THE CARNEGIE LIBRARY OF The Pennsylvania State College CLASS NO. 0.51 1895 BOOK NO. D 54 R ACCESSION NO. 67526 2308 1 THE DIAL A FORTNIGHTLY JOURNAL OF Literary Criticism Discussion and Information VOLUME LXII January 11 to June 14 1917 CHICAGO THE DIAL PUBLISHING COMPANY INDEX TO VOLUME LXII PAGE . . . . • . . . . . ANNOUNCEMENT, AN ARCHITECTURE, OUR: AN OPTIMISTIC VIEW ARTIST AS SUPERMAN, THE BELGIUM, THE NEUTRALITY OF BOOK OF MASKS, A. BRITANNICA, DEMOLISHING THE BUSINESS, NEW IDEALS IN CELT AND SOME IRISHMEN, THE CHINA AND JAPAN Cook's TOUR IN ARNOLD, A CRITICISM, RECONSTRUCTIVE CURRENT DRIFT, THE . DARIO, RUBÉN: A COSMOPOLITAN POET DEMOCRACY AND EDUCATION DEMOCRACY, THE WAR FOR DRAB LIVES DRAMA, A FLOOD OF FOREIGN DRAMA, SOME EXPERIMENTS IN AMERICAN DREISER, THEODORE, THE ART OF DUNSANY, LORD: AN IMPRESSION EDUCATION, CURRENT TENDENCIES IN “EREWHON," THE AUTHOR OF FEMINISM OF MR. GEORGE, THE FICTION, NEW FORMS OF SHORT FICTION, RECENT FRANCE, LITERARY AFFAIRS IN . . . . 381, 45 Claude Bragdon 17 Frank Jewett Mather, Jr. 15 Edward Eyre Hunt 185 James Weber Linn 184 · IIenry B. Fuller . 477 Randolph S. Bourne 133 Padraic Colum. 435 Frederic Austin Ogg 524 M. C. Otto 516 Richard Offner 64 George Bernard Donlin 519 S. Griswold Morley 509 Edith Wyatt 310 H. M. Kallen 335 Robert M. Lovett 300 Homer E. Woodbridge 67: 98 Homer E. Woodbridge 439 Randolph Bourne · 507 Ernest A. Boyd 170 John Dewey 287 Sibley Watson · 393 George Bernard Donlin 101 Henry B. Fuller 167 Edward E. Hale 70, 104, 145, 189 Theodore Stanton 9, 87, 171, 292, 467 Richard Aldington 245 Thorstein Veblen 344 William · Aspenwall Bradley 224 Arthur Davison Ficke 23 Benjamin W. Huebsch 400 Alice Bishop 313 Carl Becker 301 Harold J. Laski 59 Edward Garnett 83 Henry B. Fuller 433 Padraic Colum 125 H. M. Kallen 136 IIarold J. Laski 472 Randolph Bourne 387 Laurence M. Larson 354 Frederic Austin Ogg 430 William Aspenwall Bradley Edward Sapir 423 Nellie Poorman 307 John Macy 525 John Macy 441 Louis I. Bredvold 143 L. S. Friedland 49 J. C. Squire 339 Garland Greever 521 Randolph Bourne 239 Vindex 390 Conrad Aiken 389 Russell Ramsey 21 H. M. Kallen 233 Ruth McIntire 102 Van Wyck Brooks 244 Randolph Bourne 303 . . . . FRENCH BOOK, A NEW GERMAN APOLOGIST, ANOTHER GIBSON, WILFRID WILSON HEARN IN THE SCHOOLROOM HEINE, HEINRICH HICHENS, THE ARTFUL MR. HISTORIANS, LABELLING THE HISTORY, THE JUSTIFICATION OF HUDSON, W. H. . IDOL OF THE PARNASSIANS, AN IMAGISTS, THE INTELLIGENCE, THE POWER OF INTERNATIONAL CONFUSIONS INTERNATIONAL DUBIETIES IRISH POLITICS JAPANESE PROBLEM, OUR JARVES COLLECTION, THE JEAN-CHRISTOPHE: AN EPIC OF HUMANITY JOURNEY OF THE IMAGINATION, A JOYCE, JAMES KIPLING AND CONRAD LEONARDO, A NEW LEGEND OF LONDON, JACK, AS TITAN LONDON, LITERARY AFFAIRS IN MAD SHELLEY AS AN HEIR MIND, A MODERN MITTEL-EUROPA MONROE DOCTRINE, THE, IN POETRY MUSIC, MODERN TENDENCIES IN NEW LIFE, AN EVANGEL OF NOVEL, A PROMISING FIRST OBLOMOV, AN AMERICAN OBSCURANTISM, A STRONGHOLD OF . 24 . . . 67526 . . iv INDEX PAGE . . . . . Edith Abbott H. M. Kallen Edward E. Hale Gilbert Vivian Seldes Max Sylvius Handman W. E. Simonds Harold J. Laski Richard Aldington Amy Lowell Conrad Aiken Richard Aldington Conrad Aiken T. D. A. Cockerell C. H. McIlwain . . Oito . . . . . . . . ORGANIZED CHARITY PACIFISTS, A PROGRAMME FOR PAINTER OF THE FOREST, A PEACE, A NEW LITERATURE OF PEACE, SOME FUNDAMENTALS OF PEPYS AT THE THEATRE PHILOSOPHY, AN EMBATTLED POET AND PAINTER: A RENAISSANCE FANCY POETRY AS A SPOKEN ART POETRY IN AMERICA POETRY FROM THE TRENCHES POETRY WITHOUT MAGIC . POLAND UNDER THE HEEL POLITICAL PLURALISM POLITICS, ADVERTISING PRAGMATISM PRIMITIVE MYTHOLOGY PROBLEMS OF ORGANIZATION, THE PROPHET, A MAZY PSYCHO-ANALYZED SELF, THE PSYCHOLOGY AND WAR RACIAL MYTHOLOGY REALITIES, EMBRACING THE REAL JEWS AND UNREAL GENTILES RECONSTRUCTION OF A MASTER ROMANTICISM AND THE LITTLE THEATRES RUSSIAN DRAMATIST, A, AND THE AMERICAN STAGE RUSSIAN REVOLUTION, THE BACKGROUND OF SCHOLARSHIP, COMMERCIAL SECRET OF FAR EASTERN PAINTING, THE SHORT-STORY, THE AMERICAN SHORT-STORY, THE SENILITY OF THE SINGERS, SOME MODERN SLAVOPHILE DREAM, THE SOCIALISM AND CHRISTIANITY STATEMENT, A STOPS ON VARIOUS QUILLS “THE GOOD OLD WAYS" THEATRE, ADVENTURES IN THE TURKEY, TRUE STORIES OF UNDERWORLD DECORUM UNQUENCHABLE FIRES VALEDICTORY, A PHILOSOPHER'S VELD, LIFE ON THE VICTORIANS, A MONUMENT TO THE WAR, GLIMPSES OF WAR, THE BAYS OF WILL-TO-POWER, THE WORDSWORTH, A NEW STUDY OF ZIONIST HOPE, THE M. C. Otto Helen A. Clarke Harold J. Laski Israel Solon Joseph Jastrow. Joseph Jastrow H. M. Kallen H. B. Fuller John Macy Helen Gardner Williams Haynes Louis S. Friedland Louis S. Friedland William Wistar Comfort John Gould Fletcher Mary M. Colum Herbert Ellsworth Cory William Aspenwall Bradley Nellie Poorman Ward Swain · 478 377 27 61 514 480 96 7 46 179 426 475 240 436 466 348 187 517 56 395 182 432 237 356 · 19 337 463 429 290 3 345 379 352 481 523 83 137 95 141 134 398 400 58 135 473 305 243 309 242 60 . . . . . . . Odell Shepard Henry B. Fuller Oliver M. Sayler Helen McAfee George Bernard Donlin Henry B. Fuller Edward Eyre Hunt Talbot Mundy Ludwig Lewisohn Percy F. Bicknell Hamilton Fish Armstrong George Bernard Donlin Garland Greever H. M. Kallen . . . . . . ANNOUNCEMENTS OF SPRING BOOKS, 1917. CASUAL COMMENT NOTES ON NEW FICTION. BRIEFS ON NEW BOOKS. BRIEFER MENTION NOTES AND NEWS LISTS OF NEW BOOKS NOTES FOR BIBLIOPHILES.. SUMMER READING, LIST OF RECOMMENDED BOOKS FOR. 256, 273 12, 51, 90, 128, 174, 226, 295, 341, 384, 421, 461, 525 106, 147, 246, 313, 401, 443, 482, 527 29, 72, 107, 149, 191, 247, 315, 358, 403, 445, 484, 529 162, 406 .34, 74, 154, 195, 255, 322, 360, 410, 450, 490, 537 36, 77, 115, 156, 196, 274, 324, 362, 412, 452, 491, 539 31, 75, 113, 153, 193, 253, 318, 407, 447, 488, 529 533 INDEX AUTHORS AND TITLES OF BOOKS REVIEWED 98 PAGE Abbott, Edith and Sophonisba P. Breckinridge. Tru. ancy and Non-Attendance in the Chicago Schools.. 310 Addams, Jane. The Long Road of Woman's Memory... 252 Aghnides, Nicolas P. Mohammedan Theories of Fi- nance 152 Aldis, Mary. Plays for Small Stages. 439 Alston, Madeline. From the Heart of the Veld. 135 Anderson, Isabel. The Spell of the Hawaiian Islands and the Philippines 150 Andreyev, Leonid. The Confessions of a Little Man During Great Days 527 Applegate, Bergen. Paul Verlaine : His Absinthe- Tinted Song 252 Arnold, Thomas J. Early Life and Letters of General (Stonewall) Thomas J. Jackson 250 Artzibashef, Michael. War 98, 141 Augier, Emile. Four Plays. 67 Bacheller, Irving. The Light in the Clearing... 483 Bagwell, Richard. Ireland under the Stuarts and during the Interregnum 354 Bailey, H. C. The Highwayman 403 Bairnsfather, Bruce. Bullets and Billets. 305 Baker, Harry T. The Contemporary Short Story 345 Barcynska, Countess. If Wishes Were Horses.... 444 Barker, J. Ellis. The Foundations of Germany...... 191 Barstow, Charles L. Famous Sculpture... 151 Bartlett, Frederick Orin. The Triflers.. 528 Bassett, John Spencer. The Middle Group of American Historians 301 Baus, Manuel Tamayo y. A New Drama. 98 Beck, James M. The War and Humanity. 96 Bellamy, Francis R. The Balance... 102 Benois, Alexandre. Russian School of Painting. 29 Bercovici, Konrad. Crimes of Charity. 478 Berenson, Bernard. Venetian Painting in America... 64 Berger, Marcel. The Ordeal by Fire.. 305 Bilbro, Mathilde. The Middle Pasture.. 246 Bishop, Farnham. Our First War in Mexico. 359 Bolton, H. G. Spanish Exploration in the Southwest, 1542-1706 192 Boutroux, Emile. Philosophy and War 251 Bower, B. M. Starr of the Desert. 483 Boyd, Ernest A. The Contemporary Drama of Ireland. 484 Bradley, William Aspenwall. French Etchers of the Second Empire 29 Braithwaite, William Stanley. Anthology of Magazine Verse, 1916 179 Breckinridge, Sophonisba P. Truancy and Non-Attend- ance in the Chicago Schools. 310 Brodeur, A. G. Prose Edda 73 Brooke, Rupert. John Webster and the Elizabethan Drama 141 Brown, Alice. The Road to Castaly 475 Brown, Glenn. A Monograph of the Octagon House, Washington, D. C. 111 Bryce, Viscount. The War of Democracy. 472 Buck, Gertrude M. The Social Criticism of Literature.. 151 Burgess, J. W. America's Relations to the Great War.. 96 Burnett, Frances Hodgson. The White People... 314 Burton, Richard. Bernard Shaw: the Man and the Mask 360 Buxton, C. R. Toward a Lasting Settlement. 61 Byrne, Lawrence. The American Ambassador. 528 Calkins, H. A. In Canada's Wonderful Northland. 531 Cambridge History of English Literature. Vols. XIII and XIV 473 Cammaerts, Emile. New Belgian Poems 72 Cannan, Gilbert, Mendel 356 Cannan, Gilbert. Samuel Butler: A Critical Study.... 393 Carbaugh, Col. H. C. Human Welfare Work in Chicago 406 Casseres, Benjamin de. The Shadow Eater... 137 Champion, Jessie. Jimmy's Wife... 148 Chéradame, A. Le Plan Pangermaniste Démasque... 96 Clapp, Frederick Mortimer. Jacopo da Pontormo: Life and Work 19 Clark, Barrett H. Masterpieces of Modern Spanish Drama 530 Clark, Eliot. Alexander Wyant 27 Clark, Keith. The Spell of Scotland. 150 Claudel, Paul. The Tidings Brought to Mary.. 98 Coleman, Frederick. From Mons to Ypres with General French 305 PAGE Colum, Padraic. Mogu, The Wanderer... 445 Colum, Padraic. Wild Earth and Other Poems. 352 Conrad, Joseph. The Shadow Line.. 441 Coomaraswamy, Ananda. Buddha and the Gospel of Buddhism 405 Corwin, Edwin S. French Policy and the American Alliance 249 Creevey, Caroline A. Stickney. A Daughter of the Puritans 316 Crothers, Samuel McChord. The Pleasures of an Ab- sentee Landlord 250 Cullum, Ridgwell. The Son of His Father. 484 Curel, François de. A False Saint... 67 Curran, W. Tees. In Canada's Wonderful Northland.. 531 Currie, Colonel J. A. "The Red Watch" 305 Cutler, Robert. Louisburg Square.... 483 D'Annunzio, Gabriele. The Honeysuckle.. Dargan, Olive Tilford. The Cycle's Rim. 137 Dark, Sidney. Afraid 145 Davies, William H. The Autobiography of a Super- Tramp 398 Davis, Charles Belmont. Her Own Sort.. 484 De Benneville, James S. Oguri Hangwan Ichidaiki. 248 Dejeans, Elizabeth. The Tiger's Coat.. 403 Dewey, John. Essays in Experimental Logic.. 136 Dewey, John, and Others. Creative Intelligence... 348 Dilnot, Frank Lloyd George: The Man and His Story 529 Diver, Maud. Desmond's Daughter 104 Dix, Beulah Marie. Moloch 141 Dixon, Roland B. The Mythology of All Races. Vol. IX, Oceanic 187 Dodge, Louis. Children of the Desert. 402 Dostoevsky, Fyodor. Pages from the Journal of an Author 481 Doty, Madeline Z. Short Rations. 484 Dragoumis, Julia D. A Man of Athens. 70 Dreiser, Theodore. Plays of the Natural and the Super- natural 439 Drinkwater, John. The Lyric... 109 Dunn, Waldo H. English Biography. 532 Dupin, Gustave. La Guerre Infernale. 96 Dwight, H. G. Stamboul Nights.. 134 Eastman, Max. Journalism versus Art. 108 Eberlein, H. D. Practical Book of Early American Arts and Crafts 73 Edwards, George Wharton. Vanished Towers and Chimes of Flanders 30 Ellis, Havelock. Essays in War Time. 191 Erskine, John. Appreciations of Poetry by Lafcadio Hearn 23 Ervine, St. John. Changing Winds.. 443 Ewers, Hanns Heinz. Edgar Allan Poe. 433 Fabre, J. Henri. The Life of the Caterpillar. 110 Figgis, Darrell. “A.E".. 435 Findlater, Mary and Jane. Seen and Heard, Before and After 1914 527 Firth, J. B. Highways and Byways in Nottinghamshire 531 Fleming, Guy. The Diplomat 482 Foerster, Norman. The Chief American Prose Writers 152 Forbes, John Maxwell. Doubloons and the Girl...... 444 Francke, Kuno. Personality in German Literature Be- fore Luther 73 Frank, Waldo. The Unwelcome Man. 244 Freeman, Mary E. Wilkins. An Alabaster Box.. 527 French, Allen. At Plattsburg... 529 French, Allen. The Hiding-Places. 314 Freud, Sigmund. Leonardo da Vinci 143 Fuller, Henry B. Long Lines and Short. 300 Fullerton, W. M. Hesitations. 472 Galsworthy, John. A Sheaf.. 111 Gamble, Eliza Burt. The Sexes in Science and History 192 George, W. L. The Intelligence of Woman..... 101 Gibbons, Helen Davenport. The Red Rugs of Tarsus.. 447 Gibson, Wilfrid Wilson. Borderlands and Thorough- fares 225 Gibson, Wilfrid Wilson. Daily Bread. 223 Gibson, Wilfrid Wilson. Livelihood. 226 Goldsmith, Robert. A League to Enforce Peace. 387 Gogol, Nicolai. The Inspector-General 141 Goldoni, Carlo. The Beneficent Bear.. 67 Gosse, Edmund. Inter Arma 107 vi INDEX a PACE Gough, George W. The Yeoman Adventurer. 314 Gouldsbury, C. E. Tiger Land.... 149 Granger, Alfred Hoyt, England's World Empire. 405 Grant, Madison. The Passing of a Great Race...... 432 Grey, Zane. Wildfire 104 Guérard, Albert Léon. Five Masters of French Romance 113 Guimerà, Angel. La Pecadora-Daniela 141 Guthrie, W. D. Magna Carta and Other Addresses. 112 Halbe, Max. Youth 67 Hall, Gertrude. Aurora the Magnificent. 401 Hamilton, Cosmo. Joan and the Babies and I. 403 Hamlin, A. D. F. History of Ornament Ancient and Medieval 30 Hamlin, Talbot Faulkner. The Enjoyment of Architecture 17 Hankey, Donald. A Student in Arms.. 532 Hanson, William C. Diseases of Occupational and Vo- cational Hygiene 151 Harding, Mrs. Edward, The Book of the Peony. 486 Harper, George McLean. William Wordsworth: His Life, Works, and Influence 2 12 Harris, John F. Samuel Butler. 393 Hay, Ian. Pip 182 Headlam, J. W. The Issue.. 529 Heine, Heinrich. Poems selected and translated by Louis Untermeyer 399 Henderson, Alice Corbin. The New Poetry 389 Hewlett, Maurice. Thorgils 189 Hichens, Robert. In the Wilderness. 813 Hirschfeld, Georg. The Mothers. 67 Hobson, J. A. Toward International Government. 61 Hofmannsthal, Hugo von. Death and the Fool. 98 Hofmannsthal, Hugo von. Madonna Dianora. 98 Holdich, Sir Thomas. Political Frontiers.. 96 Hollander, Bernard. The Nervous Disorders of Men; The Nervous Disorders of Women: Abnormal Chil- dren 153 Holley, Horace. Read-Aloud Plays. 141 How, Louis. A Hidden Well. 137 IIoward, Keble. The Gay Life. 247 Howe, Sonia E. Some Russian Heroes, Saints and Sin- ners 529 Hough, Emerson. The Man Next Door. 247 Hovelaque, Emile. The Deeper Causes of the War. 96 Hudson, W. H. A Crystal Age.. 86 Hudson, W. H. Green Mansions. 85 Hudson, W. H. The Purple Land. 86 Hughes, Rupert. In a Little Town. 402 Humphrey, Zephine. Grail Fire.. 402 Hutton, The Baroness von. Mag Pye. 314 Hyde, Florence Elise. Captain of the Host and The Supreme Test 446 Ingpen, Roger. Shelley in England. 521 Izumo, Takeda, The Pine Tree.. 67 James, William. On Vital Reserves. 406 Jerome, Jerome K. The Street of the Blank Wall. 1.9 Johns, Orrick. Asphalt and Other Poems.. 475 Johnson, Rossiter. The Fight for the Republic. 318 Johnson, William. Limpy.. 147 Joyce, James. A Portrait of the Artist as a Young Man 525 Joyce, James. Dubliners 5.25 Judgment of the Orient, The. 133 Jung, C. G. Analytical Psychology. 3:3 Keith, Katherine. The Girl.. 70 Kelland, Clarence Budington. Sudden Jim. 444 Kellogg, Louise Phelps. Early Narratives of the North- west 485 Kerfoot, J. B. How to Read. 315 Kerrick, Captain Harrison S. Military and Naval America 316 Kilmer, Joyce. Literature in the Making.. 519 King, Basil. The Lifted Veil... Kingsley, Florence Morse. An Alabaster Box. 527 Kipling, Rudyard. A Diversity of Creatures. 1.11 Kipling, Rudyard. Sea Warfare.... 358 Klein, Arthur Jay. Intolerance in the Reign of Eliza- beth, Queen of England. 317 Klickmann, Flora. The Flower Patch Among the l'Is 152 Knoblauch, Edward. My Lady's Dreas... 439 Kober, George M. Diseases of Occupational and tech- tional Hygiene 151 Kornilov, Alexander. Modern Russian History. 429 Krows, Arthur Edwin. Play Production in America.. 141 Kunz, George Frederick Rings.. 132 Kuprin, Alexander. The Duel 1.18 Lane, Mrs. John. War Phases According to Maria.... 1:48 Laski, Harold J. Studies in the Probl. n of Suvereziety 439 Latourette, Kenneth Seott. The Development of China 524 PAGE Lawrence, D. H. Amores. 352 Lawrence, D. H. The Prussian Officer.. 237 Lawrence, D. H. Twilight in Italy.. 237 Lay, Wilfrid. Man's Unconscious Conflict. 485 Le Bon, Gustave. The Psychology of the Great War. 182 Ledoux, Louis V. The Story of Eleusis. 141 Lee, Jennette. The Symphony Play... 439 Leonard, Sterling Andrus. English Composition as Social Problem 316 Leslie, Shane. The Celt and the World. 435 Lewis, Sinclair. The Job.... 313 Libby, Walter. An Introduction to the History of Science 487 London, Jack. The Human Drift.... 404 Lowe, Corinne. Confessions of a Social Secretary.... 314 Loyson, Paul Hyacinthe. The Apostle. 67 Lynch, Bohun. The Complete Gentleman. 106 Macdonald, J. A. Murray. European International Rela- tions 96 Maciver, R. M. Community. 517 Mackintosh, E. A. A Highland Regiment. 475 MacLane, Mary. I, Mary MacLane. 400 Madden, D. H. Shakespeare and His Fellows 112 Madelin, Louis. L'Aveu 96 “Mademoiselle Miss" 150 Maniates, Belle K. Our Next-Door Neighbors. 247 Manning, Frederic. Eidola 426 Marsh, Richard. The Beetle. 145 Marshall, Archibald. Upsidonia 106 Martin, Helen R. Those Fitzenbergers.. 314 Viasefield, John. The Locked Chests and The Sweeps of Ninety-eight 445 May, Max B. The Founder of American Judaism.... 251 VicAfee, Helen. Pepys on the Restoration Stage....... 480 MicClure, Abbot. Practical Book of Early American Arts and Crafts 73 McClure, S. S. Obstacles to Peace. 472 McCormick, Frederick. The Menace of Japan. 430 McLeod, Irene Rutherford. Swords for Life. 352 Meany, Edmund S. Mount Rainier... 447 Meeker, J. Edward. The Life and Poetry of James Thomson 446 Meigs, Cornelia. Master Simon's Garden. 148 Meyer, Eduard. England: Its Political Organisation and the War Against Germany.. 344 Meyer, Baroness Mahrah de. Nadine Narska. 483 Milburn, Joseph A. Everyman's World... 251 Miller, George A. China Inside Out.. 315 Miniter, Edith. Our Natupski Neighbors.. 314 Mitchell, Julia Post. St. Jean de Crèvecaur 486 Mitchell, Susan. George Moore..... 435 Monroe, Ilarriet, and Henderson, Alice Corbin. The New Poetry 389 Moore, Leslie. Antony Gray, Gardener. 528 Morgan, James Morris. Recollections of a Rebel Reefer 530 Morris, Lloyd R. The Celtic Dawn. 530 Morris, Lloyd R. The Young Idea... 519 Morton, Victoria. The Whirlpool. 147 Muir, Ramsay. Nationalism and Internationalism. 472 Nandikesvara, The Abhinaya Darpana of. The Mirror of Gesture 532 Naumann, Friedrich. Central Europe 390 Neihırdt, John G. The Quest. 137 New England, Handbook of... 446 Nexö, Martin Andersen. Pelle the Conqueror. 309 Nicholas, René. Campaign Diary of a French Officer.. 404 Nicolay, Helen. Our Nation in the Making... 108 Nirdlinger, Charles Frederic. l'our Short Plays. 141 Norris, Kathleen. The Undertow.... 402 Nyburg, Sidney L. The Chosen People... 356 O'Brien, Lilward J. The Best Short Stories of 1916 and the Year Book of the American Short Story........ 345 Ohlson, Harold. The Dancing Hours. 107 Olivet, Fabre de. The Golden Verses of Pythagoras... 406 Oppenheim, E. Phillips, The Hillman... 104 Pailleron, Edouari. The Art of Being Bored. 67 Pain, Barry. The Short-Story.. 109 Palmer, Frederick. By Second Year of the War. 305 Pani, Alberto J. Hysine in Mexico.... 532 Parmelee, Maurice. Poverty and Social Progress. 249 Parsons, Elsie Clews. Social Rule.. 239 Paterson, Isabel. The Magpie's Nest. 483 Pease, Edward R. The History of the Fabian Society.. 112 Pecklesheim, Baron von und zu. The Adventures of the U-22 305 Phelps, William Lyon. The Advance of the English Novel 72 INDEX vii 96 21 .. 191 • 317 PAGIS Pickthall, Marjorie L. C. The Lamp of Poor Souls.... 137 Pierce, Frederick E. Jordan Farms, An Epic in Home- spun 137 Pinon, René. La Suppression des Arméniens. 96 Platt, James Bissett. Democracy and Peace. Poland's Case for Independence 96 Post, Louis F. Ethics of Democracy. 152 Powys, John Cowper. One Hundred Best Books. 248 Powys, John Cowper. Suspended Judgments.. 56 Pratt, H. S. Manual of the Common Invertibrate Ani. mals 109 Rannie, D. W. The Elements of Style. 149 Régnier, Henri de. L'Illusion Héroïque de Tito Bassi.. 245 Rhodes, Kathlyn. Afterwards 106 Richardson, Dorothy M. Backwater. 483 Richards, Grant. Bittersweet 189 Rowden, Aldred W. The Primates of the Four Georges 248 Royce, Josiah. The Hope of the Great Community.... 58 Russell, Bertrand. Why Men Fight... 233 Russell, George W. E. Portraits of the Seventies. 152 Ryan, John A. Distributive Justice... 110 Ryan, Marah Ellis. The Druid Path. 106 Sacher, H. Zionism and the Jewish Future.. 60 Sarolea, Charles. The French Renascence. 316 Scherer, James A. B. Cotton as a World Power. Scott, Dixon. Men of Letters... 184 Scudder, Vida D. The Church and the Hour. 523 Seeger, Alan. Poems 243 Seitz, Don C. Training for the Newspaper Trade. 107 Seton-Watson, R. W. The War and Democracy. 61 Seven Years in Vienna.... 487 Shackleton, Robert. The Book of Boston.. 192 Sharp, Hilda M. The Stars in Their Courses. Shaw, A. W. An Approach to Business Methods. 133 Shepard, Odell. A Lonely Flute. 475 Sheppard, Alfred Tressider. The Rise of Ledgar Dunstan 402 Sheppard, Alfred Tressider. The Rise of Ledgar Dunstan 70 Sherman, Stuart P. Matthew Arnold, How to Know Him 516 Shestov, Leon. Penultimate Words 481 Shklovsky, I. W. In Far North-East Siberia.. 446 Sigurjónsson, Jóhann. Modern Icelandic Plays. 67 Siren, Osvald. A Descriptive Catalogue of the Pictures in the Jarves Collection, Yale University..... 24 Skinner, Constance Lindsay. "Good-Morning, Rosamond !” 443 Smith, John Thomas. Nollekens and His Times. ..... 29 Smith, W. 0. Trout Lore.. 406 Snedden, David. Problems of Secondary Education.. 303 Squire, J. C. Twelve Poems.. 475 Stacpoole, H. De Vere. François Villon His Life and Times 307 Stacpoole, H. De Vere. Sea Plunder. Stead, Robert J. C. The Homesteaders. 148 Steiner, Edward A. The Confessions of a Hyphenated American 192 Steiner, Edward A. Nationalizing America. 74 Steiner, Jesse Frederick. The Japanese Invasion. 430 Steinmetz, Charles P. America and the New Epoch.. 133 Stephens, James. Green Branches.... 352 Strindberg, August. Plays.... 98 Stryienski, Casimir. The Eixhteenth Century. 74 Symons, Arthur. Figures of Scveral Centuries. 445 Tarbell, Ida M. New Ideals in Business.. 133 Taylor, Hannis. Cicero: A Sketch of His Life and Works 403 PAGE Taylor, Katherine Haviland. Cecilia of the Pink Roses.. 528 Tchekoff, Anton. Plays, Second Series... 98 Thieme, Hugo P. Essai Sur l'Histoire du Vers Français 317 Thoma, Ludwig. Moral.. 141 Thurston, Carl H. P. Art of Looking at Pictures. 30 Tolstoy, Count Ilya. Visions. 527 Tracy, Louis. The Postmaster's Daughter.. 484 Tremlett, Mrs. Horace. Giddy Mrs. Goodyer.. 444 Trites, W. B. Brian Banaker's Autobiography. 356 Turczynowicz, Laura de Gozdawa. When the Prus- sians Came to Poland 240 Tuttle, Florence Guertin. "Give My Love to Maria" 443 Untermeyer, Louis. Poems of Heinrich Heine. 399 Untermeyer, Louis. These Times.. 475 Van Vechten, Carl. Music and Bad Banners.. Veblen, Thorstein. An Inquiry Into the Nature of Peace and the Terms of Its Perpetuation. 514 Verhaeren, Emile. Afternoon 486 Verhaeren, Emile. The Cloister. 98 Verhaeren, Emile. The Sunlit Hours. 72 Waddell, Helen. Lyrics from the Chinese. 359 Wadsley, Olive. Possession 147 Wallace, Edna Kingsley. Feelings and Things . 110 Walling, William English. Russia's Message.. 429 Vard, Sir Adolphus William. Germany, from 1815 to 1852 Warne, Frank J. The Tide of Immigration. 108 Warwick, The Countess of. A Woman and the War. 247 Washburn, Stanley. The Russian Advance,.. 305 Waste, Henrie. Philosophy 148 Watson, William. Pencraft 95 Watts-Dunton, Theodore. Vesprie Towers. 483 Waxweiler, Emile. Belgium and the Great Powers. 185 Weaver, Henrietta. Flame and the Shadow-Eater. 527 Welb, Mary. The Golden Arrow..... 444 Webster, IIcnry Kitchell. The Thoroughbred. 145 Wells, Carolyn The Mark of Cain..... 484 Wells, H. G. Italy, France and Britain at War. 445 Wemyss, Mrs. George. Petunia 444 Wergeland, Agnes M. History of the Working Classes in France 252 Wergeland, Agnes Mathilde. Slavery in Germanic So- ciety During the Middle Ages... 149 Weston, George, Oh Mary Be Careful!. 147 Weyl, Walter E. American World Politics... 387 Wherry, Edith. The Wanderer on a Thousand Hills.... 528 White, William A. Mechanisms of Character Formation 318 Wilde, Percival. Confessional and Other One Act Plays 439 Willsie, Mrs. Honoré. Lydia of the Pines.. 246 Wilstach. Dictionary of Similes. 152 Williams, Cora L. Creative Involution.. 150 Winslow, Carroll Dana. With the French Flying Corps 305 Wood, Clement, Glad of Earth... 475 Woodbridge, F. J. E. The Purpose of History. 59 Woodrow, Mrs. Wilson. The Hornet's Nest... 444 Wright, Willard Huntington. The Creative Will...... 15 Wright, Willard Huntington. Misinforming a Nation.. 477 Wyatt, Edith. Great Companions... 315 Wynne, Made'ine Yale. Si Briggs Talks.. 531 “X." War Poems 475 Yents, William Butler. Responsibilities 141 Zahm, J. A. Great Inspirers... 531 CASUAL COMMENT Almanac Wisdom 129 Book-Trade, Hopeful Signs in. 53 American Authors' Fund, The Report to the Contributors Browser, The Timid 53 to the 462 Centenaries, Two Important, Among the Publishers. 461 Armenia's Poetry 422 Censorship in Holland 176 Author's Confession, An.. 173 Chicago, Grcater Library Facilities for. 129 Authors, Adolescent 296 Childhood, The Vocabulary of.. 13 Authorship, A Question of. 28 "Collior's,” A Reply to.. 90 Bancroft the Poet.. 313 Concord Immortals, The Last of the. 174 Books, Getting the Most Out of.. 128 Copyright Violation, A Denial of. 229 Books, The High Cost of Rare. 53 Culture by Correspondence 52 Books That Might Have Been.. 176 Culture, The Spread of.... 342 Book-Reviews, Two Uses of.. 34: Daily Theme, To the Credit of the. 52 Book-Sales, A Cause of Diminished. 208 Dollar, The, in Literature.. 228 Booksellers' Catalogues, Joy in. 2:29 Drama, The, Freed from the Fetters of Convention.. 295 Bookseller, The Omniscient 207 Editorial Ethics, A Quaint Manifestation of. 422 Bookshop, The Specialty 12 English Tribute to an American Author.... 341 viii INDEX PAGE European Struggle, The, Twelve Months After the Be- ginning of 461 Fact, The Propensity of, to Look Like Fiction. 526 French Art, For the Preservation of... 226 French Poet's Protest, A.. 295 Germany, The Official Apologists of.. 421 Goncourt Prize, The 128 Good Luck, The Hit-or-Miss Procedure of 462 Hart, Horace, Printer and Bibliophile.. 296 History, Work in Local... 91 "Huckleberry Finn," The Original of.. 129 Hysterics, Emotional 227 Indexing Extraordinary 175 Japenese Influence on Western Culture. 52 John Cassell Centenary, The.. 175 Kreymborg, Alfred, Exemplar of Brevity in Verse. 385 Leacock, Stephen, as a Lecturer. 384 Library Economy, Exemplary 297 Library, One Way to Move a... 14 Literature, Charting the Ocean of. 128 Magazines Made to Sell... 13 Mailing List, The Free.. 296 Metathesis, An Amusing Instance of. 13 Military Drill, The Interest in.... 384 Moody, The William Vaughn Lectures.. 341 Mutations of Popular Taste 12 National Service in Its Effect on Literature.. 91 PAGE New Poets, Chicago's Prompt Utilization of... 462 New Theatre, In Support of the.... 296 Norwich's Historic Library 13 O'Brien, Edward J., Martyrdom of.. 51 Octogenarian Author's Honors, An.. 174 Paper Covers, The Pros and Cons of.. 297 Parcel-Post Service, Ancient Babylonian. 295 Poems Written for Advertising Purposes. 526 Poet, The, as Professor... 229 Printed Word, The Potency of. 526 Realism, A Costly Bit of.. 12 Rhodes Scholars, American 51 Rhythm, Broken and Faulty 92 “Scarlet Letter, The," With the Scarlet Washed Out.. 227 Standards of Taste 422 Stevenson's Posthumous Poetry 227 Tauchnitz Reprints, The Fate of the. 226 Tempo in Public Speaking.. 421 Titles, Truncated 228 Typographical Tricksiness 91 War and Literature 385 War, Changes Likely to be Wrought on English Educa- tion by the 525 War Correspondent, The Escape from Wiles of Germany 525 War, The Way in Which America Meets the Challenge of 384 Wendell, Barrett, Retirement 51 Written Word, Appreciated 92 MISCELLANEOUS Abbey, E. A., The Late. E. V. Lucas. 94 Amateur, Warning the. Alfred Emerson.. 14 Baus, Tamayo y. William Dallam Armes. 231 Braithwaite's Anthology for 1916. Myron Zobel. 131 Dramatic Device, An Old. Louis How.... 471 Dreiser, Mr. M. H. Hedges..... 343 Fiction, Hodiernal. Bessie Graham 131 Free Verse, A Note on. 231 French Proper Names. Benj. M. Woodbridge. 470 Golden Fleece, The. Harry B. Kennon.... 230 Hewlett, Maurice. Anna S. L. Brown. 55 ry, Partisan Reading of. William E. Dodd. 92 History, Realistic. Archibald Henderson.. 176 Historians and the War. Andrew Cunningham McLaugh- lin 427 Historical Research, A Centre of. St. George L. Sioussat 229 Ignoring the Question. M. C. Otto.... 511 Ireland's Debt to Foreign Scholars. Edward Sapir. 513 Japan, Notes from. Ernest W. Clement.. 132 Mexico. Caspar Whitney 177 Monroe, Miss, Responds. Harriet Monroe.. 470 Mr. Britling Sees It Through. John Cotton Dana.... 54 Harry B. Kennon 54 M. H. Hedges 54 Erving Winslow 177 Peace, The Basis of. T. R. Thayer. 386 Poetry and Criticism. Constance Skinner. 513 Poetry as a Spoken Art. H. E. Warner. 386 Powys, John Cowper. Jacques Schuman Le Clercq... 94 Claude Bragdon 130 J. W. Abernethy 298 Publishers and Writers. Honoré Wilsie. 55 Saint-Saëns on Wagner and Shakespeare. Theodore Stanton 513 Shakespeare in Paris. C. Saint-Saëns.. 386 Short Story, More About the. Mary M. Colum. 512 Short Story, The. Searle Hendee... 470 Song, The Winds of. John L. Hervey. 232 Standards. Edward Hurst 428 Tagore, Rabindranath. Mayce Fries Seymour. 130 Victorian, An Unrepentant. Leslie N. Jennings. 298 War Books, Ten "Real.” René Kelly.... 178 THE DIAL A Fortnightly Journal of Literary Criticism, Discussion, and Information. . - Vol. LXII. JANUARY 11, 1917 No.733. THE SECRET OF FAR EASTERN PAINTING. CONTENTS. THE SECRET OF FAR EASTERN PAINTING. Since Admiral Perry's fleet definitely John Gould Fletcher 3 opened Japan to the West, barely sixty years have elapsed; but during that time scholars POET AND PAINTER: A RENAISSANCE and men of science have discovered that in FANCY. Richard Aldington 7 all the arts of civilization -- music, poetry, LITERARY AFFAIRS IN FRANCE. (Special painting, sculpture, architecture, religion, Correspondence.) Theodore Stanton . philosophy - China and Japan can boast of 9 a record as long and as fruitful as any in the CASUAL COMMENT 12 West. Particularly has this been noteworthy Mutations of popular taste in ephemeral lit up to the present in matters of painting. erature.-A costly bit of realism.—The spe Chinese and Japanese painting in this country cialty bookshop.-Magazines made to sell. can boast of its enthusiastic collectors like The vocabulary of childhood.-Norwich's his- Fenollosa and Freer, its admirers and fol- toric library.-An amusing instance of meta- lowers like La Farge and Whistler, its thesis.—One way to move a library. students like Ross and Cram. In the great COMMUNICATIONS 14 Freer collection at Detroit, which will some Warning the Amateur Alfred Emerson. day become part of the national collection THE ARTIST AS SUPERMAN. Frank Jewett at Washington, and in the Boston Museum Mather, Jr. 15 of Fine Arts collection, we have materials for estimating the value and importance of OUR ARCHITECTURE AN OPTIMISTIC Chinese painting (of which Japanese is only VIEW. Claude Bragdon . 17 an offshoot) which can only be equalled, if RECONSTRUCTION OF A MASTER. Helen equalled at all, in the Far East itself. A few Gardner. 19 bold spirits even now are beginning to declare that they are able to draw more pleasure and MODERN TENDENCIES IN MUSIC. Russell inspiration from the masterpieces of Far Ramsey 21 Eastern painting than from the best Western HEARN IN THE SCHOOLROOM. Arthur Davi efforts of to-day and yesterday. What, then, son Ficke 23 is this charm wherein lies the secret of Chinese and Japanese painting? THE JARVES COLLECTION. William Aspen- 24 A great mistake is made by the Western wall Bradley nations in supposing that education is a mat- A PAINTER OF THE FOREST. Edward E. ter of the development of purely intellectual Hale faculties. Education is not of the mind only, but of the body also. To fill the memory with BRIEFS ON NEW BOOKS. 29 immense quantities of uncorrelated, misin- French Etchers of the Second Empire.—The terpreted, and undigested facts is far more Russian School of Painting.-Nollekens and noxious than to remain in sheer ignorance. A His Times.—Vanished Towers and Chimes of Flanders.—The Art of Looking at Pictures.- true education is that which trains the senses A History of Ornament Ancient and Medieval. to investigate for themselves, the brain to observe and correlate sensation, the spirit to NOTES FOR BIBLIOPHILES . 31 receive it and give it out to the world. Now the extraordinary point about Chinese NOTES AND NEWS 34 and Japanese painters is that, although they LIST OF NEW BOOKS 36 were trained to observe nature and life, their . o 27 4 [January 11 THE DIAL work looks to us altogether artificial and con rest on the doctrine that the eye transmits ventional. How deep that training went may certain things to the brain, and the brain, be shown when I say that in the later Sung through the medium of the hand, tries to period, about 1200 A. D., when Chinese land transmit them unaltered to the picture; but scape art reached its high-water mark, the that the brain constantly uses the eye to grasp artists who achieved this summit were trained the meaning of what is set before it, and the in the Zen Buddhist doctrine, a natural pan hand renders again this meaning in a dif- theism, the cardinal point of which was that ferent way. The Western artist uses nature everything in nature has, not only its outer as an end, and painting as a means to that form, but its inner state of feeling, with which end; the Oriental uses painting as an end, the artist must be in sympathy before he can and nature as a means. Western art is a properly paint it. If the aim of the Chinese worship of external form; Eastern art is a landscapists of the Sung period was to get as rendering of internal mood. far as possible into sympathy with their sub In no ways are Western and Chinese art jects, why is it that they painted in such a more contrasted than in their ideas of com- conventional manner? It is because the act position, perspective, and color. Let us take of receiving inspiration from nature and the up composition and perspective first, and try art of rendering it again, are altogether dif to grasp what the Oriental means by them. ferent processes. Of the famous six canons of Chinese paint- In nature everything exists in a state of ing formulated about fifteen hundred years diffusion. You look at a figure or a landscape, ago, the first is life-rhythm, and the last com- and you come away with a feeling of peace; position and finish. Perspective is not men- at another, and you have a shrinking of hor- tioned. tioned. This is instructive, but more instruct- ror; at another, and you have a feeling of ive still is the old anecdote of some Chinese conflict, of battle. To make plain all these artist who became famous for his ability to underlying emotions and feelings is the aim render a hundred miles of landscape on a fan. of art — of any art. If one sits down and The Western artist always conceives of his attempts to absorb all the various detail that picture as fitting into a frame. He literally made up this feeling, one simply absorbs the grows into the habit of looking at nature illusion and not the underlying reality through the medium of a round or square or Everything remains diffused, unsynthetized, oblong hole. To fill this blank space is his uncoördinated. Mental effort of this sort is object. The habit of squaring off one's draw- only the absorption of a certain number of ing, or measuring the proportion of objects curious statistics. If one tries merely to put with the stump of a pencil extended at arm's these statistics down on canvas again, one length, finishing a painting after it has been produces a sort of statistical analysis, drier framed, is altogether Western. The Western and less interesting than the reality, which picture is evidently a well-filled, but limited not only contained these statistics but some cross-section of space. thing which appealed to normal universal To the Oriental nothing seems more absurd. emotion as well. If one proceeds by the He conceives of a piece of silk or of paper as Oriental method, one does not necessarily capable of infinite extension. He does not seek to put down any of the statistics of the work inward from the frame; he does not reality. One selects from the whole object or stand mentally outside his picture and look series of objects before one a few features into it; he works outward from the centre, which contain all the emotional import of and standing at ease there looks about him on that object, and strives to render these in such every side and sees the dignity and beauty of a way as to suggest all the rest. One art is an infinite space. Thus many Chinese and art of statement; the other, an art of selec- Japanese works look empty to our untrained tion and restatement in another medium. One eyes. The objects therein are simply space- is uncreative; the other is creative. boundaries which are enclosed by emptiness. The first secret of Oriental art is therefore When a Chinese speaks of composition, he that, unlike Western art of to-day, it does not means the spacing of his objects. He arranges 1917] 5 THE DIAL his spaces in such a way that the material or namely, that painting is something on a flat filled element becomes merely a boundary of space of paper, silk, or canvas; and, secondly, line or tone to restrain the extent of the because thereby we are merely parroting immaterial or unfilled space. This is done, nature, without thought, without attaining first, by lines tending to the horizontal, any nearer to nature's meaning. It is enough expressive of breadth ; by lines tending to the to see things in perspective; why should we vertical, expressing height and depth; by trouble to paint them in that way? gradation of tone, expressing the infinite The last, the greatest, the most difficult variations of materiality; and, finally, by secret of Chinese painters is their science of spotting, which is perhaps the most important color. There has been a great deal of talk of all, since every touch in this art tends to about the beauty of color in Oriental art. become a spot of interest on which the eye Incidentally, a goodly portion of this refers can rest for a moment before traversing to the later realistic work of the color-print another free space. It is this conception of school, which, as every student of Oriental composition as arrangement of subject matter art knows, represents the decadence. The astounding, paradoxical fact about Chinese diverging into space, rather than as filling a color is that the great Chinese artists avoided square or oblong or circle with converging color as much as possible. Their highest art shapes, that makes the actually smaller was simple monochrome in black and white; Chinese and Japanese kakemonos more decor- their science of color was not a science of ative and bigger in effect than the enormous color at all but of the relations of tone. To walls of European and American public appreciate the highest Chinese art an eye buildings, crowded with figures. It is also trained to distinguish the most subtle grada- this which enabled the Oriental artists to give tions is necessary, just as to appreciate Chin- us the makimono, or roll picture, of which ese music the ear must catch the subtlest dis- only one section could be seen at a time, but sonances and variations of rhythm. which had the continuity of a frieze, as well It is a fact that black in painting does not an infinite variety of movement and necessarily represent darkness, nor does white arrangement. Beside many of these maki- represent light. The Occidental painter monos, the Parthenon frieze looks conven particularly if he be of an academic cast tional - the mere repetition of a pattern. appears to think that he need only paint in Finally, it was this constant freedom from dark colors to represent shade and in light space limitations which enabled the Chinese colors to represent sunlight. He even goes and Japanese to give us different and unre further and talks of hot and cold coloring. lated aspects of a scene or landscape in one All this would appear sheer nonsense to the work; as, for instance, the painting of all subtle Oriental. There can be glossy warm four seasons on a single screen, or of a hun blacks or dull dirty blacks, just as there can dred miles of landscape on a fan, or the tell be dull lifeless whites or singing dazzling ones. ing of an entire story in one picture. It is this play of illuminated or of unlit sur- As for perspective, the idea that Chinese | faces, this grading of tone, not according to artists knew nothing about perspective still its color, but its value as light or the reverse, persists as the popular view. Now, it may that is the great secret of Oriental art. The be true that far objects do appear smaller Japanese call it notan. than near ones. But a thing may be true to The reason for this astonishing diversity fact without being true in art. When one between the East and the West, is after all, seeks to interpret nature, not merely to state less a divergence of conception than a diver- her, one may discover that a tiny speck of gence of technical means. The Chinese and distant mountain overpowers all the fore-Japanese never employed oil-painting. All ground. The real perspective is the mental their work is done in washes of water-color on perspective, not the ocular. It is bad art to silk or paper. The surface of the silk or try to paint objects at their relative depth paper represents, in this case, light. The for the eye, because, in the first place, it washes permit certain amounts of light to denies the most obvious fact about painting, filter through, or block these out, as the case as 6 [January 11 THE DIAL may be. Oil-painting is not capable of such Style, therefore, becomes the secret of art. translucency. All the light in an oil-painting Style is artistic morality; it is more - it is must fall directly on the canvas. Hence the the means by which our consciousness of old convention — so puzzling to an outsider - man's mission asserts and expresses itself. which leads Western painters to paint in a Man differs from the rest of the animal king- deeper range of tone than that which nature dom precisely because he is concerned with offers them, is justified. Take an old Chinese the purposes of things rather than their picture and hang it alongside an old oil-paint- effects. To explain and investigate his vague ing. In the Chinese picture the silk has gone and hesitating notions of the purpose of crea- brown, but the colors have not altered; in the tion, he has invented speech, music, drawing, Western picture the colors have grown dark arts, and sciences. To draw anything is to and clogged with age, but the canvas under describe it, to fix the consciousness stead- neath remains the same. It is an interesting fastly upon it. It is to write its meaning in problem to settle: has oil-painting given us a hieroglyphic freer and less conventional the most satisfactory, the highest form of than that the author uses, but at the same painting possible ? time more comprehensive. Hence the stress I do not pretend to answer this question. laid upon line by the Oriental artists. Hence Notan — the gradation of tone-harmonies --- the long and earnest study of style, which to is possible to a certain extent even in oil- their eyes is always inherent in line. Hence painting, though not to such a subtle extent the analysis of every form of brush stroke as the Chinese offer us. Although the that it is possible to make, for a brush stroke Oriental mind accepts monochrome as the is only a line. is only a line. Hence the alliance between highest form of art, again and again the great good writing and good painting - the join- Chinese and Japanese have put color into ing together of drawing and caligraphy. The their work. This is especially true of relig- superiority of a great Oriental painter over ious paintings, which were especially meant a great Occidental is a purely moral superior- to give richness of effect among the gorgeous | ity. The Western artist may have spent all splendor of temple-decoration. But even then his life trying to drive home moral teachings. color was used in a restrained way, and He may be richer in color, more diverse in always in combination with notan. range, more skilled in science of form, capable Among Western artists the quarrel still of bolder conceptions. But all this avails persists whether art should or should not have him nothing against the dignity with which a moral purpose. This quarrel has never the Oriental has invested a spray of simple existed in the East. To the Oriental, educa bamboo. The dignity was not in the plant tion is just as much of the body as of the soul. | itself, but solely in the painter's eye, mind, A beautiful material thing is the outer envel and hand, as these worked together to render ope of a beautiful spiritual thing. The it in line, tone, and feeling. Oriental shuns vulgar coarseness as he shuns Let no one suppose that I am advocating narrow didacticism. And here again he is a slavish submission on the part of Western right. Anything that is so presented to us artists to Oriental doctrines and precepts. To as to impress us with its dignity is not only create a tribe of imitators is not my aim. beautiful but also morally uplifting and High as Chinese and Japanese art was at its cleansing. Little does it matter whether zenith, it, too, suffered complete decadence Michelangelo has preached for us a sermon on through a facile and feeble eclecticism which the Sistine ceiling; the dignity of the pres went on producing copies of copies of copies entation is in itself better than any sermon, until nothing was left. There is no painting while in the case of the “Last Judgment,” worthy the name now in China; and in Japan the want of dignity makes the sermon fail. we have nothing but a feeble and meaningless When Ma Yuan in one of his landscapes gives compromise between realism and the weak- us a fisherman's hut, a few sprays of bamboo, ened dregs of stylistic training, or an even and the outlines of immense distant moun- preposterous aping of European tains, the subject matters very little, the methods. Great Chinese and Japanese art is treatment becomes everything. gone - as completely, as utterly as Greek, more 1917] 7 THE DIAL sance. Florentine, or Venetian. But while it is gone, POET AND PAINTER: A RENAISSANCE there have been signs that a new development FANCY. of Western art was coming. The movement labelled loosely Post-Impres- Admiration for the Renaissance has become sionism has proved at least one thing — that a little exhausted. It has been almost over- studied and every bourgeois has reproduc- there is a genuine revolt against the shallow tions of its works of art in his parlor. But pseudo-scientific training of Western artists there is an interesting, because comparatively and art schools. Men like Cézanne, Gauguin, unstudied, side to the garden of the Renais- Van Gogh, were undoubtedly men who were I mean its Latin poets. And these honestly seeking to bring about a greater con have a particular pleasure for us because of ception of painting, based on primitive on primitive their intimate relationship with the painters impulse and feeling rather than on scientific of the same period. We have all read of the influence which perspective or analysis of light. Whether Poliziano and Marsilio Ficino had upon their work was successful or not, it was right Sandro — how, for instance, they guided him in its aim, in that it combated the stifling in those pagan frescoes he painted for Lo- realism and super-culture of the nineteenth renzo. We all know those wistful goddesses century. Unfortunately, the mannerisms and with their long delicate fingers and melan- not the aims of these great men have borne choly eyes, and also those moulded fair lads, their fruit in the cubist's and the futurist's of Botticelli. But if we are at all curious about the specifically Hellenic elements of efforts — work which agitates the brain to no Renaissance art, we will know other less end, as Okakura pointed out, work devoid of studied painters and poets than Sandro and anything but surface sensation. The war has Poliziano. We will certainly know that ended this craze for novelty at any cost. And strange, eccentric person Piero di Cosimo, now art, if it survives at all in Europe, will whose “Cephalus and Procris” in London probably revert to the sterile academic for must have seemed to many people like an mulas of the Salon schools and the Royal un-Botticellian Botticelli --- wild and faun- esque. Piero di Cosimo is not a great Academies,—the shadow of a shadow of a artist as Sandro is, but he has a charm for shadow,- or it will have to start again from those who have extracted the few golden the very beginning. grains of poetry from the dreary wastes of America is more fortunate. We are escap Latin in the “Deliciae Poetarum Italorum.” ing the war at a period when it is more neces At the moment I cannot recall any Renais- sary then ever before that we cease taking in sance Latin poet who has written an idyl on this subject. Yet this very picture of Ceph- elements from without and begin to create alus kneeling in sadness by the side of dead something like a homogeneous national devel- Procris has a kinship with these poets, and opment. Paris has nothng more to teach our might be taken as a symbol of their mournful artists. We have at least twenty men who ecstatic brooding over a beauty that was dead can beat anything in Paris (except the work – though not slain by them. of a few veterans) on its own ground. But If we take the wistful, melancholy yet China and Japan can teach us these great beautiful face of Sandro's Venus as a symbol lessons : Natural form is necessary to a pic of the yearning of all the artists of the Renais- ture, but natural form that is not felt is sance for that lost Hellenic blitheness and unnecessary. Realism is bad art, but reality beauty which had gone forever, it is no less that is interpreted and made lofty and dig- apt to take this picture of Piero's as a symbol nified by its interpretation, is great art. In of these Latin poets in particular. You will a picture nature must appeal to our emotions find in their poetry a love of flowers, of the just as much as she does in a scene, and not fairness of women, a sense of the pity ad to our knowledge of cast shadows, or brush- loveliness of early death, and also a faunesque work, or perspective, or a dozen-and-one other feeling for fields and meadows and trees. Now in this picture of Piero's, Cephalus is interesting matters for scientific - not artis- tic — investigation. Finally we must under represented as a wild woodland creature with pointed ears and a little ragged beard and stand style but never degrade it, for style is shaggy legs. And Procris lies upon the bright the universal morality of art. meadow “studded with flowers”. for they JOHN GOULD FLETCHER. are painted with a meticulous yet entirely 8 [January 11 THE DIAL ness. artificial grace, as one might imagine a gold Just now, in speaking of Piero's "Cephalus smith handles jewels -- and in the distance and Procris," I mentioned that tenderness is a sea-strand with tall white birds standing for early death which is one of the qualities upon it. It is indeed as far distant from the of Renaissance artists whether painters or Hellenism it seeks to portray as Dante's terza poets. Just as the painters and sculptors rima differs from Virgil's honeyed hexam-dwelt on this motive in many "pietàs” and eters. For that reason it is the more original. youthful figures upon tombs, so the poets And whatever one may claim for the Latin lamented in Ovidian Latin the bitter fate of poets of the Renaissance, one can scarcely | Adonis and the fall of Hylas like a bright claim originality. They were so in love with star from Heaven! It must be admitted that classic models, and especially with Roman the poignancy and sincerity of the painters models, that nothing but the very language and sculptors leave the poets far behind on of these ancient poets whom they loved so the dusty paths of conventionality. But here much would content them as a means of is a little poem by a Quattrocento poet expression. They have this much in common Giovanni Pontano: with the poets of the Middle Ages: they were THE TOMB OF HIS LITTLE DAUGHTER LUCIA. content to vary a well-worn theme in lan You leave your father in darkness, my Lucia; from guage accepted and conventional. They pre- | light to darkness, little daughter, you are taken. ferred to use the words of Virgil or Ovid But yet you are not taken into darkness; you before their own; leave darkness behind you, and you shine in the sun. nothing would have I see you, little daughter, in the Heavens. Do you shocked them so much as originality of see me? Or do I comfort myself with foolish pre- expression. It was Bembo's chiefest praise texts Only this grave of yours I touch, little daughter; to be called “Cicero's ape." no life is left in this poor dust. Yet since these poets were a means by which Yet if your soul still lives I should think you the more original painters came into contact happy, for you died young. with that part of the spirit of antiquity And we drag out our life through light and dark- Was it for this alone, little daughter, you were which remains enshrined in literature, their born? poems are worth at least a cursory glance. This is genuine, not a mere copy of some Most of these poets belong to the late Quat Greek or Latin poet's emotion, for Pontano trocento and early Cinquecento. One of did actually lose a daughter by death. And them, Andrea Navagero, a Venetian noble in the despair which sees nothing but the too man, is remembered solely because his Latin palpable grave and scarcely dares to hope for epigram on the winds was turned into French the continuance of life in the disembodied by Du Bellay in his “Vanneur du Blé aux spirit, there is a sentiment which is at once Vents.” There is another poem of his on a common to the Greeks and to ourselves. fountain, which has been translated into There is the same despair in Moschus's French by Philippe Desportes in a sonnet “Lament for Bion” and in Swinburne's “Ave which is included in most anthologies of atque Vale.” Pontano is, of course, much ancient French poetry. Desportes's French less than these poets, but the same emotion is is less attractive than Navagero's Latin, which pictorially imaged in Piero's "Cephalus and Procris," and if we are to do justice to is as delicate as the Greek it echoes. It has in a lesser degree something of that intense Pontano, we must think of him as inspiring Piero rather than as expressing himself com- arrested loveliness of Giorgione's “Venetian a One more picture and one more poem little exaggerated to claim so much for so though in this case the poem must have been obscure a poet : here is the poem in plain written long after the picture was painted. English prose: The poet is Cornelio Amaltheo. And the The fountain is cold and there is no water more painter is Piero di Cosimo. If you wander healing. The margin is green with fine grass and the alders ward off the sunlight with many-leaved into that side gallery of the Louvre which boughs. The burning sun hangs in mid-Heaven and contains many Italian "primitives," — among the parched meads glare under his light. them Angelico's famous “Coronation of the Stay, wayfarer, since you are heated by the noon Virgin,”- you will find in a corner two small sunshine and your languid feet can bear you no oil panels attributed to Piero. They are far further. Here you may rest from your weariness, and grow cool in the wind and the green shadows, beneath the level of his work in London and and ease your thirst with the limpid water. Florence but they have something of his Is there not — de generous to the forgotten quaint spirit. They represent the “Marriage poet !