterwards Scott's companions in the
final catastrophe on the way from the Pole. As
we read the details we see clearly that while
every precaution was taken to insure safety, it
was really impossible to avoid danger; over and
over again circumstances arose which might, had
things gone a little wrong, have proved fatal.
There was no recklessness, certainly no desire
to take any needless risks, but in order to do the
work it was necessary to take chances.
On the journey to the Pole the attitude was
the same. In his last message to the public,
Captain Scott says: "I maintain that our
arrangements for returning were quite adequate,
and that no one in the world would have ex-
pected the temperatures and surfaces which we
encountered at this time of the year. On the
summit in lat. 85°-86° we had 20°,— 30°.
On the Barrier in lat. 82°, 10,000 feet lower,
we had —30° in the day, —47° at night pretty
regularly, with continuous head wind during our
day marches. It is clear that these circumstances
come on very suddenly, and our wreck is cer-
tainly due to this sudden advent of severe
weather, which does not seem to have any satis-
factory cause." In the Meteorological Report
by Dr. Simpson (vol. 2, p. 319) attention is
called to the continual blizzards experienced by
Scott's party, and the comparatively fine weather
reported by Amundsen. After a close study of
all the data, it is concluded that "one can now
say definitely that the blizzards which have been
so fateful to British Antarctic exploration are
local winds confined to the western half of the
Ross Barrier." Thus, as we can now see, the
Norwegians not only had the advantage of a base
nearer the Pole, but were in a region of better
weather. Nevertheless, Scott's party would still
have come through alive, but for the sickness
which overtook them and the shortage of fuel.
The loss of oil through evaporation is explained
in the appendix, but it certainly ought to have
been possible to guard against it. The oil, how-
ever, would still have been sufficient except for
the extreme cold and the delay.
In spite of everything, rescue might have
been possible if those who went out to meet the
returning polar party had been able to go a little
farther. On March 10, Cherry-Garrard and
Demetri, with dogs, were at One Ton Depot,
only eleven miles from the place where Scott
and his companions perished. Had they been
able to proceed for a few days and deposit the
two weeks' provisions they had brought, this
would have saved the party; but the bad
weather and their physical condition made this
impossible. On March 10 Captain Scott wrote
in his diary: "Yesterday we marched up to the
depot, Mt. Hooper. Cold comfort. Shortage
on our allowance all round. I don't know that
anyone is to blame. The dogs which would have
been our salvation have evidently failed." Thus
the disaster was due to a combination of adverse
circumstances, which could not be overcome in
spite of every effort; and though we can now
see how it might conceivably have been pre-
vented, every man did his very best at the time
in the light of such knowledge as was available.
There is absolutely no justification for the
suggestion which has been lightly made, that
the polar party, after losing priority in the dis-
covery of the Pole, had no heart to do their
best. One hesitates even to mention such an
idea, and I do not believe it is possible care-
fully to read the narrative and still entertain it.
Naturally and very properly, they desired prior-
ity in this matter, but it was by no means their
only aim. In October, 1911 (vol. 1, p. 297),
Scott wrote: "I don't know what to think of
Amundsen's chances. If he gets to the Pole, it
must be before we do, as he is bound to travel
fast with dogs and pretty certain to start early.


520
[Dec. 16
THE
DIAL
On this account I decided at a very early date
to act exactly as I should have done had he
not existed. Any attempt to race must have
wrecked my plan, besides which it does not
appear the sort of thing one is out for." On
the whole journey, the scientific end was kept in
view; and even during the difficult march down
the glacier, Dr. Wilson studied and sketched
the geology, while very important collections of
fossils were made, which will throw a flood of
light on former conditions in the south, and
have an important bearing on general problems
of evolution. These fossils were dragged, in
spite of every hardship, to the last camp.
The volumes are abundantly and beautifully
illustrated, principally by drawings by Dr. E. A.
Wilson and photographs by Mr. H. G. Ponting.
Mr. Leonard Huxley, who arranged the mate-
rials, seems to have done his work well, and the
type and paper leave nothing to be desired. A.
few small misprints or errors in copying should
be corrected; thus in vol. 1, p. 413, "shipped"
should apparently be "slipped," and on p. 417,
line 9, "last" should be "hot," as the facsimile
of Scott's letter plainly shows.
After a time, especially when a good abstract
of the scientific results can be added, a smaller,
single volume should be published, giving the
account of the polar journey and a brief discus-
sion of the other work. No doubt this will be
done; but, in the meanwhile, the two-volume
edition will have a wide circulation, and thanks
to the public libraries, will be available to thou-
sands who could not afford to purchase so large
a work. Parents and teachers should make
themselves familiar with the facts, and the story
should be told to successive generations of young
people for many years to come.
T. D. A. COCKERELL.
Modkiin Ideas on Stage Setting.*
Those who wish to be up to date in the arts
have a busy time nowadays, especially those
devoted to the drama. Every season brings its
new excitements. The drama is one of the most
ancient of the arts, but it appears just now to
attach less value than any other to the achieve-
ments of the days of old. Even the art of
•The New Spibit in Drama and Art. By Hnntly
Carter. Illustrated in color, etc. New York: Mitchell
Kennerley.
Towards A New Theatre. Forty Designs for Stage
Scenes, with Critical Notes by the Inventor. By Edward
Gordon Craig. Illustrated. New York: E. P. Dutton & Co.
Max Reinhardt. Von Siegfried Jacobsohn. Illustrated.
Berlin: Erich Reiss Verlag.
painting is less perturbed. Fiction, which rivals
the stage and the picture in the popular mind,
is staid in comparison.
So far as the drama is concerned, we in
America, as a rule, get only the echoes of the
great things being done. If we have a drama
and dramatic ideas of our own, they take but
a slight place in the minds of cultivated people
when compared with the sensations we get from
abroad. American playwrights have produced
many plays which have been extremely popular
in America and elsewhere. Some, indeed, have
produced plays singularly characteristic; few
dramatists in the world have produced anything
as typical of the society in which they live as
Mr. George W. Cohan. But in the main, recent
excitements have come from abroad. Ibsen,
Maeterlinck, Rostand, Bernard Shaw and
Yeats, Synge and Lady Gregory,— we have
nobody who fills such a place in the eyes of the
world as any of these.
Not merely is this so in the writing of plays,
but in the setting of them also. The present
is a time of immense activity abroad in dramatic
productions, — in the minds of many, the pro-
ducer seems more important than the poet.
These activities are little known among us.
"Everyman" and Shakespeare without scenery
we appreciated; "Sumurnn" and "The Yel-
low Jacket" also pleased, as they say; the
Russian Ballet and "The Blue Bird" are even
now received with warm welcome. We have
heard of Gordon Craig and Max Reinhardt.
But the connection of all these, — what they
have to do with each other, how any of them is
different from any other dramatic sensation,—
is something that few of us know or care any-
thing about. We in America are, on the whole,
well content with the realistic stage. Mr.
Belasco is our ideal. We do not, in theory,
attach much importance to the matter of stage
setting.
Yet one can see that importance may be at-
tached to it. The Shakespearean performance
without scenery showed us how different we are
from the Elizabethans. We cannot enjoy a
drama without setting. "The Yellow Jacket"
was an exotic: amusing, and to many more than
amusing, but not something that stimulated one
to follow. Absolute imagination will not do for
us. But a little thought shows that a realistic
presentation, whether of Shakespeare or of any-
thing else, can never be the best that art can do,
partly because the better it is the less imaginative
is it; and partly because however good it is, it
can never be more than moderately realistic,


1913]
521
THE DIAL
never really real. However far we go with real
water and real trees and so on, there must always
be so much convention on the stage that there
might as well be more,—if there be anything to
be gained by it.
The bare Shakespearean stage has been a
challenge to the theatre of to-day.
"The best in this kind are but shadows,"
said the good-natured Theseus, as he looked at
the clumsy attempts at realism of the Athenian
clowns, "and the worst are no worse if the
imagination amend them."
"It must be your imagination, then," said the
impatient Hippolyta, "and not theirs."
How stir the imagination of the audience?
Shakespeare did it with poetry and rhetoric,
and his actors helped him out with elocution
and gesture. But we prefer our poetry and our
rhetoric in books, and elocution and gesture we
incline to leave to the politician. What can the
stage give us? Realism, it was thought; and so
we still think in America.
But elsewhere they think differently. How
to suggest the spirit of the play, how to make
the art of the theatre really an art, how to*nake
the drama truly a thing of the theatre,—those
questions interest people abroad. To state what
they have done and what they hope to do was
the purpose of Mr. Huntly Carter in the tour
among continental cities in which he gathered
material for his book. He wanted to observe
and to study the new spirit in the drama (which
to him, apparently, was most active on the mate-
rial side), to generalize or get by intuition the
secret of the movement. I am sorry that I must
begin by being disagreeable, and saying that he
does not seem very successful in his latter effort.
Many will be pleased at his material who will
by no means think he has been successful in
analyzing or in expressing the spirit which gives
it life. Owing, perhaps, to my not knowing
enough to start with, I find it impossible to see
what he has seen in the things he tells us of.
His evidences are still chaotic in my mind. One
better acquainted with such matters, or perhaps
more sensitively attuned to their novel rhythms,
will do better. The book is almost a journalistic
summary of what the author observed upon his
brief trip. Yet even so. there is much in it that
will be very interesting; certainly there is much
in the way of picture and plan, fact and refer-
ence, that it would be very hard for one to get
at otherwise. And to have done so much is no
slight task; while to generalize on such material
is still more difficult. No one has yet done it
satisfactorily. There are productions of the new
movement all over Europe, but no common aim
is obvious. I utterly disbelieve that all are aim-
ing at Rhythm, as Mr. Huntly Carter appears
to think; but what they are aiming at is by no
means clear. Some are trying for one thing,
some for another. Reinhardt, Gordon Craig,
Bakst,— to mention a few,—agree in one thing:
they are not realistic. But otherwise it would be
hard to find much in common, for instance, in
Reinhardt's production of Gorki's " Nachtasyl,"
Bakst's "Scheherazade," and Gordon Craig's
drawings for "Macbeth." All are entirely ar-
tistic, without doubt; but each seems intent on
working out ideas of his own. We may doubt-
less see this much, that all three aim at signifi-
cance in their settings. And herein lies the im-
portance for the drama of these matters, which
might otherwise seem rather material. As the
tendency of all this theatrical movement is from
realism to significance, so has been the tendency
of the drama. Ibsen, the great dramatic influ-
ence of modern times, is wrongly understood if
he be thought to be realistic; his whole tendency
is toward significance. His plays, plots, char-
acters, words, all stand for something. So this
theatrical movement is in the same direction,
Mr. Carter would say; in fact, it precedes the
dramatic. As the drama is really a matter of
the theatre, the change in the theatre is a change
in the drama.
Mr. Carter presents a mass of material on
this subject containing much that will be new
to almost anybody. Of the many subjects he
deals with, two at least are worth saying more
about, — namely the work of Max Reinhardt
and of Gordon Craig. People may easily find
out for themselves something about these two:
a while ago we called attention to the latter's
book, "On the Art of the Theatre," in which
he propounded his theories; this was followed
by the present work," Towards a New Theatre,"'
which gives some ideas as to how he would carry
out his ideas.
Gordon Craig differs from Max Reinhardt in
one important respect. Max Reinhardt has for
some time been able to carry out his own ideas.
He has been a regular producer of plays for a
long time; and while he has an abundance of
ideas on that subject he does not go beyond it.
Mr. Craig, too, has been producing plays, but
only that he might learn how to produce; his
real idea has been to express himself, not to real-
ize the impressions of others. Since Reinhardt
became his own master, as we may say, he has
produced over a hundred plays as different as
Gorki's "Nachtasyl" is from Oscar Wilde's


