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diff --git a/old/62966.txt b/old/62966.txt deleted file mode 100644 index 15be7e9..0000000 --- a/old/62966.txt +++ /dev/null @@ -1,4557 +0,0 @@ -Project Gutenberg's The Little Review, May 1914 (Vol. 1., No. 3), by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll -have to check the laws of the country where you are located before using -this ebook. - - - -Title: The Little Review, May 1914 (Vol. 1., No. 3) - -Author: Various - -Editor: Margaret C. Anderson - -Release Date: August 18, 2020 [EBook #62966] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, MAY 1914 *** - - - - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. This book was -produced from images made available by the Modernist Journal -Project, Brown and Tulsa Universities, -http://www.modjourn.org. - - - - - - - - - - THE LITTLE REVIEW - - - Literature Drama Music Art - - MARGARET C. ANDERSON - EDITOR - - MAY, 1914 - - On Behalf of Literature DeWitt C. Wing - The Challenge of Emma Goldman Margaret C. Anderson - Chloroform Mary Aldis and Arthur Davison - Ficke - "True to Life" Edith Wyatt - Impression George Soule - Art and Life George Burman Foster - Patriots Parke Forley - "Change" at the Fine Arts Theatre - Correspondence: - The Vision of Wells - Another View of "The Dark Flower" - Dr. Foster's Articles on Nietzsche - Lawton Parker Eunice Tietjens - New York Letter George Soule - Union vs. Union Privileges Henry Blackman Sell - Book Discussion: - Mr. Chesterton's Prejudices - Dr. Flexner on Prostitution - The Critics' Critic M. H. P. - Sentence Reviews - Letters to The Little Review - The Best Sellers - - 25 cents a copy - - THE LITTLE REVIEW - Fine Arts Building - CHICAGO - - $2.50 a year - - - - - THE LITTLE REVIEW - - - Vol. I - - MAY, 1914 - - No. 3 - - Copyright 1914, by Margaret C. Anderson. - - - - - On Behalf of Literature - - - DEWITT C. WING - -It is well-nigh incredible that Edwin Bjoerkman, of his own free will, -should have written the "open letter to President Wilson on behalf of -American literature" which appeared in the April Century. Whenever a man -of promise and power shows the white feather those who admire him suffer -a keen, personal pain. And yet Mr. Bjoerkman is by no means the last man -whom I should expect to make a plea for an official recognition, through -honors, prizes, and subsidies, of an American literature. A conventional -literary man could have done it, but a great man never. - -Mr. Bjoerkman, after remarking the President's ability to appreciate the -importance of what he purposes to lay before him, asks, "Will this -nation, as a nation, never do anything for the encouragement or reward -of its poets and men of letters?" He thinks it ought to do something -because "the soul of a nation is in its literature," and because "we -shall never raise our poetry to the level of our other achievements -until we, as a nation, try to find some method of providing money for -the poet's purse and laurels for his brow." - -No specific proposal is made to the President. Mr. Bjoerkman outlines the -general question, instances England, France, Sweden, and Norway as -bestowing honors and rewards upon their writers, and says that he has -"learned by bitter experience what it means to strive for sincere -artistic expression in a field where brass is commonly valued above -gold," and "should like to see the road made a little less hard, and the -goal a little more attractive, lest too many of those that come after -lose their courage and let themselves be tempted by the incessant -clangor of metal in the marketplace." Wherefore "on behalf of men and -women who are striving against tremendous odds to give this nation a -poetry equaling in worth and glory that of any other nation in the -world" he appeals to the Chief Executive to take the lead. - -A literature worthy of national fostering does not require it. - -When President Wilson read Mr. Bjoerkman's letter--we may assume that he -has somehow found time to do so--my little wager is that he smiled -sadly, and perhaps recalled a sentence that he wrote nearly twenty years -ago, when the spirit of youth gave a sort of instinctive inerrancy to -his judgments. In an essay on An Author's Company he said: - - Literatures are renewed, as they are originated, by uncontrived - impulses of nature, as if the sap moved unbidden in the mind. - -In the same essay occurs this wide-worldly phrase: - - There is a greater thing than the spirit of the age, and that is - the spirit of the ages. - -A man capable of the deep, wide thought which these excerpts contain is -not the man seriously to consider Mr. Bjoerkman's appeal. Literature is -not a response to a monetary or other invitation; it is as inevitable as -the sunrise, and opportunity neither originates nor develops