— something in that of “life touching of Peleus and Thetis.” In the first, Proteus lips with immortality"! is seen with sea maidens and Tritons plunging Pastoral.” Perhaps it is fantastic and a pletely and inevitably, 1917) 9 THE DIAL through the waves toward a curved white sand shore. The air is brilliant with dawn and the bodies of the white Nereids gleam gracefully through the water beaten into foam by the strong limbs of Tritons and sea mon- sters. This is the poem : Golden Aurora had drawn away the shadows; she had hidden the falling stars with the rose-red glow of her face. Then the sun, lifting his chariot from the Eastern foam, revealed the great world with his lustrous torch. Suddenly Proteus rose from the Adriatic waves; and then came Cymothea, shaking free her yellow hair, Hyale, Arethusa, white of arm — Nereids mar- velling at the poet. Like the wind upon the shore they plucked dark berries, pale violets and soft hyacinths; and then they gathered about him beseeching his song. And Proteus, sitting among them, bade the seas calm their high murmur and the winds and Aeolus their sounding blasts. At his bidding the waters were still and the winds of Auster. RICHARD ALDINGTON. LITERARY AFFAIRS IN FRANCE. (Special Correspondence of THE DIAL.) M. Jean Monné, one of the most distin- guished Félibristes of Provence, has died recently at an advanced age. My friend, M. Charles Ratier, of Agen, an equally distin- guished Félibriste of the Languedoc region of France, sends me these interesting notes on this poet in particular and on Félibrisime in general : Monné was an exceedingly amiable companion as well as a personality quite to the fore in the move- ment of the southern literary Renaissance. He had been a Félibrige Majoral since 1881, in which year he was awarded the Cigalo de Roussihoun (the Cigale de Roussillon, the last name being that of Monné's native province, and the first, grasshopper, in English, I believe). I should explain that instead of being titularies, as at the French Academy, of a numbered chair, the Majoraux, who form our Southern Academy, or Académie Méridionale, receive a gold cigale bear- ing the name of either a little southern region, river, or mountain; and these Majoraux are generally designated by the name of their cigale. Thus, in Félibrige, I am known as the Cigalo de la Garono, Agen being situated on the Garonne river. Monné was for some time syndic of the Mainte- nance, the title of our regional Félibrige associations, of Provence and edited a monthly, which he had founded, called “Lou Félibrige,” which for many years was the official organ of our ideas and our movement. As a poet, he published several volumes and a mass of fugitive pieces scattered through the pages of our reviews, newspapers, and almanacs. He had announced his intention of soon publishing a “Dictionnaire de Rimes Provençal,” and he has left in manuscript a volume of verse. All his writings are in the Rhodanien, or Rhône, Provençal dialect, that used by Mistral; which fact is all the more interest- ing when one remembers that Provençal was not the maternal dialect of Monné, who was born at Perpig- nan, whose Roussillonnais is very closely allied to Catalan. But he early abandoned his mother tongue in favor of Mistral's, which he knew and handled in a remarkable manner, in the hope, which he enter- tained for a long time, that it would be possible to fix in a single literary dialect the southern languages; and this unique dialect he held should be that in which was written “Mireille" and the other master- pieces of Mistral. During many years this tendency was very strong among my Provençal confrères, whose amour-propre was however rather exasperating at times. Through my efforts, begun some thirty years ago, we succeeded finally in securing equal recogni. tion, as instruments of literary expression, for each of our dialects. Another French writer, dead for the moment to the literary world, has, however, been resuscitated for an instant. The second volume of Professor André Koszul's “Anthol- ogie de la Littérature Anglaise” (Paris : Delagrave, 3 frs. 50), which was stopped by the war, is just out. In a letter to THE DIAL more than a year ago, I spoke at some length of this admirable work and gave some extracts from the second volume, then partly in proof and partly in manuscript. I now speak of it again mainly to give news of the learned and unfortunate author. At the beginning of August, 1914, when Professor Koszul sud- denly left the Sorbonne for the entrenched camp of Maubeuge as a military interpreter, the proof-reading of this book had been scarcely begun. This task has now been per- formed by the author's friend, Professor Théodore Garnier, of the Paris Lycée Henri IV., who, Mme. Koszul informs me, has seen the volume through the press. The head of the English department of the University of Paris, my friend Professor Emile Legouis, the distinguished French authority on Words- worth, writes me as follows about our com- mon friend: I am delighted to hear of your intention to speak of Koszul and his book. The news will do him good in his prison. Our poor friend was captured at Maubeuge in the first days of September, 1914, dur- ing the German onrush towards Paris. He was first sent to the Gefangenlager at Wünsdorf near Zossen, in Brandenburg, then to Chemnitz-Ebersdorf, and lastly to Gross-Poritsch, in Saxony. From the scanty cards he has sent me, I infer his health has not been much impaired. He has fought against despon- dency by devoting himself to his illiterate co-prisoners for whose benefit he had a class while he was at Chemnitz. For your notice of his book you may wish to remember that at the university, Koszul sat under Auguste Angellier, our foremost English scholar, whose thesis on Robert Burns is widely known in the learned world. Angellier, who was also one of our best poets, has often told me that he considered Koszul the most distinguished student he ever had. Koszul stood first in the severe competitive examina- tion which we call agregation d'anglais. For his doctorate, he offered a fine thesis on “La Jeunesse de Shelley,” the merit of which is well known. Later, he was intrusted by a London publisher with the editing and the prefaces of a two-volume edition of Shelley's poems, a rare homage paid to a foreign 10 [January 11 THE DIAL : cease. von а writer. He is so modest that he rather hides than Tauchnitz Edition. I began in 1915, and on the shows off his worth. 6th of July, the same year, I started my Collection The following paragraph is also interesting with “Bealby,” by H. G. Wells. Since then the number of authors who have signed contracts with especially when it is known that the writer's me for the duration of the war and for five years two sons “are fighting on the banks of the after its termination has reached 90 per cent of the Somme, in the most exposed places": total number of authors, alive and available, included What effect this war is to have on our university in the last Tauchnitz catalogue, that for July, life, I can only conjecture. It will surely relax the 1914. Two works are published monthly and this hold of German erudition which threatened to wrench will be increased to one a week as soon as hostilities our intellect from its natural bent. We were fast Tauchnitz had no permanent contracts with losing our French characteristics and I now hope the authors, but made a separate agreement for each they will tend to revive with great distinctness. There volume; so they had not to break their word to come to us. is no fear now of their being spoilt by an excess of The sales are satisfactory, the neutral flippancy. But the greatest change I am looking and allied countries sending important orders. The forward to is the broad opening of our French univer- Tauchnitz people, we are told, are publishing occa- sities to foreign students, chiefly to your countrymen. sional books in their continental edition,- not novels We have been till now passive and inert, never mak- but books on the war, written in English by Germans ing any effort to draw to our lecture-rooms a part Among the American writers who have joined the of the numerous cosmopolitan clientele that yearly Standard collection are Amélie Rives, Booth Tarking- resorted to the German universities, and afterwards ton, Gertrude Atherton, Kate Douglas Wiggin, Mrs. did most to spread German influence and prestige A. M. Williamson, Baroness Hutten, and Elizabeth Robins. over the world. Our disinterestedness, in which there was too much apathy, ought now to make room for Even the French musical world has turned an appeal to those whose ingenuous faith in the on the Fatherland. “Germanophilie” (Paris : German ideal has been shaken by recent events. Dorbon, 1 fr. 50), by the well-known French There have been many other examples composer Saint-Saëns, is most violent since the summer of 1914 that the bitterness diatribe against Germany in general and occasioned by this war has unfortuntely but German music and musicians, especially perfectly justifiably penetrated the usually Wagner, in particular. The little book even serene walks of European scholarship. Here bears on the present political situation in is a fresh one. The learned Professor Jacques Europe by showing what an intense hatred for Flach, of the French Institute and the College Germany now exists in France, a hatred, it of France, sends me a pamphlet entitled should be noted, which had almost wholly dis- “ Revendication contre l'Allemagne” (Paris : appeared but which this war has made Alphonse Picard, 50 centimes), which is an stronger than ever before. attempt to prove, and a very successful one, But M. Saint-Saëns, who seems just now to it seems to me, that the mediæval poem about be in a very bellicose state of mind, is rather Gauthier d'Aquitaine, “Waltharius," is not neutral in his dislikes. Having given Wagner to be attributed to German but to French harsh treatment, he turns toward the Allies culture, notwithstanding that Gaston Paris and treats Shakespeare in much the same put it the other way. The closing lines of fashion in an article which appeared in a Professor Flach's strong argument well illus- recent number of the “Renaissance.” I have trate what I said at the beginning of this not seen this article but the author sends me paragraph : this résumé of the position which he takes The poem of Gauthier d'Aquitaine has been in it: claimed by Germany. Because of the paucity of her epics, Germany has tried to enrich herself at our The question is being agitated in Paris of founding expense by appropriating our goods, and by so doing a Shakespeare Society on the pretext that after the she has remained faithful to her traditions, which war a new art will be needed! I took the liberty have always impelled her and are still impelling her of saying that it would be better for French modern to try and seize upon the riches of other peoples. authors and the living ones, too, to give their pieces; and I also took the liberty of saying that it was only In revenge, an attempt is now being made possible, for several reasons, to give adaptations of on the French side to rob Germany of one of Shakespeare, which disfigured his work. "I further- her literary institutions. Since the war broke more ventured to declare that he was more enjoyable out I have made three ineffectual attempts to in the reading than on the stage. get news as to how the “Tauchnitz Edition of Nor can the European neutral nations British and American Authors" is getting on. wholly escape the contagion. Their citizens In the meanwhile, M. Louis Conard, 17 Boule are all, one by one, “taking sides.” One of vard de la Madeleine, Paris, has started a very the last lectures delivered in Switzerland by strong rival, “The Standard Collection of the lamented Verhaeren was that given in British and American Authors,” whose aim October at Berne, on “La Jeune Belgique is “to replace the Leipsic Tauchnitz Edition.” Littéraire," and not the least notable feature On this subject, he writes me as follows: of the evening was the presence in a con- It took me six months to gather in the fold a spicuous seat, of Carl Spitteler, the leading certain number of authors formerly included in the poet of German Switzerland, who early in the 1917] 11 THE DIAL а war came out squarely against Prussianized mother's well-known pseudonym, — who died Germany. His open adhesion to the cause of to France, is the final conclusion of one of the the Allies has been, of course, warmly received ablest presentations I have seen of who is in France. M. Spitteler has just sent me a responsible for the present war-"La Respon- pamphlet, “Unser Schweizer Standpunkt” sibilité de la Guerre” (Paris: Bloud & Gay, (Zurich : Rascher, 1 fr.), which contains a 60 centimes), by Senator Tommaso Tittoni, speech delivered in the December following who has recently retired from the Italian the outbreak of the war, where we see the embassy at Paris. He is a diplomat, a politi- beginning of this evolution. cian, and a journalist, one of the most prac- Neutral opinion will be still more tried tical, clear-headed public men in Europe at when the time comes for making peace, and it this time, as you quickly discover in even the will be found that one of the chief bones of briefest conversation with him; and here is contention in the congress will be the Alsace what he says in this instructive little collec- Lorraine question. Many books have been, tion of his speeches made during the present and are being, written on the subject, and crisis :“All the nationalities who have endured among them two or three have lately come to the agony of foreign domination now await my attention in a particular way. the hour of liberation, whose first strokes have Senator Georges Clémenceau sends me "La already sounded.” France devant l'Allemagne" (Paris : Payot, This same determined spirit is strongly 5 frs.), a volume of the former Prime Min- | presented in Paul Margueritte's latest novel, ister's speeches and newspaper articles, espe “L’Embusqué” (Paris: Flammarion, 3 frs. cially the latter, all bearing on Franco-Ger- 50), severe arraignment of French man relations during the past ten years. “slackers," who, I am happy to say, are the Besides showing in a convincing way how grand exception in France. In sending me little France wanted war with Germany, but his book, the author writes: “After over two how much she expected it, or, to put it another years of war and so many heroic examples, way, how much this astute statesman expected there are strapping fellows who, like Panurge, it, this able book contains several notable are very much afraid of blows.' But the pages throwing light on the French point of energetic action of the new government is view and the French mind concerning this bringing them down to a minimum." burning Alsace-Lorraine problem. But let me close with a paragraph quite The same thing is true of “À Travers la free from the clash of arms. In the “Revue France en Guerre" (Paris: Fischbacher, 1 de Paris” of September 1, appears an article fr.), by M. Benjamin Vallotton, the well- entitled "Souvenirs of Nohant,” by Aurore known Swiss man of letters, now busyon Sand, the granddaughter of the great French relief work, he tells me. At the close of this novelist-personal recollections of the famous book, which is written in a fine style and is old home in Berry. She informs me that she instructive at the same time, is a long chapter has quite a budget of unpublished material of on Alsace, full of new ideas and suggestions, her grandmother —"letters on literature and the conclusion being that the country should life, fragments of a diary, articles on ideas be returned to France. This chapter is really and politics, etc.” The last time I met Aurore Lauth this is her married name, her the basis of M. Vallotton's charming serial, husband being a talented French artist and "On Changerait plutôt le Caur de Place," — an Alsatian, living at ease in a spacious Paris this title alone tells the whole story,-- which hôtel - we sat at table also with her sister, ends in the number of the “Revue des Deux Mme. Gabrielle Palazzi Sand,- both sisters Mondes” for December 1, and which presents, have always religiously have always religiously preserved their this time in the guise of fiction, the point of mother's well-known pseudonym,-- who died view of France, as I well know it, as well as a few years ago. Then George Sand's pub- that of a large portion of the inhabitants of lisher, who used to drive sharp bargains with Alsace, according to M. Vallotton. What this rising young authors — Renan was also one point of view is, comes out in this rather of his victims in this respect — would not strange and amusing reflection put into the permit Aurore to dispose of these papers. at mouth of one of the characters of the tale: her will. But expiring copyright or greater “Saint Peter gives some men two hearts and generosity on the part of the successors in the other men two stomachs. The first is the case house, now seem to have removed these diffi- with the Alsatians,- one heart for Alsace culties, and the orphaned waifs of George and one for France. The others, with no Sand's brain are at present offered to him who heart and two stomachs, are sent over the will buy them. THEODORE STANTON. Rhine." December 30, 1916. 12 [January 11 THE DIAL CASUAL COMMENT. unknown person in the millions of possible readers is not the least formidable. So small MUTATIONS OF POPULAR TASTE IN EPHEMERAL a thing as a fictitious name, chosen at random, LITERATURE are lightly touched upon by the may cause woe unutterable to both author and veteran journalist and dramatic critic, Mr. publisher, as has been proved more than once. H. G. Hibbert, in his "Fifty Years of a In this instance the real name was disguised, Londoner's Life," one of the most entertain- and the author, through absence in California, ing books of its kind that the present season escaped legal summons; but the unfortunate has produced. He informs us, after a few firm that issued the book is sternly reminded fascinated hours spent with the Press Direct- by the court that a publisher is responsible ory,” that “upward of fifty periodical pub- for his wares, whether they be fiction or phil- lications have quietly slipped away during osophy or ichthyology or hermeneutics, and the past eighteen months.” What the war that if the alleged reference to Magistrate has had to do with most of these disappear Corrigan is recognizable by sensible persons ances is obvious. Somewhat more surprising acquainted with that gentleman, the party is the following: "It is conceivable that many whose imprint appears on the title-page must of the newspaper proprietors who bowed to bear the brunt of the aforesaid magistrate's the pressure of the war accepted their fate displeasure. Such is the law. Fiat justitia, gladly. For the percentage of newspapers ruat coelum. that show a handsome profit is very small; THE SPECIALTY BOOKSHOP makes its appear- of newspapers that just pay, modest in its proportions; and of newspapers that steadily | tion. Bookselling has of course always tended ance, very naturally, in an age of specializa- deplete the banking accounts of their infat- more or less to some degree of specialization uated owners, immense. Millions must have in the kind of literature handled, but it sunk in the wreckage of journalism. As I remained for the twentieth century to bring write, an historic newspaper is in the market forth in well-developed form the woman's once more. It has steadily lost twelve thou- bookshop and the juvenile bookshop. At the sand pounds a year these many years. I wonder if it has ever paid.” Another class corner of Lexington Avenue and 52d Street, New York, there has been opened, under the of literature that suffers the mutations of fortune is the popular “library” or series, direction of the publishing department of the National Board of the Y. W. C. A., a shop often devoted to fiction, but not seldom inclu- mentions the once well-known “Morley's Esten.' The enterprise is partly an outgrowth sive of more serious works also. The writer planned by women, stocked with books for women, and run by a woman, Miss G. L. Universal Library,” forerunner of "Every- of the mail-order business in books that the man's Library," and he asks whether the Association has long conducted, using the “Cottage Library” still exists. Here in 'Association Monthly" as a medium of pub- America we long had our “Franklin Square Library,” and perhaps should still have it if licity and sending out book-exhibits to Asso- ciation conferences throughout the country. it had chosen a more attractive shape and better print. In the matter of popular series, But it is hoped that the shop will attract much local custom in addition to its more how pleasant our memories of the "Leisure wide-spread and scattered patronage. A few Hour Series" and the “No Name Series"! Why can't these good things go on forever? weeks before this undertaking was started there was opened in Boston, at 264 Boylston Street, by the Women's Educational and A COSTLY BIT OF REALISM was that little Industrial Union, a bookshop for children courtroom scene in Mr. George Bronson- from the picture-book age to serious-minded Howard's novel, “God's Man," which fur- adolescence. In connection with its regular nished material for a libel suit that has business the shop will conduct three series of resulted in favor of the plaintiff, Magistrate six story-hours each for three classes of chil- Corrigan of New York, to the extent of dren,- from five to seven years of age, $35,000 in damages. Of course an appeal has between seven and ten, and from ten to fif- been made, and the probabilities are that the teen. Tickets for each course are offered at publishers, whose protestations of innocence five dollars, and the story-telling will begin there is no reason to question, will at least January 16. Four story-hours for adults are escape the payment of so excessive a sum. also planned. The inference is that these will Amid the pitfalls lying in wait for even the be rather for instruction in story-telling than wariest publisher, this liability of inadver for amusement. The juvenile bookshop is not tently hurting the feelings of some wholly exactly a new thing in the book business, as 1917] 13 THE DIAL TO SELL some a glance at the preface of the Boston book to be master of 2068 “verbal symbols.” But shop's interesting catalogue will show. But thirteen of these are discarded as belonging it is safe to say that no earlier attempt to cap to "the defunct language of infancy," leaving ture the juvenile trade can be compared with a net total of 2055. This is surely a large the present in skilful planning and breadth of vocabulary for so young a child, and the scope. Miss Caroline M. Hewins, librarian at natural inference is that Baby Beyer is some- Hartford, writes the aforementioned preface, thing of a prodigy, though his father protests and the catalogue may be had for ten cents. to the contrary as any modest and sensible father ought to. Among the words gained in the third year, attention is arrested by terms MAGAZINES MADE evoke like the following: astray, christened, dental deserved reprobation from the Pratt Institute dope, electricity, embroider, kewpie (what- Free Library, which says, in its current ever it may mean), mathematics, mother-in- record of annual achievement: “No closer law, pardon, parents, refrigerator, uncom- scrutiny is exercised in the selection of books fortable, and (last but not least) vocabulary. to be incorporated into the Library's collec- Certainly the fact of the father's being a tion for the preservation of its character, college professor with an interest in his boy's than is given to the choice of periodicals that “vocabulary” must count for something in the shall make our Reading Room a resort both daily accessions to that vocabulary. delightful and improving for those who come to a library for introduction to current magazine literature. It is a sad commentary NORWICH'S HISTORIC LIBRARY is preparing on the times that so often American period to celebrate an anniversary of some impor- icals do not hesitate to forsake the reputations tance, and its librarian, Mr. George A. and traditions that have been synonymous Stephen, is writing an account of the insti- with their titles, to yield easily to deprecia- tution of which he is the head. “Three Cen- tion — literary, artistic, and ethical, and to turies of a City Library” will be its title sacrifice their standing with those who would from which it now becomes plain that Nor- be their friends, in order to pursue the ignis wich, England, rather than Norwich, Con- fatuus reputation of the best seller.'” necticut, is here referred to. It was as early Limitations of space forbid further verbatim as 1608 that this old town established what reproduction of the writer's wealth of phrase. might be called a public library, however Suffice it to say that regret is expressed at the unworthy of the name according to present unworthy pursuit of “news-stand notoriety” standards. At any rate, it was one of the on the part of periodicals that ought to know earliest towns to make any sort of provision better, and that there is so much ignoble striv for readers, and it was the very first to adopt ing for "snappy" stories, "racy” or “spicy” | the Public Library Act of 1850. Next March humor, and “compromising” plots. The dig- it is to celebrate the sixtieth anniversary of nity of the reading room at the Pratt Insti the opening of the Norwich Public Library - tute Library is maintained at the cost of the free library in its modern form. And frequent expurgations of the periodical-list. thus we have still another item of interest to Unluckily the average buyer is less scrupu associate with the birthplace of James and lous. Harriet Martineau and the town enriched also THE VOCABULARY OF CHILDHOOD offers one of with certain memories of a very different sort the most interesting fields for philological of genius, George Borrow. research. As DIAL readers already know, Professor Thomas Percival Beyer has made AN AMUSING INSTANCE OF METATHESIS is a study of his own little boy's increasing com cited anew in one of the books of the season. mand of English from earliest infancy. The As a rule, this form of play upon words, results of observations covering the child's whether intentional or inadvertent, ranks but first two years were published in “The Edu little higher than the pun. Self-respect for- cational Review," and were also circulated bids unrestrained mirth at the anecdote, old separately. These results were epitomized enough by this time, of the indignant church- and commented on in these columns at the goer who, finding his accustomed place filled time of publication. Now there comes a fur- by a stranger, thus remonstrated with him: ther report from Professor Beyer, who has “Sir, are you aware that you are occupewing noted the words acquired by his son in his my pie?” With greater heartiness we may third year. To the 771 words of the earlier enjoy the story related by Mr. T. H. S. Escott report are added 1297 of subsequent acquisi- in his “Great Victorians.” The sixth son of tion; so that the three-year-old boy was found Charles Dickens, a barrister of ready wit and 14 [January 11 THE DIAL well versed in his father's writings, once sessions and one evening rally in the pleasant ball- found himself pitted against a legal opponent room of the Plaza Hotel were needed to scatter named Willis, who irritated him and the the twelve hundred and odd numbers of his two court by indulgence in a repeated and appar- astonishingly fine and varied collections from the ently preventable little cough. At last Mr. Villa Pia and the Palazzo Davanzati. The eight sessions collectively yielded very close to a million Dickens's patience became exhausted and he dollars. The Italian government is understood to quietly remarked: “An illustrious relative of have accorded an export license for the removal mine has immortalized the words, ‘Barkis is of so large a group of old-time treasures, in one willing'; perhaps I may be allowed in present be allowed in present body, partly on account of the passive state of the circumstances to say, Willis is barking. domestic market at this time, and more particularly Old as this story is, it ought to bear repeating in view of its late owner's provision for the early as perhaps the neatest instance on record of transfer of the Palazzo Davanzati itself to the what, for lack of a better name, we may call nation. The other material, added to that from by the learned term of the grammarians, the Davanzati house at Florence, composed the current stock of Professor Volpi's commercial metathesis. establishment. ONE WAY TO MOVE A LIBRARY from an old The city of Florence much regrets to see the historic mansion which Volpi's good judgment and to a new building comes to public notice in connection with the opening of the lately- figurement and oblivion, by a masterly restoration enterprise but lately rescued from its long dis- completed library building at West Spring of the building to its antique physiognomy from field, Mass. The method commends itself both cellar to roof, denuded once more of its appropriate on the score of economy and as a means of furnishings. Since the Tuscan capital stands in swelling the yearly circulation statistics. A singular need of a public garde-meuble, I dare few days before the opening occurred, and to hope the municipality will try to restock the before the old library was closed to visitors stripped halls and chambers with another revival and given over to the force of movers, priv- of a foretime patrician interior. The Sangiorgios of Rome, the redoubtable Wertheimer, or our late ileges to card-holders were extended so as to Mr. Altman could not have bettered Volpi's han- allow the drawing of any desired number of dling of the problem. volumes, these volumes to be returned in due To judge it very soberly, however, his installa- order to the new building. How many tion resembled some of our own neo-colonial availed themselves of this enlarged license, or interiors by pushing the art cabinet features too how many books were thus moved without far. The passionate pilgrim to Italy would rather cost to the community, has not been see the Palazzo Davanzati fitted out so that the reported; but given a proper public spirit Davanzatis might recognize it. Prosperous and combined with a love of books and reading, well-bred burgesses of the Renaissance town, as the money-saving result in any such instance those people were for many generations, I fail ought to be appreciable. to visualize their actual living rooms hung with fifty paintings by renowned Italian masters and Netherlanders, which span the centuries from “Giotto (School of)” and Botticelli to the Vene- COMMUNICATIONS. tians of Galuppi's age, like wooden beads on a score-wire. Who could resist the colorful precision WARNING THE AMATEUR. of a “Game of Football" attributed to Bronzino, (To the Editor of THE DIAL.) or two exquisitely paint-spotty, small studies of If the American market for old-world art col young male and female heads by Tiepolo, if he lections is a fair gauge, neither the high cost of owned a historic house in Florence to display the necessaries of life, nor this country's contribu- them in ? tions for the relief of war victims abroad, have Other classes from the two collections showed noticeably weakened the long purses of the United a similar redundancy of number, variety, and high States, as yet. Large foreign loans and the expense quality, which compels equal scantness of printed of our own modest armaments may accomplish the reference. One hundred and sixty-eight numbers, feat hereafter. In the meantime, if you are a comprising carved ivories, classical and Italian Missourian, come to New York and watch the way old bronzes, wood, stucco, and terra-cotta sculp- money passes from hand to hand at a good metro tures, and decorated Italian maiolicas, fetched politan art sale. Pricing ermines and sables at roughly one hundred and eighty-six thousand Altman's, or a little venture in diamonds at dollars on the first afternoon. Antonio Rizzo's Tiffany's, will open your prairie-bred eyes no painted wooden statue of St. Sebastian glared by wider. its absence, owing to some hitch in conveying it The American Art Association's disposal of two ashore; but there were other magnets a-plenty. rich cabinets of old Italian art of every kind, for Accustomed as I am to the often exaggerated Professor Volpi of Florence, just before Thanks timidities of European connoisseurs and buyers, giving, was altogether the best public art sale I I cannot help admiring the boyish zeal and cour- have witnessed in many months. Seven daytime age of New York's four hundred, or four thou- 1917] 15 THE DIAL sand, as I watch them at art auctions. There are THE ARTIST AS SUPERMAN no refusals. Certainly a more close-fisted public, or one of greater shyness on the delicate problem THE CREATIVE WILL: Studies in the Philosophy of authenticity, might have given a less joyous and the Syntax of Æsthetics. By Willard Hunt- welcome to so many unweathered and unblemished, ington Wright. (John Lane Co.; $1.50.) polychrome busts and stucco reliefs attributed to the best schools and periods of Florentine sculp- variously developed by Guyau, Hildebrandt, The æsthetic of mass, which has been ture. A supposed Italian authority's printed asser- tion about one strange treasure astray in good Lipps, and Berenson, receives its most effect- company, that "its originality transcends every ive literary presentation in this new book. artistic tradition, and its beauty has never been Mr. Wright reduces the matter to 251 num- exceeded," was apparently accepted at face value bered paragraphs, which are often brief and in Volpi's sale catalogue. It compassed the flota aphoristic, and more rarely assume the form tion of an alleged bronze portrait figurine of the of a short essay. His style has pulse and Greek poetess Sappho. Of genuine bronze, nicely drive enough to carry along a good deal that oxidized, and fairly agreeable to look at, the is crabbed in vocabulary. He is always honest statuette in question most unquestionably was, albeit not of IV century B. C. workmanship, or a and clear, and but seldom careless. His robust true likeness of Sappho, or Greek. So far as intellectualism deserves admiration, however it recalled any school, it was that of the XIX much his particular theories may provoke century French clock decorators. Same stage dissent. To read him is to sharpen one's own costume à l'antique; same lank Empire body and thinking shoulders supporting a tiny head dolled up à la Physiology is the basis of this æsthetic. grecque; same blocky-hem draperies; same old “Art, in all of its manifestations, is, in its frontal pyramid by way of academic composition. final analysis, an interpretation of the laws This manifestly unantique creation found an eager Mr. taker at the modest figure of $15,000. of bodily rhythm and movement." The spirit of Punch would probably not prevail Wright gets over the difficulty of discriminat- against the innocence of many American amateurs, ing ordinary expression from artistic expres- if it stood by their chairs and whispered a spectral sion, by declaring that the difference is merely Don't. I can imagine no sounder Advice to Per one of organization and completeness. All sons About to Buy a Greek Statuette. It is true expression grows out of a combination of will, we shall never be more easily gulled than the intellect, and emotion. “In æsthetic expres- French and English market by forged Tanagrasion, however, each of these three elements figurines. But the French gudgeons of the eighties plays an equal part: there is a coördination and nineties were at least pioneers. and balance of all the functions of mentation. Two bidders of dauntless spirit ran the banner The theme is chosen by the emotion; the number of the first day's sale to a bid of $66,000. Mr. Joseph Widener, of Elkinsville, Pa., was the intellect determines the rhythm or construc- captor of this bona fide prize. It is a XV century tion, and the will supplies the power of Italian bronze incense-burner, supported by three organization.” It is this active complicity of marine deities, and populous with masks of satyrs all our processes of thinking that makes the that grin from amid graceful Renaissance festoons experience of art more complete and satisfy- of fruit, foliage, and shells. Executed by Andrea ing than the experience of nature. Briosco, one of Donatello's pupils, for one of the Art is merely the creation of form. Gonzagas of Mantua, this masterpiece of small “Colors either advance or retreat from the artistry won the admiration of many expert critics eye; and notes either advance or retreat at the Rome Semi-centenary Exposition of 1911, when it was on view at Castle Sant' Angelo. The from the ear. At once there is the implica- ubiquitous Dr. Wilhelm Bode was naturally of tion of a spatial dimension which is a quality their number. Mr. Widener had already begun to of form." Smell and touch, considered alone, loom large as the next wearer, in all probability, have no æsthetic value, lacking spatial impli- of the late J. Pierpont Morgan's mantle; he has cation; hence they gain æsthetic quality only now gathered it to his shoulders. through association with pleasures of sound Smaller lovers of the beautiful at the Davanzati and hearing. sale had equal reason, however, to rejoice in their All art is sharply divided into an inferior thousand smaller captures of carved furniture, feminine sort, of which Botticelli's "Spring" painted pharmacy jars, embroidered table and is a capital example, which is grounded and bed linen, tapestries, and ancient armor. Our col- lectors of fine old weapons seem to be few, for completed in emotion and realized in two di- some reason. Three purchasers, Messrs. Belasco, mensions only; and a superior masculine art, Canessa, and Du Pont, were permitted to acquire with Michelangelo as its type, in which the nearly thirty handsome period swords, at surpris- | emotion has been fully transmuted into form- ingly low figures. ing mind and creative will: such masculine ALFRED EMERSON. art is actively tri-dimensional. The kind of New York City, January 2, 1917. form in which the will to create deals is not 16 [January 11 THE DIAL on "objective or quantitative”- the form of Similarly all the recognizable aspects of every things we know in ordinary life — but sub- real work of art must be deducted. They rest jective. It is symbol and expression of the upon simple association, which has no esthetic mental complex of creation. value, indeed is anti-esthetic, producing only There is that form which has no counterpart in those lower pleasures so dear to the devotees actual life. It is without measurable dimensions, of merely feminine art. its size being relative to the other forms about it. Mr. Wright's war on the poor old associa- It does not represent any specific object with which we are familiar; we simply feel its tactility qual- tions is unrelenting to Schrecklichkeit: itatively. All great works of art contain this type Forms must be put together in such a manner that of form, whether it is presented abstractly or through their appearance or effect will function abstractly recognizable phenomena; in the latter case the objects and produce in the spectator or auditor an æsthetic cease to exist as objects, and create in us an emotion experience unrelated to those associative processes of form as in contradistinction to a recognition of which the objects, as objects, might call up. This form. form must even sufficiently moving to overcoma Later Mr. Wright says: "The Artist visual namely, to make nugatory—the effects which a recog- izes nature's forces and the effects of these nition of subject matter would ordinarily give hirth to. forces, and then translates them, dynamically While by taking thought we may dissemble organized, into concrete expression.” This is, our love for the associations, it is practically I hope, a fair, if necessarily succinct state- difficult to kick them down stairs. Hence ment of the essentials of Mr. Wright's æs- Mr. Wright counsels the artist to employ no thetic. I cannot within the allotted space recognizable forms. Paint something which argue each point. Instead I shall only try to indicate what points seem especially con- never has had and never will have any asso- ciative range whatsoever. testable. Mr. Wright's Wright's æsthetic rests two One may admit that art often has spatial ungrounded assumptions: first, there is a sub- implications, but Mr. Wright's axiom that jective sense of form, mass, and space apart two sounds or two colors will produce an from any recognizable objects in nature; inferential space needs proving. Color is the great indicator of space in all usual observa- second, although objects are recognizable in a work of art, all the associations which such tion, but only because of prior experiment with the muscular sense. It is precisely this objects usually evoke are nugatory and “to be deducted." coöperation of the muscular sense which vitiates all the so-called color scales. They Any complete examination of these two apply mostly to the one-eyed. If colors If colors major propositions is impossible within my actively and inherently came and went, no- assigned limits. It is enough to say that Mr. body would dare walk on that troubled sea Wright nowhere proves his postulates. Fur- which would