522
[Dec. 16
THE DIAL
"Salome." But he has always had one princi-
ple in mind, and that principle is the same that
is of importance to Mr. Craig, namely, the idea
that stage setting is to strive against natural-
ism,— that it is to be decorative rather than
realistic,— that one is to use color, light, ma-
chinery, all the resources of modern art, in ex-
pressing the idea. Add to this the feeling that
the piece for the theatre is for the theatre, and
not a matter of philosophy, morals, or any-
thing else but the theatre, and you will see that
there will be something in common between the
settings of Max Keinhardt and the sketches of
Gordon Craig. I wish there were something
in English about Rein hardt that one could refer
to. The book by Jacobsohn will be of interest;
but it appears to me to be too largely an account
of details and not enough a presentation of aims
and purposes. Perhaps in Germany those mat-
ters are so commonly understood that one can
take them for granted.
Gordon Craig is of more interest to us
because we can study some, at least, of his work
at first hand in the collection before us. His
fundamental idea differs from that of Max
Keinhardt, in that it is, if one may say so,
more fundamental. Keinhardt believes that one
should present plays in a certain way; Mr.
Craig believes that presentation of plays is but
a part of the artistic process which should con-
ceive, express, present, in the theatre as in the
other arts. Mr. Craig, therefore, is the more
radical, the more far-reaching of the two.
Nothing he has yet done is a full carrying out
of his idea. He has had to handle other men's
ideas in his own way. The real thing he wanted
to do was to handle his own ideas in his own
way. His plan is not that scenery), lights, cos-
tumes should be used iu such and such a way
to present the thought, language, characters of
Shakespeare or sombody else, but that scenery,
light, costume, as well as thought, language,
poetry, should be the means whereby the artist
of the theatre sought to express himself.
Such an idea cannot come to expression
nearly so easily as an idea like that of Max
Reinhardt, which limits itself to production
rather than creation. It is said, however, that
a plan has finally been formed whereby real
advance will be made. In the London " Times,"
some time last February, announcement was
made that Lord Howard de Walden had pro-
vided the funds necessary to start Mr. Craig's
School for the Art of the Theatre. This school
is not in London, but in the Arena Goldoni in
Florence, one of the most beautiful open-air
theatres in the world. I have heard nothing
of the project since last summer, but I men-
tion it to show that this book of Mr. Craig's
is a sort of exhibit of what he has been able
to do before he was able to do what he actually
wanted to.
The first impression of Mr. Craig's forty
plates will, save to the fully initiated, be very
confusing. But when you have become used
to the style, and have mentally put together
those that are but suggestions of theatrical pos-
sibility, for instance, and those that are scenes
of plays actually presented and so on, you will
begin to feel more at home. Note the sketches
for the scenes in "Hamlet" and "Macbeth":
they would not serve as models for a stage
manager, perhaps, but they are easily under-
stood. Then look at some of the scenes or set-
tings never realized: "Henry V.," "Hamlet"
(in the frontispiece), "Dido and iEneas."
Here the artist is freer, perhaps less bound by
the thought of another, more clearly bent upon
rendering some sort of impression or sensation.
Then look at some mere suggestions: "Enter
the Army," "The Steps," "Study for Move-
ment." When you are used to the manner you
will readily catch the general idea, at least.
Such things will undoubtedly be mere fan-
cies to many, if not crazy visions. Many who
glance at them may not have the patience to
look at them long enough to see what they are
about. But to me they are of an immense
value, far greater than that of the photographs
of the actual settings of Max Reinhardt in Mr.
Jacobsohn's book. I will not pretend to have
always a good idea of their purport or always
to like them. I often fail to get Mr. Craig's
idea, or else do not sympathize with it when I
do get it. But if I do not always appreciate
the plates themselves, I believe I do appreciate
their spirit; and that is something so valuable
that were it possible it would be well worth
while to work over the things one did not under-
stand till one did understand them, and to
study the things one did not like till one did
like them. Get a mind like Mr. Craig's full
of a fine idea, and it is something worth having.
Do not fancy that his work for the stage is con-
nected with this kind of scenery or that, with
this kind of costume or dancing, or some other.
He will use any of such things or all of them,
whatever be the right things, for the carrying
out of whatever idea he may have iu mind for
artistic expression. His main idea is to present
a motive by means of the theatre, which means
by whatever resources the theatre may possess:


1913]
523
THE DIAL
poetry, music, acting, dancing, scenery, light,
costume, and whatever else there may be.
And it would be a mistake to imagine that
these things concern only the theatrical manager,
or the actor, or the person who goes to see plays.
If you understand them thoroughly (not through
such transmissions as have preceded), you will
find them the most influential ideas in the study
of the drama that you have ever known. Read
a play of Shakespeare's and imagine that you
have the chance to devise a setting for it. Do
not be disturbed because you could not pos-
sibly do so; go right ahead. Think first what
it would be to devise a setting archseologically
correct; then try to devise a setting that will
truly present the spirit of the play. Never
mind if you have no idea how to design: the
main thing is that you should first appreciate
the spirit of the play. Read a play of Ibsen's
and ask yourself how you will set it. Will you
try to present the miserable family of a Nor-
wegian roue or the ill-assorted marriage of some
high-spirited woman? Or will it be something
larger, something more significant, in the his-
tory of humanity? In some such way, I fancy,
may one see that all these experiments on stage
settings are illuminating even to one who studies
the drama as literature. For even if litera-
ture, certainly the drama is theatrical literature.
Whatever else they may be, the plays of Shake-
speare are plays, — not poems, or novels, or
essays. And if one wants to understand a
play one must do at least something to realize
it as a play. So Shakespeare did, and so Ibsen
and the rest; and so must we if we would know
them- Edward E. Hale.
Recollections of an American
Singer.*
The volume of reminiscences by Clara Louise
Kellogg takes us back to an epoch in singing
and stagecraft which seems to have definitely
closed, for the time being at least; with small
indication that its purposes and ideals will ever
find such revival as the more potent manifesta-
tions of art are sure to evoke. The coloratura
singer and the melodramatic opera are no doubt
still with us, but our admiration and enjoyment
are subject to an undercurrent of influence which
emanates from the strenuous teachings of Wagner
and his compeers. Nevertheless, there is many
a good word which may truthfully be said in
•Mkmoirs ok an American Prima Donna. By Clare
Louise Kellogg (Mine, ijtrakosch). Illustrated. New York:
G. P. Putnam's Sons.
favor of the bel canto, the dazzling Italian opera
of the florid school, and the singers who were
made illustrious by these outbursts of the musical
spirit. Clara Louise Kellogg ranks with the
best coloratura singers of history, and she had
many elements of high character which were
often lacking in other representatives of the
school to which she belonged. She had excep-
tional understanding of the numerous operatic
roles in which she appeared; she had education
and refinement; she had acquaintance with the
great worlds of art and literature and mankind;
she came to her task unspoiled by a too solici-
tous induction into conventions and traditions
which are fetters and disturbers until so mas-
tered as to become useful servitors and assist-
ants; and she brought to whatever she did her
native spirit of generosity and courage and cul-
tured intuitiveness. In consequence, her book
abounds in appreciations of high interest, in a
remarkably just apprehension of her own work
and art, and in a wealth of suggestions which
the singers of to-day will find it desirable to heed
and obey. The general impression derived from
the volume is therefore wholesome,enlightening,
and even inspiring.
Clara Louise Kellogg was born at Sumter-
ville, South Carolina, of Northern parentage.
The family soon moved to Derby, Connecticut,
where her earlier years were spent. Of her
negro nurse she tells the following story:
"She used to hold me in her arms and rock me back
and forth, and, as she rocked, she sang; I don't know
the name of the song she crooned, but I still know the
melody, and have an impression that the words were:
'Hey Jim along, Jim along Josy;
Hey Jim along, Jim along Joe.'
She used to sing these two lines over and over, so that
I slept and waked to them; and my first musical efforts,
when I was just ten months old, were to try to sing this
ditty in imitation of my negro mammy. When my
mother first heard me, she became apprehensive, yet I
kept at it; and by the time I was a year old, I could
sing it so that it was quite recognizable."
The father and mother were musical, and the
child was early taught to use her voice. She
had the gift of absolute pitch, which afterwards
came into useful activity when her artistry was
delighting two continents. She tells us that she
always heard a melody in the key in which it
was written; and as it sometimes happened that
the same tune was played or sung in a different
key, the consequent discords were distressing to
her. She had originally no intention of going
on the stage. She says: "All I decided was to
make as much as I could of myself and my voice.
Many girls I knew studied singing merely as an
accomplishment. In fact the girl who aspired


524
[Dec. 16
THE DIAL
professionally was almost unknown. I studied
first under a Frenchman, named Millet, a gradu-
ate of the Conservatory of Paris; later I worked
with Manzocchi, Rivarde, Errani, and Muzio,
who was a great friend of Verdi." Muzio was
her especially devoted teacher and adviser, and
doubtless from him came the first impulse to
go on the stage. Among the singers whom she
heard at this time, and who influenced her pro-
gress and determination, were the English artist
Louisa Pine, and the greatly lauded Piccolomini,
who is described as being like the German prima
donna, Lucca,—small and dark and decidedly
clever in comedy. But the idol of her youthful
years was the stately and refined Madame De
La Grange, a vocalist and actress of the highly
finished French type.
Opera in New York had gone through a num-
ber of vicissitudes before Miss Kellogg's debut
was made. The early travelling companies had
culminated in something like a genuine season
of opera under Garcia, whose famous daughter,
Malibran, sang in New York before her phenom-
enal successes in Europe. Lorenzo Da Ponte,
the restless and eccentric librettist of some of
the Mozart operas, who had come to America to
restore his waning fortunes, assisted in the ad-
venture, which was by no means assured of suc-
cess. Then came the labors of the Strakosches,
under whom arose the wonder of Adelina Patti's
performances; and later appeared Maretzek,
characterized in this book as " the magnificent."
Our author adopted the stage only after some
reluctance, and her family was never wholly
reconciled to her determination. She thus de-
scribes her debut, as Gilda in "Rigoletto":
"My mother was with me behind the scenes, and my
grandmother was in front to see me in all my stage
grandeur. I am afraid I did not care particularly
where either of them was. Certainly I had no thought
for any one who might be seated out in the Great
Beyond on the far side of the footlights. I sang the
second act in a dream, unconscious of any audience,
hardly conscious of the music or myself, going through
it all mechanically, but the subconscious mind had been
at work all the time. The newspapers found my
appearance peculiar. There was about it 'a marked
development of the intellectual at the expense of the
physical to which her New England birth may afford
a key.' The man who wrote this was quite correct.
He had discovered the Puritan behind the stage trap-
pings of Gilda."
Miss Kellogg's first great success was made
in Gounod's "Faust." The opera was then
new, and her performance constituted its intro-
duction to American audiences. The work itself
was at that time considered an extraordinary
reversal of the musical conventions. It was
regarded as the beginning of a revolution in
opera, so completely were the Italian traditions
antagonized in its structure and methods.
"On the other side of the world people were all
talking of Gounod's new opera — the one he had sold
for only twelve hundred dollars, but which had made
a wonderful hit both in Paris and London. It was said
to be startlingly new; and Max Maretzek, in despair
over the many lukewarm successes we all had, decided
to have a look at the score. The opera was ' Faust.'
"With all my pride I was terrified and appalled
when the ' Magnificent' came to me, and abruptly told
me that I was to create the part of Marguerite in
America. This was a large order for a girl of twenty;
but I took my courage in both hands and resolved to
make America proud of me. I was a pioneer when I
undertook Gounod's music, and I had no notion of what
to do with it, but my will and ambition were to meet
the situation."
The part became one of the best in her reper-
toire; and it is interesting, even to-day, to read
what such critics as George William Curtis said
about it. The novelty of the opera and the in-
spiration of the singer very evidently impressed
the listeners. The rapid changes in opinion
to-day about the new composers — Debussy,
D'Indy, and others — are probably significant
and instructive in the same way.
After her decisive American successes, the
singer went abroad and appeared in England
and Austria and Russia. One may refer again
to the generous critic in " Harper's Easy Chair"
who followed her triumphant processions and
made his witty and appreciative comments
thereon, beholding the young American girl in
her European surroundings, bringing her art
wholly developed on this side of the ocean to the
consideration of the old-world connoisseur, who
placed it on a par with the best of his own con-
tinent. Then followed many ventures in opera
and concert; and, finally, the retirement, with
honor and hearty recognition everywhere.
A word should be added here concerning the
singer's efforts to place opera in English worthily
and adequately before the public. For several
seasons she was at the head of companies pro-
ducing the standard works in English; and
seems to have made substantial successes, from
both the filiancial and the artistic points of view.
Now that the question of opera in English appears
to be again before the public, it may be worth
while to find out from this book what one has
to say who has toiled in that field with reason-
able success at a time when the effort was
probably more difficult than it is to-day.
This review cannot close without reference
to the many passages in the book where the
author writes about her own art, always with