it. The -conditions that govern the rise of sap and its transformations into -beauty cannot be set up by legislation nor made easier by Nobel prizes. -An artist of original power, born pregnant with a poem, a picture, or a -symphony, will inevitably give it birth. His necessity is not to receive -but to give. He is independent of the caprice of chance. He has no -thought of a chance "for sincere artistic expression." He is not -interested in the control of circumstance; he is the instrument of -something that controls him. Opportunity never knocks at his door; his -door cannot be opened from without; it is pushed open by an indwelling, -outgrowing guest. The process is as uncontrived as the unfolding of an -acorn into an oak. - -I fear that Mr. Bjoerkman's definition of art, if he have one, needs -expansion. The so-called art which he wishes to have encouraged as -something geographically local is an imitation which probably would -suffice in a petty world of orthodox socialism, where writing was a kind -of sociological business. Since unmistakable art is born, not -manufactured or induced, it were folly to try to nurture it. Unborn art -is nurtured by an inner sap; it cannot be fed on sedative pap. It always -has been and always will be born of suffering, in unexpected, unprepared -places, like all its wild and wonderful kin. Eugenics cannot be applied -to its unfathomable heredity. - -The soul of a nation is not in its literature but in its contemporary -life. Literatures haven't souls, even if, haply, they have considerable -vitality or permanence. Literatures are intricate autobiographies, vague -symbols of personal feeling, lifted by a modicum of consciousness into -mystic articulation. The great literatures that are on the way will be -more and more psychological. What people call love in the world of -realism will play a sublimer part in the world of consciousness. Prose -and poetry in which our conscious life is more intimately portrayed will -challenge and in a million years increase consciousness, so that through -emphasis and use this later acquisition of the race will transmute -information into perfect organic knowledge. A larger consciousness will -break up the chaos of unnumbered antagonisms in human relationships. The -literature of description and the blind play of instinct has served its -purpose and had its day. The literature of the future must deal with a -vaster world than that in which animals prey upon one another. Such a -literature will not bear the name of a man, a state, a nation, or an -age. - -We are opposed to the whole idea of nationalism; we even object to -worldliness in literature; we want something still bigger: a literature -with a sense of the planets in it. In this new day it is too late to -fuss about nations, geographical literatures, and races. We are called -toward the universe and mankind. In this land of blended nationalities -our hope is to evolve a literature vitalized by the blood of -multitudinous races and linked in pedigree with the infinite ages of the -past. Walt Whitman's poetry was cosmic; the new poetry will extend to -the planets. The summit of Parnassus now rests in the gloom of the -valley, and the poet of the future will look down from the higher -eminence to which science has called him. Man today soars in flying -machines in the old realm of his young imagination. Poets must outreach -mere science. - -What little patriots call a nation is a huge dogma that must be -overcome. In poetry there must be an increasingly larger sense of the -universe instead of nations as man's habitation. National literatures -are exclusive of and alien to one another; they should be interrelated -and fundamentally combinable. There can be no local literature if the -thought of the world is embodied in it, and any other quality of -literature must lack integrity. Wild dreamers insist upon a literature -that shall be superior to political boundaries. The idea of nationalism -involves the setting up of barriers and the fossilizing of life. It is a -small idea that belongs to the dark ages. If we are ever to expand in -feeling, thought, and achievement we must rise above nations into the -starry spaces. We shall at least be citizens of the world, and, if -citizens of the world, then truth-seekers beyond the reach of land and -sea. - -The little question put to President Wilson by Mr. Bjoerkman cannot -escape a negative answer, unless through petty exclusions and barbaric -insularities we continue trying to organize, cement, and perpetuate a -nation--that smug dream of our forefathers who reeked with selfishness -and reveled in a freedom that at the core was slavery. Statehood must -give way to a universal brotherhood. And if this were achieved it would -still be idle twaddle to talk about "providing money for the poet's -purse and laurels for his brow"; for a poet--I am not thinking of facile -versifiers, who are capable of intoxicating emotional persons with -philological colors and sensuous music--is rewarded not by money but by -understanding, and he fashions his own laurel, even as the sea pink -crowns itself with its ample glory. The kind of poet whose measure is -taken by Mr. Bjoerkman's pale solicitude is already generously provided -for by an unpoetic public, and there awaits his moist brow a laurel of -uncritical, national homage. - -Whitman, chanter of the earth's major note, and Blake, exquisite singer -of its subtlest minors, are clearly recognizable mutations. Apart from -the work of four or five men English verse falls into infinite grades of -imitative excellence and mediocrity. The best of it is highly finished -manufactured or in part reproduced art, obedient to a commercial age, in -which little men with renowned names gossip about nations, and worship -the god of utility. - -Poetry of the highest quality--great enough to burst a language--is the -outflow of the unconfinable passion of exceedingly rare individualities -that can be neither encouraged nor discouraged by any external -condition. They are vagrant leaps of life, wild with the creative power -of projecting variety. They come off the common stock as new forms -having many characteristics common to their ancestors but expressing -their unlikeness in mental or physiological development. Real poets are -genuine "sports" or mutations; near-poets are made by cultivation. As a -nation grows old and the impact of its culture upon all classes of -people increases, the greater its production of so-called classical art; -but this has nothing to do with what I mean by poetry. - -What is popularly termed poetry may represent sincere work; it may -answer to all the technical requirements of versification; it may -possess a sheen of word-music; it may contain deep, subtle thought, and -yet, despite all these customary earmarks, it is not real poetry. To be -sure, thousands of critics will acclaim it as authentic, and lecturers -will quote it as beautiful wisdom, but it is soon lost to eye and -memory. And in a large sense this must be true of the greatest poetry. - -One reason why we haven't more and better contemporary poetry and prose -is that we are under the tyranny of so-called masters. It is foolishly -assumed that masterpieces are finalities in their fields. By talking, -writing, and teaching this absurdity we set up popular prejudices -against vital work of our own time, so that even literary artists, with -an alleged sharp eye for genius, cannot identify an outstanding genius -when it appears before them. Only that poetry or prose which is a -reminder of or is almost as good as a celebrity's work is accepted as -art. We thus evolve "forms of appraisal" or standards with which we try -to hammer rebels and geniuses into line. The artist who, confident, -fearless, ample, and resolute, can go through this acid test without -compromise (fighting, even dying, for his vision) is the hope of men. He -does not ask for anything; he is a god; the gods merely command--not -always posthumously--and all the world is theirs. - -It is quite possible to encourage the profession of writing verse and -prose by making the road easier and the goal more attractive for the -weaklings who whine for nationalized alms, to enable them to pursue a -craft; but literature in the big sense is created by all sorts of men -and women who cannot withhold it, let the world approve, condemn, or -ignore. Hence literature is incapable of encouragement. - -In his Gleams, which are the most intimately personal things that he has -published, Mr. Bjoerkman reiterates the conviction that artists ought to -have a better chance than they now enjoy to express themselves. For -instance, he says: - - He who is to minister to men's souls should have time and chance - to acquire one for himself. - -And this: - - The children will build up the New Kingdom as soon as they are - given a chance. - -These extracts from his Gleams taken in connection with our concluding -quotation from his Century article indicate if they do not prove that -Mr. Bjoerkman regards artists as meticulous persons who must be coaxed, -humored, coddled, and rewarded in order to incite them to creative -activity. Obviously he means craftsmen when he uses the word artists. An -artist is impelled to do his work, which is his pain, joy, and passion. -If life is made easy for him the chances are that he will lose his -independence and power, and descend to a popular success. Stevenson -could not endure prosperity; once a man, accustomed to a hard, uphill -road--he did his noblest work then--a sentimental public made it so easy -for him that he eventually grew fairly Tennysonian in