be an Eastern rug. With Mr. thermore, since our sense of space is gained Wright's belief that the highest artistic use through experience with objects, and in no other way, the probability is that what is of color is to express form and spatiality, there need be no quarrel. As for space as called a subjective sense of form is impossible inferential in music, it seems to be so only except through present or past experience of through such associative processes as Mr. recognizable things. We know form only Wright elsewhere sets down as crass sentimen- through forms or what we think and remem- ber about them. In short, the alleged abstract, talisms. When he writes of music “the sound engulfs one almost like streams of water,” subjective experience of form looks delu- he is describing something quite different sional. There may well be certain peculiar ecstasies which figuratively are called percep- from an impression of abstract space or form. tions of subjective form, but the figure is At the outset Mr. Wright describes æsthetic arbitrary and the words misused. expression as growing out of an equal balance know "form" only as in some fashion of emotion, intellect, and will. Let us assume predicated upon actual forms in nature, then that he rather means a just balance, and this every such experience inevitably carries its is implied in his depreciation of an art infe- associative fringe. To say that the associa- rior and feminine because emotionalized. It tions usually evoked by the object have is hard to square this view with his later become "nugatory,” merely means that they description of an art which, though beginning have been limited by conscious inhibition. in emotion, transmutes it all into intellect Our minds remain our minds, and there is no and will. The process is conceived and spoken mental act entirely devoid of associations. of as a progressive deduction. When the This is true of the artist and of the person artist has no longer any need of the emotion, perceiving the work of art. All aesthetic he deducts it, or it simply drops out of itself. implies that the mental-emotional mass If we 1917] 17 THE DIAL behind the work is quite accurately commu the fact that he has built up upon a flimsy nicated to him who enjoys the work. John foundation a well-ordered and over-elaborate La Farge called this the “artistic transac structure. He is at all points very far from tion.” If this communication is non-existent life, of which art is after all an expression, or faulty, æsthetics has no matter of discourse. and his miraculously poised card house does If the artistic transaction is valid, then what not look habitable. In building it, however, ever mattered to the artist in creating the he has displayed rare ingenuity. It will fall, work of art matters to us who enjoy it. And for the foundation is soft; meanwhile we nothing is more certain than that all these humble fabricators in concrete and recog- literary-humanistic — in a word, associative nizable form may gain pleasure and benefit values have mattered deeply to great artists. from inspecting Mr. Wright's eminently sub- Mr. Wright's groundwork is a rather crass jective pagoda. romantic individualism. He imagines a FRANK JEWETT MATHER, JR. creative art in vacuo, by an anti-social super- man. Art, as Mr. Whistler remarked, “hap- pens”; there are no artistic periods or OUR ARCHITECTURE AN OPTIMISTIC VIEW. peoples. The mystical art of creation strikes as capriciously as the thunderbolt. One does THE ENJOYMENT OF ARCHITECTURE. By Talbot not have to be a fanatical democrat to see Faulkner Hamlin. (Duffield & Co.; $2.) that the color of their times has mattered so The literature of architecture is singularly much to very great artists that their work inadequate and meagre: her precocious chil- assumes a most representative character. Let dren succeed in getting themselves far more us take Giotto, Titian, Rubens. Is such tinge written about and admired than the mother of the times “nugatory”? Can we, with Mr. of the arts. For this reason, if for no other, Wright, "deduct” it? we should welcome Mr. Hamlin's volume. “It The chief originality of this book lies in fills a long-felt want.” As regards architec- the well maintained running analogy between ture there is a hiatus in the culture even of painting, sculpture, music, and literature. cultivated persons, and this lack Mr. Hamlin's Here Mr. Wright's great reading and gener book essays to supply: it is intended to inter- ally sound taste appear to advantage. But est and instruct the layman in the essentials the analogy of literature with the other arts of architecture so that he may reap that is rather ingenious than persuasive. In higher form of æsthetic enjoyment which particular, it is only by evasion that literature comes from the exercise of the faculty of with its inevitable ballast of associations and discrimination. recognizabilities remains an art at all. At Mr. Hamlin, though a young man, is well best it ought to be a “feminine” art. equipped for his task: he has studied, he has As a general view of the arts, Mr. Wright travelled, he has practised, and as the son of offers a cyclic theory, Art passes through the distinguished professor of architecture of sheer emotionalism, to analysis; culminates in Columbia University, from his earliest synthesis, which is followed by exhaustion. infancy he has seen, we may suppose, “the All the possibilities of sculpture were wheels go round.” His book is written con exhausted by Michelangelo; hence it lingers amore, it is full of the fine enthusiasm of as a moribund and superfluous art. Mr. youth without the rawness of youth. It is not Wright does not draw the kindred conclusion dry, or dusty, or pedantic; there is no parade that since the theoretical basis of painting has of that technical knowledge which is one of been ascertained by the Synchromists, it too the indespensable equipments for the writing is beginning to die. Apparently the cycle is of a book of this kind. indefinitely repeated, after the Platonic His first chapter, "The Appeal of Architec- dogma; we are doomed to revert to an emo ture," strikes the keynote of enjoyment, thus tionalism of which only such sub-artistic placing the reader in a properly receptive activities as the dance are the fitting expres state of mind. His second chapter, "Laws of sion. I marvel that Mr. Wright did not note + Form In Architecture,” is an admirable and the synchronism of the perfection of painting clear statement of those fundamental verities and the tango craze. It looks like cycles over which are often either bungled or ignored, but lapping at the edges. upon which all sound architectural criticism I suppose the unsteadiness of the impres- needs must rest. Then come two indispen- sion Mr. Wright's argument makes, is due to sable chapters on materials and structure, fol- 18 [January 11 THE DIAL lowed logically by a full consideration of architectural stage scenery of bygone ages and decoration and ornament. The penultimate distant climes. Mr. Hamlin affirms that to chapter is on planning, and the book appro build in this style or in that is a legitimate priately ends by bringing clearly before the thing for us to do. reader the relation of architecture to life More than any other country in the world to-day, what the author calls its “social value.” the United States is heir to all styles, and all cul- tures, and just as Greek philosophy and Roman Law Here is much admirable material, well and Feudalism and Renaissance, individualism, and arranged, interestingly, easily, and at times the rationalism of the eighteenth century have all even charmingly presented. If there is now contributed to our institutions so our architecture must needs be based on the architecture that all these and then an overemphasis on the obvious, if different peoples have developed. the psychological and philosophical aspects of Of the vast incongruity, the illogicality of the architectural art are given scant attention, nine-tenths of what we essay, he is himself it makes doubtless for the comfort, and there- unconscious, or his optimism covers it up for fore for the enjoyment, of the average lay fear that it might act as a deterrent to reader, to whose intelligence the book is “enjoyment.” He nowhere squarely states frankly fitted and in the main addressed. It this fundamental, necessary fact that it is justifies its title and accomplishes its aim : the duty and privilege of this age, as of every the reader should rise from its perusal better age, to develop an architectural language equipped for the enjoyment of an art which, eloquent of it, one capable of expressing its more than any other, offers itself for such unique spirit in some new, yet natural, way. enjoyment wherever man has acted upon his Instead of developing this language, we are material environment. saying in various vernaculars things that are not true. It is pleasant to be able to accord to Mr. Hamlin's book so much of praise;. but it is It is right that Mr. Hamlin should praise the function of criticism to act as a corrective the beauty of our sky-piercing cities, with to the personal view and bias of an author, their crowns of light and banners of steam. to defend the reader against it, though it They are beautiful, but it is the beauty of unconscious power, not the conscious beauty mean only opposing one personal view and of art. One should not pluck the fillet from bias to another. It is a sad thing to say, and labor to place it on the undeserving brow of the reader may infer from it, as regards the the muse who is still asleep. The translation critic, what he pleases, but the great defect of of power into beauty has with us but just Mr. Hamlin's attitude to American architec- begun. Nearly all our loveliness is borrowed ture is his incorrigible optimism. This is loveliness: this fact Mr. Hamlin fails to make betrayed by his fondness for such an appall- sufficiently plain. ing word as “worth-whileness.” He affirms It should be made clear, for example, that the "worth-whileness" of many things in our the beauty of the concourse of the Pennsyl- architectural environment which are not vania Terminal, "a thoughtful and imagin- worth while, or which have ceased to be worth ative design which makes this interior while. Optimism, except that of the prophet instinct with noble inspiration," is the beauty cherishing a hope which he may never live to of Imperial Rome and in no wise expresses realize, -- and Mr. Hamlin is not such a the spirit of modern America; and that in prophet, - is always dangerous, and it is this building convenience has been so sac- particularly dangerous in this case, because it rificed to grandiloquence that to the bewild- delays the day when that order of pharisaical ered traveller it is a veritable temple of architecture which this book encourages us to fatigue; to the stockholders, a white elephant. admire will not be tolerated. It should be made clear that the "thoughtful If Mr. Hamlin had confined himself to the simplicity” and “fine repose” of the Boston discussion of European architecture, he would Pyblic Library are qualities from the Library have escaped these strictures, for in dealing of Ste. Geneviève, and the Malatestan Temple, with that he is at all times competent and and that in this building, again, the fun- correct; but in reading the confused scroll damental principles of library planning have of our America he is lacking in vision. Except been violated for the sake of the interior for an occasional reference, one might think, quadrangle, with its massive walls, inspired in reading this book, that our modern method by the Cancelleria palace. of steel construction had never been invented, The reader should be instructed that the or that its only legitimate function was to Metropolitan Tower is but a later and larger form a scaffolding on which to stretch the growth of the Venetian campanile San Marco, 1917] 19 THE DIAL and not left to believe (by lumping the two RECONSTRUCTION OF A MASTER. together) that it is in the same class with the Woolworth Building tower, which is, if you JACOPO CARUCCI DA PONTORMO: HIS LIFE AND please, “instinct with noble inspiration” WORK. By Frederick Mortimer Clapp: with despite its pseudo-Gothic detail. Foreword by Frank J. Mather, Jr. (Yale University Press; $7.50.) Like most optimists, Mr. Hamlin mani- fests the stand-pat psychology. According to In these days, the student of History of him the architectural chariot must advance Art is appalled at the paucity of adequate always along the well-worn roads, bounded by books on his subject in the English language the ancient scenery. In his discussion of —works which, on the one hand, show scholar- Classic mouldings, he says, “All we can do is ship, sound, accurate, and orderly, and on the to study and re-study, to refine and re-refine other, infuse such scholarship with enough the elements left us by the past.” What a enthusiasm, sympathy, and warmth of æs- dusty answer is this to the eager and adven- thetic appreciation to appeal both to the con- turous spirit! How different from Michel- noisseur and to the layman. Such a work, angelo's inspired apostrophe to Brunelleschi: however, has just been published by the Yale *Like you I will not build, better than you I University Press under the Henry Weldon Not cannot !” Like the Agatha of Oscar Wilde's Barnes Memorial Publication Fund. play, Mr. Hamlin "loves sunsets.” Of sun- only does the volume reach this standard of rise he has little to say. He is fond of excellence in general but it reconstructs for "small panes” and open timber roof-trusses ; us one of the almost unknown Italian masters he is overanxious about the contour of his of the sixteenth century. mouldings and the projection of his cornices, At the beginning of the decline of Italian and underconcerned with the need, in our painting, which started in even during the northern cities, of all the daylight and sun- lifetime of Michelangelo, there were a few artists who still retained enough of the great light we can possibly get. We are led to Florentine traditions to be able to produce, in understand that he views with alarm vast areas of glass. He seems incapable of vision- spite of the overwhelming might of that great master, some works of real esthetic worth. ing the beauty of buildings which shall be, Such a one was Jacopo Carucci da Pontormo. instead of pepperboxes, bubbles of iridescent Born in 1494, early left an orphan, the light against the sky — and this is what we sensitive precocious boy was apprenticed at are coming to. Already, in Germany, a glass an unusually early age to Albertinelli; but has been invented which shuts out the heat without aid, driven on by his wayward, rest- rays, while admitting the light. less nature, always searching for novelty, he Of course, if he were to subject our archi passed rapidly under the tutelage of Piero di tecture to that searching analysis which he Cosimo, Leonardo, and Andrea del Sarto, the studiously avoids, Mr. Hamlin might have to influence of all of whom is apparent in his change his title to “The Dis-enjoyment of early religious paintings, but particularly Architecture.” But until we stop all this that of Andrea. The drawings of this period, “digging in the boneyard,” how are we to however, reflect another influence, which learn the art of creation, how are we to moved him even more profoundly, that of express ourselves in any but an unnatural and Michelangelo. Yet his treatment of form was affected way? When things have come to a not merely imitative; its purpose was to certain pass the anarchist is perhaps a better satisfy Pontormo's greatest gift — the decora- citizen than the conservative, the pessimist tive instinct. The opportunity for free self- than the optimist. Our present duty is to expression came with the commission for decorations in the villa of the Medici at break up the old thought-forms with the Poggio a Cajano, and the lunette in the Great dynamic force of a fresh idealism, and thus Hall there stands as one of the fine mural liberate the life stream as dynamite breaks decorations of the Renaissance, a composition up the ice of a frozen river. This is, of course, full of novelty, freshness, delicacy, and win- not the matter to which Mr. Hamlin addresses someness, thoroughly Quattrocentist in feel- himself, nor that for which he is constitution ing-Pontormo's decorative masterpiece. ally qualified, and it is therefore hardly fair At this point, not content with success but to take him so severely to task; but he has ardent to solve other problems, and in order brought it on himself, in a way, his book is to escape the tyraniny which the work of so tremendously good that one cannot help Michelangelo was then exercising over Flor- wishing it were tremendously better. | ence, Pontormo swung over to an alien CLAUDE BRAGDON. influence, actuated not so much by his whim- 20 [January 11 THE DIAL sical nature, as impelled by an innate under small circle of friends who, withal, were standing; and spread upon the convent walls denied admittance at times by finding drawn at Certosa frescoes of the Passion which show up above their reach the ladder which served that his style had been quite revolutionized as the only entrance to the workshop of the by the art of Dürer. This modification of his little home. natural evolution was brief, however, and left Such is Mr. Clapp's reconstruction of this no permanent traces. With his usual nimble almost unknown personality, which is per- ness, he swung back to Italian tradition in the suasively told rather than pedantically forced. altar-pieces of his middle period. Yet, notwithstanding his ingenious and log- But the tremendous power of the Michel ical interpretation of Pontormo's last phase, angelesque type and pose was something many students of art history, with the against which the impressionable Jacopo now reviewer, will take issue with the author and seemed unable to struggle, though he had cling to the opinion that Jacopo, in this last an intimate acquaintance with and a more period, sank to the hollow imitation of Michel- profound understanding of that master than angelo and that, too, the Michelangelo who any other contemporary. Yet struggle was on the downward path from his zenith, through he did; and his last phase shows and will feel that the eighteenth century not him not an empty imitator of the level of inappropriately buried the San Lorenzo fres- Bronzino and Bandinelli but one who was still coes under a coat of whitewash. For while searching for his ideal, and to whom the canon we grant that they reveal an amazing knowl- of Michelangelo had become “the crude edge of anatomy and an ideal of pattern-like material of a new form of decoration." composition, yet their ill proportions, exag- Hence, in the San Lorenzo frescoes, Pontormo gerations, and writhings so contort the was not an incomprehensible failure, as representative element that the resultant feel- Vasari would have us believe, but one of the ing of distaste militates against any ideal "earliest and most gifted forerunners” of the Pontormo may have had for the significant younger generation of modern painters, “who expression of emotional design. One feels have broken with a paralyzing conservatism." that on this point the author's enthusiasm for For, realizing that the Florentines had con his subject has blurred his perspective; or quered all their problems connected with the else, granting that the excellent quality of figure arts, Pontormo revolted against the these frescoes is clear in his own mind, he formalism that had resulted from this con does not convincingly enough prove their quest, and aimed to produce simple and worth against the adverse criticism of cen- majestic patterns, works of emotional design turies. destined to stir our sensations of form rather The catalogue raisonné of the authentic than our intelligence. In apparently perfect works, as important as the text itself, with solitude, for eleven years he labored on these almost unparalleled completeness, gives in the frescoes and left them, at his death in 1557, case of each picture a detailed description, a to be completed by Bronzino. critical account of the history, the date, In one other phase of pictorial art, Pon- preparatory drawings, reproductions of all tormo proved himself a real master - por kinds, and bibliography. Then follow cat- traiture; and such works as the “Cosimo il alogues of attributed and lost works. Between Vecchio,” in the Uffizi, the "Portrait of a the text and this group of catalogues are Youth,” in Lucca, and the “Young Woman," inserted the hundred and fifty-three illustra- at Frankfort, not only show a catholic ability tions, taken mostly from the writer's own in character interpretation but indicate the photographs and arranged in chronological source of our general tradition of form, for order, so that a perusal of these alone affords “it was Jacopo who first transformed por- the reader a survey of the development of the traiture by seeing it in terms of Michelangelo's artist, which is further aided by the large heroic vision and it was Jacopo who, in number of drawings included. For these recording the appearance of his sitters, first show not only the genesis and growth of such sought to combine a massive imaginative sim important works as the lunette at Poggio but plicity and dignity of presentation with an fill in the gaps caused by lost works. This intangible evocation of individual character.” unusual placing of the illustrative material A hitherto unpublished diary of Pon- greatly facilitates the use of both the text and tormo, extending over a period of nearly the catalogue. three years, gives us laconically a vivid pic- The appendixes include a fuller statement ture of this humble, whimsical Italian crafts of Pontormo's apprenticeship, thirty-six docu- man of the Cinquecento - solitary, frugal, ments relative to his life, many of which are hard-working, with a few simple pleasures, a published for the first time, together with a 1917] 21 THE DIAL group of sonnets written on his death and a which is pushing beyond the old confines of copy of the diary, with a complete reconstruc the art. In the main, Mr. Van Vechten tion and analysis. No bibliography is simply ignores those who forget that music attached, as nothing of any import has been has always been evolutionary. He accepts written on this painter except Mr. Berenson's musical empiricism as he accepts night and essay in the "Drawings of the Florentine day. He is more concerned with what music Painters," brief statements by Carlo Gamba is going to be than with what it has been. in the Pontormo folio of the "Disegni della For this reason the first essay, which gives Galleria degli Uffizi," and the author's pre the book its title, is the least important. It vious work, “Dessins de Pontormo.” consists of a series of anecdotes of musicians A careful reading of the monograph sends who have publicly exhibited what, by implica- one involuntarily back to an expression of tion, are bad manners. Now, if any violation the author in the Preface, "the ideal of abso of the conventions is indictable as bad man- lute completeness”; and that is the feeling ners, then perhaps these indictments can which Mr. Clapp's book inspires, a complete be sustained. But if the manner of the ness that is not merely erudite and weighty man is the outward expression of his per- with fact but that indicates, together with its sonal reaction to a situation, then, atrocious convincing scholarship, a poised enthusiasm. as may be the reaction, his manners are Narrative and criticism, as Mr. Mather has good when they truly express his feelings. pointed out, have been carried along together, One should weigh the man's soul before pass- and while the exposition is logical, it has left ing on his manners. If it be charged that the final verdict to the reader. I am too serious about this, and that these The lover of the Italian Renaissance rejoices anecdotes are provided for entertainment to have one more master restored from the only, then I question the ethics of asking us rubbish heap to a complete personality and to laugh at the soprano who recoiled from the becomes aware, thereby, of greater signifi- suggestion of eating roast pork before a per- cance in the works universally accorded a high formance of “Parsifal,” or at Paderewski place among masterpieces, such as the lunette because he could not tolerate disorder in his at Poggio and some of the portraits, however audience while he was playing, or at the much he may differ as to the æsthetic value of French gallery-gods who stopped a concert other works and on the final question as to until the soloist was made to realize that whether Pontormo was a genius or just missed æsthetically he should sing the “Evening Star that mark. We can but wish that the press Song” before “Wotan's Farewell,” instead of could add more volumes of such genuine after. The world needs more sensitive feeling worth to our literature on the history of art. of this kind, and it cannot be encouraged by HELEN GARDNER. ridicule. In justice I must say that many of the author's anecdotes are genuinely amusing ; but his selection is not always discriminating. MODERN TENDENCIES IN MUSIC. It might have been more logical to follow the first essay with the third, “Spain and MUSIC AND BAD MANNERS. By Carl Van Vech Music," in order to group together those that ten. (Alfred A. Knopf; $1.50.) are reminiscent, as distinguished from the There is no connection between this caption speculative. This is really an important and the title of Mr. Carl Van Vechten's latest chapter. Mr. Van Vechten has done a service book of essays on things musical. The former to the literature of music in preparing the best is designed to indicate the subject of the book, description of Spanish music that I have been so far as a miscellaneous collection of essays able to find in English. He has collated a can be labelled; the latter doubtless was great deal of valuable information about selected from the titles of the individual essays Spanish opera, religious music, dance music, for its value on the book counter. The essays folk-songs, the zarzuela (described as the themselves are quite as readable the mother of the French opéra bouffe), and the author's previous book, “Music After the national composers. The description of Span- Great War," and present many stimulating ish dance music and dances is exceedingly suggestions for those who are interested in interesting as well as enlightening, and the the modern tendencies of so fluid an art as whole chapter has a distinct value in acquaint- music. On the other hand, the book may ing the reader with the musical progress of distress those who cling to the illusion that a musical people whose records are nowhere their little segment of experience compre- adequately presented in English. While it hends the whole history of music, or who are is impossible justly to sum up this chapter too indolent to listen receptively to music in the present limits, the promise is warrant- as 22 [January 11 THE DIAL able that it contains much of interest that modern handling of mechanical problems - will be quite new to most readers. in short, to bring to the task all the resources In discussing "Music for the Movies” the which Hiram Kelly Moderwell has described author comes nearer to the general tone of the in "The Theatre of Today" as the aims and book. He points out that essential as musical results of the artists who are working in the accompaniment is to a moving-picture per theatre. He argues the futility of clinging formance, apparently no important composer slavishly to the "Bayreuth traditions," assert- has been asked to write music for the films. ing that Wagner was more concerned with his But the author thinks that new forms will ideals than with their practical solution. have to be devised. In the absence of pre There has never been a production of the arranged scores, pianists and orchestra “Ring," he says, which has in any sense real- leaders must do the best they can in selecting ized its true possibilities, the ideal of Wagner. music fitted to the pictures exhibited. This In “The Bridge Burners” Mr. Van Vechten is less difficult for the versatile solo pianist, draws an interesting comparison between the who by skilful extemporizing can get grace- | development of music and painting, by which fully out of the middle of one composition into he shows that the evolution of programme another when the action changes on the music leads to the attempt to paint feeling screen, and who “may vary the tune by sit rather than to photograph an object. Per- ting on the piano or by upsetting a chair" haps it is because the critics fail to grasp the when the hero falls into the water. But an significance of this that they entirely miss the orchestra, being more immobile, has its own composer's intention, as when so able a critic troubles in both suiting and timing its music as W. J. Henderson in the New York “Sun" to the scene. Mr. Van Vechten predicts that says of the futurists or post-impressionists in before long some enterprising director will music, “they are tone colorists, and that is engage an enterprising musician to compose all.” Mr. Van Vechten really comes to the music for a picture. The thought excites his kernel of the matter when he refers to routine, irrepressible humor, and he proceeds in this or cliché, in music. Each new musical giant fashion : has desired to express himself without resort- Put Igor Strawinsky, or some other modern genius, ing to the formulas of his predecessors. to work on this problem and see what happens! The Under the inviting title, “A New Principle musician of the future should revel in the opportunity in Music,” Mr. Van Vechten contrasts the the moving-picture gives him to create a new form. This form differs from that of the incidental music effects of Strawinsky's music with that of for a play in that the flow of tone may be continuous other composers. In “Petrouchka" Straw- and because one never needs to soften the accom insky abandoned the academic ideas of “bal- paniment so that the voices may be heard; it differs ance of tone" and experimented with "pure from the music for a ballet in that the scene shifts constantly, and consequently the time-signatures and tone,” in the same sense that a painter speaks the mood and the key must be constantly shifting: of pure color. In “The Nightingale” he makes The swift flash from scene to scene, the "cut-back, little attempt at representation, striving the necessary rapidity of the action, all are adapted instead to give the feeling of the bird's song. to inspire the futurist composer to brilliant effort; a tinkle of this and a smash of that, without “work- He is continent in his use of sound and in ing-out” development; illustration, comment, the mystery and esotericism of his effect. In piquant or serious, that's what the new film music his search for "pure tone” he frequently uses should be. The ultimate moving-picture score will only one of each kind of instrument at a time, be something more than sentimental accompaniment. and sometimes only a few instruments in all. The question, “Shall We Realize Wagner's He is said to have attained an indescribable Ideals ?" leads Mr. Van Vechten to suggest beauty of color in applying this principle of that while, in his judgment, Wagner's music chamber music to larger forms. In his new- is growing a bit old-fashioned, he could hold est work, “The Village Wedding," he uses his place for many decades if justice were an orchestra of forty-five men, each a virtuoso, done his music dramas in their presentation. no two of whom play the same instrument, In his characteristic manner he ridicules the except that there are two violins; of these, obsolete scenery and inadequate mechanical however, one consistently bows while the other devices that have done service, lo, these many plays only pizzicato. Another innovation in years in Wagnerian productions, not only in “The Village Wedding,” following an idea of America but in Europe as well. He would Diaghileff's, is that the rôles of the opera are commission a new producer - an Adolphe sung by artists who sit still, literally a part Appia, a Gordon Craig, a Stanislawsky, or a of the scenery, while the figures of the ballet Roerich — to present Wagnerian music drama enact them. Some have predicted that the in a modern way, using a modern stage set future of opera lies in this direction, and there ting, modern lighting and color effects, and a are many evidences of a tendency toward a or 1917] 23 THE DIAL closer relation between dancing and the As a pedagogical curiosity, it must be higher forms of music. admitted that the book has its interest. In the final essay, on Leo Ornstein, Mr. Hearn, the preface tells us, lectured without Van Vechten gives an illuminating sketch of notes, but very slowly, choosing simple words this new and interesting figure in music, who, and constructions, in order to make the for- the author shows, possesses something of a dual eign language as easy as possible to his personality. This is true in his music, some Japanese students; and some of the students of which he signs “Vannin,” and true also in managed to take down many lectures word his playing. We learn that Ornstein believes for word, compiling thus a record from which there is an underlying basis of theory for his this volume could be shaped. So here we have music which will sometime be formulated, what is presumably a fairly accurate report though he does not intend to formulate it. of those things that Hearn thought it advis- He believes, with Busoni and Schoenberg, that able and possible to say to the Oriental mind there are no discords, only chords and chords about English poetry. And it is hard to “millions” of combinations of notes that escape the conviction that Hearn was a good have not yet been devised. He promises, when teacher, and that he found a way of giving to he feels that the existing enharmonic scale is his pupils a fuller and richer account of limiting him, to write in quarter tones. The English poetry than most men would have voice and the violin are already prepared to dared to undertake. Where so appallingly perform such music, and new instruments can much was unknown to the minds of his be created to meet the new need. The piano audience, he courageously went forward into is held responsible for the rigidity of the thickets of tangled allusion and association, present scale. Ornstein, like Strawinsky, tries and worked out for them what must have been to express feeling in his music, rather than to a distinctly illuminating interpretation. We imitate sounds or objects. “His music is a might count ourselves very fortunate indeed modern expression, untraditional, and full of if some Japanese would give us an interpre- a strange seething emotion; no calculation tation of his nation's poetry that was half as here. And like the best painting and litera- successful. ture of the epoch it vibrates with the unrest of We cannot judge of Hearn's tastes and the period which produced the great war.” interests by the mere subjects of these lec- It is impossible to test the theories and sug- tures, for admittedly the accidents of pres- gestions in these essays by any chemistry or ervation or loss, as the case might be, govern mechanics. Their soundness or unsoundness the selection here presented. Tennyson, can only be eventually a matter of history. Rossetti, Swinburne, Browning, Morris, But the essayist has his eyes turned in a Arnold, and Kingsley are among the poets to promising direction, and his views will meet whom he devotes rather elaborate studies; the approval of many close students of modern evidently they are from a course that cova music. RUSSELL RAMSEY. ered only the latter part of the nineteenth century. And if one feels inclined at times to quarrel with the indiscriminate praise HEARN IN THE SCHOOLROOM. which Hearn heaps upon one and all of these, one must recall that this is far more an APPRECIATIONS OF POETRY. By Lafcadio Hearn. attempt to arouse the interest of students Selected and Edited by John Erskine, Ph.D. than to analyze the claims of artists. Yet (Dodd, Mead & Co.; $3.50.) comprehensible and forgivable as this fact is, Sophisticated readers to whom the written it still further increases the disappointment of works of Hearn's lifetime were a stimulus the reader who had here looked for penetrat- and an illumination may conceivably put ing and brilliant discrimination. down this report of the author's classroom As a literary critic, Hearn here shows him- lectures with a sense of disappointment. The self to be more sympathetic and conventional lectures undoubtedly have their value; but than brilliant. Really original and profound that value is for a group of persons different criticism, — criticism that throws a light not from those who were most keenly delighted by thrown before,— is not to be found here. And Hearn's main writings. The young student the style, naturally enough when one con- of poetry or the foreigner making his first siders how the book was composed and attempt to approach English literature may recorded, is quite lacking in the carefully cal- find in this book a rare and precious aid; the culated charm with which Hearn's written mature and experienced mind, however, will work has made us familiar. In spite, there- be likely to regard the volume as rather com fore, of the many occasional felicities of inter- monplace and simple fare. pretation that are to be found in the book, 24 [January 11 THE DIAL it leaves in one's mind the impression of a THE JARVES COLLECTION. piece of schoolroom drill; and it is not with entire happiness that one contemplates this A DESCRIPTIVE CATALOGUE OF THE PICTURES IN example of the way in which a very subtle THE JARVES COLLECTION BELONGING TO YALE UNIVERSITY. By Osvald Sirén, Professor of artist, when forced to earn his bread by means the History of Art, University of Stockholm. of a trade, went about the laborious business. (Yale University Press; $7.50.) These lectures, faithfully and admirably The Jarves Collection, composed chiefly of adapted to the purposes for which they were paintings by the Italian “Primitives," and composed, seem a little out of place on one's for more than forty-five years the property shelves beside “Out of the East” and “Glean of Yale University, has had a more interest- ings from Buddha Fields." ing history than any other great collection The book is a hard one from which to quote; in this country, unless perhaps it be that of but here is a passage that is perhaps as the drawings by old masters belonging to detachable and as interesting as any, and Bowdoin College, in Brunswick, Maine. This more philosophical than most. Hearn is lec collection, formed by the son of Governor turing “On Love in English Poetry.' Bowdoin, was, on his death, valued by Consider the place and the meaning of love in any the appraisers of his estate at $7.75, though it human life. It is essentially a period of idealism, contains three authenticated Rembrandts and of imagining better things and conditions than are is, as a whole, second only to the Morgan possible in this world. For everybody who has been Collection in the Metropolitan Museum, New in love has imagined something higher than the York. The Jarves Collection, brought to the possible and the present. Any idealism is a proper United States in 1860 as a semi-speculative subject for art. It is not the same in the case of realism. Grant that all this passion, imagination, and venture, was never subjected to any such fine sentiment is based upon a very simple animal entirely fantastic undervaluation. Indeed, impulse. That does not make the least difference in considerable attention was paid to it at the the value of the highest results of that passion. We time in the public press. But many years might say the very same thing about any human passed before the collection was appreciated emotion; every emotion can be evolutionally traced at anything like its real worth, and during back to simple and selfish impulses shared by man with the lower animals. But because an apple or the decade when it vainly sought a per- a pear tree happens to have its roots in the ground, manent and collective resting-place, it steadily does that mean that its fruits are not beautiful and shrank in size, like the Sibylline Books. It is wholesome Most assuredly we must not judge the to be wished that Dr. Sirén, in his monumen- fruit of the tree from the unseen roots; but what about turning up the ground to look at the roots ? tal “Catalogue of the Jarves Collection," What becomes of the beauty of the tree when you appropriately published last autumn by the do that? The realist — at least the French realist Yale University Press, and under the auspices likes to do that. He likes to bring back the attention of the Yale Art School, had given the story of the reader to the lowest rather than to the highest, to that which should be kept hidden, for the very of this wandering and this shrinkage a little same reason that the roots of a tree should be kept more in detail from the wealth of existing underground if the tree is to live. contemporary documents. He does not even The time of illusion, then, is the beautiful moment give the full name of J. Jackson Jarves, the of passion; it represents the artistic zone in which original collector, nor does he allude to the the poet or romance writer ought to be free to do the very best he can. He may go beyond that zone; fact that the majority of the pictures at one but then he has only two directions in which he can time or another withdrawn from the collec- travel. Above it there is religion, and an artist tion, and including some of its finest numbers, may, like Dante, succeed in transforming love into are to-day to be found in the Holden collec- a sentiment of religious ecstasy. But upward there is no other way to go. Downward the artist may tion at Cleveland, Ohio - a collection which travel until he finds himself in hell. Between the is thus complementary in a very important zone of idealism and the brutality of realism there sense to the one under discussion. are no doubt many gradations. I am only indicating what I think to be an absolute truth, that in treating The Jarves pictures were first exhibited in of love the literary master should keep to the period the so-called "Institute of Fine Arts," or the of illusion, and that to go below it is a dangerous Derby Gallery, New York. At this time the undertaking. catalogue, prepared by Mr. Jarves who, how- This passage is an unusual one in the book; ever, buttressed his own personal opinions by few others deal with such general principles. the judgments of the best European experts It shows, however, how conventional Hearn's of the period, contained 145 numbers. Three literary theories were; and it also suggests years later the pictures were shown in the how well he might be able to make them clear rooms of the New York Historical Society. to alien minds. By this time the number was reduced to 134, ARTHUR DAVISON FICKE. and “this restriction of the collection went on 1917] 25 THE DIAL a still more rapidly during the following years without question, have, however, long since so that fifteen more pictures were taken out been fundamentally reformed and revised. In before the collection was deposited in 1867 in recent years particularly, the art or discipline the Art School of Yale University.” The of modern scientific attribution, fathered by remaining 119 pictures were finally put up at Morelli and facilitated by photography, which public sale on November 9, 1871. “The only makes all the masterpieces of all the galleries bid was made by the Yale Corporation, which immediately available for purposes of study acquired the collection for the exceedingly and comparison, has advanced by immense moderate sum of $22,000, $20,000 of which strides, and the shortcomings of the Jarves- had already been paid to Mr. Jarves some Sturgis “Manual” have long since become years previously as a loan upon the paintings. only too painfully apparent. Mr. Jarves had good reason to feel disap The first critical account of the Jarves pic. pointed,” adds Dr. Sirén, “at the lack of tures by a modern art critic, was an article interest shown by the American public in the by William Rankin in the "American Journal masterpieces which the experts of that time of Archæology,” for April, 1895, though had told him should be worth $100,000.” | Crowe and Cavalcaselle had already men. Since then the pictures have been regularly tioned two of the Jarves pictures in the first exhibited in the gallery of the Yale Art edition of their "History.” Since then Mr. School where, however, they have remained Bernhard Berenson has increasingly included almost entirely overlooked by students and pictures from the Jarves Collection in his lists the general public alike; so that when atten of the works of Italian painters of the XV tion again gradually began to be directed to and XVI centuries; while various other them about ten years ago, the news of the writers, including Mr. F. M. Perkins, Pro- existence of a collection so rich in the very fessor F. J. Mather, Jr., Professor Ch. Hülsen, class of pictures rare elsewhere in America, and Professor Schrubring (author of yet eagerly sought for by American collectors recently published and authoritative work on abroad, came almost with the shock of a fresh Italian Cassoni), have described various de- discovery. partments of the collection and suggested As has been said, the first catalogue of the numerous new attributions. Dr. Sirén himself, Jarves Collection was prepared by Mr. Jarves before the appearance of the present compre- himself, who also was responsible for the hensive catalogue of the collection, contributed second catalogue, for the New York Historical several short articles on the trecento pictures Society exhibition. In 1868 a "Manual of the in the Jarves Collection to the “Burlington Jarves Collection of Early Italian Paintings," Magazine” (1908) and “Art in America" by Russell Sturgis, Jr., was published by Yale (1914); the contents of these papers reappear University. This “Manual,” which is mainly in somewhat modified form in the present vol- a mere abbreviated compilation of Jarves's ume, where it has been the author's "endeavor original catalogue, containing the same names, to note as completely as possible at the end of descriptions, and documents as the first one, the discussion of each painting the literature though in a less complete form, has remained relating to it.” the only catalogue available in the Yale Art As the purpose of the catalogue was to School, where it is still on sale. Dr. Sirén provide not only a gallery guide but a manual remarks: for students, Dr. Sirén has in some cases It would be unfair to blame Jarves for shortcom- (especially where he is dealing with little- ings in regard to attributions which are no worse than known early painters) added rather long his- those given in the catalogues of European galleries torical notes, which certainly add to the gen- of that time. It is less his fault than the fault of the eral interest of the work, although they have general standards and methods of art criticism of the middle of the XIX century that he freely mixes helped to make it rather bulky for its pri- Florentine and Sienese schools, that he sees Giotto's mary object. It may also be said that his very hand in Taddeo Gaddi's work, or Simone Martini's in full descriptions of many of the pictures are Orcagna's, and so on, or — worst of all — that he at times rather unnecessarily extended by the presents a fabrication of the XIX century as masterpiece by the youthful Raphael. Such mistakes inclusion of somewhat superfluous informa- are only too common in the art literature of the time, tion concerning familiar mythological sub- and most of the authorities quoted by Jarves seem to jects, as in the case of “Actaeon and the have shared them with him. Hounds” (No. 48), a cassone front by Jacopo These "general standards and methods” of del Sellajo, where it is stated that “Actaeon European art criticism, which Jarves accepted was a famous huntsman, son of Aristaeus and : a 26 [January 11 THE DIAL Autonoe, daughter of Cadmus.” Still, these On the whole, the Jarves Collection would are but minor details in a work notable for seem to have gained quite as much as it has the skill with which its broadly conceived plan lost by the rigid analysis to which Dr. Sirén is consistently carried out. has subjected it, though in this connection it The principle of arrangement adopted is, in would have been interesting and valuable to the first place, chronological, in the second have from the cataloguer's hand a final place, according to schools. “This seemed to appraisal of the entire collection. It is true me most suitable,” comments Dr. Sirén, that the Raphael has been placed hors de com- “because the main part of the collection con bat, that a "Head of the Dead Christ” (No. sists of Italian pictures from the XIII to the 114), formerly attributed to Dürer, has been XVI centuries. The division into chapters taken from that artist and assigned to the corresponding to the different centuries Flemish painter Marinus van Roymerswaele, seemed natural because the early Tuscan and that an appreciable number of paintings paintings which form the nucleus of the col have been switched from men of first-rate lection are more closely allied to each other importance to secondary or tertiary followers. than the early and late paintings of any one But, on the other hand, there have been dis- local school.” Inside the broad chronological tinct gains, as in the assignment of the three divisions the local schools are, however, kept little pictures which comprise No. 1 in the as distinct as possible. A concluding chapter collection, and which Jarves attributed fan- deals with “Non-Italian Schools,” a division tastically to an “Unknown Painter of the XI being made between the “Italo-Byzantine century”— there was no religious art worthy Schools” and the “Dutch and Flemish of the name in Italy at that early era - to Schools." A final entry disposes summarily Bonaventura Berlinghieri. Berlinghieri is, as of the claims of the pseudo-Raphael under Dr. Sirén says, “one of the great precursors of the rubric of "Unknown Painter, about the Giotto." middle of the XIX century." It would not be fair to compare the painter of the This is not the place to enter upon any Jarves picture with later artists, like Cimabue and general description of the Jarves Collection Donatello, who have all the advantage of more devel- or to give a detailed account of the catalogue oped means of expression, but he may be ranked with them as one of the great imaginative masters. There itself, interesting as it would be to take up is a deep agitating feeling in his conception of the one by one the various attributions, compar Passion; Christ is an intensely suffering human ing them with the old Jarves ascriptions, as being. There are not many pictures of this well as with those of more recent critics and early epoch which stand on a level with this one in historians. regard to decorative and emotional qualities. All things considered, it is remarkable that Dr. Sirén finds himself so Dr. Sirén discusses at length the great often in agreement with the early attribu- painting by Pollajuolo, representing the tions, especially as he frequently departs from "Rape of Deinira” (No. 42). This remains the findings of contemporary confrères who one of the most important pièces of the col- employ similar methods — a divergence which lection, though Dr. Sirén is of the opinion that makes it clear that the modern art of scientific the figures of Deinira and of Nessus, whose attribution has still a considerable distance to evident inferiority to that of Hercules “can- go before it can be regarded in any real sense not be explained by the subsequent restora- as an “exact science." Dr. Sirén is far from tions of the picture,” are the work, not of presenting any such presumptuous claim, and Antonio, but of his younger brother Piero. shows signal modesty in presenting his own Antonio was, however, responsible for the views. Where there remains the least doubt, whole composition. or possibility of a doubt, as to his conclusions, The pictures of the Jarves Collection were he carefully sums up the evidence and leaves carefully cleaned in the summer of 1915 by the final judgment to the student, who is a competent restorer. Rehung now in their invited to examine all the documents for new arrangement in the gallery of the Yale himself — as in the case of the rare and elu Art School, with Dr. Sirén's masterly cat- sive Ambrogio di Baldese, a Florentine artist alogue as a guide to the student, they will of the Gerini bottega, to whom Dr. Sirén no doubt attract an increasing number of attributes a “Triptych Representing the Representing the visitors to New Haven, which must henceforth Madonna with Four Saints" (No. 22), take rank as one of the art capitals of assigned by Jarves to an “Unknown Painter America. of the Sienese School.” WILLIAM ASPENWALL BRADLEY. 