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525
THE DIAL
singular freedom and admirable insight. These
passages, which are scattered liberally through-
out her volume, show the bent of her ability,
and explain the character of her achievement.
Her art had in especial the traits of refinement
and intelligence, and her book is full of pene-
tration into the secrets and labors of the singer
and the actor. Her generous allusions to her
fellows, her hearty humor and glancing wit, her
memories of the notables whom she met in many
places, all help to make up a book that cannot
fail to prove of both profit and interest to its
readers. The reproduction of old daguerreotypes
and photographs, curious and varied, gives an
added attraction to the volume.
Louis James Block.
India the Contradictory.*
Very rarely does a reviewer light upon two
volumes so delightfully antithetical as the first
and second listed below. In reading them, one
looks at India through the eyes of two women
who could not have seen and reported more
contradictorily if they had come from different
planets. Miss Margaret E. Noble was an Irish
woman who became a convert of the picturesque
Swami Vivekananda and identified herself so
effectively with her adopted cause that she was
soon known to a multitude of Hindus as Sister
Nivedita ("The Dedicated"). Dr. Munson is
an American woman who went to India as a
medical missionary. Both crossed the seas in a
laudably generous spirit of devotion to the hap-
less millions of mankind. Both grew to love
"the land of burning plains and snow-crowned
hills and sun-kissed children.'' And strangely
enough, both found, or thought they found, the
supreme gift of peace,—Miss Noble in a mystic
transcendental, modified Hinduism, Dr. Munson
in a practical ministry of healing guided by the
spirit of Him who died on the cross.
But what different Indias they saw! For
instance, if one considers their respective verdicts
on the difficult and insistent problem of native
widowhood, it is almost incredible that two in-
telligent and conscientious women with excellent
opportunities for observation should reach con-
clusions so flatly contradictory as the following:
•Studies from an Eastern Home. By Sister Nivedita
(Margaret E. Noble). New York: Longmans, Green & Co.
Jungle Days. By Arley Munson,M.D. Illustrated. New
York: D. Appleton & Co.
Anglo-Indian Studies, By S. M. Mitra. New York:
Longmans, Green & Co.
"And yet, and yet, is there anything like the radiant
purity of the widow's plain white cloth? Silk for
worship, cotton for daily service — but always white,
without a touch of colour. Perhaps its charm lies in
its associations. The austere simplicity speaks of the
highest only. A heart free to embrace the world, a
life all consecrated, a past whose sorrow makes the
present full of giving, — these are the secrets that the
widow's sari tells.
"For it must be understood that this bereavement is
regarded in India as a direct call to the religious life.
It is the only way in which what is known in Catholic
countries as 'a vocation' can come to the Hindu wo-
man. Her life henceforth is to be given to God, not to
man; and this idea, coupled with an exaggerated respect
for celibacy, gives to the widow, and especially to her
who has been a child-widow, a unique position of influ-
ence in the household. This feeling of reverence per-
sists long after the sentiments of orthodoxy — admira-
tion for long hours spent in worship and for severe
asceticism — have disappeared. Hence it was a modern
Hindu, of the school calling itself Reformed, who said
to me, 'The most stately garment in India is the white
sari of the widow.'" — Sister Nivedita.
"The baby is married, often to a man of middle age,
and long before her half-grown body is prepared, she
is brutally compelled to begin her marital duties, and,
when yet in her own childhood, she becomes, at the
peril of her fragile life, the mother of a necessarily
fragile child.
"If, through overwhelming misfortune, the girl's
husband die, her sins in some former existence are sup-
posed to be the cause of his death, and because of this
she is an accursed thing. Even though but a babe, and
knowing nothing of the dead husband, she is at an early
age stripped of all ornament, and put in the coarsest
raiment, while her head is shaved close and kept that
way. Despised, spat upon, cruelly overworked, starved,
beaten, neglected in illness, forsaken even by those
nearest of kin to her, the child passes her days in abject
terror and despair, until death,usually not long delayed,
blessedly releases her." — Dr. Mitnson.
Nor is the foregoing in any way an isolated
or extreme example, although it occurs in the
most quotable form. The antithesis runs through
every topic. Thus, the converted Irish woman
sees in the native pilgrimages and festivals a
genuine groping through the material toward
the supreme essence of Divinity, while Dr.
Munson sees in them the blind and degrading
superstition of benighted ignorance. Sister
Nivedita believes that devotional meditation is
a form of mind cultivation by which India may
come to stand once more in the forefront of the
nations, and that there is in Hinduism full
sanction for the difficult intellectual transition
through which the present generations of both
East and West are passing. In her devotion
she even shares with the less militant Nation-
alists the confident hope of a to-morrow when
the English will be gone, "leaving an old race
to dream once more the sweet dreams of labour


526
[Dec. 16
THE DIAL
and poetry and beauty, till the net of Maya
shall be broken and they be lost in the ocean
of beatific vision." Dr. Munson sees a better
future for India only in the Christian religion
and occidental guidance toward a slow and pain-
ful betterment. The contrast is complete, and
a reviewer may leave his readers to make their
own decisions unburdened by his reflections.
Turning for a moment to the "Studies from
an Eastern Home," one may report that it con-
tains not only a number of pages such as would
be indicated by the title, but also a concise
account of the author's life and several inter-
esting tributes to her devotion and service. The
essays are twenty-three in number and present
a great diversity of themes, from "The Festival
of Ras" to "The Kashmir Shawl." In all of
them things are seen, or at any rate depicted,
couleur de rose, reflecting the moods of a
thorough-going convert to a vivified Hinduism.
The chapters are uniformly well written and
the treatment unhackneyed. To prospective
readers, however, it might be suggested that a
better starting point for a comprehension of
Sister Nivedita's work would be found in "The
Web of Indian Life," published some ten years
ago. But wherever one starts, one is brought
into the presence of an interesting personality,
which can be intimately comprehended by few
western women and by still fewer western men.
Moreover, one will get a glimpse of India
through loving and glorifying eyes.
Dr. Munson's book is decidedly above the
average "missionary" book in vividness and
interest. The chapters on well-known places
such as Agra and Benares are far from strong,
and might have been omitted without loss; but
when the author is dealing with her own daily
life and work and observation, the pages are
genuinely instructive. For instance, there is
a glimpse straight at the heart of India in the
story of the mother who had been frightfully
bitten by her boy in the final terrible throes of
hydrophobia. Dr. Munson begged the woman's
friends to let her treat the wound, but they
steadfastly refused, saying: "Why should she
live? Will there be au»ht in life for her when
her only son is dead?" And there is some
little revelation also in the writer's conclusion,
"While my professional spirit urged me to save
her life, my woman's heart told me they had
spoken well." At times one is startled by per-
fectly obvious errors, such as the intimation
that the Jains all show Mongolian descent; but
the defects of the book still leave it distinctly
worth while.
The third volume on our list represents yet
another point of view. The writer is an eminent
Hindu lawyer and thinker, who has resided re-
cently in England, and prior to that had spent
several years at the great Moslem centre of
Hyderabad. His avowed aim is the interpreta-
tion of Indian sentiment to the British public
for the mutual advantage of England and India;
and he impresses one as a clear and vigorous
exponent of views honestly held. Naturally a
cultured Hindu is still a Hindu, and our author's
sympathies are obviously with the aristocracy of
his own land rather than with the masses of the
people or their rulers from overseas. But his
observations and conclusions are none the less
valuable when once his point of view has been
noted. His large volume contains sixteen papers
on such subjects as "The Hindu Drama,"
"British Statesmanship and Indian Psychology,"
"Indian Princes," " Industrial Development,"
and so forth. The least convincing chapters
are perhaps those on "Hindu Medicine" and
"Christianity in Hinduism." Thelatterissimply
an unsatisfying collection of parallels, more or
less superficial, such as can be drawn between
any two systems of religion. In the former,
Mr. Mitra seems to maintain the superiority of
the Hindu Kaviraj to the occidental specialist,
and he claims a high level of hygiene at the basis
of Hindu life. This chapter makes particularly
interesting reading to one who has just risen
from Dr. Munson's account of what she found
in her medical work from day to day.
For many readers, the most attractive sections
will probably be those on "The Moslem-Hindu
Entente Cordiale" and "The Indian Unrest."
In the former Mr. Mitra claims that the followers
of these two religions could go on living peace-
fully and sanely side by side even if British
control were withdrawn. In support of his
contention he adduces his own experience as a
lawyer representing the moslem government of
Hyderabad, and the historical situation under
the Mogul einperors when Hindus often rose to
political and military eminence. Such a belief
of the probable cordiality between the two great
faiths is certainly worth considering; but with
all deference to Mr. Mitra's authority, the re-
viewer is unable to accept it as valid. On the
topic of Indian unrest, our author largely rejects
the conclusions of Sir Valentine Chirol, who holds
the Brahmans responsible for most of the dis-
content and practically all of its violent manifes-
tations. Mr. Mitra denies that the Brahmans
are primarily responsible, and comes out point-
blank with the charge that "the arrogance of


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527
THE
DIAL
the low Europeans is the bed rock on which the
citadel of sedition is built." "The so-called ad-
ministrative 'reforms' do not touch the masses,
but the low European's kick touches the backs
of the masses more than the English higher
official classes can conceive." Again, he states:
"Unrest is the consequence of racial hatred,
arising from the conduct of some members of
the dominant race." Obviously this is not an
adequate explanation. But it does touch a real
grievance, deserving more attention than it has
received; and it may be said with confidence
that ordinary politeness on the part of all
Europeans, not merely on the part of the better
Europeans, would go a long way toward lessen-
ing the constant irritation. Unfortunately,
recent letters from Calcutta make it clear that
the evil is not on the wane; and it is high time
that the well-meaning British government took
more vigorous steps to promote decency of de-
portment, even in the lowest ranks of incoming
Europeans. In any event, Mr. Mitra's com-
plaint is timely, and may do good in this partic-
ular connection, just as on the whole the essays
that make up these "Anglo-Indian Studies"
ought to serve a very useful purpose.
It is difficult to close this notice without
including a few paragraphs of a general nature
dealing with the larger problems raised by these
three divergent volumes; but it has seemed pref-
erable to use our limited space to indicate the
more clearly the nature of the books themselves.
And after all, it may easily turn out that the
contrasts and contradictions we have suggested
are in themselves the most significant comment
on a number of the important questions that
constantly thrust themselves at every intelligent
reader who has once turned his eyes toward the
most picturesque land in the world.
Fred B. R. Hellems.
The Poetry of Ancient Ireland.*
Whatever may be thought a generation hence
of the plays and poems of the Dublin school of
to-day, there will be no doubt as to the perma-
nent value of its scholarly accomplishments.
The Celtic revivalists have introduced the
English-speaking public to the great mass of
their beautiful national legend and poetry which
for centuries lay buried in Gaelic manuscripts
scattered over Ireland. With an admirable
•Thb Pokm-Book of the Gael. Translations from
Irish Gaelic Poetry into English Prose and Verse. Selected
and edited by Eleanor Hull. Chicago: Browne & Howell Co.
combination of exact method in dealing with
their difficult material and of reverential zeal
for the traditions of their ancestors, they have
enthusiastically hunted out, edited, and trans-
lated all the important relics of early Irish glory,
and by so doing they have enriched the univer-
sal store of beauty as well as added pride to an
already noble history.
The collection of poems made by Miss Eleanor
Hull from the many volumes of work by these
student patriots is in one respect the most satis-
factory of the numerous similar anthologies
published within the last decade, — the range
of material represented here is unusually wide
and characteristic. There are some fine ex-
amples of ancient pagan poetry, and there are
a few nearly as lovely old Christian lyrics; there
are the nature songs of Ossian and his fellow
minstrels, and the historic ballads "of the dark
days" in Ireland; there are folk songs, religious
and secular, some from the twelfth century
and some by our own contemporaries. The
volume, in short, deserves its title, — it is really
a poem-book expressing from every facet the
experiences of the Gael, and his moods.
In an interesting Introduction, the editor tries
to define the Irish temper and its varieties.
She agrees with nearly all students in the field
that as we read ancient Celtic literature we have
a feeling of being "hung between two worlds,
the seen and the unseen," and that the vivid-
ness of the Gael's vision of the unseen always
conditions his reading of the actualities about
him. All of the best modern work shows this
quality quite as clearly as the legends of Deirdre
and Fionn and the race of semi-mythical heroes
in the older world. Yeats and Synge, — the
first at times so involved in his own perceptions
that he can scarcely distinguish a color from a
thought, the second so sympathetic with the tem-
perament that he is able to represent it in action
with its results crowding upon it embarrassingly
in a concrete modern environment, — both these
poets show all the marks of direct descent from
the prehistoric bards. In the anthology before
us there is every sign that in the long history
outlined here, the continuity of this racial mood
has been so complete as to unify one of the most
troubled experiences it has ever been a people's
fortune to live through.
From the poems in the volume it is difficult
to select for quotation, the several examples are
all so interesting. It is difficult to decide, for
instance, whether the purely pagan poetry of
the fairies,— the magic charms easing the pains