his output of -pretty trifles. - -A literature worthy of the name might address itself, in Whitman's -words, to authors who would be themselves in life and art: - - I do not offer the old smooth prizes, but offer rough new prizes; - - You shall not heap up what is call'd riches, - - You shall scatter with lavish hand all that you earn or achieve, - - You but arrive at the city to which you were destin'd--you hardly - settle yourself to satisfaction, before you are call'd by an - irresistible call to depart. - - - - - The Challenge of Emma Goldman - - - MARGARET C. ANDERSON - -Emma Goldman has been lecturing in Chicago, and various kinds of people -have been going to hear her. I have heard her twice--once before the -audience of well-dressed women who flock to her drama lectures and don't -know quite what to think of her, and once at the International Labor -Hall before a crowd of anarchists and syndicalists and socialists, most -of whom were collarless but who knew very emphatically what they thought -of her and of her ideas. I came away with a series of impressions, every -one of which resolved somehow into a single conviction: that here was a -great woman. - -The drama audience might have been dolls, for all they appeared to -understand what was going on. One of them went up to Miss Goldman -afterward and tried, almost petulantly, to explain why she believed in -property and wealth. She was utterly serious. No one could have -convinced her that there was any humor in the situation; that she might -as well try to work up a fervor of war enthusiasm in Carnegie as to -expect Emma Goldman to sympathize in the sanctity of property. The -second audience, after listening to a talk on anti-Christianity, got to -its feet and asked intelligent questions. Men with the faces of fanatics -and martyrs waved their arms in their excitement pro and con; some one -tried to prove that Nietzsche had an unscientific mind; a suave lawyer -stated that Miss Goldman was profoundly intellectual, but that her talk -was destructive--to which she replied that it would require another -lawyer to unravel his inconsistency; and then some one established -forcibly that the only real problem in the universe was that of three -meals a day. - -Most people who read and think have become enlightened about anarchism. -They know that anarchists are usually timid, thoughtful, unviolent -people; that dynamite is a part of their intellectual, not their -physical, equipment; and that the goal for which they are -striving--namely, individual human freedom--is one for which we might -all strive with credit. But for the benefit of those who regard Emma -Goldman as a public menace, and for those who simply don't know what to -make of her--like that fashionable feminine audience--it may be -interesting to look at her in a new way. - -To begin with, why not take her quite simply? She's a simple person. -She's natural. In any civilization it requires genius to be really -simple and natural. It's one of the most subtle, baffling, and agonizing -struggles we go through--this trying to attain the quality that ought to -be easiest of all attainment because we were given it to start with. -What a commentary on civilization!--that one can regain his original -simplicity only through colossal effort. Nietzsche calls it the three -metamorphoses of the spirit: "how the spirit becometh a camel, the camel -a lion, and the lion at last a child." - -And Emma Goldman has struggled through these stages. She has taken her -"heavy load-bearing spirit" into the wilderness, like the camel; become -lord of that wilderness, captured freedom for new creating, like the -lion; and then created new values, said her Yea to life, like the child. -Somehow Zarathustra kept running through my mind as I listened to her -that afternoon. - -Emma Goldman preaches and practises the philosophy of freedom; she -pushes through the network of a complicated society as if it were a -cobweb instead of a steel structure; she brushes the cobwebs from her -eyes and hair and calls back to the less daring ones that the air is -more pure up there and "sunrise sometimes visible." Someone has put it -this way: "Repudiating as she does practically every tenet of what the -modern state holds good, she stands for some of the noblest traits in -human nature." And no one who listens to her thoughtfully, whatever his -opinion of her creed, will deny that she has nobility. Such qualities as -courage--dauntless to the point of heartbreak; as sincerity, reverence, -high-mindedness, self-reliance, helpfulness, generosity, strength, a -capacity for love and work and life--all these are noble qualities, and -Emma Goldman has them in the nth power. She has no pale traits like -tact, gentleness, humility, meekness, compromise. She has "a hard, kind -heart" instead