1917] 27 THE DIAL seems A PAINTER OF THE FOREST. how the picture is signed, — a matter which almost invariable, and which can ALEXANDER WYANT. By Eliot Clark. Illus usuall be seen by looking at the painting trated. Frederic Fairchild Sherman; $12.50. itself; but he does not give the date unless Mr. Clark's book is the latest of a series that it is on the picture. As the reproductions are has now become well and favorably known to not arranged in any obvious order, and are those interested in American landscape paint- sometimes referred to in the text and some- ing. Like most of the earlier volumes in the times not, they are useful chiefly for that series, it presents a painter's views of a direct appreciation of the beautiful which is painter. Professor Mather's book on Homer so necessary and so delightful, but not (even Martin was, of course, the work of a critic in Mr. Clark's view) absolutely sufficing. and a student; but the other volumes in Besides direct appreciation of a beautiful the series have been by painters. They picture, the student wants to know its place have been appreciations,- to use a a some in the life of the painter, that he may form what hackneyed term in the sense in which some idea (as Mr. Clark does) of the growth Walter Pater brought it into use. For and development of the painter's art; and that reason the books have an especial value for that one would desire either a dated list for the student and lover of pictures. They of the pictures of one's painter, or at least are beautifully printed and illustrated, and that the pictures reproduced should be chosen they present an especial view. This latest and arranged to illustrate the development the volume, like the others in the series, is well writer has in mind. worth having All of which is rather negative criticism, I have before had opportunity in THE DIAL as well as something for which Mr. Clark him- to point out reasons why those who are plan- self is not responsible. It is the plan of the ning the series should try to do even more series not to give scholarly apparatus, but to than they do; and in spite of my ill success give instead artistic appreciation. I do not in the past, it seems worth while to say the see that the two are incompatible, but perhaps same thing briefly once more. It seems to me they are. Perhaps Mr. Clark would not be almost obvious that such beautiful mono able to give the names and dates and so on graphs ought to have some of the apparatus that I should like to study over. I am quite that would be of value to the student of sure that I should not be able to give the kind American painting, as well as the artistic of appreciation of Wyant (or anyone else) appreciation that would perhaps satisfy the that he can. And that, after all, is one of painter or amateur. If nothing more, it the most important things in art of any kind. would certainly be useful to have in such a To know what the artist aims, tries, longs to volume a list of the pictures of Wyant, with do,— that is at the bottom of a real enjoyment the dates of their execution. Of course such of what he does do. And few persons can a list is not necessary to the appreciation of appreciate what a painter tries to do better Wyant or anybody else; but Mr. Clark appar than a painter; he is likely to have something ently and naturally has a clear idea of the in common that will enable him to appreciate. general development of Wyant's art and of Mr. Daingerfield, in writing of George Inness, the place in that development of one or had the advantage of personal acquaintance. another picture. It is only asking him to give Mr. Clark could hardly have known Wyant the reader the means that he has himself col- personally, save perhaps as a boy; but he is lected, at least to some degree. The utmost himself a landscape painter of a time not so vagueness prevails in this matter, not only in long after Wyant, and naturally he is well regard to Wyant, but with many others of our acquainted with the work and the traditions earlier landscape painters. It would seem of the earlier man. clear that if students do not know just what However that may be, Mr. Clark's is the a man painted, they cannot know his place first attempt that I know of at a careful study in the history of art. of Wyant's art. Wyant is not so distinctive Mr. Clark's book, like the others in the a painter as George Inness, on the one hand, series, not only does not have any list of or Homer Martin on the other, with both of the pictures of its subject, but it does not whom he is generally named in the develop- give the dates of the works which it does ment of American art. Most large galleries reproduce. Mr. Clark usually speaks of pic- have some of his pictures, though not always tures with especial reference to the period in his most characteristic, if one may judge from which they were painted. Yet the details | Mr. Clark's selections, which are usually from noted with each painting rarely give the date pictures in private galleries. Still, Wyant or the period. Mr. Clark notes where and does not make so striking an impression on . 28 [January 11 THE DIAL people as do a good many other painters of It is not that sort of thing that we get in more definite characteristics. It is all the the later Wyant. In the later French land- more useful, therefore, that we should have scape Wyant saw the possibility of giving the impression of one who has been really not merely the forms and figures of nature impressed but his own impression and appreciation. Before he seeks to give a special apprecia- Mr. Clark is very interesting in his presenta- tion, Mr. Clark views the whole career of tion of the technical means whereby Wyant Wyant, particularly in its historical relation. found it possible to express the things he He sees in his earlier paintings the influence wished to express. He began by reducing the of the early American landscapists, particu- angle of vision, and so enabled himself to get larly Durand, and something of the German a single impression; and as he became more painters then popular, as well as something and more intimate with the Adirondack of a quality that seems his own. Mr. Clark woods, these impressions became more and has some good remarks on the landscape of more personal and beautiful. There is an that earlier time: attractive picture of Wyant's in the National The pencil and the brush were for the German Gallery at Washington, — "The Flume on the painters and their American followers during the Opalescent River,” a beautiful rendering of a first part of the nineteenth century what the camera is to the modern tourist. They were essentially topo- beautiful and striking place. But a place graphical draughtsmen, bringing home records of for needed not to be so particularly striking in its eign lands and unusual scenes to satisfy the interest form as the Flume on the Opalescent. So of the curious. Their aim being essentially to inform simple a subject as the “Old Clearing,” in the and instruct, their work is purely illustrative. Wyant Metropolitan, reproduced by Mr. Clark, gives lost little time in following vague and uncertain ideas and theories, but was content to apply himself in the us the real thing just as well,- indeed better, given manner. This was in a certain sense painting because our mind is not distracted by consid- over drawing, and it is only in understanding this ering the forms and details which had been method that we will get a clear idea of these early pictures and understand their deficiency as well as so fascinating in the earlier art. Wyant's their significance. impressionism was not mere vagueness. Mr. Such painting gave a good deal, but it Clark shows how carefully in his later years lacked more; it gave form and detail, but it he studied all kinds of natural objects,- lacked light and atmosphere. Mr. Clark rocks, trees, brooks, and so on,- and how thinks that in spite of local subject and super excellent he became as a draughtsman, so that ficial representation it was not essentially (though in later years he had to work with American in character. It seems to me, how- his left hand) he could use the forms of ever, that notwithstanding its foreign influ- nature to express his own ideas of rhythm, ence it had a good deal that was characteristic balance, and harmony. of the time. It was at once large and grandiose, There never, I believe, has been an exhibition small and petty; and really those were com- devoted to presenting an adequate idea of the mon characteristics of that America of the middle of the century which was Wyant's eral places where one may obtain a good idea whole work of this painter; but there are sev- influence in his earlier years. Later on, like all other landscape painters of his work. In the Metropolitan Museum are seven of his pictures; with two exceptions of his day, Wyant became interested in the Barbizon painters. In 1880 these were domi- these are not dated, but at least they are hung nant men; some, though, escaped their influ near together, and they are so different in ence. But in the next ten years of his life, period and character that with Mr. Clark's Wyant learned more directly from nature help one may form from them an excellent than from anything in anybody else. Those idea of the painter. There are also a number were his Adirondack years and the years he at the Corcoran and National galleries in passed in the Catskills. Of this period Mr. Washington,- though, as I remember, not so Clark does most to give us the spirit and the many. It would be a delightful occupation sentiment. He makes an excellent remark for the picture lover to settle and clarify his about the difference between the earlier ideas about a painter concerning whom most Wyant and the later: people are a little vague. Wyant is commonly Had Wyant not become ill, but returned strength mentioned with George Inness and Homer ened and invigorated from his early Western adven- ture, we might have had many interesting records, Martin. He will rarely be thought equal to topographically correct, of the wonders of Western either in that vague element which we name scenery. He would not only have been the rival of “greatness,”_but he will be found by many Bierstadt and Church for popular applause and appre- to have a personal charm equal to either. ciation, but would have added a more sensitive and truthful account of the country which he observed. EDWARD E. HALE. 1917] 29 THE DIAL SO BRIEFS ON NEW BOOKS. imitative, and but little of that Slavonic note which so splendidly individualizes her accomplish- FRENCH ETCHERS OF THE SECOND EMPIRE. ments in other fields is apparent. M. Benois is By William Aspenwall Bradley. Houghton well suited for the difficult task in hand, for as Mifflin; $1.50. one-time director of the Ballet Russe, as co-author of "Le Pavillion d'Armide” and “Petrouchka" and Here is a book full of entertaining estimates of a painter himself, we may be certain that he has interesting personalities and sketches of the rela- found everything of significance which this rather tion between the etchers and the literary men of the barren field offers. This volume fills a need in period. All the foremost writers of this time, the study of contemporary art, and the author's especially the poets, evinced the greatest interest method of historical criticism is so happily com- in the revival of etching as a creative medium, and bined with a keen feeling for the subtleties of we read of Baudelaire's friendship for the social influence that, in place of an academic immortal Méryon, of the etchings made by Victor record, he has given us a work which not only Hugo as the result of his association with Maxime illuminates the subject but throws many interest- Lalanne, and of the Goncourts, who learned to etch ing sidelights upon the Russian character as well. from the great Bracquemond himself and who It is not out of place here to mention the excep- numbered in their immediate circle the greatest tionally beautiful letterpress and the quality of etchers of the day. A chapter is devoted to the the thirty-two plates, many of which are in color. artists of France during the siege of Paris, and The volume might well be studied by other pub- the Commune, a chapter which current events lishers, for Mr. Knopf has displayed an originality endow with immediate significance. It brings us to and independence in its manufacture comparable a realization that the artists of to-day are only only with the better decorative tendencies of cer- repeating the sacrifices made by their brothers tain Continental publishers. of 1871, and many of us may share the mood of Goncourt at the funeral of Regnault: “We lament NOLLEKENS AND HIS TIMES. By John Thomas above the body of this talented youth, the burial Smith. of France. It is horrible, this equality before the Edited and Annotated by Wilfred Whitten. In Two Volumes. Lane; $7.50. brutal death dealt by rifle or cannon, which strikes genius or imbecility, the precious life like that John Thomas Smith, sometime Keeper of the which is without worth. The chapter on the Prints and Drawings in the British Museum, was Goncourts and their circle is perhaps the most an early realist who relied on malice to point his engaging, but it contains little that is new. The pen, and was well inspired in his trust. His most significant pages are certainly those devoted master Nollekens had so deft a hand at the to Mr. Bradley's estimates of Corot as a lith "busto” that even Dr. Johnson admitted he could ographer and Lalanne as an etcher. We are ‘chop out a head with anyone”; but the pupil saw greatly indebted for this illuminating analysis of no reason for confining himself to heads and he has the work of the most essentially French of painter given us a full-length statue of his benefactor, in etchers, Maxime Lalanne, an artist praised too which not a fold or wrinkle of the moral nature extravagantly perhaps by his contemporaries, but is omitted and in which due prominence is whom later critics are wont to praise too little. accorded to the original's feet of clay. Joseph What Mr. Bradley has to say of the Corot lith Nollekens was what cynics are given to calling ographs is of great value and draws attention to a very human our universal meannesses reached less familiar but very important phase of this in him the pitch of caricature. If he lives for us painter's genius. The entire book has distinction, to-day, it is not because he modeled portrait busts that of literary style and selection, and we hope of Laurence Sterne, George III, Pitt, Fox, and that the author may soon devote a similar volume the ever-imposing Dr. Johnson, and mingled on to the best etchers working to-day, bringing to an rather doubtful terms in the greatest society, but appreciation of their achievement his clarity of because an incomparable gossip was by taking style and accuracy of judgment. notes, a gossip so happily trivial-minded that he found nothing unworthy of record. Thus it is that we are privileged to look on while the eminent THE RUSSIAN SCHOOL OF PAINTING. Alexandre Benois. Translated by Abraham sculptor, with a thrift that will be sympathetically Yarmolinsky. Introduction by Christian regarded to-day, ordered the coals to be delivered Brinton. Knopf; $3. early so that he might reckon the bags and lock them in his wine-cellar before departing for his We have learned to look to Russia for much labors. Nollekens and his wife count the cheese of originality and inspiration of late, particularly parings and the candle ends in our presence, and since the arrival of the Russian Ballet. Con by a miracle of nursing contrive to make a pair sequently it is with no little disappointment that of moulds last a twelvemonth. Nollekens, however, we discover, through this excellent volume, how was not a sufficiently large peg on which to hang barren is the Russian school of painting. As the the mass of anecdote, gossip, and observation that author admits, in an essentially fair critical survey our author had crowded into his head in the course of Russian painting of the western type, Russia of an industrious career. Nollekens is but the has not achieved in painting the distinction which center of the book. Round him is grouped a most places her so well forward in music, literature, impressive society. We have intimate glimpses and decoration. In this realm of art she is still or anecdotes of Gainsborough, Garrick, Hogarth, 66 By 30 [January 11 THE DIAL more. 23 Benjamin West, Sir Joshua Reynolds, and many peries to hang. (5) Realize the physical quies- Smith had, of course, a keen technical cence and passivity of his people, and the silence interest in the method of his artist friends, and which surrounds them. (7) Feel the clear, he mingles descriptions of their habits of work infinite depths of atmosphere in which these people with critical judgments and moral reflections in are immersed .. etc. What we have here is the freest manner. Since he was at least as much in reality a precipitate of appreciation applicable interested in personal details as he was in art and to any picture of the celebrated Umbrian. There used the same informal style to describe both, he follow the essentials of Perugino's life and envi- has left us a vivid picture of an interesting age. ronment, and quotations from J. A. Symonds, Nollekens and his friends have long been known Vernon Lee, and the Blashfields. Mr. Thurston's to connoisseurs of art and literature. It is to book will be liked, not only by those for whom it is introduce them to a wider circle of readers that expressly intended, namely, those who feel unable the present handsome edition has been issued, an to appreciate the Old Masters without aid, and edition copiously illustrated with rare drawings perhaps even doubt their importance in these days of old London and with reproductions of water of the New, but by the more initiate who enjoy colors and engravings of worthies of the period. having their impressions renewed and deepened. It is a book to be used above all in the gallery, VANISHED TOWERS AND CHIMES OF FLANDERS. but it may also be used to advantage with colored By George Wharton Edwards. Penn Pub prints and photographs, or simply with the images lishing Co.; $5. that hang on the wall of the picture-lover's mem- This volume will appeal chiefly to those to whom ory. Instructors and students in formal courses in its subject is already familiar through travel, and the history and appreciation of art should consider to them it will come in the nature of a poignant whether it might not serve among textbooks. souvenir. Its tone is rather that of the genial traveller returned than of the student. Its sprink- A HISTORY OF ORNAMENT ANCIENT AND ME- lings of history are pleasantly interspersed with DIEVAL. By A. D. F. Hamlin. Century; $3. personal reminiscence and anecdote, and the two The present volume at last makes accessible to hundred pages will offer congenial browsing American and English readers a comprehensive grounds for those who have known, or would know, study of the art of architectural ornament, and of the beauty of this land, now vanished before the ornament in general as applied to art works of vandalism of invaders. Each of the cities and lesser size. It brings the study up to the Renais- towns described,- Malines, Dixmude, Ypres, Nieu sance, whose styles, together with the modern, will port, Louvain, Courtrai,- has staged such brutal form the content of a second volume which it is to tragedies of late that it will be difficult to dismiss be hoped will appear without delay. This first vol- the anger inspired by their desecration; but to ume, however, is complete in itself. It contains those who are able to forget and forgive, this 19 chapters, beginning with primitive and savage volume with its many charming pictures will be ornament and ending with Gothic, 406. clearly welcome. printed octavo pages, and 400 illustrations, includ- ing 23 plates, seven of which are in color. At the THE ART OF LOOKING AT PICTURES. By Carl chapter-ends are well-chosen lists of “Books Rec- H. P. Thurston. Dodd, Mead; $1.50. ommended” for the use of the special reader. Over a hundred painters find space in the pages Professor Hamlin, who occupies the chair of the of this attractive, convenient, and genuinely useful History of Architecture in Columbia University, little volume. Its sub-title is “An Introduction will receive thanks for a much desired and valuable to the Old Masters,” but it ranges over all the service from instructors and students of architec- national schools from Cimabue to Whistler, con- ture as a profession, from college lecturers and sidered in alphabetical order, with thirty-two illus- students who deal with it as a means to general trations. The author's method is to give, first, culture, and from travellers and others who have about one page of concise and specific directions a general interest in architecture. Hitherto, for as to what should be looked for in the works of anything like systematic treatment of the subject, the individual artist as a whole; second, a brief we have had to rely upon scattered special articles biography; third, a number of quotations from the and chapters in books, or upon works in foreign best critics; fourth, a brief note regarding the best tongues, or upon more or less unmanageable works examples of the artist's work and their location. in English, none of which has afforded the concise, Both the manner of these “Directions for Look- orderly, comprehensive, and beautifully illustrated ing” and their value are very well illust ed by treatment found in this volume. The general part of the page on Perugino: “(1) Note the reader who wishes to look upon building with smallness of the mouth and eyes, the narrowness intelligent eyes will be glad of the opportunity to of the nose at the tip, and the perfect oval of the possess the means of cultivation the book affords; face. (2) Feel the delicacy with which the fingers and every library management should place it rest on whatever they come in contact with. (3) within the reach of its clientele as a means of stim- Notice the long, undulating sweep of Perugino's ulating appreciation of an art which is always landscapes; study the other long, gently curving before the public eye, on which the public money lines till you feel the particular quality of their is spent more lavishly than upon any other art, curvature. (4) Note how little ornament he uses, and of whose identity as an art the great majority and how naturally and simply he allows the dra of the citizenship are singularly unappreciative. 1917] 31 THE DIAL NOTES FOR BIBLIOPHILES. Librarians Do you realize that the last twenty years have seen a phe- nomenal increase in the value of nearly every class of old books ? Do You Know The Value of those which may be hidden away on your shelves? Many of these, which a few years ago could be bought for a song, are now eagerly sought after by collectors, al- though seldom called for by your patrons. 60 so many thou- The Editors will be pleased to answer inquiries or to render to readers such services as are possible. The Pilgrims of Plymouth, always objects of interest in our history, are enjoying a renewal and accentuation of that interest as the time draws near for celebrating the three hundredth anniver- sary of their landing. Announcement comes from Sheffield, Pennsylvania, that a bibliography of the Pilgrims of Plymouth is in course of preparation at the hands of Mr. Byron Barnes Horton, of Shef- field, and that it is to be published in 1920, the tercentennial year. The Bibliophile's prayer, as uttered nearly six hundred years ago by Richard de Bury in his "Philobiblon," is still timely. “The Library Mis- cellany” of Baroda (in British India) is glad to give it space, and from that publication it is here quoted: “Almighty Author and Lover of peace, scatter the nations that delight in (unjust) war, which is above all plagues injurious to books. For wars, being without the control of reason, make a wild assault on everything they come across, and lacking the check of reason they push on without discretion or distinction to destroy the vessels of reason. In the fourteenth century, as also before and since, it was lamented that sands of innocents, in whose mouth was no guile," had been “turned into stinking ashes” by incend- iary hands. The Riccardi Press, which confesses itself to be no press, but merely a name on the title-page of books printed for the Medici Society, protests against the practice of issuing limited editions at prices inversely proportioned to the size of the edition. The Kelmscott Press, established by one who called himself a socialist, was a conspicuous offender in this respect. It did not strive to pro- mote the greatest good of the greatest number of readers. The Medici Society, American Branch (recently incorporated), will control the publica- tion in this country of books issued by the Medici Society of London; and these works will bear the Riccardi Press imprint. Real values at reasonable prices will be offered in these publications. Fur- ther details are obtainable from the Society, at 12 Harcourt Street, Boston. The Britwell Americana, from Britwell Court, Burnham, England, containing 390 items, and for- merly owned by Mr. S. R. Christie-Miller, has just come into the possession of that prince of collec- tors, Mr. Henry E. Huntington. Mr. George D. Smith, who has before now acted as intermedi- ary between owner or auctioneer and Mr. Hunt- ington, went to England and secured the entire collection, which was to have been dispersed by public sale at Sotheby's, beginning August 15. The precious purchase was brought home by Mr. Smith, and has now been conveyed, for a consideration said to be $350,000, to the multimillionaire collec- tor. Among notable rarities in the lot are men- tioned the Massachusetts laws printed at Cam- bridge in 1660 and valued now at $15,000; “New Mexico, otherwise the Voyage of Anthony of Es- peio," published about 1587, and also worth to-day How Much Is It Worth? How often have you been interrupted in the midst of engrossing and important work to answer this question, and how much time has been wasted in an effort to give a satisfactory answer? There and a simple one, to determine these values, without undue trouble or delay. Is a Way American Book-Prices Current for 1916 contains a comprehensive list of books, autographs and broadsides sold at auction during the season of 1915-16. This new volume, which covers the twenty-second year of its publication, is expected to be ready in January, and as the size of the edition will be limited and based on the number of orders received, it is essential that we should know just how many subscribers we are to have. Subscription price, $10.00, net. For further information, order blanks, etc., communicate with ROBERT H. DODD 449 Fourth Ave., New York City 32 (January 11 THE DIAL A. C. McClurg & Co.'s OLD AND RARE BOOK DEPARTMENT has just received a large shipment of important books in single volumes and in sets, all showing the handiwork of London's most celebrated binders. Too late for Christmas buyers, these books come in good time to replenish a stock much depleted by a highly successful season's selling. They have escaped two recent advances in bind- ing costs and are well worth the attention of book-lovers with vacancies in their libra- ries. This department has a long record of efficient serv- ice in the procuring of out- of-the-way and rare books. Its monthly list of books wanted reaches all dealers of any importance in Amer- ica and England. It offers its service at all times — free of cost. Binding and Repairing of books carefully looked after. Catalogue of Old and Rare Books mailed upon request. A. C. McClurg & Co. 218-224 So. Wabash Ave. CHICAGO about $15,000; William Strachey's “For the Col- ony in Virginea, Britannia, Lawes Divine, Morall and Martian,” published about 1612, and extant in only one other copy, that of the British Museum; Jourdan's “Discovery of the Barmudas, otherwise called the Isle of Divels," 1610; and a perfect set of De Bry's “Voyages” in 102 volumes. "The Diary of James Birket," published by the Yale University Press in an edition of three hun- dred copies, is a curiosity that will amuse as well as instruct its readers. Of Birket himself little is known, and that little is chiefly gleaned or inferred from his diary. A resident of the island of Anti- gua, he seems to have acted as correspondent and factor for various merchants of the Northern Colo- nies in their commercial dealings with Antigua. His diary, after passing through various hands, was finally presented to Yale for publication, and its title in full is descriptive of the contents. “Some Cursory Remarks Made by James Birket in his Voyage to North America, 1750-1751”— such, in its old-time fulness, is the name of the little itinerarium. Landing at Portsmouth, Birket proceeded down the coast, pausing at the chief towns on the way. Thus he gives us glimpses of Boston, Newport, New London, New Haven, New York, and Philadelphia, with sundry minor settle- ments on his route. Harvard College is viewed with intelligent interest, and its library is described as “Large & Commodious,” but “the books are mostly Old And not kept in that Order One could wish." The Dewey classification was still a century and a quarter in the future. At New Haven the traveller is impressed with the appearance of “Yale Colledge,” in which “is a Very pretty Library And well kept, their Books are many of 'em of Much Later date and better Choose then those at Cam- bridge They are Obliged for a good part of them to the late Dean Berkley now Byshop of Cloyne in Ireland.” The quaint entries in this diary vary from incidental mention of “being much out of Order with the Cholick & A Cold" to appreci- ative record of the products of the soil, which raises "great Plenty of fruite & Roots as Potatoes, Turneps, Parsneps, Carratts Cabbage &C &C.” A priceless French newspaper forms the sub- ject of an interesting prefatory note to the cur- rent quarterly number of the “Bulletin of the Virginia State Library.” This library has received from a generous benefactress, Miss Grace Arents, of Richmond, a rich collection of French journals, including a complete set of “Le Moniteur Univer- sel” (1789-1864), so great a rarity (in a commer- cial sense) that the adjective priceless may without exaggeration be applied to it; for its present market value is a matter of conjecture. Its “His- torical Introduction” alone, which goes with the really “complete” set, was so difficult to obtain twenty years ago that 300 francs was offered for a copy, its original price having been one-twelfth of that amount. The Virginia set of this journal is declared to be the only complete one on this side of the Atlantic. In European public and private libraries there were, thirty years ago, supposed to be about two hundred sets; but how many of them were then and still are absolutely perfect in their 1917] 33 THE DIAL Italian Art and Architecture completeness, as this set is believed to be — not a leaf missing — no one can tell. Curious details are still communicated by the Virginia assistant librarian, Mr. Earl G. Swem. Different styles of binding mark the several political periods covered by the set. The first section (1789-1800) belonged originally to a nobleman of the ancien régime, who indignantly stopped his subscription with the rise of Napoleon. The second section (1800-1814) belonged to no less a personage than Louis Philippe, whose private libraries were sold after his flight in 1830. The period of the Restoration covers a third section, which was owned by the above-mentioned nobleman, his subscription having been resumed after the usurper's fall. The remain- ing volumes have also an interesting history, which cannot be given here. Mr. William Wilberforce Man, a New York attorney resident in Paris from 1848 to 1855, made this notable collection of French newspapers, which now finds a fitting abode in the Virginia State Library. High prices for Americana have prevailed both last season and thus far in the present season. A recent sale of 193 lots at Scott & O'Shaughnessy's in New York brought a total return of $16,370.25, or nearly $85 per lot. Judge Samuel Sewall's copy of the Connecticut Laws elicited the highest bid, $1600; Benjamin Lay's rare treatise on sla- very, printed by Benjamin Franklin, was sold for $910; the autograph manuscript of Goldsmith's first published poem, a short piece of twelve lines on "The Taking of Quebec, and Death of General Wolfe," brought $1520, or $126.66 for each line, or, in still other terms, $16.17 for each word. The unique "Pilgrim's Progress" of 1681 Mr. George D. Smith thought well worth $1360, and Washing- ton's invoice of his investments in United States securities changed hands for a consideration of $825. Early Western history also evoked brisk bidding. Evidently the distracting events of the past two years have not diverted the collector of Americana from his favorite pursuit. The strain of war upon private libraries of Eng- land shows itself both in our imports of rare works that have been parted with for good American money, and in the announcements of auction sales in London. At Sotheby's there are passing under the hammer such delectable rarities as the works of La Fontaine in seventy volumes, 1784-9, bound in morocco by a book-binder of the period; the 1755-9 edition of the Fables; Shakespeare's "King Lear,” 1608; two copies of the Second Folio of Shakespeare, and one of the Fourth Folio; divers Brontë books, manuscripts, and letters; Caxton's “Dictes and Sayings of the Philosophers”; treas- ures from the Halliwell-Phillips library; Kelmscott Press productions, some of these being presenta- tion copies from William Morris; and two copies of the Kilmarnock Burns, one of them in excellent condition and with some of its leaves unopened. Many of these and other like literary rarities will doubtless eventually find their way to our shores. It may seem hard that rich American collectors should thus profit by the distress of fellow-book- men across the ocean; but it would be harder still for the pecuniarily embarrassed sellers if there were no well-to-do American buyers. Pontormo His Life and Work By FREDERICK MORTIMER CLAPP "The most important monograph on painting at once written by an American and published by an American press.” -Frank Jewett Mather, Jr. The 153 duotone reproductions of Pontor- mo's work included in this volume form a most convincing argument for his greatness. Quarto. Board binding. Exxii + 355 pages. 153 illustrations. Index. Price, $7.50 net, postpaid. Catalogue of the Jarves Collection By OSVALD SIRÉN Professor of the History of Art University of Stockholm In the Jarves Collection of primitive Italian paintings, Yale University possesses one of the most interesting assemblages of these precious pictures in either Europe or America. critic of international repute, Dr. Sirén has prepared a catalogue of genuine historic value. Eighty-six heliotype plates reproduce the best of the paintings. Quarto. Cloth binding. Gilt top. xxvi +292 pages. 86 heliotype illustrations. 2 half-tone plates. Price, $7.50 net, postpaid. As a Lombard Architecture By ARTHUR KINGSLEY PORTER A study in four volumes of Romanesque art of Northern Italy from the sixth to the thirteenth century. Volume I includes a resumé of the history of this style, a chronological chart, appendices and bibliography. Volumes II and III consist of a catalogue raisonné of the extant monuments of the Lombard style, with a separate monograph upon each. The fourth volume, an atlas containing about 1200 illustrations, includes original photographs and over forty measured drawings. Volumes II and IV have already been issued. Volumes I and III will be completed in Feb- ruary. Quarto. Cloth binding. Gilt top. Index. Volumes I, II, and III, $12.00 net each; Vol- ume IV, $15.00 net; per set, $50.00 net, postpaid. Descriptive illustrated circulars of each of these works will be sent upon request YALE UNIVERSITY PRESS 209 Elm Street 280 Madison Avenue New Haven, Conn. New York City 34 [January 11 THE DIAL NOTES AND NEWS. ULUS 11.SHERS YOKSULENS M'CLURO BOOKSELLER URGET TATIONERS 99 “I visited with a natural rapture the largest bookstore in the world.” See the chapter on Chicago, page 43, “Your United States," by Arnold Bennett It is recognized throughout the country that we earned this reputation because we have on hand at all times a more complete assortment of the books of all publishers than can be found on the shelves of any other book- dealer in the entire United States. It is of interest and importance to all bookbuyers to know that the books reviewed and advertised in this magazine can be procured from us with the least possible delay. We invite you to visit our store when in Chicago, to avail your- self of the opportunity of looking over the books in which you are most interested, or to call upon us at any time to look after your book wants. The Stratford Co., publishers of the “Stratford Journal,” have recently brought out “My Last Friend, Dog Dick," by De Amicis, edited by Mary E. Burt, as the first of a projected series of trans- lations of contemporary foreign work. Mr. Edgar Lee Masters's poem “All Life in a Life” was awarded the two hundred dollar prize by “Poetry” for the best poem by an American citizen published in its columns during 1915-16. The one-hundred dollar prize was awarded to Mr. John Gould Fletcher for his group of poems entitled “Arizona.” “The Life and Letters of Theodore Watts- Dunton,” in two volumes, by Thomas Hake and Arthur Compton Rickett, which is hailed as one of the most important literary biographies of the year, is to be published within a month by Messrs. G. P. Putnam's Sons. A notable series of por- traits will illustrate the work. The Dante League of America is now being organized for the purpose of promoting the knowl- edge and study of the poet and his works by pop- ular lectures, literature, etc., and to prepare for the celebration of the 600th anniversary of Dante's death in 1921. Headquarters have been established at 23 E. 41st St., New York City. According to the authorities of the New York Public Library, Mark Twain's works are issued in many languages through their circulation depart- ment. The little Russian and Polish translations of “Huckleberry Finn” are in constant demand; there are twelve titles in German, six in Hungarian, five in Bohemian, and numerous stories in Danish, Finnish, Italian, Spanish, and Swedish. The death of Hamilton Wright Mabie, in his seventy-first year, removes an appreciative and industrious craftsman of letters. Mr. Mabie had been an associate editor of “The Outlook" for many years, but he found time to write many books on literature, nature, and life, all in a familiar style that gave him a wide following. He was a member of the American Academy of Arts and Letters. “The Library of Modern Thought, which Messrs. Moffat, Yard announce for early publication will include twelve volumes. Among the contributors are: Professor Freud of Vienna and Dr. Jung of Zurich, Sir Oliver Lodge, Alfred Russel Wallace, Dr. Gerald Leighton, and Dr. C. W. Saleeby, Pro- fessor Münsterberg, Edwin B. Holt, H. Addington Bruce, Dr. Isador Coriat, Scott Nearing, Bolton Hall, Dr. Eduard Hitschmann, and Dr. Alfred Adler. Volume XV of the "National Cyclopaedia of American Biography' has recently been issued. Special Library Service We conduct a department devoted entirely to the interests of Public Libraries, Schools, Colleges and Universities. Our Library De- partment has made a careful study of library requirements, and is equipped to handle all library orders with accuracy, efficiency and despatch. This department's long experience in this special branch of the book business, combined with our unsurpassed book stock, enable us to offer a library service not excelled elsewhere. We solicit correspondence from Librarians unacquainted with our facilities. A. C. McCLURG & CO. The popular classification features have been con- Retail Store, 218 to 224 South Wabash Avenue Library Department and Wholesale Offices: 330 to 352 East Ohio Street Chicago tinued. Added to over 2000 American authors, poets and literary writers in the fourteen previous volumes are: William Sydney Porter (“O. Henry"), Myrtle Reed, Alice Brown, Frank Norris, Clyde Fitch, Gene Stratton Porter, Edward A. Robinson, Price Collier, William C. Brownell, Arthur Stringer, Montgomery Schuyler, Eleanor 1917] 35 THE DIAL Gates, and Laura E. Richards. Their biographies contain full details of their early careers, lists of their writings, and criticisms of their literary style. On December 30, Rudyard Kipling celebrated his fifty-first birthday. With him, as with so many other English authors, the last year has been one devoted almost entirely to thoughts of the war and services to his country. Perhaps the most notable of Mr. Kipling's writings in the last year is his series of papers describing the great Jutland sea battle which were of interest to Americans for their vivid pictures of the English navy in action. Besides the newspaper articles and a few poems he has written two short war books. One, “France at War, on the Frontier of Civilization” is an interpretation of the spirit of France and a state- ment to the English of their debt to the French Republic. The other book, "The Fringes of the Fleet” is a description of the “mosquito” or auxiliary fleet of small vessels which serve the dreadnaughts in so many ways. Three volumes of literary studies by Mr. William A. Quayle offer themselves anew to public notice. They are “The Poet's Poet and Other Essays” (Abingdon Press; $1.), first issued in 1897, "The Gentleman in Literature" (Eaton & Mains; 25 cents), published in 1902, and "Modern Poets and Christian Teaching: Lowell” (Eaton & Mains; $1.), which appeared ten years ago. Browning and not Spenser is to Mr. Quayle the poet's poet. Don Quixote and John Halifax and Caponsacchi, with divers other male characters familiar to readers of romance and poetry, form his motley company of gentlemen in fiction; and in truth they are a goodly company, though Miss Mulock's hero is rather too ostentatiously and self-con- sciously everything that is upright and honorable. The Lowell book gives whole pages to extracts from that poet; but it has also some heartily appreciative comment. Mr. Quayle has a vigorous style, and he evidently knows what he likes. Rupert Hughes thus expresses his views as to why so many Americans are disposed to speak disparagingly of American literature: “When as a boy in Missouri and Iowa, I used to be invited to eat at another boy's house occasionally, I noticed a delightful flavor about the alien food that was lacking at home. As a matter of fact our own food was equally good and probably bet- ter; at least, the boys from other homes eating at mine said so. Later I realized that, next to hunger, there is no better sauce than novelty. I was crediting other folks' food with virtues it did not possess; bringing to it what I did not find in it. People who read books are subject to this same palatial fallacy. Fed up on American life and its representation in fiction, they take up an English or a Russian novel and are greatly excited. They wonder why American fiction lacks the brilliance and profundity of foreign fiction. They write doleful essays explaining the reasons. The usual explanation, repeated till it nauseates with its parrot-squawks, is that Americans write in haste and for money. This was said of authors before America was discovered and is as true of one country as of another." BARGAINS IN BOOKS FOR ART LOVERS AND COLLECTORS A few desirable items from our large assortment of Books in all branches of Literature at greatly reduced prices, of which catalogues are issued at frequent intervals. A New History of Painting in Italy, from the Second to the Sixteenth Century. By Crowe and Cavalcaselle. Edited by Edward Hutton. This new edition, while it retains the text of Crowe and Cavalcaselle verbatim, at the same time supplies in the notes a sort of encyclopædia of modern opinion on the subject. In three volumes, with more than 300 illustrations, mostly full page. London: J. M. Dent & Co. Reduced from $15 to $9 a set. Popular Library of Art. A series of attractive hand. books on famous artists by well-known writers and art critics. Beautifully printed on excellent paper and fully illustrated. Our special price, 40 cts. each, or $4.50 for the set of 12 volumes. LIST OF TITLES: Velazquez. By Auguste Breal. (51 illustrations.) Raphael. By Julia Cartwright. (50 illustrations.) Rembrandt. By Auguste Breal. (61 illustrations.) Millet. By Romain Rolland. (32 illustrations.) Leonardo da Vinci. By Dr. Georg Gronau. (44 illus- trations.) Gainsborough. By Arthur B. Chamberlain. (55 illus. trations.) Botticelli. By Julia Cartwright. (37 illustrations.) French Impressionists. By Camille Mauclair. (50 illus- trations.) Watts. By Gilbert K. Chesterton. (33 illustrations.) Perugino. By Edward Hutton. (50 illustrations.) Whistler. By Bernhardt Sickert. (26 illustrations.) Blake. By G. K. Chesterton. (33 illustrations.) As You Like It. By William Shakespeare. Illustrated in color by Hugh Thomson. A sumptuous gift edition containing 24 full-page plates in color, besides numer ous others in black and white_by this famous artist. London: Hodder & Stoughton. Reduced from $6 to $2.75. Royal Copenhagen Porcelain: Its History and Devel- opment from the Eighteenth Century to the Present Day. By Arthur Hayden. With 100, full-page, plates, and giving tables, of marks never before published. Beautifully printed and bound. London: 1. Fisher Unwin. Reduced from $15 to $6.50. A Sentimental Journey through France and Italy. By Laurence Sterne. With 12 full-page plates in color by Everard Hopkins. A sumptuous edition de luxe of Sterne's famous tale, limited to_500 copies, each of which is signed by the artist. London: Williams & Norgate. Reduced from $7.50 to $8.76. William Callow, R.W.S., F.R.G.S. An autobiography of one of the most noted of English water-color painters. Edited by H. M. Cundall, F.S.A. Finely illustrated with 22 full-page plates in color, 9 in black and white, and 22 sketches in the text. London: A. & C. Black. Reduced from $8 to $1.25. John Pettie, R.A.: His Life and Paintings. By Martin Hardie. Pettie, who was born in 1839 and died in 1892,. was for many wears a foremost figure in the Scottish school of art. A noteworthy feature is the series of 50 full-page reproductions in color of Pettie's chief paintings. London: A. & C. Black. Reduced from $6 to $2.50. The Scholar Gypsy, and Thyrsis. By Matthew Arnold. With 10 beautiful full-page plates in color, after paint- ings by W. Russell Flint. Two of the finest poems of the nineteenth century are given fitting form in this exquisite volume. Reduced from $1.25 to 45 cts. Rembrandt: Sixteen Examples in Color of the Artist's Work. With an Introduction by C. Lewis Hind. The 16 full-page reproductions in color (executed by Morti. mer Menpes) give a splendid conception of Rem. brandt's mighty genius. London: A. & C. Black. Reduced from $1.25 to 75 cts. Annual of the Society of Illustrators, 1911. With an Introduction by Royal Cortissoz. A collection of nearly 100 large full-page reproductions of drawings by prom- inent American illustrators, including practically every well-known name in this field. New York: Charles Scribner's Sons. Reduced from $3 to $1. Only a limited number of these books in stock, which at such exceptional prices will not last long. Better mail your order to-day. Delivery charges prepaid on receipt of cash with order. R. S. ANDERSON & CO. Bargains in Books The Fine Arts Building CHICAGO 36 [January 11 THE DIAL THE DIAL 4 Fortnightly Journal of Literary Criticism, Discussion, and Information Mr. George M. Chandler for many years with A. C. McClurg & Co., desires to announce that he has opened A BOOK STORE Published by THE DIAL PUBLISHING COMPANY 608 South Dearborn Street, Chicago Telephone Harrison 3293 MARTYN JOHNSON W. C. KITCHEL President Sec'y-Treas. AT 75 East Van Buren Street CHICAGO where he will be pleased to see his friends and patrons. Rare Books, First Editions, Standard Authors in fine bindings, Americana, Autographs, also Important Recent Publications. THE DIAL (founded in 1880 by Francis F. Browne) is published fortnightly — every other Thursday — except in July and August, when but one issue for each month will appear. TERMS OF SUBSCRIPTION: $3. a year in advance, postage prepaid in the United States and its possessions, Canada, and Mexico. Foreign postage, 50 cents a year extra. Price of single copies, 15 cents. CHANGE OF ADDRESS:- Subscribers may have their mailing address changed as often as desired. In ordering such changes, it is necessary that both the old and new addresses be given. SUBSCRIPTIONS are discontinued at the expira- tion of term paid for unless specifically renewed. REMITTANCES should be made payable to THE DIAL PUBLISHING COMPANY, and should be in the form of Express or Money Order, or in New Yoric or Chicago exchange. When remitting by per- sonal check, 10 cents should be added for cost of collection. ADVERTISING RATES sent on application. Entered as Second-class matter Oct. 8, 1892, at the Post Office at Chicago, under Act of March 3, 1879. ORDERS FOR BOOK BINDING WILL RECEIVE CAREFUL ATTENTION. TELEPHONE HARRISON 2808 LIST OF NEW BOOKS. New Importations [The following list, containing 66 titles, includes books received by THE DIAL since its last issue.] I have just received a collection of first editions of contemporary writers including the following: J. M. Barrie John Galsworthy Arnold Bennett A. E. (George Russell) Rupert Brooke George Moore Joseph Conrad James Stephens W. H. Davies J. M. Synge Ernest Dowson W. B. Yeats A catalogue of these volumes will be issued shortly, or a list with prices of any particular works will be sent on application. A catalogue of Miscellaneous Books includ- ing a private Musical Library of a Chicago collector who has been gathering his library for thirty years will be sent upon request. In preparation: a catalogue of a miscella- neous library of an old New Yorker, containing many bargains. BIOGRAPHY AND REMINISCENCE. Early Life and Letters of General (Stonewall) Thomas J. Jackson. By Thomas Jackson Arnold. With portraits, 8vo, 379 pages. Fleming H. Revell Co. $2. Forty Years at the Criminal Bar: Experiences and Impressions. By Edmund D. Purcell. With portrait, 12mo, 352 pages. London: T. Fisher Unwin. Le Strange Records, A. D. 1100-1310. By Hamon Le Strange. Illustrated, 4to, 407 pages. Longmans, Green, & Co. $7. An Ancient Family. The Saxon origin of the family of Ingpen. By Arthur Robert Ingpen. 