528
[Dec. 16
THE DIAL
of birth and death, the riddling invocations to
the great nature powers,— or the thinly Chris-
tianized Psalter of Verses and Blessings and
Hymns of the Saints, are the more significant
of the most primitive phases of Irish belief.
Perhaps pagan and Christian suggest after all
a false antithesis, representing merely a differ-
ence in the vocabulary which deals with the less
understood elements in a puzzling universe. A
better analysis would divide the poems accord-
ing to the occasion for their conception,—nature
songs, life songs, etc. Of them all, the nature
songs are the loveliest and the truest to the
race's feeling for the world about it. Here is
an example:
"Take my tidings!
Stags contend;
Snows descend —
Summer's end!
"A chill wind raging;
The sun low keeping,
Swift to set
O'er high seas sweeping.
"Dull red the fern;
Shapes are shadows;
Wild geese mourn
O'er misty meadows.
"Keen cold limes
Each weaker wing.
Icy times —
Such I sing!
Take my tidings!"
The picture here is as objectively defined as
that in the middle-English "Sumer is icumen
in," except for the one subtle touch of "shapes
are shadows," and the interpretation of the wild i
birds' cries, — the distinguishing marks of the
Celtic spirit.
One more fine example of the pagan poetry,
from the Poem-Book of Fionn, gives the inevi-
table Stoicism of the hero in every age, with, I
again, just the slight difference in accent that;
characteristic of the Irish voice.
"Once I was yellow-haired, and ringlets fell
In clusters round my brow;
Grizzled and sparse to-night my short grey crop,
No lustre in it now.
"Better to me the shining locks of youth,
Or raven's dusky hue,
Thau drear old age, which chilly wisdom brings,
If what they say be true.
"I only know that as I pass the road,
No woman looks my way;
They think my head and heart alike are cold,—
Yet I have had my day."
Winifred Smith.
Holiday Publications.
II.
Books op Travel and Description.
New Zealand's wonders, in scenery, flora, fauna,
human inhabitants, political and social methods,
industrial and commercial development, and general
manners and customs, are treated with understand-
ing and with a zealous enthusiasm for his theme
by Mr. Paul Gooding in a lavishly illustrated volume
entitled "Picturesque New Zealand" (Houghton).
With many of the desirable characteristics of sunny
Italy and beautiful Switzerland, and also of Utopia
and £1 Dorado, the land depicted in Mr. Gooding's
pages is certainly inviting in aspect. Its rainfall
is mostly at night, so that the days are sunny, with
some exceptions; its climate is salubrious, the annual
death rate being less than ten for each thousand
inhabitants; and man's traditional inhumanity to
man here loses its negative prefix. Wise law-givers
have safeguarded the interests of both capital and
labor, admirable land-tax and land-settlement regu-
lations are in force, public utilities are owned by
the people, old-age insurance makes comfortable the
declining years of the poor, and, in short, if the New
Zealander has anything to complain of, it must be
the very monotony of well-being that it is his lot to
enjoy. Such, at any rate, is the impression gained
from reading about that favored land, which could
hardly be more attractively and interestingly pic-
tured than in Mr. Gooding's notable volume.
Legend and ballad, history and description, anec-
dote and literary allusion, with a wealth of graceful
drawings by Mr. Hugh Thomson, go to make up the
half-posthumous volume, " Highways and Byways in
the Border" ( Macmillan), begun by the late Andrew
Lang in collaboration with his brother John, and
completed by the latter. In fact, the part attribut-
able to the deceased collaborator is doubtless very
much less than half, as one gathers from the preface;
but his was probably the inspiration that set the work
on foot, and we like to see touches of his genius in
at least the earlier pages. Whatever the proportion
of credit due to each, however, the book is a notable
contribution to the lore of the ever-interesting Border
which no one in our time has better known and loved
than Andrew Lang. One reads with relish, detect-
ing or suspecting the hand of the master (for cer-
tainty is of course impossible), such stories as that of
the dishonest butler of Billy Castle who "might,
indeed, plume himself on his honesty, and say with
Verges: 'I thank God I am as honest as any man
living that is an old man and no honester than I.'"
The abundant drawings, printed with the text, are
excellent.
The season's addition to Messrs. Winston's
"Photogravure Series" is "French Canada and the
St. Lawrence," by Mr. J. Castell Hopkins, an inter-
esting historical and descriptive account of one
phase of life in the Dominion. Quebec, with its
surrounding territory, still remains the stronghold


1913]
529
THE DIAL
of all that is typically French-Canadian, and its
highly individualized life, wholesome in its ragged
simplicity, must be considered, the author maintains,
even now under British rule, an enriching element
rather than a national problem for the Empire.
Following the introductory topographical description
and historical data are interpretive chapters on the
customs, myths, religion, education, folk-lore, and
literature of the French race in Canada. The life
of the French Seigneur, now a passing type, is con-
trasted with the equally picturesque existence of the
habitant, dweller of the woodlands, described as an
"industrious, contented, temperate, cheerful, devout,
and patriotic man, sure of his Church, sure of Can-
ada, sure of himself, but quite confidently doubtful
of matters outside of these lines of thought." French
Canada has remained a "country within a country";
its history has been eventful; its scenery is un-
equalled; and its traditions are being zealously pre-
served. The numerous illustrations in photogravure
add charm and richness to the volume.
The Rhine, the Danube, the Thames, the St.
Lawrence, and other rivers have been made the
subjects of travel-books pleasing to the reader and
useful to the traveller; and now the chief river of
France, the Loire, "le fleuve national," furnishes
Mr. Douglas Goldring with a subject for his hand-
some volume, "Along France's River of Romance"
(McBride), in which personal narrative mingles
entertainingly with descriptive and historical notes,
all set off by an abundance of excellent drawings
and water-color sketches. The artist modestly with-
holds his name, nor does the title-page even hint that
the book is illustrated —a self-restraint that inclines
a reviewer to give additional emphasis to his com-
mendation of the well-executed pictures. The Loire's
present comparative desolation and unnavigability,
its devastating floods and frequent shoals, must be
largely due to the deforestation of its water-shed, as
might well have been pointed out in the author's
descriptive and historical introduction. The course
of the river takes one through many interesting
places, even though the once numerous paguebots on
its surface are now sadly dwindled, and the journey
is accomplished less pleasantly than of old.
Mr. Charles Tower considers the romance of the
Rhine worn rather threadbare by excessive tourist
traffic, and accordingly it is not that river of renown
that figures in his book, "Along Germany's River of
Romance" (McBride), but its less famous tributary,
the Moselle. From Metz, near the French frontier,
to Coblenz, at the confluence of the Moselle and the
Rhine, he journeys down the picturesque stream,
by boat on its waters or by bicycle along its banks,
with occasional resort to that earliest and best mode
of travel, walking. "The descent to the Rhine," he
says, "is of the nature of an anticlimax; or, since it
is scarcely sudden enough for that, it may perhaps
better be called a heart-breaking staircase from the
fairyland of dreams to the prosaic Alltag of the
counting-house and the universal emporium." Never-
theless the Rhine is the river of poetry and romance,
of story and tradition, even though the lesser stream,
as presented in Mr. Tower's pages, does offer much
to excite interest and curiosity. Colored plates,
half-tones, line drawings, and maps, with brief
bibliography and a four-page index, go to make up
the book's equipment.
Mr. Horace Kephart, formerly in charge of the
Mercantile Library, St. Louis, is the author of a
book of mountaineering and exploration, "Our
Southern Highlanders," which is very attractively
issued by the Outing Publishing Co. Comparatively
little is known and still less has been written about
the scattered dwellers in the vast mountain region
extending nearly seven hundred miles in a south-
western direction from Virginia to Alabama. Miss
Morley's recent book, "The Carolina Mountains,"
calls attention to the beauties and the wonders of a
part of that region; and Mr. Kephart ably adds to
the knowledge thus conveyed by describing in detail
his adventures among the hardy mountaineers, their
peculiar customs, native dialect, strange diseases, odd
humors, family feuds, sturdy independence, and their
manner of receiving " furriners," as all outsiders are
called by them. Many illustrations, often from photo-
graphs taken by the author, accompany the reading
matter.
A seven-months' voyage around the Horn in
1845-6 is the subject of a book sure to find favor
with those who like to read about old sailing days
and old sailing ways. Mrs. Elizabeth Douglas Van
Denburgh recounts her girlhood expern n«e in accom-
panying her father and mother, sister aiid brother,
from Oswego, N. Y., to Honolulu on the occasion
of the appointment of her father, Joel Turrill, as
Consul-General to the Sandwich Islands. "My
Voyage in the U. S. Frigate 'Congress'" is the
book's title, and the narrative is in diary form, with
the touch of vividness and reality that such a method
of writing, while the events are still fresh in the
mind, is likely to impart. The long voyage was
broken at Rio Janeiro, Valparaiso, and Lima,—
places that the reader is permitted to see through
the diarist's eyes; and the rigors of the passage
around the Horn are well dexcribed. The writer
would have done wisely to break up her chronicle
into chapters; a certain monotony results from its
present arrangement, with no variation even of page-
heading, and no sign-posts anywhere to catch the
eye. Interesting illustrations are fortunately not
lacking, and a cut of the "Congress" herself adorns
the cover. (Desmond FitzGerald, Inc )
To find anything new to say about Japan in these
days is difficult if not impossible; but it is always
admissible to assume in one's readers a measure of
ignorance as to things Japanese. At any rate, to
tell of the country and the people as they appeared
to the writer is not unlikely to convey some new
impressions; and therefore "Japan as I Saw It"
(Stokes), by Mr. A. H. Exner, has a certain fresh-
ness that will secure it a reading, while its illustra-
tions and other material details are such as to
predispose one in its favor. A short preliminary