of "a soft, cruel one." And she's such a splendid -fighter! - -What is she fighting for? For the same things, concretely, that -Nietzsche and Max Stirner fought for abstractly. She has nothing to say -that they have not already said, perhaps; but the fact that she says it -instead of putting it into books, that she hurls it from the platform -straight into the minds and hearts of the eager, bewildered, or -unfriendly people who listen to her, gives her personality and her -message a unique value. She says it with the same unflinching violence -to an audience of capitalists as to her friends the workers. And the -substance of her gospel--I speak merely from the impressions of those -two lectures and the very little reading I've done of her published -work--is something of this sort: - -Radical changes in society, releasement from present injustices and -miseries, can come about not through reform but through change; not -through a patching up of the old order, but through a tearing down and a -rebuilding. This process involves the repudiation of such "spooks" as -Christianity, conventional morality, immortality, and all other "myths" -that stand as obstacles to progress, freedom, health, truth, and beauty. -One thus achieves that position beyond good and evil for which Nietzsche -pleaded. But it is more fair to use Miss Goldman's own words. In writing -of the failure of Christianity, for instance, she says: - - I believe that Christianity is most admirably adapted to the - training of slaves, to the perpetuation of a slave society; in - short, to the very conditions confronting us today. Indeed, never - could society have degenerated to its present appalling stage if - not for the assistance of Christianity.... No doubt I will be - told that, though religion is a poison and institutionalized - Christianity the greatest enemy of progress and freedom, there is - some good in Christianity itself. What about the teachings of - Christ and early Christianity, I may be asked; do they not stand - for the spirit of humanity, for right, and justice? - - It is precisely this oft-repeated contention that induced me to - choose this subject, to enable me to demonstrate that the abuses - of Christianity, like the abuses of government, are conditioned - in the thing itself, and are not to be charged to the - representatives of the creed. Christ and his teachings are the - embodiment of inertia, of the denial of life; hence responsible - for the things done in their name. - - I am not interested in the theological Christ. Brilliant minds - like Bauer, Strauss, Renan, Thomas Paine, and others refuted that - myth long ago. I am even ready to admit that the theological - Christ is not half so dangerous as the ethical and social Christ. - In proportion as science takes the place of blind faith, theology - loses its hold. But the ethical and poetical Christ-myth has so - thoroughly saturated our lives, that even some of the most - advanced minds find it difficult to emancipate themselves from - its yoke. They have rid themselves of the letter, but have - retained the spirit; yet it is the spirit which is back of all - the crimes and horrors committed by orthodox Christianity. The - Fathers of the Church can well afford to preach the gospel of - Christ. It contains nothing dangerous to the regime of authority - and wealth; it stands for self-denial and self-abnegation, for - penance and regret, and is absolutely inert in the face of every - indignity, every outrage imposed upon mankind.... Many otherwise - earnest haters of slavery and injustice confuse, in a most - distressing manner, the teachings of Christ with the great - struggles for social and economic emancipation. The two are - irrevocably and forever opposed to each other. The one - necessitates courage, daring, defiance, and strength. The other - preaches the gospel of non-resistance, of slavish acquiescence in - the will of others; it is the complete disregard of character and - self-reliance, and, therefore, destructive of liberty and - well-being.... - - The public career of Christ begins with the edict, "Repent, for - the Kingdom of Heaven is at hand." - - Why repent, why regret, in the face of something that was - supposed to bring deliverance? Had not the people suffered and - endured enough; had they not earned their right to deliverance by - their suffering? Take the Sermon on the Mount, for instance; what - is it but a eulogy on submission to fate, to the inevitability of - things? - - "Blessed are the poor in spirit...." - - Heaven must be an awfully dull place if the poor in spirit live - there. How can anything creative, anything vital, useful, and - beautiful, come from the poor in spirit? The idea conveyed in the - Sermon on the Mount is the greatest indictment against the - teachings of Christ, because