4to, 207 pages. Longmans, Green, & Co. HISTORY. The Counts of Gruyère. By Mrs. Reginald de Koven. Illustrated in color, etc., 8vo, 143 pages. Duffield & Co. $2. Continental Europe, 1270-1598. Revised and adapted from the French of P. Bondois and Ch. Dufay- ard by Chalfant Robinson. 12mo, 489 pages. Henry Holt & Co. José de Gálvez: Visitor-General of New Spain, 1765-1771. By Herbert Ingram Priestley. With frontispiece and maps, 8vo, 449 pages. Univer- sity of California Press. ESSAYS AND GENERAL LITERATURE. WALTER M. HILL 22 East Washington Street - Rooms 831 to 835 CHICAGO, ILLINOIS Journalism versus Art. By Max Eastman. Illus- trated, 12mo, 146 pages. Alfred A. Knopf. $1. American Literature in Spain. By John De Lancey Ferguson, Ph.D. 12mo, 267 pages. Columbia University Press. Philippine Folk Tales. Compiled and annotated by Mabel Cook Cole. Illustrated, 12mo, 218 pages. A. C. McClurg & Co. $1.25. 1917] 37 THE DIAL The Metropolitan Museum of Art Publications on Art and Archaeology THE TOMB OF SENEBTISI AT LISHT. By Arthur C. Mace and Herbert E. Winlock. xxii, 134 (1) p. il. front. photogravures and colored plates, 4to. THE STELA OF MENTHU-WESER. By Caroline L. Ransom. 39 (1) p. il. 8vo. HANDBOOK OF THE CESNOLA COLLEC- TION OF ANTIQUITIES FROM CYPRUS. By John L. Myres, Wykeham Professor of An- cient History, Oxford. lv, 596 p. il. pl. 8vo. $2.00. CATALOGUE OF GREEK, ROMAN AND ETRUSCAN BRONZES. By Gisela M. A. Richter. xli, 491 (1) p. pl. 8vo. $5.00. CATALOGUE OF ROMANESQUE, GOTHIC, AND RENAISSANCE SCULPTURE. By Joseph Breck. xix, 272 p. il. 8vo. In paper, $1.00; in boards, $1.50. CATALOGUE OF PAINTINGS. By Bryson Burroughs, Ed. 2, corr., rev., and ill. xiii, 356 p. pl. plan. 8vo. 25c. HANDBOOK OF THE BENJAMIN ALTMAN COLLECTION. xv. 153 (1) p. il. 8vo. 50c. HANDBOOK OF ARMS AND ARMOR, Euro- pean and Oriental, including the William H. Riggs Collection. By Bashford Dean. xvi, 161 (1) p. pl. 8vo. 50c. BULLETIN OF THE METROPOLITAN MUSEUM OF ART. Published monthly. Ills. plates. 8vo. Subscription price, $1.00; 10c a number. Fifth Avenue and 82nd Street, New York City TRAVEL AND DESCRIPTION. Hospital Sketches. By Robert Swain Peabody, līlustrated, 8vo, 90 pages. Houghton Mifflin Co. $1.50. Along the Pacific by Land and Sea. By C. W. Johnston. 12mo, 272 pages. Rand McNally & Co. $1.25. Travel Sketches. By Grace M. Levings. Illustrated, 12mo, 168 pages. Richard G. Badger. $1. BOOKS OF VERSE. The Jig of Forslin: A Symphony. By Conrad Aiken. 12mo, 127 pages. Boston: Four Seas Co. $1.25. Miscellaneous Poems. By Michael Strange. With portrait, 14mo, 101 pages. Mitchell Kennerley. $1.25. Utterance and Other Poems. By Angela Morgan. 14mo, 106 pages. Baker & Taylor. $1.40. Songs of Ukraina, with Ruthenian Poems. Trans- lated by Florence Randal Livesay. 12mo, 175 pages. E. P. Dutton & Co. $1.50. Rune and Rann. By George M. P. Baird. 8vo, 58 pages. Pittsburg: The Aldine Press. Poems of the Irish Revolutionary Brotherhood. By Thomas MacDonagh, P. H. Pearse, Joseph Mary Plunkett, and Sir Roger Casement. 14mo, 60 pages. Small, Maynard & Co. 50 cts. Pilgrimage, Poems. By Eric Shepherd. 16mo, 100 pages. Longmans, Green, & Co. $1. Children of the Sun Poems. By John William Scholl. With portrait, 12mo, 74 pages. Ann Arbor: Arts and Letters. $1.25. Soldler Songs from Anzac. Written in the Firing- Line by Signaller Tom Skeyhill; with Introduc- tion by Maj.-Gen. J. W. McCay. 16mo, 63 pages. T. Fisher Unwin, Ltd. Christus Consolator, and Other Poems. By Rossiter W. Raymond. 12mo, 79 pages. Thomas Y. Crowell Co. $1. The Singer. By J. T. 12mo, 166 pages. Boston: Richard G. Badger. $1. Verses. By Mary Wright Plummer. 14mo, 32 pages. Privately Printed. From Idaho to You. By Laura Edith Darrow. 12mo, 27 pages. Boston: Richard G. Badger. $1. Mystery; or, The Lady of the Casino. By David F. Taylor. 12mo, 39 pages. Boston: Richard G. Badger. 75 cts. Tekel. By William De Ryee. 16mo, 18 pages. Ridgewood, N. J.: The Editor Co. Paper. DRAMA. The Canterbury Pilgrims: An Opera. Text by Percy MacKaye; music by Reginald De Koven. 12mo, 63 pages. Macmillan Co. $1. Told by the Gate, and Other One-Act Plays. By Malcolm Morley. 12mo, 121 pages. Boston: Richard G. Badger. $1. The Old Wives' Tale. By George Peel. Edited by Frank W. Cady. With frontispiece, 12mo, 73 pages. Richard G. Badger. 60 cts. FICTION. The Unwelcome Man. By Waldo Frank. 12mo, 371 pages. Little, Brown & Co. $1.50. The Twenty-Four: Where I Took Them and What They Did to Me. By George Fitch. With frontis- piece, 12mo, 194 pages. Little, Brown & Co. $1.25. The Hillman, By E. Phillips Oppenheim. 12mo, 328 pages. Little, Brown & Co. $1.35. The Shifting Spell. By Leslie Probyn. 12mo, 355 pages. Duffield & Co. $1.35. The Homesteaders: A Novel of the Canadian West. By Robert J. C. Stead. 12mo, 336 pages. London: T. Fisher Unwin, Ltd. The Leading Lady. By William Morgan Hannon. 14mo, 118 pages. New Orleans: Latin Quarter Publishing Co. The Vintage. By Sylvia Chatfield Bates. New edition; with frontispiece, 12mo, 55 pages. Duffield & Co. PUBLIC AFFAIRS, SOCIOLOGY, ECONOMICS, AND POLITICS. Termination of War and Treaties of Peace. By Coleman Phillipson. Large 8vo, 486 pages. E. P. Dutton & Co. $7. The Future of Militarism: An Examination of F. Scott Oliver's "Ordeal by Battle.” By Roland. 12mo, 185 pages. London: T. Fisher Unwin. Extraordinary Sale of AMERICANA Comprising the principal part of the famous Christie-Miller Collection bought en bloc in London and other Duplicates and Selections from the unrivalled private Library of Mr. Henry E. Huntington The most important sale of rare books relating to the early history of America ever held in this country or Europe. On Exhibition from January 15th to the sale on the Evenings of January 24th and 25th. Catalogues free to intending buyers. The Anderson Galleries Madison Avenue at 40th Street, New York "Where the Hoe Library Was Sold" 38 [January 11 THE DIAL Ready January 15th RINGS In a By GEORGE FREDERICK KUNZ, Ph.D., A.M., D.Sc. Author of "The Curious Lore of Precious Stones,” “The Magic of Jewels and Charms,” etc. 290 illustrations in color, doubletone and line. Handsomely decorated cloth binding. Octavo. box, $6.00 net. This book might have been called “The Romance of the Ring" as all of importance in regard to the sentimental, the religious, the mystic significance of finger rings from the early mythological rings to that embodiment of the skill of the modern gold- smith and jeweler, the little circlet which today, and every day, the lady receives from her lover is treated by Dr. Kunz in a romantic and fascinating manner. Rings of famous men and women of past days, and the profuse lore concerning the luck or ill luck which go with certain stones or forms of circlets are two of the many interesting features. Others are the rings of savage peoples, the mechanism of modern manufacture, the history of ecclesiastical rings, and a full list of mottoes used in the old days upon betrothal and wedding rings. As a reference work its authoritative and exhaustive information makes it very valuable. J. B. Lippincott Co. The Paris Conference and Trade after the War. By Harold Storey. By 21mo, 32 pages. London: Fisher Unwin. Paper. Abraham Lincoln and Constitutional Government. By Bartow A. Ulrich. Part I., with portrait, 8vo, 406 Pages. Chicago: Legal News Press. Military and Colonial Policy of the United States. By Elihu Root. 8vo, 502 pages. Harvard University Press. Economies. By Frank A. Fetter, Ph.D. Vol. II., Modern Economic Problems. 8vo, 498 pages. Century Co. $1.75. BOOKS ABOUT THE GREAT WAR. Inside the German Empire. Herbert Bayard Swope. Illustrated. 12mo, 366 pages. Century Co. $2. With the Russian Wounded. By Tatiana Alex- insky; with Introduction by Gregor Alexinsky, translated by Gilbert Cannan. 12mo, 180 pages. T. Fisher Unwin. ART AND ARCHITECTURE. The Russian School of Painting. By Alexandre Benois; translated by Abraham Yarmolinsky, with Introduction by Christian Brinton. Ilus- trated, large 8vo, 199 pages. Alfred A. Knopf. $4. The Jumel Mansion. By William Henry Shelton. Illustrated, 4to, 257 pages. Houghton Mifflin Co. $10. The Enjoyment of Architecture. By Talbot Faulk- ner Hamlin. Illustrated, 8vo, 349 pages. Duf- field & Co. $2. RELIGION AND THEOLOGY. The Psychology of Religion. By George Albert Coe. 12mo, 365 pages. Chicago University Press. $1.50. The Dawn of a New Religious Era. By Paul Carus. Revised edition. 12mo, 131 pages. Open Court Publishing Co. $1. The Origin and Growth of the Hebrew Religion. By Henry Thatcher Fowler. 12mo, 190 pages. Chicago University Press. $1. Religion of a Newspaper Man. By DeWitt McMur- ray. With portrait, 12mo, 316 pages. Fleming H. Revell Co. $1.50. The World, the Church, and the Devil. By John Archibald Morison. 12mo, 198 pages. Richard G. Badger. $1.25. An Ambassador: City Temple Sermons. By Joseph Fort Newton, D.Litt. 12mo, 226 pages. Fleming H. Revell Co. $1. In the Light of the Spirit. By Christian D. Larson. 12mo, 194 pages. Thomas Y. Crowell Co. $1. Hymns of the United Church. Edited by Charles Clayton Morrison and Herbert L. Willet. 8vo, 501 pages. Christian Century Press. $1.15. BOOKS FOR THE YOUNG. Heroes of the American Revolution. By Oliver Clay. With frontispiece, 12mo. 307 pages. Duffield & Co. $1.25. The Boy Settler. By Edwin L. Sabin. Illustrated, 8vo, 301 pages. Thomas Y. Crowell Co. $1. Little Prodigals. By Nannie Lee Frayser. 16mo, 55 pages. Cincinnati: Standard Publishing Co. 35 cts. BOOKS FOR SCHOOL AND COLLEGE. Short Stories and Selections, for use in the second- ary schools. Compiled and annotated by Emile K. Baker. With frontispiece, 16mo, 263 pages. Macmillan Co. Shakespeare's King Richard III. Macmillan's Pocket Classics. Edited by A. R. Brubacher. With frontispiece, 16mo, 203 pages. Macmillan Co. 25 cts. SCIENCE. The World's Minerals. By L. J. Spencer. Illus- trated in color, 8vo, 327 pages. Frederick A. Stokes Co. $2.75. The Pruning-Manual. By L. H. Bailey. Eighteenth edition, revised and reset; 8vo, 407 pages. Macmillan Co. $2. An Introduction to Astronomy. By Forest Ray Moulton, Ph.D. New revised edition; illustrated, 8vo, 577 pages. Macmillan Co. $2.25. Lippincott's Farm Manuals. New volumes: Pro- ductive Feeding of Farm Animals, second edi- tion, illustrated, 8vo, 375 pages, $1.75 net; Pro- ductive Horse Husbandry, by Carl W. Gay, sec- ond edition, illustrated, 8vo, $1.50 net. J. B. Lippincott Co. Representative American Poetry Edited by William Stanley Braithewaite and Henry Thomas Schnittkind. Contributions by Edgar Lee Masters, Sara Teasdale, Willa Sibert Cather, Morris Rosenfeld, Edith M. Thomas, and others. Sent free on receipt of 2c stamp. RICHARD G. BADGER, Publisher, BOSTON AUTHOR'S PUBLISHER ROBERT L. WARE 7 BRADFORD STREET, GLEN ROCK, N. J. EXPERT CREDENTIALS CORRESPONDENCE SOLICITED IN BUYING BOOKS A saving of from 40% to 80% means a whole lot Our JANUARY BARGAIN SALE will include a London Shipment of "Remainders” which arrived too late for our December Catalogue. Also-For this sale we were particularly lucky in getting in from the leading American pub- lishers the remaining few copies of some impor- tant and popular titles, which we shall offer to our customers at a discount of from 40% to 80%. Catalogue ready Jan. 25th and mailed free. THE MORRIS BOOK SHOP 24 N. Wabash Ave. CHICAGO THE DIAL A Fortnightly Journal of Literary Criticism, Discussion, and Information. Pol. LXII. JANUARY 25, 1917 No. 734. AN ANNOUNCEMENT. . . . CONTENTS. In announcing Mr. George Bernard Donlin as Editor the publisher takes occasion to make AN ANNOUNCEMENT 45 the following statement of the principles POETRY AS A SPOKEN ART Amy Lowell 46 which will inspire the policy of THE DIAL: The original DIAL, with Emerson among its JACK LONDON AS TITAN. L. S. Friedland 49 contributors, reflected the best American CASUAL COMMENT radicalism of its day -- a radicalism long since 51 A martyrdom so appalling.-Professor Bar- absorbed into a respectable tradition. It was rett Wendell's retirement.For American founded to express "freer views than the con- Rhodes scholars.-Culture by correspondence. servative journals are ready to welcome.” -To the credit of the daily theme.—Japan When the present DIAL appeared, in 1880, the ese influence on Western culture.—Hopeful editor said: “THE DIAL has no desire to be signs in the book-trade.—The timid browser. classed with the destructive school of crit- -The high cost of rare books. icism.” The announcement with which it COMMUNICATIONS began life was brief and modest; but the 54 “Seeing It Through." John Cotton Dana, service it was able to render under the wise Harry B. Kennon, M. H. Hedges. guidance of the late Francis F. Browne and Publishers and Writers. Honoré Willsie. his son, Mr. Waldo R. Browne, is a part of Maurice Hewlett. Anna S. L. Brown. the literary history of America. THE DIAL, under its present management, A MAZY. PROPHET. Israel Solon 56 will endeavor to carry on a fruitful tradition. A PHILOSOPHER'S VALEDICTORY. Edward It will try to meet the challenge of the new Eyre Hunt 58 time by reflecting and interpreting its spirit a spirit freely experimental, skeptical of THE JUSTIFICATION OF HISTORY. Harold inherited values, ready to examine old dogmas J. Laski and to submit afresh its sanctions to the test of experience. If criticism is peculiarly THE ZIONIST HOPE. H. M. Kallen 60 needed, it is because criticism, with its sharply A NEW LITERATURE OF PEACE. Gilbert intellectual values, its free curiosity, and its Vivian Seldes 61 necessary concreteness, can share share almost equally with creative writing the privilege of RECONSTRUCTIVE CRITICISM. Richard Off- 64 revealing us to ourselves. And in a democ- racy such as ours no task is more worth while. A FLOOD OF FOREIGN DRAMA. Homer E. THE DIAL hopes to bring to this task a Woodbridge 67 sympathy without which understanding is impossible. It will address itself to all who RECENT FICTION. Edward E. Hale 70 find in books an enhancement and an inter- BRIEFS ON NEW BOOKS 72 pretation of life. It will try to interest those The Advance of the English Novel.-New who care for ideas and believe that in the Belgian Poetry.—Prose Edda.—Personality free and vigorous circulation of opinion lies in German Literature Before Luther. The our best hope for the future. Practical Book of Early American Arts and If we drop the schoolmaster's birch, we are Crafts.—Nationalizing America.—The Eight- in no danger of being overwhelmed by insur- eenth Century. gent temperaments. Those who are familiar NOTES AND NEWS 74 with current American criticism of the more serious kind will hardly need to be told that NOTES FOR BIBLIOPHILES 75 lawlessness is not the critic's vice. The LIST OF NEW BOOKS 77 danger, indeed, lies all the other way. The 59 . . ner . . . . 46 (January 25 THE DIAL danger is that criticism, which strikes such degree to which we see it depends upon how deep roots in the past, may become a morbid highly developed our imaginative power is. growth, nourishing a few mouldy leaves on a But I have never met anyone so devoid of all monstrous underground network of memories, such power as not to visualize to some extent timidities, and conformities. We recognize no the scenes of the story he was reading. Now here is a curious thing : In the case gap between the past and the present, and feel no divided allegiance. But in its task is not nearly so well developed as visual. of the average person, auditory imagination of orientation, a critical journal can, we feel, Why this should be, I do not know. Possibly serve its purpose best by indicating drifts it is the writer's fault, or rather misfortune; and tendencies, and by seeking just values it may be easier to convey the impression of a of living men or suggesting (where so difficult sight than of a sound. Whatever the cause a thing is possible) new valuations of the may be that we do not hear things off paper dead, rather than by repeating the familiar as well as we see them, the fact, I believe, is estimates of the textbook. indisputable. Finally, The Dial wishes to announce that No art has suffered so much from printing it is committed to no propaganda, is support- as has poetry. Our cheap processes of color ing no cliques, schools, or movements. It will reproduction do not really reproduce the pic- ture whose name they bear, they are merely be free to say what it pleases, and it hopes to so many shorthand notes upon it. If we have encourage talent of whatever sort by helping seen the picture, they serve to remind us of to create a community in which talent will feel it; if we have not, they give us a kind of pass- more at home and in which it may be sure port introduction to it when we meet it. They at least of the reward of intelligent apprecia- | in no way attempt to replace the original tion. picture, that exists apart from them, and no one would think of studying art by these reproductions alone. In the case of photo- POETRY AS A SPOKEN ART. graphs, we have a still more restricted form of memoranda. For in photography, colors To speak of poetry as a "spoken art," may can only be given as light and shade. Photo- seem in this age of printing a misnomer; and graphs of paintings are more satisfactory than it is just because of such a point of view that color reproductions, because the imagination the essential kinship of poetry and music is has more scope and does its work infinitely so often lost sight of. The “beat” of poetry, better than any mechanical color process its musical quality, is exactly that which differentiates it from prose, and it is this But take the case of poetry. Here we have musical quality which bears in it the stress no galleries of original pieces to which the of emotion without which no true poetry can art-hungry can turn. The reproduction, the exist. Prose itself when it is fused with emo- printed book, is the only tangible substance tion becomes rhythmic, which rhythm in turn which poetry has. If photography and color- heightens the emotional effect. The great printing are the conventionalized symbols of orators of all time have been great because of pictures, how much slighter, less adequate, are their power to achieve this effect. Poetry and the conventionalized the conventionalized symbols of poetry. oratorical prose have this in common, that Printed words, of no beauty in themselves, of they are both intended primarily to be heard, no value except to rouse the imagination and not seen. cause it to function. We moderns read so much more than we Again, take the case of music. Here we listen, that perhaps it is no wonder if we get have a condition almost exactly similar to into the habit of using our minds more than that of poetry, except for one thing. Printed our ears, where literature is concerned, with notes are no more beautiful than printed the result that our imaginative, mental ear words, but here comes in the one saving fact, becomes absolutely atrophied. What I mean nobody (except highly trained musicians) by our imaginative, mental ear is this: Most expects to read music, everybody is desirous of us possess quite a handsome degree of of, insists upon, hearing it. visual imagination. In reading a book, we Poetry is as much an art to be heard as is visualize its scenes. If we are reading music, if we could only get people to under- about an orchard with an old stone seat stand the fact. To read it off the printed set in an angle under blossoming boughs, we pages without pronouncing it is to get only a see the orchard, and the seat, with a good portion of its beauty, and yet it is just this deal of distinctness, before us. Of course, the that most people do. can do. 1917] 47 THE DIAL Of course, the reason here is very simple. It is because we so seldom hear poetry Wordsworth's "Ode to Immortality” is manu adequately rendered that the art has for so factured with the very same tools we employ long lapsed in popular favor. For years only when we order the dinner. The tools in both those people trained to receive it as audible cases are words. Everybody uses words, and impression through the sense of sight have uses them all the time. The most uneducated been able thoroughly to comprehend it. The peasant talks. Words are the birthright of few people who attempt to read it aloud are humanity. To be dumb is to be deformed. handicapped by the realization of the unusual Using the common implements of all the quality of their task, and lose their sense of world, poetry is treated with a cavalier ease proportion and simplicity in the welter of which music escapes. A long and special artistic theories of expression which have training is required to learn and understand gradually come into being. Let us examine a music. The layman does not carry a musical few of these theories, and see in what way score home in his pocket to read in the they have hampered the enjoyment of poetry, evening. If he wants to hear Debussy's and its simple, straightforward appeal. “L'Après-midi d'un Faune,” for instance, he I remember once hearing Sir Johnston goes to a concert, where an orchestra of care Forbes-Robertson say that there was a good fully trained musicians interprets it for him. tradition of acting, and a poor tradition, and Poetry will come into its Paradise when that because the latter existed was no reason carefully trained speakers make a business of to decry the former. That is as true of the interpreting it to the world. And poetry reading of poetry aloud as of acting. But the needs such interpretation, for I suppose it is trouble is that the good tradition is only one, only one reader out of a hundred (and I and there are ninety and nine poor traditions think that percentage is rather high than to balance it. At least, actors have some otherwise) who can possibly get all the beauty training, but with poetry readers, if they out of a poem. have any, it is invariably one of the ninety Everyone knows that poetry existed before and nine. I suppose that is because there is printing, and I imagine there is no doubt that a good deal of extraneous technique about it existed before writing, although, of course, acting which can be taught, whereas the read- that cannot be proved. Even so recently as ing of poetry is a very subtle thing and almost the Middle Ages, troubadours went from incommunicable. castle to castle chanting their poems to Tell a person to put feeling into his voice, delighted listeners. For people listened then, and behold, he puts in sentimentality. Tell partly because they could not read, and also him to vary his voice with the different because, even if they could, there were so few speakers, and he gives you a ventriloquistic books. With the rise of printing, with the effect which is horrible. The truth is, it is a advent of a reading populace, poetry ceased question of the inch on the end of a man's to be chanted, ceased to be read aloud at all nose. The slightest inflection awry and the for the most part; and the poet has suffered whole effect is spoilt. as a composer would suffer whose works were Speaking lines in a modern play is a com- doomed to be rendered by no finer instrument paratively easy thing, reading poetry is quite than an accordion. different. In a play, one ca rely to a certain Shakespeare is the greatest English poet extent upon acting, and upon one's fellow who has ever existed, and doubtless he would actors. In reading, one is all alone, and one have been considered so under all circum must not act. I do not mean that one should stances. Bụt Shakespeare has certainly en not read with expression. I mean that it is joyed one inestimable advantage over all more dangerous to overdo dramatic expres- purely lyric poets — he has been acted for sion than to underdo it. three hundred years, and that means that he Reading is not acting, and the point cannot has been spoken. People have heard his be too strongly insisted upon. The pitfall of poetry rendered by men and women of all elocution-taught readers is that they fail extraordinary genius, who have spent their to see this distinction. Great actresses like lives in studying it. The world has been Sara Bernhardt or Duse do not make this forced to receive his poetry, the whole of his mistake, it is the little people who are not sure poetry, all its beauty of sound and content. of their power of creating an effect by an in- There has been no excuse for misunderstand flection who fall into the error. ing him, and he has not been misunderstood. Again, the reader must not be confused To hear a man like Forbes-Robertson speak with the impersonator. Impersonators act Hamlet's words is like hearing Kreisler play out their parts, although they are all alone Bach, an experience never to be forgotten. upon the stage. They are approaching the 48 [January 25 THE DIAL It must be made to feel the But the good old English prosody which ever. brains of their audiences from the same stand and that this pronunciation took all the windy point as the actor. They are acting in fact. connotations away from the word was to them This point is the crux of the situation. In of minor importance. Elocution teachers are a play, the audience is intended to see the seldom concerned with le mot juste; "winde" march of events with its physical eyes. It is, sounded like a perfect rhyme, "wind" did not, as it were, looking through a window at an so "winde" it had to be. actual scene. reality of what is before it. Even in served Shakespeare, and Spenser, and Milton mystical plays like Maeterlinck's "Peleas and so excellently well, had one life-saving rule. Melisande,” the audience must have the sense It was that words spelt the same and pro- of actuality. Dream world though it be, it nounced differently, rhymed; as did also is for the moment real. words pronounced the same and spelt differ- In reading, the impression to be made upon ently. For instance, "plough” rhymed with an audience is achieved by quite other means. “cow," an obvious chime, as we have recog- Here the audience must see nothing with its nized by spelling “bough” with an “ow" eyes which detracts from its mental vision. instead of the old “ough"; also "peak” It must be made to imagine so vividly that rhymed with “break," and "push" with it forgets the reader in the thing read. The “rush,” and “deaf” with “sheaf. All these dramatic quality of the piece must be given non-chiming rhymes we have kept, probably just in so far as it stimulates imagination, because of the difficulty of changing them to but never so far as to call attention to the fit. For we all balk at the "pake” of a reader as an actual personality. mountain, or at a brook "rooshing” down a I have said that there is a good tradition hill, and few of us can "puush” ourselves to of speaking poetry, and ninety and nine bad make such radical changes. It is true that in traditions. Let us consider for a moment the old times "deaf” was universally pronounced bad traditions. (I shall take the word “read-“deef,” but good use has altered it to “deaf” ing” to imply the pronouncing of poetry without altering its co-rhymes, and he would aloud, whether it be done in character on the be a bold man who should dare to speak of stage, or in propria persona from the plat a “sheff” of wheat for any reason whatso- form.) The first bad tradition is the mispronounc In recent years, a group of poetasters has ing of words. This starts from a misconcep- arisen that declares these near-rhymes to be tion of the laws of English prosody, and a an offense to the ear, and proudly eschews desire to heighten the poetical effect by some them. A reform which would command more elegance other than those the author thought sympathy had these precious gentlemen pro- fit to insert. duced a single masterpiece to substantiate it. The word most mispronounced in the whole They have not; and the reason is not far to vocabulary, by poetry readers and singers seek. The old, great masters knew their job, alike, is "wind.” Unless the reader or singer and knew it superlatively well. They realized is very well educated indeed, so well educated that the English language suffers from a that he or she knows enough to be quite simple paucity of rhymes. A certain elasticity was and natural, that unhappy word changes at necessary if thought was to be adequately once to "winde.” Why? What is the reason clothed in metre and rhyme. Being artists, for the change! The reason, in the case of not pedants, they found this elasticity, as I nine readers out of ten, is merely that they have shown. have been taught to do it. But the reason Now we understand how “wind” came to which has actuated those teachers who have be tortured into "winde," and can see why thought about the matter at all and not, them the latter is never under any circumstances selves, repeated, parrot-like, from some earlier to be employed. master, is based upon ignorance of the rules An important rule for the reading of under which English poetry is written. poetry is never to mispronounce words. Give Why was "wind” ever pronounced "winde” them the sound they have in everyday speech, in poetry, for it never is, and never was, in and let the blunder of a false rhyme, if there prose? Cannot we imagine the reason? Not be one, rest on the author. a bad reason when one is in ignorance of any Another of the bad traditions insists that prosodaic laws. It was because poets insisted poetry should be read as if it were prose. upon rhyming it with "find,” and “bind.” That is, that the reader should follow the and other words where the “i” was obviously punctuation marks and not the swing of the long. To pronounce it with a long “i” saved metre. This arose as a protest to the equally the rhyming sound, thought these wiseacres, bad tradition which dropped the voice at the 1917] 49 THE DIAL end of each line, regardless of the sense. Of by side as cheerfully as do blank verse and course, monotony was the result of this latter quatrains. But this will not happen until practice. The sense of the poem was lost, people realize that vers libre is a prosodaic while the rhythm was exaggerated out of all form, and not an invitation to loose all the proportion. seven devils upon the reading public. People have often taken issue with the The second question, whether vers libre is proposition that poetry should not be read as poetry or prose, can be treated quite sum- if it were prose. People who have not marily. It is assuredly poetry. That it may grasped the meaning, that is. "But," they dispense with rhyme, and must dispense with say, “surely you don't like to have poetry metre, does not affect its substance in the read in a sing-song manner.” Assuredly, I least. For no matter with what it dispenses, do not; and yet I say, unhesitatingly, that if it retains that essential to all poetry: Rhythm. one must choose between these two bad tradi Where stanzas are printed in an even pat- tions, I prefer to have the rhythm over tern of metrical lines, some sense of rhythm accented than to have it lost sight of alto can be gained by the eye. Where they are gether. As a matter of fact, neither extreme not, as in vers libre, the reading aloud be- is necessary. The good tradition, as is the comes an absolute condition of comprehension. way with good traditions, seeks the happy If the modern movement in poetry could be mean. | defined in a sentence, the truest thing which Blank verse is a long, stately metre com- could be said of it, and which would include posed of simple, dignified feet. It is rare to all its variations, would be that it is a move- find a blank verse poem in which the rhythms ment to restore the audible quality to poetry, should be more than faintly indicated. But to insist upon it as a spoken art. there are other metres in which the effect is AMY LOWELL. entirely lost unless the rhythm is brought out so strongly as to become almost a lilt. We must suppose that the poet knew what he JACK LONDON AS TITAN. was about when he chose one metre rather than another. It is an impertinence to obscure They tell us that Xanthippe, the very firm his rhythm, and not give it its full value. wife of Socrates, could never understand the But, it may be asked, how is one to know reason for her husband's fame in Athens. At when a rhythm is to be merely indicated, and home he was sufficiently meek and domestic, when it is to be actively stressed! I can only and his patented method for getting the better reply that much experience is required to of an argument didn't work there. He know this. But experience is a sure guide. received scant honor in his own household. Knowledge of an author's methods, sympathy After all, he was only a husband, and there with the aim of the poem, a realization that were a great many husbands. In the same certain metres require certain renderings, all way, Jack London, who is rejected by the these things tell the reader what he should literary élite in his own country, has been do. In the last analysis, it is common sense, hailed as a mighty prophet in Russia. A few and nowhere is common sense more needed years ago a Russian critic said, “Nowadays, than in the reading of poetry. all the adult population of Russia is reading Take the case of vers libre. For that to Jack London.” And lectures were given on be misunderstood is both strange and unfor his works, articles written; his complete works tunate, since it owes its inception to no per were issued by two publishing houses, and sonal idiosyncrasy, but has been slowly many other translations appeared. Jack evolved from existing laws. This is so little London became the vogue in Russia. comprehended that hysterical people are con It is interesting to notice that all this hap- stantly asking what it is, and whether it is pened in those agitated days when the Russian prose or poetry, and is it destined entirely to intellectuals were being aroused to a strange supersede metrical verse. fervor by Gorky, the exponent of individual. To answer these questions categorically, let ism, of the strong man whose life might be us begin with the last. Art has fashions; or consumed in the performance of one heroic if you prefer the term as more dignified, it is and mighty deed, and mighty deed, but the deed would be subject to the law of evolution. Differences done. And the intellectuals began to wor- are constantly being evolved; some are real ship action, power, personality, that compel- changes, some only samenesses with a twist to ling force of character which projects ideas them. Art, like life, has a queer way of and thoughts into the outer reality of deeds. revolving upon itself. Personally I feel that Jack London's heroes were men of this type. vers libre and metrical verse can exist side They had a virile and unquenchable thirst for 50 [January 25 THE DIAL adventure; they were big, fresh, and invent born will, the storming of life, inability to ive creatures of a New World of action and generalize and a distrust of generalization - enterprise; they were fascinating vikings to such is Jack London, for such is America." the_fervent, hectic, impractical intellectuals Praise so bewildering and unwarranted will of Russia. scarcely disturb even those Americans who One of the first in Russia to hail Jack remember our strange neglect of Poe during London as a writer of unusual talent was the days when Europe was crowning him true Leonid Andreyev, the well-known dramatist poet. Yet how can one be reconciled to the and author of short-stories. He calls Jack preposterous mating of Jack London, Kipling, London the representative of the Anglo-Saxon and Upton Sinclair? We must remember that race, the strong manly race, “the race of this is not the personal judgment of one doers.” He finds in the American author a eminent Russian. As we have seen, Kuprin, ta at and will directed toward the affirmation who, next to Gorky, is the greatest of the liv- of life: ing writers of Russia, couples London with London has a glorious place among the strong ones. Kipling in the calm, assured manner of one His talent is organic, like good blood, fresh and strong. His inventiveness is rich, .his experience have heard Russians group Jack London with saying the most natural thing in the world. I enormous and personal, like that of Kipling or Upton Sinclair. . You read him, and it is as though Kipling (and Upton Sinclair) so many times, you leave some narrow lane and find yourself amid that I have almost recovered from the first the broad expanse of the sea, breathe in salt air, bewilderment occasioned by the comparison. and you feel your muscles growing stronger, and But this verdict of fairly representative Rus- hear the imperious call of an ever primitive life to work and struggle. The enemy of impotence sian critics is more than an entertaining side- and decrepitude, of fruitless lamentation and pity,- light on foreign opinion of American litera- under the sour mask of which is hidden an absence ture. It means that when a critic crosses the of will to live and struggle, - Jack London calmly buries the dead, making straight the road for the boundary and carries with him his native living,—that is why his funerals are as gay as a standards, he will inevitably go astray. But wedding. He is of the race of men who subject chaos it means, too, that if we can learn to know to will, and turn outcries into songs. foreign standards of critical measurement, On the other hand, a Russian critic, K. our reward will be not only a deeper insight Chukovsky, holds that London has been into the alien literature, but also an “illum- greatly overrated. He passes a delightful inated" desire for more patient and earnest judgment on the American writer, calling himsearching of our own. “A Yankee, a salesman in a derby, playing In the case of Russian criticism it is neces- Zarathustra or Byron, and dealing in oceans, sary to remember that, since the days of the tempests, Lucifers, prairies. Working for the critics Chernuishevski, Pisarev, and Bielinski, firm of 'Struggle and Elemental Powers' he the test of a work of art has been: “Does it forces upon us all kinds of shop-worn stuff explain life? does it pass an opinion on life - which has been lying about on the European the life of our own day?” Æsthetic qual- market since the days of Chateaubriand.” | ities — verbal magic, artistic shaping, inevit- But Kuprin, a great novelist and realist, in ableness of form, purgation of superfluities his “Note on Jack London," ranks the Amer- are to the Russian intellectuals merely ican with Kipling, finds him an original and extraneous, secondary, and of very little highly talented writer, whose chief qualities Pisarev expresses the idea with are simplicity, clarity, untamed force of poetic impatient and quite uncritical dogmatism: “A conception, and manly beauty of style. poet must be either a Titan who shakes to the In the same strain, an eminent Russian | very foundation mountains of evil, or else a critic, Kranichfeld, accounts for the Russian worm crawling in the dust. There is nothing delight in Jack London by the quality of his between except clowns to amuse fools.” So art, “the living nerve of which is the pathos that the Russian looks to literature for social of struggling.” Kranichfeld contrasts programmes; for solutions to the "accursed London's vigorous art with the moody, problems of life.” problems of life.” In such a work as Upton despairing spirit of modern Russian litera- Sinclair's “The Jungle,” the Russian intellec- ture. But the Russian critics are united in the tual hails an attempt to shake "to the very belief that all the distinctive qualities of foundation mountains of evil.” He is stirred London's art and style are truly American. by its tremendous earnestness,— by its brave According to Chukovsky he is the poet of attack on something evil in the “existing the fist,” and another Russian, Volsky, order," an outspoken attack, mind you, not a writes: “Dark, devious passion is the business guarded one! It is a protest, a manifesto, a of old Europe; the American is enamored of social document.” It must be discussed, force. Primitive love, primitive hate, stub- | it is a great work of art. With the same .. 