530
[Dec. 16
THE DIAL
"History of Nippon," useful but not indispensable
in this age of abundant encyclopaedias and other
reference books, opens the book, and is followed by
chapters on Nagasaki, Kioto, Yokohama, Tokio,
and other places and subjects of interest, with con-
siderable description of Japanese customs, religion,
industries, amusements, and so on. Of the numerous
illustrations accompanying the reading matter, some
are "collotype plates," others are "engraving illus-
trations after G. Bigot," and still others, being the
majority of all. are "duo-tone illustrations." Beau-
tifully-designed end-leaves and a pleasing cover are
also among the book's attractions.
Seeking to describe some of " those places that give
England her individuality," Mr. Albert B. Osborne
has prepared a volume of promising appearance
under the title, "As It Is in England" (McBride),
in which he wisely omits London as being "too vast
and varied a subject to be combined with any other,"
and confines himself chiefly to such outlying parts
as Cornwall and the Scilly Islands, Sherwood Forest,
the Lake district, the Channel Islands, certain cathe-
dral and other towns, and, very briefly, Oxford and
Cambridge. His fifteen chapters are accompanied
by fine views from photographs. His manner may
be illustrated in the following brief excerpt from the
chapter on Sherwood Forest: '-There was Alan-a-
Dale and Friar Tuck and Will Scarlet, and they were
brave, and not of a bad sort at heart, but different than
you and I will ever know, for while human nature is
still the same, yet the laws and customs we call our
civilization have wrought upon us a necessary work
of suppression and restraint so that we do not mani-
fest our nature in just the same way." The British
lion and unicorn fittingly adorn the handsome cover,
and a box encloses the book.
The sights of London are many and varied, and
are every year increasing in multitude and variety.
Consequently an author should have little difficulty
in filling a moderate-sized volume on the great me-
tropolis with chapters of a readable and generally
informing character. Mr. Henry James Forman's
"London: An Intimate Picture" (McBride) is the
work of a well-informed and observant sojourner in
the city which he calls "the most romantic spot on
earth." The lure of London, its atmosphere, its fam-
ous Tower, its historic streets, its churches, picture-
galleries, and other public buildings, are among the
subjects intelligently discussed in successive chap-
ters; and occasional views from photographs help the
reader to follow his guide. Incidentally, a perilous
state of affairs is thought by the author to be indi-
cated in a national legislature "mildly debating
upon Welsh Disestablishment" while "in every
street there is poverty and misery stabbing at your
heart."
Something out of the ordinary in hunting narra-
tives is offered by Mr. Thomas Martindale, a Nim-
rod of experience and a writer of interesting books
of sport. "Hunting in the Upper Yukon" (Jacobs)
describes a trip in quest of big game to the far North
of our continent in the autumn of 1912, and the
author's varied and sometimes perilous experiences
are set forth in ample detail, but not wearisomely
to the reader with a taste for such things. Human
beings as well as animals attracted Mr. Martindale's
attention throughout his expedition, and therefore
the human interest so craved by us all is not lack-
ing in his book. A mountain and a glacier bearing
each the name of this intrepid huntsman and ex-
plorer are among the scenes pictured in the many
illustrations to the volume. One chapter is deserv-
edly devoted to that intrepid mountain-climber, Miss
Dora Keen, "the conqueror of Mount Blackburn."
Mr. Martindale's style as a narrator is intimate
and pleasing, and his book has a very inviting ap-
pearance.
History, antiquities, topography, botany, scenery,
legends, literary associations, things ancient and
things modern, all have a place in Mr. Frederic
Lees's "Wanderings on the Italian Riviera" (Little,
Brown & Co.), a handsomely-made volume, with
the clearest of type and most generous supply of
photo-engravings, also a colored frontispiece. Few
of the Riviera'8 winter sojourners have more than a
faint knowledge of "the splendid story of the prov-
ince which gave birth to Columbus, and where the
immortal Dante wandered," as Mr. Lees remarks.
Accordingly he has given much attention to the
history of the region, especially to the valleys of
Liguria and the picturesque hill-towns tucked away
in the folds of the mountains. Appended notes on
the botany of Liguria add to the book's value for
naturalists; and it also has a map and a full index.
Mr. George Hamilton Fitch's twin volumes, "The
Critic in the Orient" and "The Critic in the Occi-
dent" (Paul Elder & Co.), take their titles from the
fact that their author brings to the observation of
things in the Far East and the Near West the keen-
ness of scrutiny developed by thirty years of book-
reviewing for the San Francisco " Chronicle." Hav-
ing learned how to tear the heart out of a new book
and display it for the benefit of hurried newspaper-
readers, he is not ill qualified for the task of seizing
quickly upon the significant and the striking in
scenes of foreign travel. Japan, Hongkong, Canton,
Singapore, Manila, cities of India and monuments
of Egypt, furnish matter for the first-named of his
travel-books; and Europe, from the isles of Greece
westward, especially the cities of Rome, Paris, and
London, with a brief glance at New York on the
homeward journey, provides topics of general inter-
est for the second. Tinted illustrations from photo-
graphs abound. Indebtedness is acknowledged to
the "Chronicle" for permission to republish these
chapters of travel. Like other works from the same
publishers, these volumes are distinctive in appear-
ance and artistic in design.
To the literature of the Alps is added Mr. Archi-
bald Campbell Knowles's anecdotal and descriptive
volume entitled " Adventures in the Alps" (Jacobs).
Though it has not on every page the personal quality
«


1918]
531
THE DIAL
that renders so enjoyable Mr. Frederic Harrison's
"My Alpine Jubilee," Sir Leslie Stephen's "The
Playground of Europe," and Mr. Whymper's
"Scrambles Amongst the Alps," it is full of things
seen, dangers est-aped, and adventures met with, by
actual mountain-climbers, including the author him-
self. Reflections of a serious and often of a relig-
ious nature find natural expression in this book
dealing with the sublimities of Alpine scenery. Its
twelve chapters are furnished with as many half-
tone views from photographs, and the whole is in-
stinct with the lure of the mountains.
Travel sketches from the Mediterranean shores
of Africa, written at various times in the last half-
dozen years, and already, with three exceptions,
offered to appreciative readers in a leading period-
ical, form the contents of Mr. Albert Edwards's
anecdotal and descriptive volume on "The Barbary
Coast" (Macmillan), in which it is the people them-
selves, the turbaned and veiled followers of the
Prophet, that claim our attention, and usually suc-
ceed in winning it. Algiers, the sirocco, the
Bedouins, the Arabs, the beggars, the graces and
charms of the women — these and like themes suc-
cessively entertain the reader, and numerous illus-
trations from the trustworthy camera fail not to do
their part. One of the strangest characters of all
the strange company is Hadje Mohmed of Luna
Park, of whom there is no room here to speak
further. The book's inviting appearance does not
belie its character.
Mr. Earle Harrison's noteworthy autochrome
photographs of the Panama Canal which were last
summer reproduced in "Scribner's Magazine" are
now shown in book form under the title, "The
Panama Canal" (Moffat). Seventeen in number,
the views convey an adequate impression of the
wonders of this greatest of engineering achieve-
ments, and give also glimpses of the adjacent
country, Gatun Lake, the Chagres River, and the
vastness of the Culebra Cut. The book will gain
rather than lose in interest and value when many
of the scenes it shows shall have been forever
shut out from view by the inrushing waters. Few
better examples of color-photography have been
published.
Ten years have passed since the appearance of
the first edition of Mr. Douglas Sladen's "Queer
Things about Japan," and the book has since been
twice re-issued. Now a fourth edition comes out,
with an added chapter on the life of the late Japan-
ese Emperor. Native artists illustrate the volume
with pictures as charactistic and as guiltless of per-
spective as could be desired. The frontispiece is in
color and gives a glimpse of rural Japan in cherry-
blossom time. As a sketch-book of the humors and
oddities of the people of Nippon, Mr. Sladen's volume
is entertaining and apparently at the same time heed-
ful of the truth. He has collected in his five hundred
pages a goodly store of anecdote and observation,
comment and description. (Dutton.)
Holiday Editions of Standard Literature.
Mr. Keith Henderson's ten colored illustrations
to the new holiday edition of Mr. Thomas Hardy's
"Under the Greenwood Tree" (Putnam) have a
vividness in their rural hues that emphasizes the
fact that this is a picture of primitive country life,—
"a rural painting of the Dutch school" the author
styled it in his sub-title. It is nearly forty-two
years since this earliest pronounced success of Mr.
Hardy's — or, more accurately, one of his earliest
successes — made its appearance, and it has lost
none of its excellence with time. Miss Fancy Day,
the heroine, "as nate a little figure of fun as ever I
see, and just husband-high," is as charming as ever,
and the bucolic humor of the tale is still unsur-
passed. The book's wide-margined and clearly-
printed pages are irresistibly inviting.
Nothing short of splendid is the form in which
"Poems from Leaves of Grass" (Dutton), illus-
trated in color by Miss Margaret C. Cook, is pre-
sented to the reader. The book is a quarto of two
hundred and sixty pages, its typography and paper
beyond criticism, its cover design an appropriate
representation of grass blades and heads in gilt on
a green background, and its two dozen large colored
plates catching the mood of the poet without becom-
ing so realistic as to offend. Whitman's poems must
be reproduced here in greater part—a brief com-
parison will easily determine the omissions—and
a more elaborate reproduction could not reasonably
be desired. An oinate and serviceable box, with
hinged cover, encloses the book.
"The Gathering of Brother Hilarius," by the late
author of "The Roadmender," best known by her
pen name of "Michael Fairless," reappears this sea-
son in a handsome holiday edition, with eight sym-
pathetic illustrations by Miss Eleanor F. Brickdale.
The book teaches the lesson that one must suffer and
be tempted and overcome temptation before one can
attain fulness of life and spiritual peace. Hilarius,
a young novice, yielding suddenly one day to the
promptings of youth and the lure of the road passing
the monastery gate, ventures forth a little way and
meets a dancing girl who laughs at him for never
having known either hunger or love. But the mean-
ing of these words he learns full well somewhat later
when, after confessing his escapade, he is sent forth
into the world by the prior and meets with sundry
adventures that serve to test the stuff he is made of.
His final return to the monastery, his rare skill as
a limner, his good works as prior, his death, and
his "gathering" to his last long rest, are beautifully
told. (Dutton.)
A new edition of Mrs. Helen Hunt Jackson's
"Ramona" (Little, Brown & Co.), with an intro-
duction by Mr. A. C. Vroman, who gives the his-
tory of the writing of the story and correctly places
its scene, is among the more important reprints of
the season. Conflicting reports as to the scene of
the famous incidents of the romance have long been
current, to the confusion of tourists, and Mr. Vro-


532
[Dec. 16
THE
DIAL
man's carefully-studied paper on the subject is far
from superfluous. He has also provided the book
with twenty-four views from his own photographs,
and Mr. Henry Sandhatn supplies appropriate
drawings for the chapter-headings. The work is
issued as two volumes in one, artistically bound and
neatly boxed.
The handy form, the good paper, the clear though
not large type, and especially the sixteen colored
illustrations by Mr. Christopher Clark, make the
Crowell Company's new edition of Blackmore's
"Lorna Doone" a desirable one to possess. The
author's preface to the first and that to the sixth
edition are reprinted. A pleasing scene, showing
the hero and heroine literally tdte h-tUe, adorns the
cover; a similarly ornamented wrapper is provided,
and the whole is neatly boxed.
Holiday Art Books.
One of the most sumptuous of the season's art
books is a thin quarto devoted to the life and work
of Charles Conder, a young English artist who died
some four years ago. Although he worked con-
stantly in oils, and attempted lithography and etch-
ing, Conder's forte lay in water-color drawing on
silk. In this field, more especially in his designs
for fans, he achieved a very high reputation. His
fans, as Mr. Charles Bieketta has said, will some day
be considered classics. Here his poetic imagination
and exquisite sense of color reached their fullest
expression, with results that are often strongly remi-
niscent of Watteau. Mr. Frank Gibson contributes
an account of Conder's lite and work, and a descriptive
catalogue of his lithographs and etchings is supplied
by Mr. Campbell Dodgson. The greater part of the
volume, however, is given over to illustrative fea-
tures. Besides a photogravure portrait of the artist,
there are considerably more than a hundred full-
page reproductions of his work, including eleven
fine color-plates. In all matters of external appear-
ance, the publishers (Lane) have given the volume
an irreproachable setting. Conder himself would
have rejoiced in the beautiful cover and end-leaves.
A splendid souvenir of the art of those Russian
dancers who have lately performed so acceptably
in Germany, France, England, and America, is
presented in Mr. A. E. Johnson's finely-illustrated
quarto on "The Russian Ballet" (Houghton). An
introductory historical sketch of the ballet opens the
book, seventeen pantomimes, tableaux, reveries, and
similar pieces performed by Russian dancers are
described and illustrated, and the final chapter is
devoted to that queen of the ballet, Mile. Anna
Pavlova. Mr. Rene" Bull admirably catches the
spirit of Russian stage dancing in his vivid illustra-
tions in color and his equally pleasing line drawings.
Bound in white and gold, and artistically boxed,
the book takes an important place among recent
works of like character.
No English celebrity, not of the royal family,
can count on being spared by Mr. Max Beerbohm in
his quest of subjects for the exercise of his talent as
the cleverest of present-day caricaturists; and even
foreign notables find themselves included in his
album of laughable portraits and made the invol-
untary promoters of international gayety. "Fifty
Caricatures by Max Beerbohm" (Dutton) is a book
to dispel the blues, being a collection of half a hun-
dred of the artist's most characteristic extravaganzas
in portraiture. Politics, literature, society, high fi-
nance, reformed spelling, with much else beside (but
not including woman suffrage, for some unknown
reason), are represented in the mirth-provoking
figures that enliven the book. One notable drawing
shows us Hilda Lessways upbraiding the author of
her being for compelling her and Clayhanger to
remain on public exhibition for so protracted and
indefinite a period. Clayhanger, with an injured
look, stands in the background. The cover-design
pictures John Bull in amusing guise.
Eugene Fromentin's book of art criticism, "Les
Maitres d'Autrefois," produced near the end of his
life, almost forty years ago, comes out in a good
English translation entitled "The Masters of Past
Time" (Dutton), with four reproductions in color,
and twice as many in half-tone, from those masters.
It is with the Dutch and the Flemish schools that
the book deals, and its method is thus explained by
the author: "I shall merely describe, in the presence
of certain pictures, the effects of surprise, pleasure,
astonishment, and no less exactly of disappointment,
which they happened to cause me." Rubens, Rem-
brandt, Frans Hals, Van Dyck, Paul Potter, Ter-
burg, Ruysdael, Cuyp—these are naturally treated
at some length by the artist-author, through whose
eyes it is pleasant and instructive to view the mas-
terpieces of Dutch and Flemish art. The translator
modestly withholds his name.
The art of the Cubists, "the joy of the mad, the
despair of the sane,'' is amusingly and very cleverly
satirized in verse and drawing by Mr. and Mrs.
Earl Harvey Lyall in the oddest little color hook
of the season, "The Cubies' ABC" (Putnam).
Mrs. Lyall writes the verses, Mr. Lyall cubically
illustrates them. The book must be seen and read
to be appreciated, but here is a sample of its literary
style (its artistic quality defies description):
"A is for Art in the CubieB* domain —
(Not the Art of the Ancients, brand-new are the Cubies.)
Arohipenko's their guide, Anatomies their bane;
They 're the joy of the mad, the despair of the sane,
(With their emerald hair and their eyes red as rubies.)
— A is for Art in the Cubies' domain."
A little book designed to awaken a primary inter-
est in some of the great artists and their paintings is
Miss Effie Seachrest's "Legendary Lore and Peeps
at Pictures," in which Raphael, Reynolds, Nicholaas
Maes, Puvis de Chavannes, Boutet de Monvel, and
a few others, are briefly and simply treated, with
accompanying prints, in miniature, of some of their
more celebrated paintings. The story element is
made prominent, and the book ought to interest
young readers (though one never can tell before-
hand), who will at least enjoy its pictures. "The