it sees in the poverty of mind and - body a virtue, and because it seeks to maintain this virtue by - reward and punishment. Every intelligent being realizes that our - worst curse is the poverty of the spirit; that it is productive - of all evil and misery, of all the injustice and crimes in the - world. - - "Blessed are the meek, for they shall inherit the earth." - - What a preposterous notion! What incentive to slavery, - inactivity, and parasitism. Besides, it is not true that the meek - can inherit anything. - - "Blessed are ye when men shall revile you ... for great is your - reward in heaven." - - The reward in heaven is the perpetual bait, a bait that has - caught man in an iron net, a strait-jacket which does not let him - expand or grow. All pioneers of truth have been, and still are, - reviled. But did they ask humanity to pay the price? Did they - seek to bribe mankind to accept their ideas?... Redemption - through the Cross is worse than damnation, because of the - terrible burden it imposes upon humanity, because of the effect - it has on the human soul, fettering and paralyzing it with the - weight of the burden exacted through the death of Christ.... - - The teachings of Christ and of his followers have failed because - they lacked the vitality to lift the burdens from the shoulders - of the race; they have failed because the very essence of that - doctrine is contrary to the spirit of life, opposed to the - manifestation of nature, to the strength and beauty of passion. - -And so on. In her dissolution of other "myths"--such as that of -morality, for instance,--she has even more direct things to say. I quote -from a lecture on Victims of Morality: - - It is Morality which condemns woman to the position of a - celibate, a prostitute, or a reckless, incessant breeder of - children. - - First as to the celibate, the famished and withered human plant. - When still a young, beautiful flower, she falls in love with a - respectable young man. But Morality decrees that unless he can - marry the girl, she must never know the raptures of love, the - ecstasy of passion. The respectable young man is willing to - marry, but the Property Morality, the Family and Social - Moralities decree that he must first make his pile, must save up - enough to establish a home and be able to provide for a family. - The young people must wait, often many long, weary years.... And - the young flower, with every fiber aglow with the love of life? - She develops headaches, insomnia, hysteria; grows embittered, - quarrelsome, and soon becomes a faded, withered, joyless being, a - nuisance to herself and every one else.... Hedged in her narrow - confines with family and social tradition, guarded by a thousand - eyes, afraid of her own shadow--the yearning of her inmost being - for the man or the child, she must turn to cats, dogs, canary - birds, or the Bible class. - - Now as to the prostitute. In spite of laws, ordinances, - persecution, and prisons; in spite of segregation, registration, - vice crusades, and other similar devices, the prostitute is the - real specter of our age.... What has made her? Whence does she - come? Morality, the morality which is merciless in its attitude - to women. Once she dares to be herself, to be true to her nature, - to life, there is no return; the woman is thrust out from the - pale and protection of society. The prostitute becomes the victim - of Morality, even as the withered old maid is its victim. But the - prostitute is victimized by still other forces, foremost among - them the Property Morality, which compels woman to sell herself - as a sex commodity or in the sacred fold of matrimony. The latter - is no doubt safer, more respected, more recognized, but of the - two forms of prostitution the girl of the street is the least - hypocritical, the least debased, since her trade lacks the pious - mask of hypocrisy, and yet she is hounded, fleeced, outraged, and - shunned by the very powers that have made her: the financier, the - priest, the moralist, the judge, the jailer, and the detective, - not to forget her sheltered, respectably virtuous sister, who is - the most relentless and brutal in her persecution of the - prostitute. - - Morality and its victim, the mother--what a terrible picture! Is - there, indeed, anything more terrible, more criminal, than our - glorified sacred function of motherhood? The woman, physically - and mentally unfit to be a mother, yet condemned to breed; the - woman, economically taxed to the very last spark of energy, yet - forced to breed; the woman, tied to a man she loathes, yet made - to breed; the woman, worn and used-up from the process of - procreation, yet coerced to breed, more, ever more. What a - hideous thing, this much-lauded motherhood! - - With the economic war raging all around