1917] 51 THE DIAL uncritical naïveté the intelligentsia couple dices that cannot be allowed to block an Jack London with Kipling. Both, say the obvious gain in efficiency. We know that Russians, are valiant explorers on the illimit standardization has greatly facilitated the able plain of life — one in India, the other in production of the short-story. Why should it Alaska. Both are creators of manly men, not do as much for criticism ? powerful in action and the storming of obstacles. And just as Artsibashev, brooding, diseased, robbed of strength and vitality, por PROFESSOR BARRETT WENDELL'S RETIREMENT trays the passionate, self-centred, “superbly from service as professor of English at Har- sexed” man, so the Russian intellectuals pay vard comes as a surprise to those who still homage to a masculine effrontery, a stern remember, as if it were yesterday, his assump- assertiveness, which they lack and most long tion of the duties he has for thirty-six years for. And strong desire is never critical; its so creditably fulfilled. It was in 1880 that he eyes are lacking in discernment. was appointed instructor in English, being There is something pathetic in the "realism" then but three years out of college; eight of the Russian intellectuals,- in their renun years later he became assistant professor, and ciation of beauty, shapeliness, and idealization in 1898 professor. Upon the successive classes because of the grim resolve never to cease that have listened to his teachings he has left combating ugliness, distortion, and evil, until impressions of a fine literary taste, an original these shall be no more. But more tragic is and often whimsically humorous manner of that strange twist in their “idealism” which imparting his knowledge and delivering his makes them identify life with visible action opinions, a thorough command of his subject, and outer victory, with the superman,— brief and, not least of all, a notable personality. master of all but himself. They have not Outside the classroom his work in literature fathomed the full meaning of Gorky's words : has borne fruit in more than dozen books, “All of a man's life may be consumed in the beginning with two good novels, and innum- doing of one deed, but that deed must be erable contributions to periodicals. A partial beautiful, splendid, free.” Perhaps the Rus- list of titles may be of interest here: “The sian intellectuals of to-day - and not they Duchess Emilia,” “Rankell’s Remains,” “Cot- alone — have yet to learn that for the finding ton Mather, the Puritan Priest,” “English of such deeds men will need a balance and Composition,”. “Stelligeri, and Other Essays sanity, an inner health and nobility for which Concerning America,” “William Shake- the hurried superman of action has no time speare, " "A Literary History of America," to wait. “Raleigh in Guiana,” “Rosamond,” L. S. FRIEDLAND. Christmas Masque,” “The Temper of the Sev- enteenth Century in English Literature,” “The Privileged Classes.” Professor Wendell CASUAL COMMENT. was Clark Lecturer at Trinity College, Cam- bridge University, in 1902-3, and lectured at A MARTYRDOM SO APPALLING as that con- the Sorbonne and other French universities fessed by Mr. Edward J. O'Brien in the in 1904-5. His occasional contributions to “Boston Transcript" is surely a phenomenon THE DIAL have helped, as they will still con- worth attending to. During the last year, he tinue to help, to make him no stranger to its read some twenty-seven hundred short-stories, readers. He is made professor emeritus upon an average of about seven and a half a day, his relinquishment of his present chair. making no allowance for Sundays or holi- days. For sheer tenacity and pluck his record is probably unequalled, and it would be im FOR AMERICAN RHODES SCHOLARS and possible to over-estimate the altruism that others interested in the things of the intellect prompts him to breast this flood of words there is published quarterly, at Menasha, Wis- annually in order to chart for us the obscure consin, a magazine entitled “The American drifts and currents of magazine literature. Oxonian,” being “the official magazine of the He offers us, as usual, his selected list of fifty- Alumni Association of American Rhodes two stories, the "best,”—set off with one Scholars." It prints a yearly address list of star, two stars, or three stars, according to our Rhodes graduates, and by means of perti- quality. Captious persons may object to hav nent editorials and special articles seeks to ing literature graded after the summary make itself interesting and useful to them fashion of a brandy, or protest that works and to other educated readers. Not far from ought not to be crowned by so private an four hundred names appear in its address list academy; but these are old-fashioned preju- of this year, with ninety-eight "old Oxonians “A 52 [January 25 THE DIAL not Rhodes scholars” resident in this country. natural gifts, and in recognition of them the A taste of its quality may be had in a brief | young freshman was appointed local corre- extract from an article by its editor, Professor spondent to a Poughkeepsie paper.” But she Frank Aydelotte, on “Militarism and Fear.” came near losing her job by developing a nose Deprecating any outcome of the war that for news of more than doubtful authenticity. should amount to a glorification of military When upon one occasion a noted astronomer might, he says: “As the Preparedness move paid a visit to Vassar, the young reporter ment gains momentum in this country we accepted as gospel a fanciful tale told her need to look to it that we know where we are concerning this eminent scientist by a fun- going to stop. Not that a few regiments and loving junior with a heart not free from guile. ships will do us any harm: they will not un. A notable stir was created by the appearance less they make us forget that we can only have of the fabrication in print; but Jean Webster peace in this world on the basis of friendship, mastered her mortification and, on the princi- and that when nations begin to prepare ple that men may rise on stepping-stones of against each other friendship evaporates." their dead selves to higher things, turned the That Menasha, in what would have been incident to account in a short story that won called, not so very long ago, the wilds of Wis- acceptance with the editor of a monthly mag- consin, should be the home of so high-class a azine. This led to other similar ventures, and publication as “The American Oxonian" par the permanent result in book form, which takes of the startling to such a degree that marked the end of her senior year, was the one looks twice at the title-page to make sure volume entitled “When Patty Went to Col- of having made no mistake. lege,” which her friendly but not over- grammatical biographer pronounces “the best volume of undergraduate stories that have CULTURE BY CORRESPONDENCE is winning emanated from a woman's college.” And so, increased favor. Not only do the activities of if the first round in this too-short ladder of the privately managed correspondence schools fame was the daily theme, let not its virtues multiply from year to year, but also the col- be too hastily decried. leges and universities are looking kindly upon the system and beginning to adopt it. The University of Wisconsin has for several years JAPANESE INFLUENCE ON WESTERN CULTURE, offered correspondence courses, and now a though never likely to equal Western influ- great eastern university (Columbia) is about ence on Japanese culture, promises to be to extend still further its university exten- something less superficial than mere varnish- sion work by bestowing some of its benefits or japan, one might say. An alphabet not upon persons unable to attend lectures or join greatly in excess of our own in number of classes in the classroom. Dr. James E. characters was a few years ago devised for Egbert, director of Columbia's extension the writing and printing of Japanese; and courses, has for some time been striving to though its adoption may be slower than even add the correspondence system to this depart-the gradual acceptance of the Roman alphabet ment, and now seems likely to succeed. One in Germany, yet it must greatly facilitate the pleasing feature of instruction by letter is learning of the language on the part of for- that it is more likely to devote itself to lan- eigners. Last September Columbia Univer- guage and literature and similar studies of sity introduced the study of Japanese under the old-time sort than to electricity and Mr. S. Tominas, and another class for begin- plumbing and bridge-building and kindred ners will be started in February. The sum- utilitarian courses of the more modern era. mer session will also have its elementary course in that language. The Japanese Soci- ety, founded ten years ago to promote TO THE CREDIT OF THE DAILY THEME, which "friendly relations between the United States has brought considerable discredit upon itself and Japan,” and also to diffuse a better for its inadequacy as a means to a desirable knowledge of the Island Kingdom, has now a end, a writer in “The Century” records a membership of about one thousand, mostly pleasing incident. This form of undergradu- Americans, with a waiting list of more than ate torture (the daily theme), invented, it is thirty applicants. Its “Bulletin” of Decem- said, by a Harvard professor, and now applied ber 30 announces that “the Washington by nearly every college instructor in English Square Players are presenting at the Comedy from Bowdoin to Leland Stanford, gave to Theatre in New York City one of Japan's the late Jean Webster (later Mrs. McKinney) most interesting old tragedies, ‘Bushido.' It “her first real opportunity to develop her is evident that great care has been taken in 1917] 53 THE DIAL . the way of authentic and accurate detail of might have ensued. There is a certain seller production, and the acting is dignified and in of books in Portland, Oregon, who evidently entire keeping with the spirit of the drama.” . understands the psychology of the browser. Å Significant in its way is the fact that there card in his show-window reads in the manner are now more than two thousand Japanese following (as we find it printed, with appro- living in New York City, and in the colleges priate comment, in the “Wisconsin Library of that city alone are about one hundred and Bulletin”): Bulletin"): "Spend a minute or an hour or fifty Japanese students. as long as you like, browsing among the books. A little while spent in our book department each day will go far toward familiarizing you HOPEFUL SIGNS IN THE BOOK-TRADE are the with the many important new books of each more welcome at this time because of the con- season. It is considered quite proper at Gill's siderable number of signs of an opposite to look without buying, and if you use the character in other walks of life. “The Pub- 'phone, it is safe to buy at Gill's without lishers' Weekly," while acknowledging that looking.” But in Germany they have carried since the war began the producers of reading still further the art of pleasing the browser. matter have reposed on no bed of roses, is glad to record that “by the end of 1915 busi- Packages of books, presumably suited to the taste of a certain bookishly inclined person ness had entirely regained its wind after the war scare of 1914-15, and in 1916 a prosper- (who at the same time may be considered a ous spring was succeeded by an unusually possible buyer), are left at his door for leis- strong summer, followed in turn by one of the urely examination, with only the vaguest best holiday seasons in several years.” No moral obligation on his part to do more than publishing house failed in the year just closed, browse among the volumes thus submitted. and a good half-dozen promising new firms started in the business, with a number of less THE HIGH COST OF RARE BOOKS more than conspicuous ventures to swell the list. Better quarters were opened and new branches estab- keeps pace with the high cost of living. The lished here and there as ocular evidences of good old days when even the out-at-elbows prosperity. Fifty-five new bookshops, a nota- prowler among musty bookstalls could pick ble increase, opened their doors. Bookshops up a priceless treasure (for a shilling or two) conducted by women sprang into being in and become a collector in a small way, will many places, as the Woman's Book Shop in never come again. In the history of the New York, the Gardenside Shop and the Book world's highest-priced printed book, the Shop for Boys and Girls in Boston, and the Gutenberg Bible now in the library of Mr. Hampshire Book Shop in Northampton, Mass. Henry E. Huntington, may be seen a striking There was also an increasing tendency toward instance of the late rapid increase in the coöperation in the book-trade, as evidenced by market value of rare old books. In the a number of new state booksellers' associa- eighteenth century this handsome volume, tions. The American Booksellers' Association, printed on vellum, belonged to one Otto H. by choosing a middle-western city for its von Nostitz, who is said to have acquired it annual convention, gave impetus to this move- from a library in Mainz. From him it passed ment, especially in Ohio, Illinois, and Kansas, into the possession of a Mr. Horn, and is next where state organizations were effected, while heard of as sold in 1825 by the London book- New Jersey took similar action in the East. sellers, Messrs. Nicol, to a dealer named Arch, The outlook for literature on its business side, who in turn sold it to Henry Perkins, a as also from a less commercial standpoint, is wealthy brewer, for a sum equivalent in our encouraging rather than the reverse as the money to $2520. Nearly half a century later, year opens. or in 1873, it was bought at the Perkins sale THE TIMID BROWSER, whether in book-store by Ellis, the book-dealer, for Lord Ashburn- or public library, is he who abruptly ceases ham; at the Ashburnham sale in 1897 it his browsing and takes flight at the first sign went to Bernard Quaritch for $20,000. of approach, with commercial or professional Quaritch passed it on to Robert Hoe, and at intent, on the part of book-seller or librarian. the recent Hoe sale it was bought by Mr. Many a succulent literary pasture has been George D. Smith for Mr. Huntington at vacated incontinently because of such ill- $50,000. Thus in less than a century the book considered advances, whereas if the browser gained twentyfold in value, and in the last had been suffered to continue his browsings sixteen years of its commercial history it unnoticed, results profitable to all concerned advanced 150 per cent. 54 (January 25 THE DIAL COMMUNICATIONS. will see, like a burst of light before their eyes, how impossible it was for Mr. Britling or any American spectator to come to any other consola- “SEEING IT THROUGH.” tion — this will be the index of what the war is doing to our education, of how it is setting back (To the Editor of THE DIAL.) our struggle after a modern and realistic philos- I wish to send you a word of thanks for the ophy of life.” article in THE DIAL for December 28th, by Mr. Let Mr. Bourne not be troubled. It is only the Bourne, entitled “Seeing It Through.' This is occasional American reader who takes his litera- sound and solid stuff, so sound and so solid that I ture seriously. Fortunately, perhaps. Where the am surprised that Mr. Bourne wrote it and that philosophic Mr. Wells has one reader, authors The Dial printed it! devoid of philosophy have hundreds. American JOHN COTTON DANA. devourers of fiction, even the meaty stuff of Mr. Newark, New Jersey, January 6, 1917. Wells, would have been just as well satisfied, just as much entertained, had Mr. Britling returned to what Mr. Bourne affirms to be the one hope left (To the Editor of THE DIAL.) him - map-drawing. The solvents of forgetful- It is the presence in the world of so many indif- ness and lust for the next “new thing" may be ferent souls, worthy neither of salvation nor dam- taken into account. The gravity of the situation nation, that brings about such events in literature created by “Mr. Britling Sees It Through” is as the appearance of H. G. Wells's latest novel little more serious than that of “Bealby," which "Mr. Britling Sees It Through,” and Mr. Bourne's upset the gravity of joyous thousands. brilliant and gripping estimate of that novel. Mr. HARRY B. KENNON. Bourne reveals himself, in his review, as of those fervid souls who take their literature as seriously Evanston, IN., January 14, 1917. as they take their religion; and, so inspired, he proceeds gallantly to take a fine fall out of the (To the Editor of THE DIAL.) philosophy of Mr. Wells. Taking literature seri I suppose Mr. Randolph Bourne considers him- ously is a sad malady, particularly when it comes self one of that group of detached critics, who, to philosophy in a novel by Mr. Wells. What is by sheer intellectual superiority, rises above the the Wells philosophy? Does anybody know? Does anybody know? muddy thinking of the naïve reader, and who, Does Mr. Wells know? The most luminous view therefore, has a responsibility to guide him, the of the Wells philosophy is that it is an individual reader, to unemotionalized, objective conclusions philosophy in process of evolution; this, interest concerning a book. If Mr. Bourne is a detached ing as it is, may mean anything or nothing—to thinker, I can see no evidence of this beatific state the world's development. Has Mr. Bourne, hith of mind in his review of H. G. Wells's “Mr. erto, been reading the novels of H. G. Wells on Britling Sees It Through" in the issue for his knees, as fanatics read the Bible? December 28th. His statement, “There is still a Mr. Britling may or may not be Mr. Wells. possibility that Mr. Britling may not be Mr. Wells That is immaterial. The too hastily written novel, himself but rather a mere ironic portrait of the “Mr. Britling Sees It Through," having been pub- very modern Briton bouleversé by the personal lished, is to be judged apart from any idiosyncrasy thrust of the war. If this is so, the 'seeing it of its author, if judged fairly. Then, too, this through' to an end which materializes only in a book is interesting for more than its philosophy: Finite God is a touch of Wellsian humor too deeply it is interesting for its wealth of compassion, its ironic" is as thorough a piece of subjective crit- fight between bruised pride and reason. Mr. Wells icism as I have ever found. It is noteworthy that is an artist and his Mr. Britling the creation of Mr. Bourne quotes no single passage from the an artist, a very consistent creation. That the novel to support his statement that Mr. Wells's dogs of war should have bayed Mr. Britling away mood is ironic. I wonder if he can find just one. from his map-drawing to his troubled conception The whole review is Bourne not Wells. I suppose, of God for consolation and sustenance, when he though, that to set forth one's own ideas at the conceived the little gods of his materialistic expense of the author is the function of the critic. philosophy to be crashing and crumbling, is entirely Unfortunately I prefer a novelist interpreted not within the limits of a realistic philosophy of life distorted. as it must be lived, and of human experience. I Of course, Mr. Bourne's purpose is sound. He should like to remind Mr. Bourne that the Man of is afraid that, under Mr. Wells's dangerous leader- Nazareth is still dynamic. ship, Americans will slip back into the unfounded, Mr. Britling see his way through to a Finite gratifying faith that Wells's God Himself, and not God, complains Mr. Bourne, conveying the idea men themselves, will bring this evolving world to that Mr. Britling sees his way through not at all. a happy consummation. To be sure, such a faith What manner of God a Finite God may be, passes numbs the will, leads people into pantheistic sen- conception. Mr. Bourne makes a mess of defining sualism, and will drive the new republic, for which the Infinite as does Mr. Britling, as must every Mr. Bourne is striving, on the rocks. But even so, mortal constrained to see through a glass darkly. is Mr. Bourne justified in misinterpreting Wells's “And," affirms Mr. Bourne, registering the gravity honest religious fervor, to make his point ? which Wells's latest book creates, “the number M. H. HEDGES. of Americans who, under the spell of the book, Beloit, Wisconsin, January 5, 1917. -- - - 1917] 55 THE DIAL PUBLISHERS AND WRITERS. cial considerations, still has always in mind the importance of maintaining a literary reputation (To the Editor of THE DIAL.) if there is any reputation to maintain. Pub- I hope you will publish more articles by John | lishers are commercial. They must be. But if L. Hervey as sound in reasoning and as frank in authors who have talent give their publishers a statement as that contained in your issue of Novem- chance, the advice tendered will, in a vast major- ber 2nd. Few publishers truly interested in the ity of cases, be advice that takes into account an development of literature are likely to differ with entire literary career and not simply the sale of a Mr. Hervey's conclusions. An additional reason single book or the books of a short period. for the falling off of interest in the work of HONORÉ WILLSIE. Maurice Hewlett might, however, be presented. New York City, January 10, 1917. Mr. Hewlett early fell into the hands of the liter- ary agent and apparently left to the literary agent MAURICE HEWLETT. the task of attending to his relations with pub- lishers. That is doubtless why his original pub- lishers — to quote Mr. Hervey — “long since (To the Editor of THE DIAL.) yielded him to a rival and that rival to another The Decline and Fall of Maurice Hewlett, pro- and his successive books show an increasing variety claimed by Mr. Hervey in your issue of November of imprints.” Actual knowledge of the way the 2, 1916, should not go unchallenged. I am business affairs of other distinguished authors have sufficiently interested to utter my word of defence. been handled and some bits of definite information To readers who love nature, strength, courage, impel me to believe that, after Mr. Hewlett's first or love itself; who rejoice in vivid description and success, demands in connection with the publica- romance by a writer who has supreme control over tion of his later books were such that his original language, the work of Maurice Hewlett will ever publishers could not profitably accept them, and be inspiring. Beauty, romance, tales of chivalry, so one after another publisher has been induced unsurpassed nature descriptions, the weaving of to contract for later books in the hope that his rare old tapestries with words, make Hewlett great. early success might be duplicated, but in most A man capable of creating Hewlett's produc- cases finding their hopes shattered and the pub- tions should not be contrasted with the latest best- lisher a gainer only in experience. The commercial seller by McCutcheon. The man who wrote “Open loss by such procedure will be evident to anyone Country,” “Half Way House,” “Rest Harrow," acquainted with book publishing conditions in “Richard Yea-and-Nay,” “Forest Lovers," and America, but there is still another loss to the even “The Song of Renny” which Mr. Hervey author, the value of which cannot be so definitely scorned, has not fallen. Inquiry at one library, estimated. where little but fiction is drawn, revealed the fact In spite of all assertions to the contrary, the that several sets of Hewlett had been worn out, leading American publishers have a real interest and that he was still in great demand. No writer in the development of literature and an especial has fallen while his best work is being read. pride in selling books of true literary value. It is true that Hewlett's later works haven't. Given a chance to advise, these publishers will in the strength and verve of his earlier successes, but nine cases out of ten urge an author in the direc it would be possible to say with insistence and tion of his best artistic development rather than force that they represent a change of vision, sub- in the direction that is opposed to such develop- stance, and method, merely. They cannot proclaim ment but possibly more promising in the matter a fall. of sales. I have had no connection with the house What virile, telling thing have we had from the most closely associated with Mr. Hewlett's best great and only Kipling in recent years? How do work except that of friendly competition with the later poems of Edwin Markham compare with esteemed rivals, but I have good reason to believe his earlier poems? Who says that Howells's latest that had Mr. Hewlett or any author ambitious for books equal those of twenty years ago? What the best literary fame worked with those pub- present-day writer who is past his prime is writing lishers, seeking their help and advice in any stronger, better things than he wrote in former moment of indecision, he would have received years! Who dares to say that Kipling, Markham, wise guidance that might have affected for the and Howells have fallen? I am for Hewlett, as better the work that Mr. Hervey finds so inferior. well as for others of fine calibre who have given Turn to the Stevenson "Letters” for corroboration us unique, precious, and great treasures. If we of this belief. can't make our epitaph complimentary to Hewlett, It might not be worth while to call attention to when he needs one, at least let us not write it this matter were it not that many of our most prematurely. Rather, if we find a volume or two promising young American writers are in the same of Hewlett's pure English on a bargain table, let zone of danger. They are seeking the advice of us rejoice in their accessibility to a real bargain the commercial literary agent rather than of the hunter. ANNA S. L. BROWN. publisher, who, while not insensible to commer Wilmette, II., January 13, 1917. 56 [January 25 THE DIAL A MAZY PROPHET. suspecting that he is in doubt about anything, and—where would they be? Why go to listen SUSPENDED JUDGMENTS. By John Cowper to him? They would fly to someone who Powys. (G. Arnold Shaw; $2.) knows. And where would Mr. John Cowper Mr. John Cowper Powys is a successful lec- Powys be? turer; he is a very successful lecturer, I am The public that attends Mr. John Cowper told. Of late, he has taken to writing books ; Powys's lectures and buys his books wants not and so, I suppose, he is also a successful arguments nor reasons. It cares not for Hon- author. Now, no one can be a successful lec esty or Truth. It wants judgments. It wants turer and author without having people to be told how to act and how to make ready believing in him; also, it may not be said of for action. It wants no doubts, honest or dis- anyone that he is entirely without merit so honest, but leadership. It cares nothing for long as there is a person who believes in him. any man's speculations. It demands to be Many people believe in Mr. John Cowper shown how. And in that it is like the great Powys. mass everywhere. That is why all religions I recently met a woman, a college woman, that throw the mass back upon itself, whether who said to me (she did not really ask it, for these religions call themselves anarchism, so- she did not wait for a reply): cialism, rationalism, agnosticism, or suspended “Have you ever heard John Cowper Powys, judgmentism, will always fail. The great the great lecturer? Don't you just love him! mass must have a leader; it wants to be saved. The success of the Teutonic allies in the pres- His leaning over, the force behind him, I was fascinated by him!” ent war is in a large measure due to the fact that they have among them the great mass It is one of the tenets of my religion that it anxious to be led, particularly so in a time of is worth while to try to get some people to crisis, and they have among them the Prus- change their minds: that their minds can be .sians with their passion for leading. changed; and that I may be able to change "I have called the book 'Suspended Judg- them. I state this, and at this time, so as to ments, " " Mr. Powys has informed his pub- save others from making the discovery later that I am a biased critic. Yes, I am preju- though the publisher gives the secret away on lisher (in the strictest confidence, no doubt, diced. I have a strong interest in a particu- the jacket), "I have called the book "Sus- lar kind of truth—the truth as I see it. pended Judgments' because while one lives, Mr. John Cowper Powys has named his one grows, and while one grows, one waits latest volume “Suspended Judgments.” That and expects.” is a daring confession from the author of It is perhaps not worth while to point out “One Hundred Best Books,” etc., etc. Un- that it is not strictly accurate to say that less it is only a slip —“the psychopathology while one lives, one grows.” But it may be of everyday life.” It must be that it is only worth while to call attention to the fact that a slip. it is not true that “while one grows, one waits Mr. John Cowper Powys the successful lec- and expects.” While one grows, one acts or turer and author knows better than to make prepares for action. If Mr. Powys doubts a public confession of the fact that he talks this, let him put his theory to the test. I do and writes of things about which he cannot not ask of him that he test his theory while make up his mind. The good women who crossing State Street at Madison Street. That crowd to hear Mr. John Cowper Powys and would be paying too high a price for the the- who buy his books come there and buy his ory. Let him try it out before getting out of books because he talks and writes as one who bed, any day. I am quite willing to abide by knows the good from bad, knows it as soon as the result. he meets with it, knows it every time without I have ventured the suggestion that the fail; they come there and they buy his books naming of the present volume "Suspended because of their belief that he tells them what Judgments” was due to a slip. There is also is good and what is bad, so that they may another theory. make his opinions their opinions and not have Some years ago, I attended one of Mr. to be worried by uncertainties. Let Mr. John Powys's lectures; and, falling into an old Cowper Powys once admit that there are habit of mine, I began to take notes. It was things that he does not know, let him once two or three minutes before I saw that Mr. confess that he writes books about things of Powys's statements did not look nearly so which he is unable to make up his mind, or impressive as they sounded. But it was fully let him even give the good women ground for half an hour before I made a real discovery. 1917] 57 THE DIAL poet." During some pause, I began to read what I “He is the poet for the people who feel the had written down, and found, to my astonish- magic of music and of imagination, without ment, that Mr. Powys's statements cancelled being able to lay their finger on the more themselves out. Each of Mr. Powys's vehe recondite nuances of 'creative work,' without ment assertions, sooner or later, was cancelled so much as ever having heard of 'imagism.'» by another equally vehement but contrary By "music" Mr. Powys always understands assertion. At the end of the lecture I had lyrics; he never suspects the possible exist- nothing left. The first thing that occurred ence of non-lyric music. His reference to to me was that it was due to some quirk or crotchet in Mr. Powys's make-up. But I soon “creative work” and to "imagism” is meant to be ironical while at the same time being gave that up for a better explanation. It was part of a deliberate policy. It was part of a complimentary to his audience, which is un- policy to give everybody what he wants. ble to lay its "finger on the more recondite Unless we wish to ascribe the violent con- nuances." At any rate, it is evident that at tradictions of the present volume to some this point Mr. Powys, to quote him, “is some quirk or crotchet in Mr. Powys's make-up, we But note what follows: must conclude that they, too, are due to pol- I shall "never again, [his italics] not even icy. In no other way can these contradictions for the space of a quarter of an hour, not even be accounted for. There is not a single state. as a psychological experiment, turn over the ment of value in the volume that is not con pages of Byron's Poetical Works!” (p. 306.) tradicted at some other point in the volume There are times when he is for and against with equal vehemence. We are told that A at once, but I shall not take the space to quote is the greatest man that ever lived, and a those. As good an example as any, perhaps, little later we are informed that, since we are of the way he gives his readers a jumble of all friends and the truth must be made known, ideas, leaving them to make what they can I must confess that he is as dull as an ethical of it, is the following from his first essay on culture lecture. Or the other way round, for “The Art of Discrimination." the sake of freshness and variety B bores Just here lies the point of separation between the me to distraction, and a little later, he is as poetic and the artistic temper. The artist or the art- startling as a bolt from the blue, as invigo- critic, discriminating still even among the raw mate- rating as the ozone-laden air. Let me quote rials of human creation, derives an elaborate and subtile delight from the suggestiveness of their some examples. The following is from his colours, their odours, and their fabrics - conscious essay on Voltaire: all the while of wonderous and visionary evocations, “Except for 'Candide' and a few excerpts wherein they take their place. from the 'Philosophical Dictionary,' I must The poetic temper, on the other hand, lets itself go confess that I have no wish ever to turn with more passive receptivity; and permits the form- less, wordless brooding of the vast earthpower to another page of Voltaire. It is simply incred work its magic upon it, in its own place and season. ible to me that human beings possessed of the Not, however, in any destruction of any defining and same senses as ours could find satisfaction for registering functions of the intellect does this take place. their imagination in the stern moralizing, Even in the vaguest obsessions of the poetical mind stilted sentiment, superficial wit, and tire the intellect present, watching, noting, weighing, some persiflage of that queer generation." and, if you will, discriminating. (p. 64.) Then follows this on page 67 : For, after all, poetry, though completely different “How admirable it is to come back to the in its methods, its aims, and its effects from the other arts, is itself the greatest of all the arts and spirit and temper of Voltaire from the fussy must be profoundly aware, just as they are aware, self-love and neurotic introspection of our of the actual sense-impressions which produce the modern egoists." inspiration. (pp. 8-9.) And this from his essay on Byron : As you see, the poet is and is not an artist, “I cannot imagine a more exciting experi- and yet Mr. Powys has to confess that the ence than a sudden discovery at this present poet is the greatest of all the artists. The dif- hour, with a mind quite free and fresh to its ference between the poet and the artist is resounding grandeur, of that poem, in the that the artist is rational and discriminating Hebrew Melodies, about Sennacherib. where the poet is only emotional; at the “ 'And the sheen of their spears was like stars same time, the poet's intellect and reason are on the sea, always present at the moment of creation, When the blue wave rolls nightly on deep watching, noting, weighing, and, if you will, Galilee.'” (pp. 283-284.) discriminating.” Make what you will of it! (Let us not envy him his taste.) And he It would never do to close this review with- follows it with this : out some reference to Mr. Powys's outlook 58 [January 25 THE DIAL upon life. In one form and another, Mr. his eyes fixed on the pavement, his lips work- Powys repeatedly expresses his horror of life. ing savagely; how he could not begin the Mr. Powys may be of the opinion that he is most casual conversation without switching it exalting the robust conscience when he tells to the one awful subject of the torpedoed us that the world is a vile cage and when he vessel ; and how at last he went into Boston praises the men who behaved like caged and delivered a great and terrible oration, animals. I shall only quote one sentence in such as Pericles might have delivered at the which he praises Pascal for being thoroughly clay-pits, over America's dead. No friend of disillusioned about life. Professor Royce's can regret this change, this “He (Pascal] tore himself clear of every flowering of a man's inner life into sudden, thing; so as to envisage the universe in its magnificent speech and action, and no reader unmitigated horror, so as to look the empti- of “The Hope of the Great Community" will ness of space straight between its ghastly lid- less eyes." (pp. 52-53.) lay the book down without a keen sense of What Mr. Powys can neither see nor under gratitude and a clearer understanding of what stand is that the universe is a work of art, Professor Royce called, not America's rights, that it is an individual, a personal creation. but America's duty in the war. He never understood, never could understand, The book contains other utterances besides and so it were useless to try to make him the Boston speech. It contains a curious understand what Shaw meant when he said, identification of Pauline Christianity with our “You had better keep yourself clean, for you common dream of a World Community; it are the window through which you see the contains a fascinating chapter on the “Pos- world." sibility of International Insurance," in which ISRAEL SOLON. Professor Royce speaks not on behalf of polit- ical counter-irritants against war, such as the A PHILOSOPHER'S VALEDICTORY. League to Enforce Peace, but for an economic internationalism based on a system of life THE HOPE OF THE GREAT COMMUNITY. Ву and fire insurance for nations instead of Josiah Royce, late Alford Professor of Natural individuals; the life insured being national Religion, Moral Philosophy and Civil Polity at life, and the menacing fire being war. Harvard University. (Macmillan Co.; $1.) There is mordant humor in this valedictory In less than four months the Department of Philosophy of Harvard University has lost volume, as when the author wrote in regard Professor Josiah Royce and Professor Hugo to Austria's reply to one of the numerous American notes. Münsterberg. Metaphysician and Psychol- It “was precisely in the ogist we called them before the war: pro-Ally spirit of Cain's reply when he was challenged and pro-German we have learned since to call from overhead regarding the results of his them. It was to be expected that Münsterberg late unpleasantness with his brother Abel. should write and preach on behalf of his For Cain, while his brother's blood was cry. Fatherland, for in spite of a long residence ing from the ground, received a somewhat in America he never altered his German stern diplomatic communication from a moral citizenship, and he conceived it to be his duty, power, demanding: 'Where is thy brother?' just as he had once thought it his privilege, And Cain in substance begged to acknowledge to teach Americans to understand Deutsch the esteemed favor of this communication tum. Münsterberg's course was expected, from on high, and seems at first to have taken then, but Royce's was a surprise. A mild, A mild, a certain stilles Vergnügen in begging to rep- and as many thought, a misty thinker, bur- resent first that, so far as he knew, he was dened with what his friend and philosophical not his brother's keeper; while, for the rest, opponent William James ridiculed — the he desired most respectfully, and in the machinery of the Absolute; a dry lecturer friendliest spirit, to inquire what law of God with a thin voice, always remote, often a bit fantastic, he suddenly in the last year of his or man he was supposed to have broken." life flamed out as a mighty orator, a counsellor The book is small, but it is the summing to action, and "every inch a man." up of a great soul a life touched by a flame This little book is the written record of that not unlike that which fell upon Saul when change in Professor Royce-or was it a he went up to Damascus. But Professor Royce change, I wonder? Perhaps we had better was a twentieth-century and thoroughly say the apparent change wrought in him by American Saul, and a Saul with a sense of the sinking of the “Lusitania.” Friends have humor as well as a moral sense. told me how he wandered about Cambridge, EDWARD EYRE HUNT. 1917] 59 THE DIAL was THE JUSTIFICATION OF HISTORY. plot is single. We can disentangle no definite purpose, no obvious end. Whatever design THE PURPOSE OF HISTORY. By F. J. E. Wood the drama may reveal is the work of its actors, bridge. (Columbia University Press; $1.) and we put on one side all question of author- A book from Professor Woodbridge is ship. This banishment of the theological something of an event in philosophical litera- | interpretation of history is a useful thing. It ture. Few men have made so high a reputa- makes possible the immediate admission that tion on so relatively small a literary output. the motives of human action are so infinitely It is evident that he does not find the business various as to make illegitimate an insistence of composition in any sense an easy matter. upon exclusive themes. Those who write a But while nothing that he writes makes easy Prussian history, for example, which does no reading, nothing that he writes fails to make more than urge the effort of her kings from fruitful thinking. He never discusses until Reformation-times to save the German nation, he has understood; he never touches until he commit themselves at the outset to psycholog- is able to enlighten. His work is packed with ical misunderstanding. We can rule out phil- profound and suggestive thought. It is always osophically Masson's view of Napoleon, on the eminently sane and clear-headed and purpo- one hand, and Taine's ghastly picture on the sive. It is refreshingly free from the irritat other. Our historical paint-box will cease to ing (and usually unnecessary) technicalities limit itself to black and white; it will discover, which so often make the literature of Amer not for the first time, the historical signifi- ican philosophy unreadable. He has per- cance of the spectroscope. We shall insist, in formed a valuable service in the publication fact, upon the humanity of men. It is prob- of this important little volume. able that thereby we shall write the truer The purpose of history is a problem which history. has long puzzled as it has long enlightened Not less important is Professor Wood- the words are synonymous — thinkers. To bridge's insistence upon history as a career Polybius it was the great storehouse of polit- in time. We too often tend, as he points out, ical examples. To that most brilliant of polit- to think of time in terms of space and thus to ical knaves, Lord Bolingbroke, it make too easily our lineal bisections. The philosophy teaching by examples. Carlyle problem is, in fact, less simple. Each age has would have made it a “universal divine scrip- a different experience, and it is inevitable that ture” to enforce the necessity of aristocracy. its accumulation should mirror that lesson Treitschke used it as a weapon in the service within itself. of a political creed. Sir John Seeley taught w. S. Gilbert genially remarked, to be early It is too late for us, as Sir a fascinated generation of Cambridge students that it is the master-key to the great problems Revolution is bound to be a different history English. What we write of the French that oppress our time. Tot homines quot sententiae; the grain of truth in each is dis from that of Louis Blanc or even of M. tressingly apparent. But we need something Aulard. The real past and the historical past more than the eclectic dogmatism upon which are two very different things, and however these views are mainly founded. History in near we may approach to the first, it is in this pragmatic age must justify itself to its terms of the second that we shall interpret audience. The gentler crafts of letters are it. For when we seek to unlock the meaning in grave danger of contemptuous banishment of an event, we cannot but bring to the process at a time when all study is undergoing the the added results of time. What it was, the process of organization. Even the novel and bare record may state; but for the mere the poem have become a department of polit- chronicler of events we shall have no especial ical instruction and social evidence; and the respect. The important thing is the judg- novels of Mr. Bennett no less than the poetry ment we pronounce, the conclusions we (God forgive me!) of Mr. Masters will prob- deduce, and to their making time brings ably figure in the innumerable doctorate inevitably its changing deposit, so that the theses of the next half-century, so that a call Greeks for us are a different people from to a new analysis of motives and of value what they were for the citizens of republican comes at a moment when the world is Rome. The Zeitgeist enters into the picture eminently in the mood to consider reconstruc and colors it. We may indeed get ever tions. nearer to the actual record of things. The The main thesis of Professor Woodbridge's sciences auxiliary to history have in the last book is to insist upon the pluralism of history. century very largely re-created our materials. We are watching no vast drama of which the Semitic history, for instance, is not what it 60 [January 25 THE DIAL was when Wellhausen and Robertson Smith be mastered by tradition; we seek continually began their incomparable researches. Pal our emancipation. We know, it may be, but grave wrote of a Normandy which has been a fragment of existence, but in this knowledge since remade by the scholarship and patience we find the secret of a richer and more splen- of Powicke and Haskins. Between the Eng- did life. did life. That, after all, is the supreme lish law of Reeves and that of Frederic Mait- justification that thought can offer. land there lies a gap which even time can HAROLD J. LASKI. hardly bridge: so that if history is what has happened, the record of human progress, we must not fail to remember that the past, in THE ZIONIST HOPE. a real sense, is forever changing because to- morrow the burden of to-day will change its ZIONISM AND THE JEWISH FUTURE. By various perspective. writers. Edited by H. Sacher. (Macmillan But Professor Woodbridge rightly points Co.; $1.) out that the pluralism of history in no sense The ravages which the war in Europe has implies its discontinuity. We can never make We can never make brought to Belgium are hardly a circumstance temporal distinctions that are not artificial. to the horror which the war has brought to Its chain of causation is in an ultimate sense the Jewry of eastern Europe. The Pale and unified. The nineteenth century has been Galicia, like Belgium, have been the theatre of largely spent in the discovery of historical the great conflict, and from the beginning kinships. Ours is the age in which evolution their Jewish population has not only been has become the guiding principle of scientific terrorized by the soldiery of both sides but investigation. We cannot, says Mr. Wood has been expropriated and pauperized also, bridge finely, look modern life in the face and until now it is dying of disease and starva- expect to know it. What we are, we are tion by thousands. Relief can be brought to because our ancestors have been. Nothing can it only with difficulty, and the problems of be rightly understood save in the perspective relief are only the beginnings of problems of development. And the value of this unity of Jewish life which must come after the war. lies in the basis it affords for prospective spec- These problems are continuous with the ulation. The student who has pondered over whole complex of problems that have gone the character of Greek democracy is the more throughout modern history under the rubric fitted, if he be intelligent, to deal with its of “The Jewish Question." more modern forms. The life of Cleon may book is one of the contributions to a cherished illustrate the life of Mr. Lloyd-George; and solution of that question. Its 'editor is a the Englishman who has been obsessed by distinguished British journalist; among the Mr. Gladstone's eloquence will perhaps find contributors to its pages are civil servants the secret of certain unconscious irritations of the British government, Jewish religious when he considers the excessive morality of leaders, and American college professors. It the elder Cato. History, moreover, as Mr. points out that, in Dr. Weizmann's words, Delisle Burns has recently and very suggest- “the problem is essentially that of fitting into ively demonstrated, is a stimulus to idealism; the modern world a national group which has for when the last cynicisms have been uttered, survived from ancient times without the it is surely undeniable that each age has been ordinary attributes of nationhood." It traces, largely guided in its attitude by a conception in Mr. Sacher's survey of a century of Jewish of a good higher than that which it then history, the attempts of the Jews to solve that enjoyed. Even in our own time of gloom problem; in Mr. Hyamson's discussion of that underlying optimism finds its aspiring anti-Semitism, the clerical and political speculations. response of the Gentile environment to these Above all, history is the great justification attempts ; and in subsequent essays, the rise of the Zionist movement, - first as a rejoinder of intelligence. It is, as Mr. Woodbridge to anti-Semitism, and then as a constructive eloquently remarks, "illustration of rational living.” It recalls us from a world programme of democracy, social justice, and international service. where Mr. Chesterton would have us eat The Zionist movement aims to establish in caviare on impulse to one in which many of Palestine a legally assured and publicly us may remember that our digestions are secured home for the Jewish people. It turns unsuited to the consumption of caviare. There into a practical social endeavor what had is no remedy for our ills save thought. Emo been, from the time of the first exile to the tion is of value only in so far as it is the present day, a pious hope for Messianic servant of intelligence. We refuse, then, to deliverance among the great mass of the The present an 1917] 61 THE DIAL Jewish people. The feeling for Palestine of that land for coöperative colonization, among the Jews has been so intense that they schools, and so on, the Zionists have begun to have undergone every hardship and con carry out