1913]
533
THE DIAL.
Craftera" of Kansas City publish the little volume
in unusual and attractive form.
Miscellaneous Holiday Books.
The recent death of that industrious and enthu-
siastic antiquary and historian, Stephen Jenkins,
adds a melancholy interest to his last work, "The
Old Boston Post Road" (Putnam), which traces
with an ample accompaniment of historical comment
the oldest and most northerly of the mail routes
connecting New York and Boston in colonial times.
By this route, via New Haven, Hartford, Springfield,
and Worcester, a monthly mail was established in
1673, "the first mail upon the continent of America,"
as the author declares. The plan of the book is
similar to that of "The Greatest Street in the
World," from the same pen, the notes and comments
and pictorial illustrations being of the most copious
and variously interesting sort. About a third of the
volume is devoted to the route from New York to
the Connecticut line, in the region of the author's
home and most painstaking researches; but no part
of the road is slighted, and the account runs to nearly
four hundred and fifty octavo pages. Pictures, maps,
bibliography, and index are all fittingly supplied.
Especially noteworthy are the two hundred well-
chosen illustrations from both early and later
sources.
"Thomas Jefferson as an Architect and a De-
signer of Landscapes" is the arresting title of a
handsome and otherwise remarkable volume, the
joint work of Professor William Alexander Lambeth,
of the University of Virginia, and Mr. Warren H.
Manning, landscape-designer, of Boston. Monticello
and the university that Jefferson helped to found are
made the objects of expert scrutiny in determining,
so far as may be, how much the allied arts of archi-
tecture and landscape-design owe to the versatile
third president of our country. Letters and other
documents from his hand, some of them reproduced
in facsimile, help to establish his claim to our
admiration for his skill in the arts here referred to.
Palladio, who gave inspiration to Inigo Jones, was
also, it seems, a stimulus to Jefferson; but the
distinguishing blemishes of Palladio's style were
avoided by his Virginian disciple, whose conceptions,
we are assured, "became increasingly refined and
classical." The authors of the book have pursued
their researches with enthusiasm, and what they
have to say is presented in convincing form. The
work is handsomely issued in a limited edition,
with many plates and other illustrative accessories,
and with a beautiful cover-design showing the front
elevation of Monticello. (Houghton Mifflin Co.)
Appropriately supplementary to Mr. Stanton
Davis Kirkham's "East and West," of recent date,
is his similar volume entitled "North and South"
(Putnam) — an intensive rather than extensive
study of nature in a few chosen places of the higher
and the lower latitudes of our broad country, all
enlivened with a genial humor and embellished with
innumerable views of field and forest and rippling
stream. No small part of the joy of such outings
as Mr. Kirkham delights in is depicted in these
words of his: "But at Pine Bank I throw off this
yoke of tyranny and am not concerned about the
dinner or the vagaries of the cook, or even the style
of my coat, since bacon and potatoes and beans are
as constant and as dependable as day and night,
and a flannel shirt is always the fashion." Mr.
Kirkham is a close and loving student of nature.
An album of fine views and plans of "The Old
Halls and Manor Houses of Yorkshire" (Scribner),
with a sufficiency of descriptive text, is presented by
Mr. Louis Ambler, who confesses himself embar-
rassed with an excess of riches in choosing examples
for his book. Only houses built before 1700 have
been selected, and those built for defense, and there-
fore having the nature of castles, are excluded.
Ninety-one plates from photographs taken especially
for this work by Mr. Horace Dan, architect, and
others, with twenty plates of measured drawings and
numerous illustrations in the text, adorn the royal
octavo, which is sumptuously bound in green and gilt.
Mr. Ambler is himself an architect, and his book will
appeal especially to those of his profession. The
illustrations are remarkably good, often strikingly
beautiful.
Miss Helene A. Guerber, a practiced hand at
such work, has gathered into one compact volume
brief outlines of the world's great epics, including
those of Asia as well as of Europe, and closing with
a short chapter on American productions of an epic
quality. "The Book of the Epic" (Lippincott) has
an introduction by Dr. J. Berg Esenwein, sixteen
reproductions of famous paintings and old prints,
and a full index of names. In the right hands it
will serve as a powerful promoter of a love of what
is best in the great department of literature that it
discusses. A simple, straightforward, narrative style
has been adopted by the author, whose success in
packing so much excellent matter into so small space
is to be commended.
Descriptive of the French capital from Caesar's
time to the present, Mrs. Mabel S. C. Smith's
"Twenty Centuries of Paris" (Crowell) is a conven-
ient and readable handbook for those who wish to
know the wonderful city in a topographical-historical
way. Old prints and modern photographs contribute
to the illustration of the book, a folding map of the
city is inserted, and genealogical tables of the kings
of France down to the Revolution, with a chrono-
logical list of the subsequent heads of the nation, are
appended. It is a fascinating theme that the author
has chosen, and she draws occasionally on the poets
to heighten the charm. Her closing chapter on
"Paris of To-day" has a self-denying brevity that
speaks well for the writer's ability to hold her super-
abundance of material well in hand from the begin-
ning. The book is handsomely bound, and its large
type refreshes the eye.
The fifth of the so-called " Sayings of Jesus " that
were discovered six years ago written on a fragment
of papyrus is the theme of Dr. Henry van Dyke's


534
[Dec. 16
THE
DIAL
poetic apologue, "The Toiling of Felix" (Scribner).
After long and devout search the saintly Felix found
Jesus in the humble toil of a quarry-man, thus prov-
ing the truth of the saying, "Raise the stone and
thou shalt find me; cleave the wood and there am
I." Colored plates by Mr. Herbert Moore illustrate
the poem, and decorative designs by Mr. Edward B.
Edwards border the pages and illuminate the cover.
It is a beautiful legend, beautifully told, and finely
suited to the Christmas season.
Designed in the style made familiar by its pub-
lishers, Messrs. Paul Elder & Co., a stout volume with
numerous pictures from photographs, and bearing
the title, " The Old Spanish Missions of California,"
conducts the reader through the more or less ruinous
remains of the twenty-one religious establishments
that testify to the zeal of Spain in carrying the
Christian faith to our southwestern aborigines. The
mission of San Diego de Alcaic was founded in
1769, that of San Francisco Solano in 1823; and
between these years the starting of the other missions
took place at short intervals. Mr. Paul Elder sup-
plies brief historical and descriptive sketches to
accompany the many fine illustrations, and quotes
freely from other writers, both in prose and verse.
The book is artistic in design, and a pleasing con-
tribution to the literature that has grown up about
these picturesque old mission houses.
The identity of "George A. Birmingham" being
now revealed, he is to be spoken of by reviewers as
Rev. James Owen Hannay, though his delightful
pictures of Irish life will always be associated with
the more familiar pen-name in his readers' minds.
"Irishmen All" (Stokes) is much after the manner
of last year's book by the same author, "The Lighter
Side of Irish Life," being a collection of twelve
character sketches of officials, country gentlemen,
farmers, squires, priests, the exile from Erin, the
"minister," and, lastly, the young lady and the
young gentleman in business. Each of the twelve
selected types is graphically and chromatically
exhibited by Mr. Jack B. Yeats, R.H.A., as well
as painted in words by the author. The appropri-
ate green binding is protected by a wrapper on
which is pictured the priest going the rounds of his
parish.
"The Changing Year" (Crowell) is an excellent
anthology of nature verse compiled by Mr. John R.
Howard. It departs from the usual and the expected
method of such compilations in not following the
order of the seasons, but in grouping its selections
under headings denoting aspects and moods. Thus,
"Light and Shadow," "Sky and Air, "Man's
Fellow Creatures," "The Mighty Heart," are some
of its section-titles. The realm of English and
American poetry has been searched for suitable
selections, and an occasional poet of alien tongue is
represented in translation. An index of authors
and titles, and one of first lines, with a brief intro-
duction and a hauntingly beautiful winter scene as
frontispiece, complete the equipment of the little
book, which is tastefully bound and boxed.
Mr. Walt Mason, favorably known to magazine-
readers as a writer of prose-verse, or jingles in the
form of prose, is the author of a lively and amusing
book entitled, ''Rippling Rhymes" (McClnrg),
wherein are collected about a hundred pieces, new
compositions and reprints, on all sorts of timely
themes, and enjoying the distinguished sponsorship
of our Secretary of State, who writes a heartily
commendatory introduction. Mr. D. S. Groesbeek
contributes half a dozen clever drawings in har-
mony with the spirit of the volume, which bears a
medallion portrait of the author on its cover, and
is otherwise embellished. As a sample of Mr.
Mason's style, we quote: "Be kind to the umpire
who bosses the game, whose doom is too frequently
sealed; it serves no good purpose to camp on his
frame, and strew him all over the field." One
might do worse than read good verse set up in the
form of prose; 't is not its look makes the poetry-
book, nor its name that makes the rose.
Mr. Berton Braley's "Sonnets of a Suffragette"
(Browne & Howell Co.) is timely in its theme and
tuneful in its smoothly-flowing verse. "Rollicking"
is perhaps a better adjective to apply to the lively
bite of rhyme gathered together in the little volume,
which contains, beside the pieces indicated in the
title, sundry love sonnets of a manicure, love lyrics
of a shop girl, and love lyrics of a chauffeur. An
almost enviable command of colloquialisms, great
dexterity in their manipulation in verse, and a
fertile invention, are evident on every page of the
lively little book. It is certainly calculated to dis-
pel care, smooth the ruffled brow, and induce a
mirthful state of mind befitting the season.
The gently satirical, pleasingly whimsical, not too
boisterously comical muse of Mr. Bert Leston Taylor,
the "B. L. T." of the Chicago "Tribune," will be
enjoyed by readers of his "Motley Measures." a vol-
ume of modest proportions and not making promise
of more than it can carry out. Most of the verses
have already seen the light in the "Tribune," but
will stand the strain of reprinting. We especially
welcome the neat little skit entitled "Bygones:
Lines Inspired by a View of the Cubist Paintings,
Followed by a Late Supper." But the whole book
is a capital smile-generator. The author's portrait
appears as frontispiece. The Laurentian Publish-
ers, of Chicago, issue the book.
That an excellent anthology of poetry and prose
on the pleasures of open-air life can be made even
with the omission of more than one eminent writer
in that domain, is proved by Mr. John Richardson,
the compiler of a handy and attractive volume
entitled "In the Garden of Delight" (Caldwell).
In all the wealth of its well-chosen contents we find
nothing from Thoreau, nothing from Bryant but a
line printed under the frontispiece, nothing from
Whitman or Gilbert White or Richard Jefferies.
But we do find enough, and more than enough, to
warrant commendation of the book, which is taste-
fully made, with a delicately beautiful colored plate
facing the title-page, and a pleasing cover design.