her, with strife, misery, - crime, disease, and insanity staring her in the face, with - numberless little children ground into gold dust, how can the - self and race-conscious woman become a mother? Morality cannot - answer this question. It can only dictate, coerce, or - condemn--and how many women are strong enough to face this - condemnation, to defy the moral dicta? Few indeed. Hence they - fill the factories, the reformatories, the homes for - feeble-minded, the prisons.... Oh, Motherhood, what crimes are - committed in thy name! What hosts are laid at your feet. - Morality, destroyer of life! - - Fortunately, the Dawn is emerging from the chaos and darkness.... - Through her re-born consciousness as a unit, a personality, a - race builder, woman will become a mother only if she desires the - child, and if she can give to the child, even before its birth, - all that her nature and intellect can yield ... above all, - understanding, reverence, and love, which is the only fertile - soil for new life, a new being. - -I have talked lately with a man who thinks Emma Goldman ought to have -been hanged long ago. She's directly or indirectly "responsible" for so -many crimes. "Do you know what she's trying to do?" I asked him. - -"She's trying to break up our government," he responded heatedly. - -"Have you ever read any of her ideas?" - -"No." - -"Have you ever heard her lecture?" - -"No! I should say not." - -In a play, that line would get a laugh. (It did in Man and Superman.) -But in life it fares better. It gets serious consideration; it even has -a certain prestige as a rather righteous thing to say. - -Another man threw himself into the argument. "I know very little about -Emma Goldman," he said, "but it has always struck me that she's simply -trying to inflame people--particularly to do things that she'd never -think of doing herself." That charge can be answered best by a study of -her life, which will show that she has spent her time doing things that -almost no one else would dare to do. - -In his Women as World Builders Floyd Dell said this: "Emma Goldman has -become simply an advocate of freedom of every sort. She does not -advocate violence any more than Ralph Waldo Emerson advocated violence. -It is, in fact, as an essayist and speaker of the kind, if not the -quality, of Emerson, Thoreau, and George Francis Train, that she is to -be considered." I think, rather, that she is to be considered -fundamentally as something more definite than that:--as a practical -Nietzschean. - -I am incapable of listening, unaroused, to the person who believes -something intensely, and who does intensely what she believes. What more -simple--or more difficult? Most of us don't know what we believe, or, if -we do, we have the most extraordinary time trying to live it. Emma -Goldman is so bravely consistent--which to many people is a confession -of limitations. But if one is going to criticise her there are more -subtle grounds to do it on. One of her frequent assertions is that she -has no use for religion. That is like saying that one has no use for -poetry: religion isn't merely a matter of Christianity or Catholicism or -Buddhism or any other classifiable quantity. Also, if it is true that -the person to be distrusted is the one who has found an answer to the -riddle, then Emma Goldman is to be discounted. Her convictions are -presented with a sense of definite finality. But there's something -splendidly uncautious, something irresistibly stirring, about such an -attitude. And whatever one believes, of one thing I'm certain: whoever -means to face the world and its problems intelligently must know -something about Emma Goldman. Whether her philosophy will change the -face of the earth isn't the supreme issue. As the enemy of all smug -contentment, of all blind acquiescence in things as they are, and as the -prophet who dares to preach that our failures are not in wrong -applications of values but in the values themselves, Emma Goldman is the -most challenging spirit in America. - - No sooner is a thing brought to sight than it is swept by and - another takes its place, and this, too, will be swept away.... - Observe always that everything is the result of a change, ... get - used to thinking that there is nothing Nature loves so well as to - change existing forms and to make new ones like them.