successfully a programme of social demned themselves to any degree of suffering justice. The Hebrew language has become rather than forgo the programme of re-set the language of the daily life and has been tlement in that land. In the year 1903, when expressed in a varied scientific and belle- the British government made the Zionist tristic literature. Zionists contend that the Congress the generous offer of Uganda, it Jewish people, equally with all the other was the representatives of the Russian and peoples of the earth, have a right to free Roumanian Jews, who, although they had expression of their collective genius in the apparently the most to gain by accepting it, common life of mankind. They declare that rejected the offer completely and finally. whatever service the Jewish people can render They had been setting up small colonies in mankind, can be rendered only through this Palestine from the year 1882 on. The colon freedom. The basis of the Zionist programme ists had faced all sorts of hardships, natural is a vision of international comity, of the and social, springing from conditions of the team-play of the nations of the earth, in which soil and the enmities of the Arab and Bedouin each, by the perfection of its own qualities, population, from ignorance of the art and renders the greatest possible service to all. science of agriculture, from disease, and all H. M. KALLEN. sorts of other causes. They had conquered these hardships to such a degree that their work won the earnest sympathy and generous A NEW LITERATURE OF PEACE. coöperation of the Parisian Rothschild. The colonies at that time, however, were private TOWARD A LASTING SETTLEMENT. Edited by enterprises animated by no great social ideal. C. R. Buxton. (Macmillan Co.; $1.) In them the individual Jew found his freedom THE WAR AND DEMOCRACY. By R. W. Seton- and his happiness. After the reactive phase of Watson. (Macmillan Co.; 80 cts.) TOWARD INTERNATIONAL GOVERNMENT. By J. A. the Zionist movement had given way to the Hobson. (Macmillan Co.; $1.) constructive phase, however, a new attitude Attention has been so insistently drawn, in and a new programme defined themselves, the United States, to the physical energies both in colonization and in outlook. released by the war and the material resources As Mr. Norman Bentwich writes in his revealed, that far too little consideration is essay on the future of Palestine: given to a less spectacular but equally Herzl conceived Palestine alike as the Jewish coun- important set of energies and resources. They try and as the ideal community. It was the old- new-land in which the spiritual heritage of the past are the mental energies and the spiritual should be combined with the social dreams of the resources which march with equal stride, and present by the people whose history embraces almost with them the United States will have to com- the whole of civilization. The houses were to be more beautiful than those of European towns, the villages pete, not in the stupid struggle for trade but and cities better planned, universal education, coöpera- in the inspiriting rivalry of thought. It is too tive enterprises, and other devices of the Socialist early to write in full the history of thought in state for the happiness of the mass would have their England since the war, but its main charac- place side by side with Hebraic institutions making teristics are already visible, its chief currents for equality. The year of release and the jubilee should be revived and become the basis of a happier can be traced, and in its literature its signif- social order than that which had grown up in Europe. | icance is apparent. Henry George, shortly before Herzl wrote, had found The things which impress one most on com- in the Mosaic legislation, the model of the ideal social ing into contact with the thought of England system, standing not for the protection of property are its steadiness and its intensity, its loyalty so much as for the protection of humanity. When the people from whom have sprung the fathers of modern and its strength, the confidence and conscious- socialism have the opportunity to work out their ness of its direction, and the hardy and political institutions on their own lines, they should adventurous spirit in which it deals with avoid the economic evils that beset young political communities and provide for mankind the example of realities. A review such as this would have harmonious society. to trespass into the domain of sociology were Zionist colonization has aimed to put much all the sources of this character to be traced ; of this programme into practical operation. but it must be said that the foundation of It has increased tremendously the economic every virtue which thought possesses in value of Palestine. By the institution of the modern England is the power which comes National Fund, the function of which is to from knowledge. There is a solidity of learn- buy land which is to be the inalienable pos- ing which differs widely from documented session of the Jewish people, and by the use research; and there is a vigorous habit of 62 [January 25 THE DIAL thinking both in the production of literature Between lie virtually all the questions of the and (to a lesser extent) in its reception. war, nationalism and the rights of small Obviously, the two chief directions of this nations, internationalism and international active force must be winning the war and finance, the relations between civilized and winning the reconstruction. Behind each has backward peoples, democracy and foreign grown a tributary of less immediate force, policy, and the future of the super-state, or a new interpretation of history and a new league of nations. Some of these subjects are foundation for peace. All these have already highly involved, yet it is notable that nearly their literatures. It has been the misfortune all the books issued in the past two years of the last to be obscure and even to be con dealing with them are addressed to the lay fused with the pacifist literature with which reader in the confident assumption that books it has nothing to do. which are worth reading at this time are I have called it a new literature of peace worthy of study as well. because I believe that it makes ultimately for “The War and Democracy,” first issued peace, and because, in the pressing agony of in 1914 and since in seven successive reprints, the present, one clings with desperation to and “An Introduction to the Study of Inter- every faint hope, to every distant promise, national Relations,” are the two works which as an assurance of sanity. But the title does in form and content demand first attention. violence to the cardinal principle of these That the former, issued in the first heat of books. Their object is not the understanding battle, should bear so few signs of small hate, of peace but the understanding of war. They should be so restrained and yet so just, is lead not necessarily to peace but to justice more than a tribute to its authors. For the and freedom, even at the cost of the world book was written for and dedicated to the entrenched. They are confessedly ineffectual “Workers' Educational Association”; it was, in ending this war; they may be terribly moreover, widely read outside that interesting effective in bringing on the next one if organization. So the sobriety and the thought- tyranny and injustice are the result of this. fulness of the readers is to be commended, no Their great purpose is to make the future less than the honesty of the authors. Of these condition of the world, be it peace or war, the name of Alfred E. Zimmern will be best honestly democratic. The novelty of their known to Americans, as the author of "The method is that they offer democracy no con Greek Commonwealth." He contributes trol but that which it may win for itself by besides the introduction an acute analysis of study and by thought. Germany, and an article on “German Culture Many of the books in this new literature and the British Commonwealth” which con- have been issued by or under the ægis of the ceals, under a simple manner, a profound Council for Study of International Relations, indictment of German culture and education, an organization of which Viscount Bryce is the and which deals as pitilessly with the Ger- head. Unlike the Union for Democratic Con man theory of nationality as it does with the trol it has no programme and its aim is loose ideals of inter-state powers. The latter expressed in its title. Conscious of the gap point Mr. Zimmern has taken up in more which existed between the Foreign Office and detail in his criticism of the League of Peace, the people in August, 1914, the Council hopes which forms part of a stimulating essay on “to help British citizens to think clearly on “Nationality and Government” (London: these themes, so that the labours of statesmen Sherratt & Hughes). The other articles in the for the establishment of a happier condition of things shall have the encouragement and in Europe, with various countries engaged in book deal with the growth of the national idea support of an enlightened public opinion.” the war, with the issues involved, with foreign It is, in a sense, an extension of the process of "going to the country," a familiar policy, and with certain social and economic expedient of British politics, and one which, aspects of the war. The book is almost ele- curiously enough, has been tried not without mentary; each essay is an introduction to a success by President Wilson. It is important wide field of thought and literature. But the to note that he too took the question of peace introduction itself is clear and comprehensive and war before the citizens, for their encour- and fair. The other contributors are R. W. agement and support. Seton-Watson, now editing “The New The first effort is to bring home the signif- Europe," a weekly which is chiefly devoted icance of citizenship, particularly in the to foreign politics ; Arthur Greenwood, secre- British Empire; the last is to suggest a tary of the Council for Study of International basis for peace in which the British Empire Relations, and J. Dover Wilson, late lecturer and the rest of the world could agree. at the University of Helsingfors. 1917] 63 THE DIAL In the time which passed between the first (London: Constable), while not so severe, publication of this book and the appearance drives hard against the perversion of nation- of “An Introduction to the Study of Inter alism called “racialism,” as expounded by national Relations,” the direction of thought H. H. Chamberlain, and seeing in Germany had changed, and we pass from an inter and her allies the last forces arrayed against pretation of the war, its causes and effects, both nationalism and a true internationalism, to a study of the basis of peace. The quality properly calls this war the culmination of of the two books is the same; Mr. Greenwood modern history. His book is the first reading writes in both; P. H. Kerr, editor of the of modern history as the record of national “Round Table,” represents the powerful aspirations, and it is a prophecy of the turn- Round Table groups as Mr. Zimmern does in ing of those aspirations, when satisfied, to the former volume; and there are essays on the wider field of internationalism. Neither the history of war and peace in the past he nor Mr. Zimmern believes that a league of century, on international law, and on the nations (more properly called an Inter-State causes and consequences of modern wars. Government) can be based on a true interna- The key to the book is to be found in Mr. tionalism at present; both are critical of the Greenwood's calm statement that “the goal of proposals because of the surrender of liberties political endeavour is freedom.” It is only It is only which they involve; both look forward only here that the revolutionary quality of that to the growth of a spirit of common interest apparently obvious claim can be realized. In and common consent between nations as the the United States it is a platitude; here it basis for international law. Again, freedom is a truth to be fought for against those who and knowledge must precede a lasting or believe that the goal of all endeavor is desirable peace. peace. Mr. Greenwood is certain that peace The book, "Toward a Lasting Settlement," is the means to the great end which is human links up with the preceding because it believes liberty; he is equally certain that liberty that the only secure international relations can be attained only through corporate are those founded upon the consent not only action. But he does not admit that peace is of governments but of peoples. Mr. Lowes itself an end, or the final desirable thing in Dickinson is an enthusiast for international- human life. The trail of Mazzini is over him ism, believes that it is the cause of democracy as it seems to be over most of the men and and of civilization. Where Professor Muir women who write with inspiration of the sees national aspirations as the causes of the future. nineteenth century's wars Mr. Dickinson sees Mr. Kerr's interpretation of imperialism is only desire for territory. The same volume, equally fresh and, to those who believe that however, contains the necessary corrective in the history of the British Empire is one an admirable essay by Charles Roden Buxton purely of aggression and exploitation, it must on “Nationality.” Mr. Brailsford discusses be something of a shock. Essentially the “The Organization of Peace” with no exces- theory is that imperialism is the only way sive trust in mechanism, but with hope that to save a backward people from the aggression the mechanical scheme would last long enough of individuals representing a higher stage of for a moral force to grow up. The most civilization. In its whole development this complete, favorable criticism of the inter- idea is a notable contribution for which the state idea is to be found in J. A. Hobson's whole Round Table seems to be responsible. "Toward International Government” (origi- Although it is a defence of imperialism, it nally brought out under the direction of the is not a defence of exploitation --at least in Union of Democratic Control). the hands of its present authors. Finally, there is a series of pamphlets pub- The question of backward nations leads to lished by the Council for Study of Interna- the whole study of nationalism and interna tional Relations (The CSIR, 1 General tionalism, on which the mere bibliography is Buildings, Westminster, London). These already great. “The rights of small nations," pamphlets are intended as aids to study for according to Mr. Asquith's famous declara members of the Adults Study groups, the tion, must be vindicated in this war, but most miners' associations, the Workers' Educa- of the work published on the question is as tional Association, and many other groups dynamite placed under that rock of faith. organized in recent years for the study of Mr. Zimmern, in the essay already referred to, domestic problems, now thrown, almost vio- finds nationality an arbitrary and insecurelently, into a study of the world. The schemes foundation upon which statehood or govern of study are simple but provocative. Ques- ment can be based; Professor Ramsay Muir, tions are thrown out:“What would have been in his “Nationalism and Internationalism the probable course of events if Mr. Roosevelt 64 [January 25 THE DIAL had been President of the United States in ing and important series of pictures, the book 1914 ?” or “How high do you rate the advan results in one of the most significant works of tages of peace! Higher than the satisfaction reconstructive criticism that have appeared in of aspirations for national independence ?” recent years on the subject of Italian paint- A series of pamphlets does exist for giving ing. It teems with incidental criticism, æs- information concerning the countries at war, thetic evaluations, and valuable hints of and it is to be extended, I believe, to neutral attribution, with all the secondary questions countries. It is almost needless to say that that irritate one's periods of patient and far from being friendless in England, the intensely critical study. United States possesses here a tremendous potential friendship, which is discernible in As one might expect, the central figure in almost all the literature of peace. the book is Giovanni Bellini, and the central The importance of these books is not in problem, his chronology. Though much that the theories they uphold, nor even in the is original, illuminating, and indeed inval- interpretation of history, past and present uable is said about Cima, Carpaccio, Mon- and future, which they develop. It lies in It lies in tagna, and the hosts that make a pale circle the habit of study and the habit of thinking about him, what eminently interests Mr. which they assume and require. To this con Berenson is to adduce their work wherever sequence of the war, the fresher vitality of possible for the establishment of Giovanni's thought and its sole devotion to the problems chronology and his artistic personality. The of the commonwealth, America is, at least, 263 pages of text are abundantly illustrated not indifferent. The stimulus which has with one hundred and ten reproductions and driven mathematicians and miners, dilettanti provided with two tables and two indexes. and soldiers and theorists, to think of the state The first two chapters are by way of a histor- and for the state, will not be ended with the ical introduction. The first reviews Gio- war. It has had profound effects already vanni's artistic antecedents in Venice, and and there is no reason to question its future. the lingering of the older tradition within Of the books mentioned that of Professor Venetian painting, that of the Muranese; the Muir alone is written well enough to be per- second deals with the only material foreign manent in literature; it is at once a piece of influence (excepting Mantegna's), from be- propaganda and a serious work of history. yond Florence, in the person of Antonello. But there is not a word in the whole collection We encounter at the beginning of our sur- which is not tellingly written. Sobriety and vey a signed triptych by Caterino (active sincerity and a vast amount of hard, clear from 1362), the earliest Venetian painter of thinking have already done something to any importance, in the Walters collection, redeem the world from intolerable wars. Baltimore. We pass on through such a ghastly GILBERT VIVIAN SELDES. and interesting performance as the Giambono at the Metropolitan Museum to an important work of the early Muranese school, by the two RECONSTRUCTIVE CRITICISM. severe, collaborating craftsmen, Giovanni d'Alemagna and Antonio Vivarini. After VENETIAN PAINTING IN AMERICA: The Fifteenth examining some rather indifferent school pic- Century. By Bernard Berenson. (Frederic tures, we are introduced to a series of works Fairchild Sherman; $4.) of rare quality by two of the most charming Gathered and amplified into a book, Mr. masters of decorative design. Berenson's conclusions, known to us through We begin with Mr. Platt's Virgin, by his serial studies in “Art in America,” have Bartolomeo Vivarini, a work produced in all gained in persuasion and consequence. Mr. the reserved yet ecstatic freshness of creative Berenson, finding an adequately representa- youth ; then come Mr. Morgan's “Epiphany," tive sequence of Venetian paintings in our by Bartolomeo, of crisp and dainty handi- collections, has grouped them historically; work; a grave and beautiful Virgin by the and adopting the discursive method of his same hand, from the late Theodore Davis avowed master Morelli, he has made them the collection, now hanging in the Metropolitan pretext for discussion of almost all problems Museum; and a number of Crivellis, of which incident to their study. Far from merely Mr. Lehman's is the most distinguished bit being a commentary running with an interest- of decoration, Mrs. Gardner's, a diminutive • It may be interesting to note that the bulk of Venetian fairyland version of the Romance of St. pictures has gravitated to New York (31), Baltimore (28), Philadelphia (25), and Boston (15). George in exquisite pattern. 1917] 65 THE DIAL The chapter closes with the examination of Mr. Berenson finds reasons, in its structural an austere St. Jerome, belonging to Mr. and stylistic resemblances to works executed Augustus Healy of Brooklyn, which Mr. by Bellini and his assistants between 1469 Berenson attributes hesitatingly to Jacopo and 1476, for dating it “scarcely earlier than Bellini. The next chapter starts out with a 1470.” With the securing of this date, the brief discussion of two portraits, one grave, works stylistically associated with it are sub- one gay, both ingenious syntheses of individ jected to the same fate, which means that uality, by the mighty Antonello da Messina, what was formerly dated between 1450 and whose greatness, as indeed we emphatically 1455 has now to be put fifteen years later. feel in looking at these, "consisted in present- To account for the vacuum he has created ing objects more directly, more penetratingly, in Giovanni's early artistic activity, Mr. more connectedly and more completely than we could see them for ourselves.” Of what Berenson argues ingeniously that all of Bellini's extant works that may "plausibly immediately follows, the most interesting are the profound and intimate appreciation of be placed before 1470 could easily have been Mr. Frick's Provençal Pietà, which had been painted after 1465, and in point of style they going under Antonello's? name, and the resemble each other sufficiently to admit of identification of the hand of a Palermitan being thus crowded together." Even if some follower of Antonello in the “St. Rosalie" of of the panels are of earlier origin “they are the Walters collection and a Virgin in the at once too few and too close to each National Gallery. other to be, if spread over so long a time, more This brings both author and reader to the than a confession of slow and feeble develop- desired haven: the great Venetian of the fif ment. And Mr. Berenson finds it easier in teenth century, and to the crux of his early view of Giovanni's rate of advance later in chronology, which Mr. Berenson in some of his career “to believe that not many years the shrewdest reckoning fundamentally rev elapsed between any of the paintings of this, olutionizes. He launches daringly into heter than to assume that Giovanni Bellini was odoxy by announcing in his heading a new something of a dullard in his early life.” theory of Giovanni's development, and by There seems to be some explanation for this pushing Mr. Johnson's Virgin, which has delayed development in the fact that Gio- hitherto gone unchallenged as the earliest of vanni — like his brother Gentile - continued his youthful works, two decades up the cen- as assistant to his father until past his thir- tury. tieth year. This inference is conventionally The careful demonstration which follows made from the joint signature of Jacopo centres in a significant similarity between the Bellini and his two sons, on the lost altar- Holy Child in this picture and the little boy piece painted for the Gattamelata chapel, who nestles against his mother's knee in the “Circumcision" of Mantegna's triptych at the Padua, in 1460. Moreover, Gentile's first dated work (1465) betrays a hand unaccus- Uffizzi. This figure was taken over without tomed before then to work in total indepen- material changes; only, in our picture, the dence. Child has been reversed and the arrangement It was apparently the father, too, who, of the extremities made to chime with the responsible for the retarded evolution of his whole system of design. But the "peevish squirm,” easily explained sons, prevented Giovanni from following the inflexible manner of Mantegna, his brother-in- in Mantegna's picture, can be accounted for law since 1453. The Johnson Madonna is one in Mr. Johnson's Madonna only on the of the first works in which Mr. Berenson sees assumption that the Christ was copied from the emancipated Giovanni imitate his relative. Mantegna's boy. Now, as all the respected As that influence has hitherto been supposed authorities are, on internal and external to have palpably begun in Giovanni's forma- evidence, agreed that Mantegna's Uffizzi trip- tive period, it is another matter requiring tych was painted in 1464, we must regard the revision; and in this connection one comes to date as a chronological boundary before which wonder how Mr. Berenson would dismiss the the Johnson picture, for the reasons indicated, accepted explanation of the affinities between could by no means have been painted. Mantegna's “Agony” (1459) and Giovanni's Having fixed 1464 as the earliest possible representation of the same subject, hanging date for the painting of the Johnson Madonna, together in the National Gallery. With the pretty Madonna belonging to Mr. 1 This attribution was first corrected by Hulin, in "Cat Platt we enter into a period of greater crea- alogue Critique" of Bruges Exhibition, 1902. ? Published first in Gazette des Beaux Arts, March 1913. tive expansion; and the air about our ears has 66 [January 25 THE DIAL cooled. The stately beauty of the Davis, of some lost masterpiece by ingenious infer- Johnson, and Lehman Virgins, certainly the ential reconstruction, from scattered scraps or finest of Giovanni's first-known works, is fol from studio pictures. The Fogg and Layard lowed by pictures - Madonnas, all but one Virgins, the Pourtalès, “Sacra Conversa- peopled by a richer humanity, and of a more zione,” in the Morgan collection, the “Christ vitally informing yet caressing chiaroscuro. at Emmaus” belonging to Mr. Walters, are None pass in date beyond 1488, and the interesting mainly in so far as they furnish reason may be that there is but a handful of us with clues as to the nature of the originals works by Bellini, painted in the last three by Bellini. decades of his life, that has come down to us. They are each of a unique interest, some of a We are grateful to find some attribution unique beauty. The Huntington Madonna put right, some wrong reckoning corrected, (very soon after 1480) is but a reversed var some tangles unravelled ; not because there is iant of Mantegna's Bergamo Virgin and the any absolute finality about Mr. Berenson's “latest work of Giambellino in which unmis judgments, but because they are all suggestive takeable and even striking evidence of Man and because in making them he has indicated tegna's influence is to be discovered”; Mr. the right direction in art-criticism. Salomon's, painted after 1485, is sensitive The number of Cimas in American collec- with a touch of mysticism. There is a deep tions has furnished Mr. Berenson with occa- note of solemn almost petulant exaltation in sion for a fine appreciation, and an excellent Mr. Willys's Madonna, who is wrapped in outline of his evolution. His Bellinesque the shadow and atmosphere of the Frari trip- Virgin in the Detroit Museum, the Tuck tych. This is the latest Bellini in America. The chapter closes with the sublime St. Madonna (1495) with its crystalline atmos- phere,-- reminiscent, I venture to suggest, of Francis belonging to Mr. Frick. There is an amplitude and sweep in this composition such Bellini's “Virgin with Cherubs” (1485); Mr. as we find in other of Bellini's works of a pro- Blumenthal's lunette; Mr. Morgan's “Sacra founder and more possessing beauty. But, Conversazione”; Mr. Johnson's pagan-spir- rather than the humble voice of God's trouba- ited Bacchus series, measure the scope and dour, we fancy we hear the ringing of the lim limitation of Cima's invention. Indeed I do rhetoric of a Hebrew prophet addressing him not think a more suggestive discussion of self to the Unseen. Mr. Berenson rescues Cima could well be found. this picture from its former attribution to We are glad to find so much about Mon- Basaiti and plausibly claims it for Giovanni tagna, Carpaccio, Basaiti, Catena, and to fol- in the period of his Naples "Transfiguration." low our critic when he pleads for Gentile As it was still unfinished in 1525, Mr. Beren- Bellini as Carpaccio's master against the son, basing his suggestion on the appearance claim for the anæmic Lazzaro Bastiani. But of the trees in the middle distance, supposes for the absence of examples of such sustained it was directly afterward completed by mastery as those discussed in the chapter on Girolamo da Santacroce. Giovanni Bellini, the parts that follow are as The remaining three chapters are devoted full of eminently interesting criticism, which, to scrupulously differentiated heads: chapter if personal, is the synthetic act of accumulated IV, the “Pictures from the Studio of Gio- esthetic emotions. It would be easy, and vanni Bellini, and Contemporary Copies”; petty, to carp at a kind of criticism at once chapter V, “The Contemporaries of Giovanni so daring and dogmatic. Its differences are Bellini”; chapter VI, “Giovanni Bellini's perhaps differences of method. We shall find, Pupils and Followers.” In this section Mr. naturally, also a tone of controversy, and now Berenson has carefully separated works of and again the irritation of expected disagree- artists or groups according to their artistic ment. Yet, the stern, concentrated and relation to Giovanni. Though they are dealt advanced scholarship of Mr. Berenson has with as artistic entities, it is this relation that supplied students with a book of Venetian is of primary interest, because, wherever | painting unique among its kind. found, it is made to yield another ray of light Mr. Berenson's contingent promise of a that may help to illuminate our still frag book on Bellini makes the student dream of a mentary knowledge of the master or his fol painter with his lost works reconstructed for lowing us, all marshalled before us in their place, and Guided by a fund of slowly synthesized the artistic personality thus evoked, standing observation and study Mr. Berenson all but up finally over against us like a living thing. evokes for us the shapes or contours or design RICHARD OFFNER. 1917] 67 THE DIAL an A FLOOD OF FOREIGN DRAMA. sometimes unsuccessful in the attempt. For us the important questions about all these THE PINE-TREE. By Takeda Izumo. Adapted plays are: “How far do they succeed in mak- from the Japanese, with an introductory causerie ing us forget differences in point of view and on the Japanese theatre by M. C. Marcus. (Duf, field & Co.; $1.25.) background? How far do they make us MODERN ICELANDIC PLAYS: Eyvind of the Hills, understand the characters as human beings The Hraun Farm. By Jóhann Sigurjónsson. and sympathize with them?” By this test Translated by Henninge Krohn Schanche. primarily I shall try to judge the plays. It (American-Scandinavian Foundation; $1.50.) may be objected that the reader should act- THE BENEFICENT BEAR. By Carlo Goldoni. ively coöperate with the author, and endeavor Translated by Barrett H. Clark. (Samuel French; 25 cts.) to meet him halfway. But reasonable as this THE ART OF BEING BORED. By Edouard Pail- sounds, it may easily be pressed too far. If leron, Translated by Barrett H. Clark and we are constantly occupied in the effort to Hilmar Baukhage. (Samuel French; 25 cts.) imagine ourselves Spaniards or Icelanders, FOUR PLAYS. By Emile Augier. Translated we cannot enjoy the play. All that can fairly with an introduction by Barrett H. Clark. With be expected of us is to try at the outset to a preface by Brieux. (Alfred A. Knopf; $1.50.) lay aside our prejudices and read with an THE APOSTLE. By Paul Hyacinthe Loyson. With introduction by Professor George open mind. If then the play does not reach Pierce Baker. (Doubleday, Page & Co.; 75 cts.) us, it is for us a failure. A FALSE SAINT. By François de Curel. Trans- “The Pine-Tree" is "adapted" from the lated by Barrett H. Clark. With an introduction Japanese of Takeda Izumo (1688-1756). It by Professor Archibald Henderson. (Doubleday, is preceded by an informal essay on the Page & Co.; 75 cts.) Japanese theatre which occupies somewhat YOUTH. By Max Halbe. Translated by Sara more than half of the slender volume. This Tracy Barrows. With an introduction by Lud- wig Lewisohn. (Doubleday, Page & Co.; 75 cts.) is well written and interesting; I cannot THE MOTHERS. By Georg Hirschfeld. Trans judge of its accuracy. “Japanese plays,” Mr. lated with an introduction by Ludwig Lewisohn. Marcus tells us, "have generally from twelve (Doubleday, Page & Co.; 75 cts.) to twenty acts, and their performance takes a One of the most striking facts about the whole day.” “The Pine Tree" is a single act recent output of printed drama is the number (often presented by itself) of one of these and variety of translated plays. Our play- | long tragedies, which, we are told, is “prob- reading public is large, and constantly grow ably the most extolled of all Japanese ing larger; and it evidently is developing a dramas.” Its theme is the heroic sacrifice by very catholic taste. In the group of plays a nobleman and his wife of their own son to before us we can survey mankind, if not save the son of their dead feudal lord. Here from China to Peru, from Iceland to Japan; at once we encounter one of the barriers I and the list of countries represented by re- just referred to; in its very theme the play cently translated plays includes besides these is repugnant to our Occidental notions of France, Spain, Italy, Belgium, Germany, ethics. Deliberately Matsuo and his wife Austria, Russia, and Sweden. This new inter leave their son to certain death, because this est in foreign drama has of course been is the only way to preserve the life to which greatly heightened by the war. It is pleasant their house owes allegiance. Yet the genius to believe that war itself may help to scatter of the Japanese dramatist triumphs over this the seeds of better understanding and peace. extraordinary handicap. He has conceived Surely the knowledge of other nations' the central situation with such vividness and peculiarities and points of view should serve power, he has shown us the passion of loyalty as a foundation for firmer international with such reality, that we accept for the friendship. Here is an invasion which makes moment the Japanese ethical doctrine, alien as for intelligent sympathy and good will. it is to our own. In the tragic emotions of One test of an author's greatness is the pity and terror we willingly forget our dis- question, "Can he conquer a foreign public belief in his stern code. He has done more; through translation ?” Under the best of cir he has overcome the disadvantage of an cumstances, there are barriers to be sur unsatisfactory translation. Mr. Marcus's mounted; when a skilful translator has rendering is sincere and sympathetic, but he removed the obstacle of language, the more cannot write good English verse. His awk- difficult barriers of divergent beliefs, customs, ward lines have nothing of the delicacy and and traditions still separate the writer from little of the reticence and suggestiveness his new public. To pass these bounds the which, as scholars assure us, are characteristic force of genius is generally required; and of Japanese poetry. To do it justice in Eng- even genius, when it is narrowly national, is | lish, “The Pine-Tree” needs a translator who 68 [January 25 THE DIAL as a + can write in the style of Mr. Masefield's doni's "Le Bourru Bienfaisant," and (with superb Japanese drama, “The Faithful.” Hilmar Baukhage) Pailleron’s “Le Monde où Standing as they do somewhat'apart from l'on s'ennuie.” This inexpensive series of the main European currents, the two Icelandic well chosen and well translated plays should plays may properly be discussed by them- be a boon to amateurs. The Goldoni play selves. The author, Jóhann Sigurjónsson, is (called in the translation “The Beneficent introduced to the American public by the Bear") is a comedy in the Molière tradition American Scandinavian Foundation without Molière's brilliance. “The Art of representative of the renaissance of Icelandic Being Bored,” first produced in 1881, is a literature. Though these plays were pro- good instance of the nineteenth century duced in Copenhagen, and though one of them French play skilfully built around one strong was originally written in Danish, they are scene. It is written solely to amuse, and its thoroughly Icelandic in setting and spirit. popularity on the stage attests its success in The stronger and later one, “Eyvind of the that purpose. A more important service has Hills,” is based on a romantic story of an been rendered by Mr. Clark in his translation eighteenth century outlaw who, having wear of four plays by Augier. The first three of ied of the loneliness of his mountain retreat, these, "Le Mariage d'Olympe," "Le Gendre descends to the valleys and under an assumed de M. Poirier," and "Les Fourchambault," name takes service as a farm hand. His are here for the first time made available in mistress Halla, a well-to-do widow, falls in English. All of these are important plays, love with him; and rejecting the advances of and it is worth a good deal to have them Björn the bailiff, who has discovered that the accessible in a satisfactory translation. “Le supposed farm hand is the notorious outlaw, Mariage d'Olympe" (1854) is a forerunner she flees to the mountains with her lover. She of the modern thesis play. It was evidently bears him two children, whom, rather than intended as an exposure of the cheap sen- allow them to be captured by Björn, she sac timentality of Dumas's “La Dame aux rifices. At last Eyvind and Halla, hunted to Camélias” (known on the English-speaking the high mountains, shut up in a cabin by a stage as “Camille”). As a companion piece great storm, and suffering the pangs of starva to Dumas's glorified harlot, who “has loved tion, reproach each other for their love. for their love much, therefore much shall be forgiven her," Eyvind is determined to risk his life in the Augier draws a picture of the real adven- search for food; Halla cannot endure her turess who succeeds in marrying into a noble memories alone. At last Eyvind promises to family and whose intention to make capital remain and die with her; but while he is out of their name is defeated by the proud old fetching firewood, she rushes out to die alone father. Not many better plays with a thesis in the snow. The play is essentially a story have been written since; Augier was too good in dramatic form; it has no thesis, and inter an artist to allow his moral to spoil his story. esting as some of the characters are, our “Monsieur Poirier's Son-in-Law” is so well attention is centred mainly upon the extraor known through its popularity as a reading dinary situations in which they are placed. text for French classes that it need not here In style it presents a strange union of realism be described; I may merely observe that it with romance; along with the poetry of the is perhaps the best modern French comedy in love scenes and the descriptions of the moun the Molière tradition. “The House of Four- tain fastnesses, we find the homely language chambault” is Augier's last play. If it lacks and everyday details of farm life. Halla's the brilliance and comic force of “Monsieur sacrifice of her children is likely to cost her Poirier's Son-in-Law," its view of life is much of the reader's sympathy, and would kindlier, and its characters are drawn more ruin the play on our stage. The second piece, sympathetically. The fourth play in the vol- “The Hraun Farm,” is a modern story ofume, “The Post-Script,” is a lively and charm- pastoral Icelandic life; it has charm, but lacks ing little one-act piece, based on feminine the force and daring of "Eyvind of the Hills." inconsistency. This play, an excellent one Both plays are notable for their spontaneity for amateurs who can act, is also published and freshness; the strong clear wind of the separately in French's "The World's Best north blows through them. They deserve a Plays." wide reading in Mrs. Schanche's excellent Mr. Clark has also translated two French translation. plays for the Drama League Series, Loy. The unwearying Mr. Barrett H. Clark con son's "The Apostle” and De Curel's “A False tinues to make good translations of French Saint.” Since we have to consider also two plays. For Samuel French's series of “The other plays in this series, it will not be out of World's Best Plays" he has translated Gol- | place to venture two or three general com- 1917] 69 THE DIAL .. sense. ments. It is no secret that the enterprise has of trying to break off the affair. She gains an been something of a disappointment. In Sep- influence over the girl and induces her to tember the chairman of the committee having reject her lover because he has kept mistresses. the series in charge made a report on the sale This, which to an American reader appears a of volumes. Out of fifteen plays issued up to tolerably good reason for breaking an engage- that time, only five or six had paid expenses, ment, is of course no reason at all in France. and only two or three had yielded a very Julie herself does not regard it as a good small profit. What are the reasons ? The reason; she is consciously playing on the demand for plays in print is large; every innocence and simplicity of the young girl important publisher now has his list. This with the purpose of ruining her happiness. series is backed by an organization having The lover's view of the case is evidently the 80,000 members, presumably interested in author's: “You ask me whether it's true that drama. One reason for the small sales, I I have had mistresses? Yes, Madam, several. think, is the cheap and shoddy binding of the -What of it! Do you imagine for an volumes, which makes them a poor investment instant that there is a single man - unless for libraries. After a few readings the bind he's not well — who when he marries is all ing literally disintegrates and the covers come you blame me for not being 9” If we accept off. It would be better either to raise the the French point of view in these matters, it price and put on a substantial cloth binding, is impossible to feel the least sympathy for or lower it and issue the plays in paper covers. Julie, who is merely a spiteful vixen; and Another reason is to be found in the choice she is the central character in the play. of plays. There is no use in trying to force But perhaps the worst choice in this group down the throat of the public what the public of Drama League Plays was that of Max doesn't want. It is impossible to imagine a Halbe's “Youth.” Professor Lewisohn in his large number of Americans being keenly introduction compares the play with “Romeo interested in three of the four plays under and Juliet,” and adds, “I am not sure that consideration. For my part, so far as these Halbe does not move us more deeply and more plays and some others issued by the League humanly.” This is the very ecstasy of non- are concerned, I think the public is right. If Halbe does move us more deeply, Not one of these plays is really of interna the worse for us as critics ! “Youth” is a tional importance; not one of them has the rather nauseous mixture of German sentimen- interest, for example, of the best work of tality and naturalism, dealing with an affair Augier. They all, of course, have merit; but of puppy love. The boy has no wish to marry in only one of them does the author succeed the girl, but they philander until their pas- in surmounting the barrier I have referred sions get the better of them. Sometimes, as at to, of different national traditions and beliefs. the conclusion, the play becomes uninten- In the introduction to “The Apostle,” Pro- tionally comic. The half-witted brother of the fessor Baker asks whether it is possible to heroine, who shows more intelligence than read a certain scene dry-eyed. I own that I anyone else in the play, tries to shoot Hans, find it impossible to read the scene in any the hero, but the heroine throws herself other way. “The Apostle" is a good play, between, and falls. but it is a play dealing with French politics, Hans (with a terrible scream). G-one! - about the last thing in which the average (Flings himself upon her,.convulsively sobbing.) American reader can be induced to take any A much better play is Hirschfeld's "The interest. Both “The Apostle” and “A False Mothers,” also translated by Professor Lew- Saint” are intensely and rather narrowly isohn. This is a careful and sympathetic French. A brief résumé of the plot of the study of the life of the middle and lower latter will illustrate the point. The heroine, classes in Berlin. Robert Frey, the son of a Julie, having been disappointed in love, well-to-do family, has fallen in love with a attempts to murder Jeanne, her successful working girl, and quarrelled about her with rival, and after failing and being forgiven, his parents. The quarrel has resulted in an betakes herself to a convent. Eighteen years open break, and in his going to live with later Jeanne's husband dies, and Julie leaves | Marie. After his father's death his sister the convent, chiefly to find out whether Henri writes to him, and though he still loves Marie, showed before his death any signs of remem he longs for the freedom and opportunities bering his former love for her. She learns which a reconciliation will give him. The play that Jeanne has told him of the attempted tells the story of his struggle and final yield- murder, and bends her energies to revenge. ing to the call of opportunity and family ties, Jeanne's daughter is engaged to a young and of Marie's renunciation of him for his teacher, and Julie's vengeance takes the form advantage. Since she is pregnant and desper- 70 [January 25 THE DIAL ately poor, this renunciation is not without political and diplomatic talk, but no more its heroism. The scene between the two girls than there would be in any social circle at the (Marie and Robert's sister) is excellent, and time of a political crisis. Perhaps the book the play as a whole has a sanity and restraint does throw a flood of light on the obscure part entirely lacking in “Youth.” Of the four which Greece has been playing in the war; I Drama League plays, this would, I am sure, know so little about Greece at the present day make the widest appeal to American readers. and her recent position that anything about It is not, perhaps, a better play than “The it would throw a flood of light as far as I am Apostle," but it is freer from handicaps. concerned, but I cannot imagine that a person HOMER E. WOODBRIDGE. with any real knowledge of current facts would be much illuminated by what is no doubt a true rendering of popular sentiment RECENT FICTION. in Greece before the war of 1912. It does Madame Dragoumis a poor service A MAN OF ATHENS. By Julia D. Dragoumis. to suggest that the value of her book depends (Houghton Mifflin Co.; $1.50.) upon any such matters as these, for it dis- THE RISE OF LEDGAR DUNSTAN. By Alfred tracts attention from something much more Tressider Sheppard. (D. Appleton & Co.; $1.50.) interesting, to the novel reader at least. I THE GIRL. By Katherine Keith. (Henry Holt should not myself wish to lay much stress & Co.; $1.35.) Not all these books are first books, although phere and a kind of life that must be of upon her power to suggest a social atmos- they happen to be the first things by their writers that I have seen. Madame Dragoumis, those who by sympathy or education or both interest to many people, and especially to at least, has written other books. I believe, feel that Greece has a very special place in the however, that each book is a first novel, and world. As I read the book, its chief interest whether it be or not, each is a definite step in lies in its very able handling of a perennial a direction in which the author will undoubt- subject — the love of two people separated by edly go farther. Mr. Sheppard is going to social distinctions. Madame Dragoumis's view write more about Ledgar Dunstan; it will be of these two people aristocrats respectively worth reading and probably better than the by intellect and by descent — is really fine. present book, for the material will be better A civilization that not only allows such a (if one can guess at it), and the writer's union but, by its most deeply felt traditions, ability to handle what he has in mind will approves and is satisfied is a fine civilization; probably increase. Madame Dragoumis will and Madame Dragoumis's presentation of the write better books than this, for she evidently Athenian world is quite worthy of her sub- has an unusual power of construction which ought to increase with exercise. It may be ject. Nor is her presentation of the other