1913]
535
THE DIAL,
A wholesome Christmas story, with an obvious
but not too obtrusive moral, comes from the pen of
Mrs. Mabel Osgood Wright. "The Stranger at
the Gate" (Macmillan) relates sundry interesting
experiences of the Vance family and of a rather
mysterious Dr. Amunde who is engaged in a study
of "the modern spirit of Christmas as it is lived in
the homes of our best eastern civilization." Inter-
woven with the narrative is the moving account of
old Ira Vance's long-delayed success as an inventor,
and the founding of the firm of "Ira & Elizabeth
Vance & Son." A happy ending suitably and sat-
isfyingly closes the pleasant story. A colored front-
ispiece and occasional decorative designs in green
contribute to the book's attractive appearance.
A pleasing and useful desk accessory takes the
shape of a neatly encased "Hourly Reminder," in
which each day of the year has a leaf to itself with
blank lines for every hour from nine in the morning
to ten at night. Engagements are to be written on
these lines and each leaf detached when it has per-
formed its office. Apt quotations and notes of
historic events are supplied, as is also an appendix
of useful information. Two styles of case are offered,
in "leatherette" and in Spanish morocco. (W. N.
Sharpe Co.)
Nine Christmas tales for the young in heart call
for commendatory mention, but must receive less
than their due of critically appreciative comment.
"The Lady of the Lighthouse" (Doran), by Mrs.
Lewis B. Woodruff, justifies its pleasingly allitera-
tive title by showing, in the form of a bright and
sunshiny story, how light may be brought into the
lives of the blind. At the same time it is a Christ-
mas story of unusual quality. — "The Three God-
fathers" (Doran) carries the reader to a very
different environment, the plains of Arizona. The
author is Mr. Peter B. Kyne, and he tells the story
of a Christmas baby in such a manner as to hold
the attention at the same time that it teaches a les-
son.— "Finding His Soul" (Harper), by Mr. Nor-
man Duncan, tells how James Falcontent, of the
business house of Groat & McCarthy, beheld a
vision in the hills of Bethlehem, and found his soul
and was at peace. Illustrations help to make vivid
the moving tale. — In "Next Christmas" (Browne
& Howell Co.) Mr. Byron E. Veatch relates briefly
and effectively how a hardened business man is at
last led to return from the West to his boyhood
home in New Hampshire, where he finds his old-
time sweetheart still waiting for him, and the
two are married.—Mrs. Josephine Daskam Bacon
chronicles in her own bright way "The Luck o'
Lady Joan" (Browne & Howell Co.), in which a
poor tinker's daughter is adopted by an old miser,
marries his grandson, and so, all in good time,
attains prosperity and also happiness. A frontis-
piece depicts the marriage scene, and the cover
shows Joan at her spinning-wheel. — "A Christmas
When the West Was Young" (McClurg), by Dr.
Cyrus Townsend Brady, is the story of a young
couple who remove from New England to the far
West, build themselves a log cabin forty miles from
the nearest settlement, have a child born to them,
and see it taken from them by death two days
before Christmas. But on Christmas day, through
a stirring and rather fearful series of events,
another child finds itself under their care and claim-
ing their love, which is given, after some hesitation;
and so the peace and joy of the season are still in
a measure theirs. Drawings and decorations enrich
the little book, which is ornamentally bound and
boxed. — "Under the Christmas Stars" (Double-
day) depicts an old-fashioned family gathering at
Christmas time under the family roof at North
Estabrook, where John Fernald and his wife wel-
come their numerous progeny, including sons-in-law,
daughters-in-law, and grand-children, and Christmas
merry-making rises to high-water mark. The latest
addition to the family, through marriage, is somewhat
snubbed as being "a wild and woolly Westerner," but
she proves herself the heroine of the occasion. How
she does it should be read in tbe very words of the
author, Miss Grace S. Richmond. It is an unusual
plot. Alice Barber Stephens illustrates the book,
which also has marginal decorations and other
artistic embellishments. — An amusing and pathetic
tale of the reunion of an aged husband and wife,
who had been settled in different homes of the
family circle, but at last determined to elope back
to the little old house where they had formerly been
happy, is told in Mrs. Caroline Abbot Stanley's
Yuletide romance, "Their Christmas Golden Wed-
ding" (Crowell), which is illustrated in color.—
"The Christmas Bishop" (Small, Maynard & Co.),
by Miss Winifred Kirkland, shows us a generous-
hearted dignitary of the Church endeavoring on the
last day of his life1, which happens to be Christmas,
to reconcile an unforgiving woman to her daughter-
in-law, to make a fashionable clergyman adopt a
simple and sincere life amongst the poor, and a
lonely rich woman win happiness by helping the
clergyman in the proposed good work. How far he
succeeded the book will tell. It is illustrated by
Miss Louise G. Morrison.
Notes.
Mr. Dean C.Worcester has in preparation an extended
work on the Philippines, which the Macmillan Co. will
publish during the winter.
A new volume of verse by Mr. Richard Le Gallienne,
entitled "The Lonely Dancer, and Other Poems," will
be published immediately by the John Lane Co.
An addition to the list of Houghton Mifflin books, to
be published at once, is Mr. Arthur Grant's "In the Old
Paths," a series of essays recreating some of the great
scenes of literature.
One of the earliest novels of the new year will be
"Idonia: A Romance of Old London," by Mr. Arthur
F. Wallis, a new English writer. Messrs. Little, Brown
& Co. are the publishers.
This is the last holiday season in which we shall have
one of the late Andrew Lang's famous fairy books. This


536
[Dec. 16
THE DIAL
year's volume, the twenty-fifth of the series, is entitled
"The Strange Fairy Book." Like most of its prede-
cessors, it is illustrated in color, etc., by Mr. H. J. Ford.
Mr. George Middleton has written a new three-act
play entitled " Nowadays," which Messrs. Holt will pub-
lish early in the new year. It is described as a comedy
of family life and feminism.
Mr. Charles Welsh, who has for many years made a
special study of literature for the young, is engaged on
a volume of "Studies in the History of Children's Lit-
erature," which will be published early next year.
•' The Poetical Works of William Blake," edited, with
introduction and textual notes, by Mr. John Sampson,
is soon to be added to the "Oxford Poets." The vol-
ume includes the unpublished " French Revolution."
Professor Frederic A. Ogg, whose Life of Daniel
Webster is promised for publication early in January
by Messrs. George W. Jacobs & Co., has recently been
selected to deliver a course of lectures on Contemporary
Government and Politics under the auspices of the Inter-
collegiate Commission on Extension Courses, in Boston.
The December number of "Poetry" contains six
narrative poems by the Bengal poet, Babindranath
Tagore, who has recently been awarded the Nobel Prize
in literature. Mr. Tagore's work was introduced to
American audiences by "Poetry " in the December num-
ber of last year. These new poems have been translated
from the Bengali by the author expressly for this pub-
lication, and they are said to represent a new phase of
his work.
According to the London " Nation," we are to have
a book upon art by Rodin. It seems that for a long
time past the famous sculptor has been in the habit of
jotting down notes about his own art, the art of the
past, and his general views of aesthetics. These are now
to be edited for publication by Rodin in collaboration
with Mr. Warrington Dawson, an American writer whom
he has known for several years. The book is to appear
in French early next year, and will be promptly followed
by an English translation.
A collection of three plays by the Viennese dramatist,
Arthur Schnitzler, in an English translation by Mr.
Horace B. Samuel, is announced by Messrs. A. C.
McClurg & Co. So far Schnitzler is known to English-
speaking readers and playgoers chiefly through Mr.
Granville Barker's adaptation of his series of episodes
entitled "Anatol." The three plays to be issued in this
volume, "The Green Cockatoo," "The Mate," and
"Paracelsus,"however, give the English reader excellent
opportunity to estimate Schnitzler at his true value.
High on the list of the really important American
magazines of a serious character stand the quarterlies
which appear under the auspices of certain of our uni-
versities. They come nearer than any other periodicals
to satisfying the wants of the educated reader, just as
those wants are satisfied in England by the great
monthlies and quarterlies. We have no magazines
worthier of support, or better repaying their modest
subscription price, than "The Sewanee Review," "The
South Atlantic Quarterly," and "The Yale Review,"
to which list must now be added "The Mid-West
Quarterly," which comes from the University of
Nebraska. Mr. P. H. Frye is the editor, and the con-
tents of the initial (October) number are of rich and
varied interest. The magazine offers its hospitality to
writers from all sections of the country. The Messrs.
Putnam give it their imprint.
List of New Books.
[The following list, containing 166 titles, includes bookt
received by The Dial, since its last issue,"]
HOLIDAY GIFT BOOKS.
Poems from Leaves of Grass. Bv Wnit Whitman;
Illustrated In color by Margaret C. Cook. 4to,
260 pages. E. P. Dutton & Co. $6. net.
As It Is In England. By Albert B. Osborne. Illus-
trated, large 8vo, 304 pages. McBride, Nast &
Co. $3. net.
French Canada and the St. Lawrence! Historic,
Picturesque and Descriptive. By J. Castell
Hopkins, F.S.S. Illustrated In nhotogravure,
8vo, 431 pages. John C. Winston Co. $3. net.
The Soul of Paris, and other Essavs Bv Verner Z.
Reed; Illustrated by Ernest C. Pelxotto. 8vo, 178
pages. John Lane Co. $2.50 net.
The Gathering of Brother HUarloa. By Michael
Falrless; Illustrated In color by Eleanor Fortes-
cue Brlckdale. 8vo, 142 pages. E. P. Dutton &
Co. $2.50 net.
Highways and Byways In the Border. By Andrew
Lang and John Lang. Illustrated. 8vo, 439
pages. Macmillan Co. $2. net.
Londoni An Intimate Picture. By Henry James
Forman. Illustrated, large 8vo, 216 pages. Mc-
Bride, Nast & Co. $2.60 net.
Japan As I Saw It. By A. H. Exner. Illustrated,
8vo, 259 pages. F. A. Stokes Co. (2.50 net.
Queer Things about Japan. By Douglas Sladen.
Fourth edition; Illustrated in color, etc., 8vo,
443 pages. E. P. Dutton & Co. $2. net.
The Booklover's London. By A. St. John Adcock;
Illustrated by Frederick Adcock. 12mo, 324
pages. Macmillan Co. $1.75 net.
Motley Measures. By Bert Leston Taylor. With
portrait, 12 mo, 124 pages. Chicago: Lauren-
tian Publishers. 75 cts. net.
Fellowship Books. New volume*: Romance, by
Ernest Rhys; A Spark Divine, by R. C. Lehmann;
Solitude, by Norman Gale; Childhood, by Alice
Meynell; Freedom, by A. Martin Freeman. Each
16mo. E. P. Dutton & Co. Per volume,
75 cts. net.
Epigrams of Eve. By Sophie Irene Loeb. Illus-
trated, 12mo, 96 pages. George H. Doran Co.
$1. net.
The Lady of the Lighthouse. By Helen S. Woodruff.
With frontispiece, 8vo, 89 pages. George H.
Doran Co. $1. net.
The Three Godfathers. By Peter B. Kyne. Illus-
trated. 12mo, 95 pages. George H. Doran Co.
$1. net.
Dntton Calendars for 1914. Comprising: Fair
Flowers, illustrated in color, 4to; Notes and
Engagements, with a Calendar and Diary for
the Year, 12mo; Remembrance, decorated in
color, 12mo; Rub&lyat of Omar Khayyim, ren-
dered Into English by Edward FitzGerald, Illu-
minated and decorated in color, 16mo; Morning
Glories, a calendar of good cheer, compiled by
A. J. Green-Armytage, decorated in color, 18mo;
Shakespeare Calendar, illustrated In color, 12mo;
Witty and Wise, illustrated In color, 12mo; Jack
and Jill Calendar; Dolly Dimple Calendar; Our
Burden Bearer, illuminated and decorated In
color. E. P. Dutton & Co.
BOOKS FOR THE YOUNG.
The Story of Rome from the Earliest Times to the
Death of Augustus, Told to Boys and Girls. By
Mary Macgrogor; Illustrated In color by Dudley
Heath and others. Large 8vo, 430 pages. F. A.
Stokes Co. $2.50 net.
The Mary Frances Sewing Book) or Adventures
among the Thimble People. By Jane Eayre
Fryer. Illustrated in color, large 8vo, 280 pages.
John C. Winston Co. $1.60 net.
The Hungarian Fairy Book. By Nandor-Poginy;
illustrated in color, etc., by Willy Poga.ny. 8vo,
287 pages. F. A. Stokes Co. $1.35 net.