doubted whether Miss Keith will ever write view, in the person of Michael Douka, in the least inferior; it is, indeed, one of the best anything better than some parts of this book, things in the book. Douka is himself through- but in regard to such matters it is foolish to out, and his appearance at the end is con- prophesy. ceived with a thorough appreciation not only “A Man of Athens” is spoken of by the of his personality but of its value in life. publishers as though its chief interest lay in In what, it would seem, must have been her à presentation of the highest political and leading aim, the author has been most success- diplomatic circles of Athens” and in its illum- ful: her chief figures are perfectly clear and ination of “much that has been obscure in the true, and her chief situations will be deeply part Greece is playing in the war." It would and surely felt. And this is a matter so certainly be a mistake to try to minimize any important in novel reading and writing that it excellence that may lie in a book, even with is really enough to say of a book. It should be the idea of making clear something that seems added, however, that Madame Dragoumis, better. But I fear that anyone will be disap- who has the one real essential for the novel pointed who expects to find in Madame writer, lacks some useful accompaniments. Dragoumis a Greek Mrs. Humphry Ward. The first half of the book seems to me to drag, Very little of this novel has any connection at to be heavy. This is the case with some very all with the highest political and diplomatic fine novels, but I do not see that it is neces- circles of Athens. Some of the characters do Madame Dragoumis has very have some connection with those circles, but considerable powers of construction and of when they appear in the story (except for character drawing, powers not common nowa- trifling exceptions), they lay aside their diplo-days; I presume she will acquire what matic or political character. There is some everybody else seems to have, equal power in sary here. 1917] 71 THE DIAL the direction of fascinating narration - a What probably did attract attention, and power which her publishers seem to think she may attract more, is that we have here has in great measure already. another example of the "literature of revolt," In “The Rise of Ledgar Dunstan" Mr. in which, however, the author wrestles with Sheppard has the idea of presenting, perhaps the question of religion in a constructive or in a trilogy (although only a second volume positive way. There are a dozen novelists is directly indicated), the life of a man of nowadays who offer their negative criticism the day. Were this idea a stranger in the of religious people and ideas to one who has literary world, one would welcome it, at least anything positive to say on the subject. Even long enough to live with it for a while and see people who have such positive ideas as Mrs. what it was worth. As the idea is by no Corra Harris offered in “A Circuit-Rider's means a stranger, one may treat it more critically. One may even pay no attention Widow" give them very little chance in the to it at all. There are not a few such flood of unflattering and often observant biographies nowadays, and a reader with only criticism of the futility of religion in the the ordinary amount of spare time may think ext external life of to-day, and almost no one he has done enough when he has read “The gives any conception at all of the part that New Macchiavelli," the Clayhanger books, or religion plays in the private life of a great “Jean-Christophe,” — according to his liking many people. From the fiction of our day for one volume, three volumes, or ten. On one would almost imagine that there was no the other hand, if one enjoys such books one religion worth mentioning in England or will find plenty of amusement in comparing America. America. Mr. Wells, in “The World Set Ledgar Dunstan's career not only with the Free," said that novel writers felt that reli- books mentioned but with the lives of Jacob gion was the privilege of the pulpit, but in Stahl, Michael Fane, Philip Carey, or such “Mr. Britling" he has done something to American worthies as Frank Cowperwood, controvert that position. Mr. Sheppard is and in considering which has managed to get very like others in his negative criticism; the most fun out of modern conditions or his presentation of external religion in Eng. which is the most typical modern man. My land is as deplorable as that of his colleagues. own view is that “The Rise of Ledgar But he also presents the unaccustomed idea Dunstan” provides a good deal of material that there really is something in Christianity for the student of social conditions and not if people would only find it. Just what they much for the lover of novel reading. The may find is not made plain here — it will idea of writing a book that shall give a vivid probably appear more clearly in the second synthesis of modern conditions is, in Mr. or third volume of the trilogy; or perhaps Sheppard's hands, not unlike the idea of his in the satiric afterpiece which by rights own Miss Pace. “I've no end of ideas," she should follow the three serious books. Mr. says. “The worst of it is, so few of them will Sheppard does not give a very good notion work out.” Ledgar himself thought that the of Anti-Christ or of Christ himself, but in “working out” the difficult thing. this very vagueñess he is truer to life than if Mr. Sheppard has not succeeded very well. he conceived his ideas with crystal clarity. In his book there is a letter written by a great Truth to life is not his chief aim, but he literary agent to the author of a first novel. achieves it in this respect. I do not know whether it agrees with what Miss Katherine Keith has something of the Mr. Sheppard thinks people ought to say of a same idea as Mr. Sheppard. He wished to book. But it criticizes the characters as being present the life of a young Englishman of stiff, too much given to talk, and imitated our time. Miss Keith's book “reveals the from Dickens. As these are exactly the things development of an American girl of to-day.” that might be said of his own work, it may But whereas Mr. Sheppard preferred to tell be that Mr. Sheppard has a very clear notion the story of his man, and thereby wrestled of his failings. The letter, however, goes on with an extraordinarily difficult problem, to say that the author has caught the atmos Miss Keith thought it enough to choose "signi- phere and that he has a very pretty pen where ficant incident and episode" and omitted any scenery is concerned, which is not so much attempt at a story which should be complete. to the point here. If these are the things It may be easier to make a personal revelation that literary agents and publishers look out (if this be one) than to imagine the lives and for, there must be something else in Mr. actions of dozens of people and present them Sheppard's book which attracted attention. in such a way as to make the right impres- was 72 [January 25 THE DIAL as sion. But there is probably little question BRIEFS ON NEW BOOKS. of easy or hard in the mind of the person who can do either of these things. Miss Keith THE ADVANCE OF THE ENGLISH NOVEL. By did what she chose to do and did it well. William Lyon Phelps. Dodd, Mead; $1.50. I am moving on toward old age now, and Here we have an engagingly written sketch of when it comes to many current modes of English fiction, with particular emphasis upon the recent aspects. There is happiness of phrase in thought and life, I am a good deal of a dodo- abundance, as in the reference to the “verbose bird. That is probably why I cannot imag reticence” of Henry James and in the statement ine that Miss Keith's young woman is in regarding Mrs. Ward (Professor Phelps's special any sense a typical American girl of the bugaboo) that her “so-called novels have sunk present day. Nobody that I know of says under an accumulation of excess baggage.” Some- that she is; the publishers say that the book times this felicity of phrase is used to advantage “reveals the development of an American in driving home a really good point, as in the fol- girl of to-day.” An American girl Marian lowing deprecation of the outcry that American novelists shall depict sexual passion with more Crosby may be, but I fancy or fear that there are few like her. American girls may be frankness: "Indecency is not necessarily sincer- ity. . . Changing the trumps will not help us thought to be direct, sincere, unconventional, nearly so much as more skill in playing the game." able to deal with reality, desirous of the best, Moreover the judgments on contemporary novelists as well as fresh, eager, impulsive, sensitive are less laudatory than in much of the “criticism" to all sorts of impressions. Some of them are, of our time. But when it is said that Professor perhaps more in Chicago than elsewhere, Phelps is an unusually successful popularizer, all though I doubt it. But few are as direct, has been said. A college lower classman or the sincere, and unconventional Marian jaded lay reader will find this volume genuinely stimulating; the judicious must grieve, however, at Crosby. She liked a young man in her class its slapdash definitions, its airy ipse dixits, and its at college and asked him to come and see her naïve assumption that chronology in fiction or any- at her home. He did so, and, having waited thing else is synonymous with advance. When Pro- on the steps for a while, became vexed and fessor Phelps tells us, for instance, that in the walked away. Marian saw him from the portrayal of a perfectly natural woman the sense window, ran down the street after him, and of humor is not necessary, the saying seems brought him back. This was a very sensible plausible until we remember Mrs. Poyser. And thing to do, but not a usual one. Whether when he assures us: “It seems to me pedantic to prefer Scott to Stevenson. The latter beat the many American girls would do such things, former at his own game, we can only feel that I cannot say; it may be that the event rep- he has rushed in where angels fear to tread - resents a sort of ideal among the girls of particularly if they must tread the pathway to any our day. such conclusion as this. Whether it be a sketch of a typical life or not, “The Girl" does give a very vivid picture NEW BELGIAN POEMS. By Emile Cammaerts. of a certain life. Marian Crosby grew up Translated by Mme. Cammaerts. Lane; $1.25. playing with boys, reading all sorts of books, THE SUNLIT HOURS. By Emile Verhaeren. imagining long, continued romances, speculat- Translated by Charles Murphy. Lane; $1. ing on the great mysteries of religion or sex, The collection of poems by Emile Cammaerts coming into contact with the great incon- are all patriotic, picturing now the busy joyous life of the people before the war, now the devasta- sistencies of life, carrying on the strange tion wrought by the conflict or the calm heroism ceremonial mysteries of childhood, doing of soldiers and peasants under the ordeal. The extravagant, out-of-the-way things, loving first group is characterized by the extreme sim- this or that in nature. We get a definite plicity noted in the previous volume of Cammaerts; impression of her. Later, the effort becomes in the second, more imaginative, the reader's atten- more diffused; there is the sugestion of a tion is constantly arrested by striking figures. Thus the tribute to the English aviator, Lieutenant story. But the impression of the earlier part Warneford, closes with these lines: is so definitely made that it remains in mind Quel est l'homme, qui, pour une plus noble cause, much as the author must have wished. It is Fit un plus noble effort, a very interesting book. People perhaps will Et sut jamais se forger une telle apothéose like to discuss its social significance,— as I Sur l'enclume même de la mort have done. But it is chiefly worth while as a A mystery play entitled “The Three Kings" fol- very definite rendering of an interesting con- lows the poems. There are really four kings – God and Albert, Satan and the Kaiser - but ception,- rather a rare thing in art. Albert appears only for a moment to hurl bold EDWARD E. HALE. defiance in the teeth of his enemy exulting in blood 1917] 73 THE DIAL and destruction. “Where is thy army?" demands PERSONALITY IN GERMAN LITERATURE BEFORE the haughty conqueror. Partout, LUTHER. By Kuno Francke. Harvard Uni- Où l'on respecto le bien d'autrui, versity Press; $1.25. Et la parole donnée, Professor Kuno Francke of Harvard disagrees Où l'on déteste la tyrannie radically with Burckhardt and other authorities on Où l'on chérit la liberté Mon armée the Renaissance who have asserted that there is C'est l'humanité! an absence of individuality in the Middle Ages. “Man,” Burckhardt has alleged of that period, And at the end Satan carries off his own in the “was conscious of himself only as a member of good old style, mocking his eleventh hour repent- a race, people, class, family or corporation-only ance: “L'enfer rougira d'une si pietre conquête.' It almost seems as if the poet had foreseen the through some general category." In opposition to this view, Professor Francke has traced the expres- present peace peace movement.-- Emile Verhaeren's sion of personality in early German literature, in “Heures Claires,” the first of the trilogy of love a short and very readable study. He finds in the poems addressed to his wife, is translated by mediæval poet Walther von der Vogelweide a gen- Charles Murphy under the title “The Sunlit uine forerunner of humanism, and in his contem- Hours.” Here the fiery poet who caught his pound porary Wolfram a noble searcher after the ideal. ing rhythm from the anvil of modern industry | Cultivation of the inner self was carried on by speaks in gentlest accents of gratitude and rever Master Eckhardt and the other German mystics ence to the woman whose love had come 'to save of the fourteenth century. Even the anonymous him from the turmoil of his own nature: folksong and religious drama are full of personal My heart was eaten by corroding rust touches which relieve their universal character. That preyed upon my strength, The climax of this individualistic culture was Defiled my trust; reached in the humanistic movement of the early I was weary, I was old with long mistrust, sixteenth century where its greatest exponents are I sickened of the roadway's empty length. Erasmus and Hutten. Professor Francke closes When thy feet wandered into my life's way with the hope that, just as Germany triumphed They brought a joy so exquisite to me That, trembling and in tears, I can but stay spiritually over the disasters of the Thirty Years' To worship silently. War and of the Napoleonic invasion, so she may The scene is a garden which serves at once to shut emerge from the present war, whatever the mili- tary result is to be, with a new and enriched spir- out the stormy passions of the world and to invite itual culture. nature as a symbol and sharer of the poet's joy. Here as always he would be at one with the THE PRACTICAL BOOK OF EARLY AMERICAN universe. ARTS AND CRAFTS. By H. D. Eberlein and O the splendour of our joy, for we Abbot McClure. Lippincott; $6. Live doubly, in ourselves, and day's high ecstasy. Collectors and students are here offered a manual The reader regrets that the French is not printed of much interest and value. Its scope includes with the translation. Even though Mme. Cam- silver, pewter, and other metalwork, glass, needle- maerts's version in a sort of rhythmic prose adds work, lace and weaving, illumination, carving, dec- little to the value of her husband's poems for orative painting, and certain classes of pottery. those who can follow the original, all must be grate Much of the material has earlier appeared in ful to her for attempting only to interpret, not to periodicals, but there are considerable additions, supplant him. especially the descriptions of characteristic types and processes and the chronological lists of crafts- PROSE EDDA. Translated by Dr. A. G. Brodeur. men, which are such “practical” features of the American Scandinavian Foundation; $1.50. book. The individual chapters are based in many Even in these days of the study of comparative instances on specialized works by the leaders in literature, Scandinavia, mediæval and modern, is the study of Colonial art, such as Mr. R. T. Haines still deplorably far from us. Except in the eyes Halsey for silver, and Mr. Edwin Atlee Barber for of a handful of specialists, Ibsen alone keeps the ceramics. The authors, however, have not failed northern peninsula on the literary map. But sev to add new material, and the attempt at a com- eral agencies are working in this country to break prehensive treatment of Colonial handicraft is up this ignorance, and chief among these is the itself novel. In the discussion of some crafts there American Scandinavian Foundation. This society,. is an effort to distinguish the periods of their besides publishing a very attractive bi-monthly, development - notably in the chapter on silver, “The American Scandinavian Review," is launch with its useful "chronological key to silver con- ing a significant series of Scandinavian classics in As the division into periods in each craft translation. Now comes the latest volume, the first is largely independent of the division in others, complete English version of the two translatable as well as of European tendencies, much revision parts of the Icelandic “Prose Edda.” Dr. Bro- and coördination are necessary. Doubtless it is deur, it seems to us, preserves the flavor of the still too early in the study of the subject for any- vigorous, picturesque original very well. This one to avoid certain inadequacies. Great regions book should open to many people the doors of the of the country are still unexplored by collectors. splendid prose of Icelandic narrative and the The objects preserved require still more intensive fascinating fragments of “The Poesy of Skalds.” | study before local peculiarities and stages of tours.” 74 (January 25 THE DIAL development can be closely determined. In the NOTES AND NEWS. meantime, this book, with its clear description of some of the most important classes of objects, Mr. George Bernard Donlin who with th sue and its numerous well-selected illustrations, will be assumes the editorship of THE DIAL was educated an excellent general guide. at the University of Chicago. He has been a contributor to various American journals and for NATIONALIZING AMERICA. By Edward A. several years was an editorial writer on the Steiner. Revell; $1. Chicago Record Herald. He has contributed Edward A. Steiner, once an immigrant from frequently to THE DIAL. Austria, now Chautauqua lecturer and professor By an error, which is regretted, our recent at Grinnell College, is known to many a reader by reference to a list of substitutes for “said" ascribed this list to “The Writer" instead of “The Editor." his long series of short books dealing with current American questions. Witter Bynner's volume “An Ode to Harvard After camping “On the and Other Poems” will be reissued this spring by Trail of the Immigrant," and "Introducing the Frederick A. Stokes Co. under the title: "Young American Spirit,” he has now turned his attention Harvard and Other Poems." to “Nationalizing America." His latest book con- Edith Franklin Wyatt's volume of essays “Great sists chiefly of the preserved form of recent Companions," which is a feature of Appleton's list Chautauqua lectures. Professor Steiner avoids for January, consists of a series of discussions of arguments and eschews statistics. He generalizes the personalities of various writers from Defoe about American life and purposes along the broad- to Henri Fabre. est lines and in the most assimilative phrases; if Among Mr. Robert J. Shores's spring publica- anything more is wanted these sociological hors tions will be a novel by Albert Payson Terhune d'oeuvres are not the thing. But they make easy entitled “Dollars and Cents” and a story of the reading, and they must have made still easier northwest entitled “Bucking the Tiger," written by lectures. Achmed Abdullah, a cousin of the Ameer of Afghanistan. THE EIGHTEENTH CENTURY. By Casimir Those who read Ian Hay's “The First Hundred Stryienski. Putnam; $2.50. Thousand” will look forward to the publication in the early spring of "Pip" by the Houghton Mifflin The translation of M. Funck-Brentano's “National History of France" is progressing author, who in private life is Captain Ian Hay Co. This is a tale of English schoolboy life. The rapidly. The general plan of the work has already Beith, has recently been lecturing throughout the been indicated in THE DIAL. The new volume east on "The Human Side of the War." begins with the Regency of Phillipe d'Orléans and Mr. Walter de la Mare, the English poet, is ends with the eve of the Revolution. Its most now in this country delivering a series of readings attractive feature is the portraits of great person- and lectures. Recently his “Songs of Childhood ages at court. Particularly striking is that of was issued by Longmans, Green, & Co. in their the unhappy queen of Louis XV, Marie Leszczyn- Pocket Library Series, and now Henry Holt & Co. ska, whose character is lovingly portrayed by her announce that arrangements have been made for the publication of a volume entitled “Peacock countryman. The author has made this rather This will be illustrated by Heath Robinson dismal period of French history so interesting that whose cartoons in the London Sketch have given any adverse criticism seems ungrateful; and yet, him a unique position among English artists. on second reading, we ask ourselves whether the Two additional volumes in the Drama League fascinating portraits of the great political actors series are announced by Messrs. Doubleday, Page. are not too detailed for the proportions of the "Washington Square Plays” contains the four volume. The foreign and domestic policies of most successful plays presented by the Washington France, with their results, are recapitulated rapidly Square Players: “The Clod,” by Lewis Beach; - sometimes too rapidly to be entirely clear to the "Overtones,” by Alice Gerstenberg; “Eugenically uninitiated reader to whom the series is addressed. Speaking," by Edward Goodman; and “Helena's Again, we are not sufficiently kept in touch with Husband," by Philip Moeller. Each is by an the social milieu outside the court. We hear little American author. Walter P. Eaton has supplied an Introduction and Edward Goodman, director of the people, save an occasional anecdote or snatch of some lampoon, inspired by unpopular measures. of the Washington Square Players, has contributed We seriously miss sufficient recognition of the part a Preface. The second volume "Malvaloca," by Serafin and Joaquin A. Quintero, was originally played by men of letters in preparing the cataclysm presented by one of the most important producing that was to come. The brief chapter at the end companies of the contemporary Spanish stage. given to seience and literature seems rather per- For immediate publication Messrs. Putnam functory. We remember with regret the masterly announce Volume XIII. of "The Cambridge His- chapters in the Lavisse “History” dealing with tory of English Literature,” which will concern these subjects and their influence. Such a loss is itself with the nineteenth century. Among the ill compensated by anecdotes, however amusing or contributors and subjects contributed are: Car- characteristic. lyle," by J. G. Robertson; “The Tennysons," by Pie." 1917) 75 THE DIAL an Herbert J. C. Grierson; Robert Browning and John Adams's books, after lying neglected for Elizabeth Barrett Browning,” by Sir Henry Jones ; nearly seventy years after the death of their owner, “Matthew Arnold, Arthur Hugh Clough, James were acquired by the Boston Public Library in Thomson,” by W. Lewis Jones; “The Rossettis, 1894 and rescued from decay. Brought from William Morris, Swinburne," by A. Hamilton Quincy to Boston, they have never been properly Thompson; “Lesser Poets of the Middle and Later catalogued as a separate collection; but before Nineteenth Century," by George Saintsbury; "The many weeks have passed there will be issued by the Prosody of the Nineteenth century,” by George library now owning them a printed catalogue of Saintsbury; "Nineteenth Century Drama," by this valuable lot of Americana and other volumes. Harold Child; “Thackeray," by A. Hamilton It is thought to be the largest early American col- Thompson; "Dickens,” by George Saintsbury; lection of books in existence, with one exception, "The Political and Social Novel,” by Sir A. W. and that is the library of Colonel William Byrd of Ward; “The Brontës,” by A. A. Jack; “Lesser Virginia. Inscriptions and notes in Adams's own Novelists," by W. T. Youngs; and “George hand add to the value of many of the volumes. Meredith, Samuel Butler, George Gissing," by W. A copy of John Marshall's biography of Wash- T. Youngs. ington is one of the more precious treasures of the An interesting and valuable work has grown up collection; it is in five volumes and is inscribed hour in Boston which deserves coöperation or imitation the author to John Adams. The catalogue now in other cities for the supply of information about to be issued will be bibliographically and needed in so many exigencies of literary, artistic, historically noteworthy. and business activities. An organized system of The Halsey collection of old prints, numbering replies, rapid and thorough, to such a wide variety more than ten thousand pieces and famous on two of inquiries is a new element in efficiency. It is continents, is in process of dispersion at the Ander- "Information Clearing House” which has on son Galleries, the sale of Part IV. (English stip- its lists the names of persons who are able to ple engravings of the eighteenth century) being answer certain classes of questions, and which can now in progress. Still to come are the sales of always put the inquirer in touch with someone etchings by old and modern masters, and English, who is likely to know the answer. Sometimes the French, and German portraits of the seventeenth, reply may be made instantly when the question eighteenth, and nineteenth centuries. The preced- comes within the fund of ready information that ing sales disposed of Mr. Halsey's Americana, the Bureau staff possesses; sometimes, a national including naval prints and views of New York; authority is at the other end of a telephone line, also his sporting prints, his French engravings of and in a few minutes the reply is made direct. the eighteenth century, and his Napoleonana, Then again a little research may be necessary, but engravings of the French Revolution, and litho- this is done quickly also. Its growing stock-in-graphs. Mr. Halsey has won recognition on both trade of "where to look," based upon several years' sides of the Atlantic as one of the world's greatest experience, is astonishing and the range of ques print-collectors, and he is spoken of as the last. tions received and answered (and of course held of the famous group of amateurs including Firmin private) is stated by the registrar to be extra Didot, the Goncourt brothers, Dutuit, Valentin, ordinary and interesting. The philosophy of the Gerbeau, and their like. Consequently the sale of andertaking lies in its creation of the habit of his accumulated treasures is an event of impor- coördinating books with men. The business man tance. is trained to ask his fellow business man in getting A book once owned by Lord Bacon, once kept light upon questions, the scholar is in the habit on his library shelves, and bearing the marks of of consulting books, but this Clearing House com his own hand in its many marginal notes, is said bines the two, using men and books equally as to be on the point of making its public appear- sources of information. ance in some New York auction room, to pass thence into the hands of some collector with a long purse. This precious volume, in binding of NOTES FOR BIBLIOPHILES. Bacon's time and bearing his mark, a dove, stamped on the cover, is a copy of “The Bookes The Editors will be pleased to answer inquiries or of Francis Bacon.' It was recently brought to to render to readers such services as are possible. Mr. John Howell, the San Francisco dealer in rare Mr. Gabriel Weis, of 489 Fifth Ave., New York, books, by a resident of San José, California. On has acquired a scrapbook of 150 Thackeray auto the fly-leaf is written the name, “William Con- graphs made up by Edward FitzGerald in 1864, stable," which helps to trace its original ownership, one year after his friend's death. FitzGerald since it is known that Bacon, by a clause in his presented the collection to Thackeray's daughter, will, left his books "to my brother Constable.” In now Lady Anne Ritchie, its late owner, and Mr. strict accuracy, of course, he should have written Weis is prepared to dispose of the collection in “brother-in-law," the real relationship of this Con- his turn to a buyer offering a reasonable guarantee stable, who lived at Perth, from whence, be it against its being dispersed. Many items in it noted, came the San José family in whose posses- remain unpublished, although Lady Ritchie per- sion the book has been for many generations. mitted some of her father's amusing letters and Though the Baconian fever is not just now at its verses to FitzGerald to be privately printed with hottest, the book cannot fail to elicit some brisk an introduction by herself, in 1916. bidding and to bring a handsome price. 76 [January 25 THE DIAL “A BOOK THAT COUNTS" Learn to Figure Faster The demands of the day require it This book presents a new time-saving system which eliminates the drudgery of cumbersome cal- culations. The methods comprising the Prewett System, which is fully explained and illustrated in "Learn to Figure Fast" are not experimental but the result of many years of practical work along mathematical lines. “Learn to Figure Fast” will be invaluable to everyone who uses figures in business or private life. "The author is to be complimented on the clear. ness of his short cut methods. The book will be very valuable to accountants, teachers, and business men, enabling them to reach conclusions by the shortest methods.”—The Educational Monthly. "I find that it contains many new and valuable short methods for handling numbers. I can cheer- fully recommend the book to anyone whose business calls upon him to use figures in any way that calls for decided rapidity of operation.”—P. W. Horn, Sup't, Houston Public Schools. Sent post free on receipt of $1.00 or C. 0. D. for $1.10. Circular free. Address: E. C. ROBERTSON General Salesman 1408 Prairie Avenue, Houston, Texas The original will of Edward FitzGerald, in his own handwriting, figures at the sale of selections from the libraries of J. L. Clawson, of Buffalo, and Stanley Kidder Wilson, of Philadelphia, now in progress at the Anderson Galleries, New York. One hundred autograph letters by John Ruskin to “his faithful henchman" George Allen, covering the years 1852-7, are bound in three volumes brown levant with a slip case lined with swans- down. Another four volumes contain 271 later letters to Allen and many of their envelopes, inlaid to size. The two sequences cover the best period of Ruskin's literary activity up to 1889. Among the books that arrest the eye in the Clawson-Wilson sale catalogue is Don Francesco Colonna's queer Latin echo of Dante's “New Life,” entitled "Love's War Asleep,” made glorious in the first edition, by Aldus Manutius of Venice in 1499, by over one hundred and fifty superb wood- cuts which some critics have ascribed to Mantegna, others to one of the Bellinis, and others still to Botticelli or even to Raphael. The lover and the lady of Colonna's dream wander together through the kingdom of classic art as the fancy of fifteenth century Italy conceived it. No finer book was ever issued from the Aldine press. Mr. Clawson's copy contains the naughty picture of a sacrifice to Priapus undefaced. “Poems: written by Wil. Shake-speare, Gent., [and] printed by Thos. Cotes, London 1640," is the only collected edition of the poems that was published in the seventeenth cen- tury. Another handsome first edition of Milton's "Eikonoklastes” contains this timely reference to Shakespeare's portrayal of Richard III: “The Poets also, and some English, have been so mindful of Decorum, as to put never more pious Words in the Mouth of any Person, then of a Tyrant. I intended, saith he, not only to oblige my Friends, but mine Enemies, [and] I thank my God for my humility. Other stuff of this sort may be read throughout the whole Tragedy." A bit earlier, we encounter Ben Jonson's comedy “The New Inne or The Light Heart," "as it was never acted, but most negligently play'd by the King's Servants, and more squeamishly censured by the King's sub- jects, 1629." It is a very rare first edition of 1631. À bit later we have Prynne's “Histriomastix,” 1633, an attack on "heathenish, lewde, ungodly spectacles” which earned its author a fine of £5000 in Star Chamber, and the distinction of seeing his book the first one burned by the hangman in England, on account of an indiscreet slur at Queen Henrietta. Among first and superfine editions of modern writers, one noticed a 24 volume set of Gautier, Sproul's handmade edition, New York 1900; thirty of Charles Lever's novels in fifty volumes; six bookplate volumes of the Musée Français and Musée Royal, 504 folio engravings, original price 5760 francs, Paris, 1803-18; all but one of Andrew Lang's fairy-books and story-books in 24 single volumes; and thirty-five first editions and first foreign or English translations of single works in prose and verse by Oscar Wilde, beginning with his Newdigate prize poem "Ravenna," Oxford, A. C. McCLURG & CO.'S OLD and RARE BOOK DEPARTMENT Suggests the following items as worthy the attention of book-lovers: JOHN FISKE'S HISTORICAL AND MIS- CELLANEOUS WRITINGS- Complete in twenty-four volumes, half morocco, gilt tops. This is the finely printed subscription edition. $60 THACKERAY'S WORKS- Complete in twenty-five volumes. The spe- cial biographic edition with introductions by Anne Thackeray Ritchie. In half morocco. $50 THE ARABIAN NIGHTS ENTERTAIN- MENTS- In six volumes, with engravings after Smirke. Half morocco, London, 1811. $26 THE WRITINGS OF MARK TWAIN- Hillcrest edition in twenty-five volumes, half morocco, gilt tops. $110 PAUSANIAS'S DESCRIPTION OF GREECE Translated with commentary by J. G. Frazer, author of the “Golden Bough.” In six volumes, royal octavo, published at $35, for $17.50 This last item should be of special interest to scholars and librarians. A. C. McCLURG & CO. 218-224 South Wabash Ave. Chioago - 1878. 1917) 77 THE DIAL THE DIAL Fortnightly Journal of Literary Criticism, Discussion, and Information Published by THE DIAL PUBLISHING COMPANY 608 South Dearborn Street, Chicago Telephone Harrison 3293 GEORGE BERNARD DONLIN TRAVIS HOKE Editor Associate MARTYN JOHNSON WILLARD C. KITCHEL President Sec'y-Treas. THE DIAL (foundeà in 1880 by Francis F. Browne) is published fortnightly — every other Thursday — except in July and August, when but one issue for each month will appear. TERMS OF SUBSCRIPTION:— $3. a year in advance, postage prepaid in the United States and its possessions, Canada, and Mexico. Foreign postage, 50 cents a year extra. Price of single copies, 15 cents. CHANGE OF ADDRESS: - Subscribers may have their mailing address changed as often as desired. In ordering such changes, it is necessary that both the old and new addresses be given. SUBSCRIPTIONS are discontinued at the expira- tion of term paid for unless specifically renewed. REMITTANCES should be made payable to THE DIAL PUBLISHING COMPANY, and should be in the form of Express or Money Order, or in New York or Chicago exchange. When remitting by per- sonal check. 10 cents should be added for cost of eollection. ADVERTISING RATES sent on application. Entered as Second-class matter Oct. 8, 1892, at the Post Office at Chicago, under Act of March 3, 1879. “AT MCCLURG'S” It is of interest and importance to Librarians to know that the books reviewed and advertised in this magazine can be pur- chased from us at advantageous prices by Public Libraries, Schools, Colleges and Universities In addition to these books we have an exceptionally large stock of the books of all pub- lishers - a more complete as- sortment than can be found on the shelves of any other book- store in the entire country. We solicit correspondence from librarians unacquainted with our facilities. LIBRARY DEPARTMENT A.C. McClurg & Co., Chicago LIST OF NEW BOOKS. ma [The following list, containing 74 titles, includes books received by THE DIAL since its last issue.] Oxford University Press AMERICAN BRANCH 35 West 32d Street New York BIOGRAPHY AND REMINISCENCE. Isaac Mayer Wise - the Founder of American Judaism. By Max B. May, A.M. Illustrated, 12mo, 414 pages. G. P. Putnam's Sons. $2. My Life and Work. By Edmund Knowles Muspratt. Illustrated, 8vo, 318 pages. John Lane Co. $2.50. Philosophy-An Autobiographical Fragment. By Henrie Waste. 12mo, 274 pages. Longmans, Green, & Co. $1.25. A Daughter of the Puritans. By Caroline A. Stickney Creevey. Illustrated, 12mo, 272 pages. G. P. Putnam's Sons. $1.50. Benjamin Franklin, Printer. By John Clyde Oswald. Illustrated, 12mo, 244 pages. Doubleday, Page & Co. $2. Abraham Lincoln. By Clark Prescott Bissett. 8vo, 56 pages. Cannell Smith Chaffin Co. THE PROVOCATION OF FRANCE Fifty Years of German Aggression By JEAN CHARLEMAGNE BRACQ Crown 8vo, cloth, pp. vii + 202 Net, $1.25 It contains the text of Bismarck's confession of mutilating the Ems Dispatch, a new treat- ment of the Alsatian question, and a vivid account of the real attitude of France toward Germany. SHAKESPEARE'S HANDWRITING A Study by SIR E. MAUNDE THOMPSON Crown 4to, paper boards, pp. xii + 64 Net, $4.00 Has facsimiles in collotype of three folios of the Sir Thomas More MSS. and reproductions in half-tone of the six Shakespeare signatures. SADOLETO ON EDUCATION A Translation of the De Pueris, Recte Insti- tuendis, an attempt by Sadoleto (1477-1547), the friend of Erasmus, to reconcile Christian ideals with Hellenic culture, with notes and an introduction, by E. T. CAMPAGNAC and K. FORBES. 8vo, cloth, pp. vi + 142 $2.50 “It is a distinct service to the study of the history of education that Professor Campagnac and Mr. Forbes have offered to English readers their delightful translation.”—London Times. ESSAYS AND GENERAL LITERATURE. The Cambridge History of English Literature. Edited by Sir A. W. Ward and A. R. Waller. 8vo, 670 pages. G. P. Putnam's Sons. $2.50. Men of Letters. By Dixon Scott. With Frontis- piece, 8vo, 306 pages. George H. Doran Co. $2. The Judgment of the Orient. By Ambrose Pratt. 16mo, 72 pages. E. P. Dutton & Co. 60 cts. Twilight in Italy. By D. H. Lawrence. 12mo, 311 pages. B. W. Huebsch. $1.50. The Spirit of Modern German Literature. By Ludwig Lewisohn. 12mo, 145 pages. B. W. Huebsch. $1. Thrift. By Bolton Hall, 12mo, 247 pages. B. W. Huebsch. $1. Edgar Allan Poe. By Hanns Heinz Ewers. 12mo, 55 pages. B. W. Huebsch. 60 cts. 78 [January 25 THE DIAL Interesting Books in all branches. Secondhand and Rare. Catalogues gratis to buyers. Mention desiderata. NEVILLE & George, 5 The Arcade, South Kensington, London, Eng. BOOKS, AUTOGRAPHS, PRINTS. Catalogues Free. R. ATKINSON, 97 Sunderland Road, Forest Hill, LONDON, ENG. BOOKS All Out.of. Print Book. Supplied. no matter on what subject. Write us. We can get you any book ever published. Please state wants. Catalogue frec. Baker's Great Book Shop, 14-16 Bright St., Birmingham, Eng. FICTION Pelle the Conqueror. By Martin Anderson Nexö. 12mo, 275 pages. Henry Holt & Co. $1.50. The Balance. By Francis R. Bellamy. Illustrated, 12mo, 347 pages. Doubleday, Page & Co. $1.35. The Girl. By Katherine Keith. 12mo, 251 pages. Henry Holt & Co. $1.35. A Crystal Age. By W. H. Hudson. 12mo, 316 pages. E. P. Dutton & Co. $1.50. Wildfire. By Zane Grey. With Frontispiece, 12mo, 321 pages. Harper & Bro. $1.35. The Dancing Hours. By Harold Ohlson. 12mo, 346 pages. John Lane Co. $1.25. Afraid. By Sidney Dark. 12mo, 310 pages. John Lane Co. $1.35. Jimmy's Wife. 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A STATEMENT 83 83 87 . 90 . on W. H. HUDSON. Edward Garnett LITERARY AFFAIRS IN FRANCE (Special Correspondence.) Theodore Stanton CASUAL COMMENT A reply to “Collier 'g."—National service in its effects literature.—Typographical tricksiness.—Though work in local history.— Broken rhythm and faulty rhyme.—Where the written word is appreciated. COMMUNICATIONS Partisan Reading of History. William E. Dodd. The Late E. A. Abbey, R.A. E. V. Lucas. Mr. John Cowper Powys. Jacques Schuman Le Clercq. "THE GOOD OLD WAYS.” Henry B. Fuller A PHILOSOPHY EMBATTLED. Harold J. Laski 92 The significance of any crisis which may arise in human affairs lies in the attitude of mind with which individuals or nations meet that test. If the crisis which confronts the United States as this issue of THE DIAL goes to press can quicken our national conscious- ness and so sharpen our sense of values that we can face realities unflinchingly and drop the fatuous self-deception which has threat- ened to corrode our spirit, we, as a nation, shall have gained something worth even the cost in human life which may result. To hold convictions for which we are unwilling to pay the supreme price is a greater calamity than physical suffering or sacrifice. Believing this, and absolutely supporting the President in the stand which he has now taken, THE DIAL will strive in the presence of whatever confusions may arise in the immediate future to maintain a clear vision, seeking to discern the shaping of those forces and convictions which make for a freer and nobler society. THE DIAL will continue to devote itself chiefly to the field of literature but it will also publish from time to time articles and discus- sions inspired more directly by the trend of events. MARTYN JOHNSON, Publisher. 95 96 . A FLOOD OF FOREIGN DRAMA. II. Homer E. Woodbridge 98 THE FEMINISM OF MR. GEORGE. George Bernard Donlin. 101 A PROMISING FIRST NOVEL. Ruth McIntire 102 RECENT FICTION. Edward E. Hale 104 - NOTES ON NEW FICTION . 106 Afterwards. Upsidonia. The Complete Gentleman.—The Druid Path.—The Dancing Hours. W. H. HUDSON. . BRIEFS ON NEW BOOKS 107 Inter Arma.-Training for the Newspaper Trade.—The Tide of Immigration.—Our Na- tion in the Making.-Journalism versus Art. -Manual of the Common Invertebrate Ani- mals. The Short-Story and The Lyric.--Dis- tributive Justice.-Feelings and Things.- The Life of the Caterpillar.-A Sheaf.-A Monograph on the Octagon House, Washing- ton, D. C.-The History of the Fabian Society.—Magna Carta and Other Addresses. --Shakespeare and His Fellows.—Five Mas- ters of French Romance. Mr. W. H. Hudson's works, which I hear are now beginning to be read in America, may be divided into four classes : Books about Birds: 5 volumes; South American Nature Books: “The Naturalist in La Plata" 1892 and “Idle Days in Patagonia” 1893; English Nature Books. 5 volumes: “Nature in Downland" 1900, “Hampshire Days" 1903, “The Land's End” 1908, “Afoot in England" 1909, “A Shepherd's Life” 1910; Romances: “The Purple Land" 1885, “A Crystal Age” 1887, “El Ombú” 1902, “Green Mansions" 1904, "A Little Boy Lost; A Story for Children” 1905. It is only fitting that cultivated Americans should, at last, wake up to the existence of NOTES FOR BIBLIOPHILES 113 LIST OF NEW BOOKS 115 84 [February 8 THE DIAL Mr. Hudson's genius, for there are ties of sion for every form of bird life (he is the blood affinity between them, Devonshire, poet of the birds), his hatred of materialism, Irish, and American blood mixing in his of human callousness and stupidity, his artis- veins, and one side of his family issuing from tic pleasure in everything characteristic blend an old stock of pioneers whose descendants into so natural a whole that no books could are to-day a flourishing clan in the States. be less "bookish" or more refreshing than his. Since his books and not his personal life are His supreme naturalness springs from his the public's concern, one need only add that unselfconsciousness, his candor and direct- Mr. Hudson was reared on an estate near ness, his human flexibility, his freshness of Buenos Ayres, that he passed his youth and feeling. So the subject of nature in his early manhood in the Argentine and contigu- writings never appears cold, or arid, or aloof ous South American states, and that he has from our sympathies. As I have written else- made England his home for over thirty years. where, the charm and the real force of Mr. It was his romantic environment as a child Hudson's outlook lie in his refusal to sepa- on the pampas that determined his vision rate man's real life from nature's life. He and nurtured his delight in the wild life of reveals to us more than any other writer nature. It was from this same environment man's true spiritual relation to the vast that he acquired the most intimate knowledge world of created, sentient things in earth and of the kingdom of bird, beast, and reptile sky, that free life of wild nature whose and of their habits and ways of life. It hap- beauty cannot yet content our souls but we pened that the effect of a serious illness in must harass, mutilate, and exterminate them, youth turned Mr. Hudson from a life of or catalogue scientifically and collect them. action to observation and contemplation of His nature books contain hundreds of pas- nature, and while he studied, as a spectator, sages in which man's life is presented to us her myriad activities, his dormant artistic as a beautiful thing when seen as a part of and poetic faculties were stimulated and nature, with all its strong ties, visible and deepened. We know that late in life Darwin invisible, to the earth that sustains and nur- lamented that his own artistic faculties, and tures him, and to the firmament in which he his pleasure in works of the creative imagina draws his breath. It has been reserved for tion had become atrophied by his detailed “modern thought” temporarily intoxicated scientific researches. Mr. Hudson's nature by its hasty draught of "scientific discover- books are certainly the best examples we have ies” to fail — where no age ever failed before in literature of the enrichment of the field to lay stress upon man's spiritual depend- of a naturalist's vision by the collaboration ence on the world of nature round him. of his artistic and poetic insight. The great minds, the great poets, philosophers While the romances are, so to say, the and religious teachers of all ages, from Homer poetic quintessence of Hudson's genius, it is to Virgil, from Shakespeare to Turgenev, not easy to define the looser, more diversified from the Hebrew prophets downwards have charm of his Nature books. Here, the blend never shared in the materialistic trick of the of the most varied qualities, a spirit strong modern vision, of seeing men out of per- and virile yet exquisitely tender in feeling, spective. But, owing to science's materialis- intense susceptibility to all forms and shades tic discoveries obscuring our field of spiritual of natural beauty, perfect sympathy with the vision, nearly every writer, to-day, is trying spirit of living creatures, a delightful caprice, to see into nature's life apart from the and an intimate familiarity with all aspects medium of human emotion, and in vacuo, as of the countryside, all combine in a mélange it were. Though the gain of this method to of little scenes and episodes, of observations physical science may be great, it is Mr. and reflections, to form a most natural pat Hudson's distinction to reassert that the tern. Where Hudson is superior to his Eng- supreme inexhaustible field that lies before lish rivals, such as Richard Jefferies, is in the man, lies outside his utilitarian interests, lies way he weaves his frankly human interests in his own spiritual absorption in the vast in the characters and life of countrymen he drama of nature's myriad activities. meets into the texture of his nature study. The work of field naturalists of rank calls, His wide range of emotional mood, his pas- indeed, for the exercise of a multiplicity of 1917] 85 THE DIAL . no gifts. If we think of Gilbert White, It happened that my young fellow-watchers, see- Waterton, Richard Jefferies, or of Belt Bates ing that the ejected robin if left there would inevit- ably perish, proposed to take it in to feed and rear and Wallace, or of Thoreau, Burroughs, it to save it, as they said; but I advised them not Bradford Torrey, we see that the tempera- to attempt such a thing, but rather to spare