1913]
53T
THE DIAL
Festival Play*. By Marguerite Merington. With
frontispiece, 12mo, 302 pages. Duffleld & Co.
$1.25 net.
Grlmm'i Fairy Tales. Illustrated In color, etc., by
Hope Dunlap. Large 8vo, 275 pages. Rand,
McNally & Co. $1.20 net.
Tbe Boy with the V. S. Indiana. By Francis Rolt-
Wheeler. Illustrated, 12mo, 410 pages. Loth-
rop, Lee & Shepard Co. $1.50 net.
Storlea from Annt Judy. Illustrated in color by
Ethel F. Everett. 12mo, 268 pages. Mac ml 11 an
Co. $1. net.
A Spartan Primer. By Key Cammack. Illustrated
In color. 4to. Duffleld & Co. 75 cts. net.
Little Light (Luclta): A Child's Story of Old
Mexico. By Ruth Gaines. Illustrated In color,
12mo, 99 pages. Rand, McNally & Co. 76 cts. net.
Kwahu, the Hopl Indian Boy. By George Newell
Moran. Illustrated, 12mo, 237 pages. American
Book Co. 60 cts. net.
The Goody-Naughty Book. By Sarah Cory Rippey.
Illustrated in color, etc., 12mo. Rand, McNally
& Co. 50 cts. net.
BIOGRAPHY AND REMINISCENCES.
The Life of Florence Nightingale. By Sir Edward
Cook. In 2 volumes; Illustrated in photogravure,
large Svo. Macmlllan Co. $7.50 net.
The Life of Francla Thompaon. By Everard Mey-
nell. Illustrated In photogravure, etc., 8vo, 361
pages. Charles Scrlbner's Sons. $4.50 net.
Charles Conden His Life and Work. By Frank
Gibson. Illustrated in color, photogravure, etc.,
4to, 117 pages. John Lane Co. $6. net
The Every-day Life of Abraham Lincoln i A Narra-
tive and Descriptive Biography with Pen-Pic-
tures and Personal Recollection by Those Who
Knew Him. By Francis Fisher Bnpwne. New
and thoroughly revised edition; illustrated, 8vo,
622 pages. Browne & Howell Co. $2.50 net.
Goldonlt A Biography. By H. C. Chatfleld-Taylor,
Litt.D. Illustrated, large 8vo, 695 pages. Duf-
Aeld & Co. $4. net.
The Life of Edward Bulwer, First Lord Lytton.
By his grandson, the Earl of Lytton. In 2
volumes, illustrated in photogravure, large 8vo.
Macmlllan Co. $7.50 net.
The Beautiful Lady ( raven: The Original Memoirs
of Elizabeth, Baroness Craven. Edited, with
Notes and a Biographical and Historical Intro-
duction by A. M. Broadley and Lewis Melville.
In 2 volumes, Illustrated in photogravure, etc.,
8vo. John Lane Co. $7.60 net.
Charlea Follen McKlmi A Study of His Life and
Work. By Alfred Hoyt Granger. Illustrated In
photogravure, etc., 4to, 146 pages. Houghton
Mifflin Co. $6. net.
My Fatheri Personal and Spiritual Reminiscences.
By Estelle W. Stead. Illustrated, 8vo, 351 pages.
George H. Doran Co. $2.50 net.
The Spiritual Drama In the Life of Thackeray. By
Nathaniel Wright Stephenson. 12mo, 192 pages.
George H. Doran Co. $1.25 net.
The Life of Ethelbert Nevlnt From his Letters and
his Wife's Memories. By Vance Thompson. Il-
lustrated, large Svo, 248 pages. Boston Music Co.
$2.75 net.
Beethovent A Critical Biography. By Vincent
D'Indy; translated from the French by Theodore
Baker. Illustrated, 12mo, 127 pages. Boston
Music Co. $1.50 net.
Hep hum of Japan, and His Wife and Helpmates:
A Life Story of Toil for Christ. By William
Elliot Griffls, D.D. Illustrated, 12mo, 238 pages.
Philadelphia: Westminster Press.
The Maid of France: Being the Story of the Life
and Death of Jeanne D'Arc. By Andrew Lang.
New edition; 12mo, 362 pages. Longmans, Green
& Co. $2. net.
Thomas Ritchiei A Study in Virginia Politics. By
Charles H. Ambler. Illustrated, 8vo, 303 pages.
Richmond: Bell Book & Stationery Co. $1.50 net.
Thomas Osbornei Earl of Danby and Duke of
Leeds: The Stanhope Essay, 1913. By Andrew
Browning, M.A. 12mo, 107 pages. Oxford: B. H.
Blackwell.
HISTORY.
History of the Town of Lexington from its First
Settlement to 1868. By Charles Hudson; revised
and continued to 1912 by the Lexington His-
torical Society. In 2 volumes, illustrated in
photogravure, etc., large 8vo. Houghton Mifflin
Co. $10. net.
Ancient Greece. By H. B. Cotterlll, M.A. Illus-
trated, large Svo, 499 pages. F. A. Stokes Co.
$2.60 net.
Narratlvea of tbe Indian Wars, 1675-1699. Edited
by Charles H. Lincoln, Ph.D. With maps, 8vo,
316 pages. "Original Narratives of Early
American History." Charles Scrlbner's Sons.
$3. net.
The Anglo-French Entente In the Seventeenth Cen-
tury. By Charles Bastide. Illustrated, 8vo,
238 pages. John Lane Co. $3. net.
In the Wake of the Elghteen-Twelverst Fights and
Flights of Frigates and Fore-'n-afters in the
War of 1812-1815 on the Great Lakes. By
C. H. J. Snider. Illustrated. 12mo, 292 pages.
John Lane Co. $1.50 net.
An Outline History of China. By Herbert H. Gowen,
D. D. Part II., From the Manchu Conquest to
the Recognition of the Republic, A. D. 1913.
Illustrated, 8vo, 216 pages. Sherman, French &
Co. $1.20 net.
Publlcatlona of the Colonial Society of Massa-
chusetts. Volume XIV., Transactions. With pho-
togravure portrait, large 8vo, 446 pages. Boston:
Published by the Society.
Sigma Xli Quarter Century Record and History,
1886-1911. Compiled by Henry Baldwin Ward.
Large 8vo, 542 pages. Urbana: University of
Illinois.
The Refugees of 1776 from Long Island to Connecti-
cut. By Frederic Gregory Mather. Illustrated,
large 8vo, 1204 pages. Albany: J. B. Lyon Co.
The Uprising of June 30, 1702. By Laura B.
Pfelffer. 8vo, 147 pages. Lincoln: University
of Nebraska. Paper.
The Qulnquennalesi An Historical Study. By Ralph
van Deman Magoffln. Ph.D. 8vo, 50 pages. Bal-
timore: Johns Hopkins Press. Paper, 60 cts. net.
GENERAL LITERATURE.
American and English Studies. By Whltelaw Reld.
In 2 volumes, 8vo. Charles Scrlbner's Sons.
$4. net.
The Intimate Lettera of Hester Ploszl and Penelope
Pennington, 1788-1821. Edited by Oswald G.
Knapp. Illustrated in photogravure, etc., 8vo,
396 pages. John Lane Co. $4.60 net.
Studies In Milton and An Essay on Poetry. By
Alden Sampson, A.M. Illustrated, large Svo, 310
pages. Moffat, Yard & Co. $2. net.
The Journals of Ralph Waldo Emerson, 1856-1863.
Edited by Edward Waldo Emerson and Waldo
Emerson Forbes. Volume IX. Illustrated In
photogravure, etc., 8vo, 581 pages. Houghton
Mifflin Co. $1.75 net.
Folk-Ballada of Southern Europe. Translated Into
English verse by Sophie Jewett. 8vo, 299 pages.
G. P. Putnam's Sons. $1.50 net.
The Comedy of Mannersi A History, 1664-1720. By
John Palmer. Illustrated, 8vo, 308 pages. Mac-
mlllan Co. $3.25 net.
How to Read Shakespearei A Guide for the Gen-
eral Reader. By James Stalker, D.D. 12mo,
292 pages. George H. Doran Co. $1.60 net.
The First London Theatre i Materials for a History.
By Charles William Wallace. 8vo, 297 pages.
"University Studies." Lincoln: University of
Nebraska. Paper.
Ovid and the Renascence In Spnln. By Rudolph
Schevlll. 8vo. 268 pages. Berkeley: University
of California Press. Paper, $2.60 net.
DRAMA AND VERSE.
The Crescent Mooni Child-Poems. By Rabin-
dranath Tagore; translated from the original
Bengali by the author. Illustrated in color,
12mo, 82 pages. Macmlllan Co. $1.25 net.
Blaaebette and The Escapei Two Plays. Trans-
lated from the French of Brieux by Frederick
Eisemann; with Preface by H. L Mencken.
12mo 240 pages. John W. Luce & Co. $1.25 net.


538
[Dec. 16
THE DIAX.
The Ride Homei Poems, with The Marriage of
Guineth, a Play in One Act. By Florence Wil-
kinson Evans. 12mo, 389 pages. Houghton
Mifflin Co. 11.26 net.
Heroic Ballads of Servla. Translated into English
verse by George Rapall Noyes and Leonard
Bacon. 8vo, 275 pages. Sherman, French &
Co. *1.25 net.
Glimpses of the East, and Other Poems. By Henry
Coolidge Adams. 12mo, 304 pages. Sherman,
French & Co. $1.50 net.
Rhymes and Fancies by a Boy. By Lionel Meredith
Reld. With portrait, 12mo, 47 pages. Richard G.
Badger. $1. net.
Bread and Circuses. By Helen Parry Eden. 12mo,
130 pages. John Lane Co. $1.25 net.
My Creed, and Other Poems. By Howard Arnold
Walter. 12mo, 112 pages. Richard G. Badger.
The Sign of the Tree. By Harriet Mason Kilburn.
12mo, 64 pages. Sherman, French & Co. $1. net.
Firefliest Lyrics and Sonnets. By Alicia K. Van
Buren. 12mo, 47 pages. Richard G. Badger.
$1. net.
Horace Walpolet A Romantic Play in Four Acts.
By Gustave Simonson. 12mo, 64 pages. Moffat,
Yard & Co. 75 cts. net.
Etc By Katharine Howard. 12mo, 49 pages. Sher-
man, French & Co. $1. net.
Elisabeth Coopert A Comedy in Three Acts. By
George Moore. 12mo, 80 pages. John W. Luce
& Co. 75 cts. net.
A Key to Happiness. Compiled by Page Fellowes.
12mo, 63 pages. Sherman, French & Co. $1. net.
From Gray to Gold. By Isabel Sinclair. 12mo,
47 pages. Richard G. Badger.
The Hasten A Poetical Play in Two Acts. By
W. G. Hale; with Introduction by Stephen Phil-
lips. 1-mo, 55 pages. London: Erskine Mac-
donald.
On a Green Slope. By Mary Robertine Stokes.
12mo, 55 pages. Richard G. Badger.
Roadside Rhymes. By Joseph Edward Hargrave.
12mo, 49 pages. Denver: Kendrick-Bellamy Co.
Paper.
Iscarlot's Bitter Love. Third edition, 12mo, 96
pages. London: Headley Brothers. Paper.
NEW EDITIONS OF STANDARD LITERATURE.
The Trngedle of Cymbellne. By William Shakes-
peare; edited by Horace Howard Furness.
Large 8vo, 623 pages. "The Variorum Shake-
speare." J. B. Llpplncott Co. $4. net.
Patlencei An Alliterative Version of "Jonah" by the
Poet of "Pearl." Edited by I. Gollancz, Litt.D.
8vo. Oxford University Press. Paper.
Everyman's Library. New volumes: An Inland
Voyage and Travels with a Donkey, by Robert
Louis Stevenson; A Century of Essays, an an-
thology of the English essayists; A Literary and
Historical Atlas of Africa and Australia, by J.
G. Bartholomew, LL.D. Each 12mo. E. P. Dut-
ton & Co. Per volume, 35 cts. net.
SOCIOLOGY, ECONOMICS AND PUBLIC AFFAIRS.
Religion In Social Action. By Graham Taylor, D.D.;
with Introduction by Jane Addams. 12mo, 279
pages. Dodd, Mead & Co. $1.25 net.
"Broke"i The Man without a Dime. By Edwin
A. Brown. Illustrated, 12mo, 370 pages. Browne
& Howell Co. $1.50 net.
Financing the Wage-Earner's Family. By Scott
Nearing, Ph.D. 12mo, 171 pages. B. W. Huebsch.
$1.25 net.
Social Sanity: A Preface to the Book of Social
Progress. By Scott Nearing. 12mo, 260 pages.
Moffat, Yard & Co. $1.25 net.
A Treatise on the Federal Income Tax Law of 1913.
By Thomas Gold Frost, Ph.D. Large 8vo, 242
pages. Albany: Matthew Bender & Co. $2.60 net
Mercantile Credit. By James Edward Hagerty,
Ph.D. 8vo, 382 pages. Henry Holt & Co. $2. net.
Outlines of Railway Economics. By Douglas Knoop
M.A. 12mo, 274 pages. Macmlllan Co. $1.60 net.
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