--Marcus - Aurelius. - - - - - Chloroform - - - MARY ALDIS AND ARTHUR DAVISON FICKE - - A sickening odour, treacherously sweet, - Steals through my sense heavily. - Above me leans an ominous shape, - Fearful, white-robed, hooded and masked in white. - The pits of his eyes - Peer like the port-holes of an armoured ship, - Merciless, keen, inhuman, dark. - The hands alone are of my kindred; - Their slender strength, that soon shall press the knife - Silver and red, now lingers slowly above me, - The last links with my human world ... - - ... The living daylight - Clouds and thickens. - Flashes of sudden clearness stream before me,--and then - A menacing wave of darkness - Swallows the glow with floods of vast and indeterminate grey. - But in the flashes - I see the white form towering, - Dim, ominous, - Like some apostate monk whose will unholy - Has renounced God; and now - In this most awful secret laboratory - Would wring from matter - Its stark and appalling answer. - At the gates of a bitter hell he stands, to wrest with eager fierceness - More of that dark forbidden knowledge - Wherefrom his soul draws fervor to deny. - - The clouds have grown thicker; they sway around me - Dizzying, terrible, gigantic, pressing in upon me - Like a thousand monsters of the deep with formless arms. - I cannot push them back, I cannot! - From far, far off, a voice I knew long ago - Sounds faintly thin and clear. - Suddenly in a desperate rebellion I strive to answer,-- - I strive to call aloud.-- - But darkness chokes and overcomes me: - None may hear my soundless cry. - A depth abysmal opens - And receives, enfolds, engulfs me,-- - Wherein to sink at last seems blissful - Even though to deeper pain.... - - O respite and peace of deliverance! - The silence - Lies over me like a benediction. - As in the earth's first pale creation-morn - Among winds and waters holy - I am borne as I longed to be borne. - I am adrift in the depths of an ocean grey - Like seaweed, desiring solely - To drift with the winds and waters; I sway - Into their vast slow movements; all the shores - Of being are laved by my tides. - I am drawn out toward spaces wonderful and holy - Where peace abides, - And into golden aeons far away. - - But over me - Where I swing slowly - Bodiless in the bodiless sea, - Very far, - Oh very far away, - Glimmeringly - Hangs a ghostly star - Toward whose pure beam I must flow resistlessly. - Well do I know its ray! - It is the light beyond the worlds of space, - By groping sorrowing man yet never known-- - The goal where all men's blind and yearning desire - Has vainly longed to go - And has not gone:-- - Where Eternity has its blue-walled dwelling-place, - And the crystal ether opens endlessly - To all the recessed corners of the world, - Like liquid fire - Pouring a flood through the dimness revealingly; - Where my soul shall behold, and in lightness of wonder rise higher - Out of the shadow that long ago - Around me with mortality was furled. - - I rise where have winds - Of the night never flown; - Shaken with rapture - Is the vault of desire. - The weakness that binds - Like a shadow is gone. - The bonds of my capture - Are sundered with fire! - - This is the hour - When the wonders open! - The lightning-winged spaces - Through which I fly - Accept me, a power - Whose prisons are broken-- - - * * * * * - - ... But the wonder wavers-- - The light goes out. - I am in the void no more; changes are imminent. - Time with a million beating wings - Deafens the air in migratory flight - Like the roar of seas--and is gone ... - And a silence - Lasts deafeningly. - In darkness and perfect silence - I wander groping in my agony, - Far from the light lost in the upper ether-- - Unknown, unknowable, so nearly mine. - And the ages pass by me, - Thousands each instant, yet I feel them all - To the last second of their dragging time. - Thus have I striven always - Since the world began. - And when it dies I still must struggle ... - - * * * * * - - The voice I knew so long ago, like a muffled echo under the sea - Is coming nearer. - Strong hands - Grip mine. - And words whose tones are warm with some forgotten consolation, - Some unintelligible hope, - Drag me upward in horrible mercy; - And the cold once-familiar daylight glares into my eyes. - - He stands there, - The white apostate monk, - Speaking low lying words to soothe me. - And I lift my voice out of its vales of agony - And laugh in his face, - Mocking him with astonishment of wonder. - For he has denied; - And I have come so near, so near to knowing ... - - Then as his hand touches me gently, I am drawn up from the - lonely abysses, - And suffer him to lead me back into the green valleys of the living. - - - - - "True to Life" - - - EDITH WYATT - -A recent sincere and beautiful greeting from Mr. John Galsworthy to THE -LITTLE REVIEW suggests that the creative artist and the creative critic -in America may wisely heed a saying of de Maupassant about a writer -"sitting down before an object until he has seen it in the way that he -alone can see it, seen it with the part of him which makes him This man -and not That." - -Mr. Galsworthy adds: "And I did seem to notice in America that there was -a good deal of space and not much time; and that without too much danger -of becoming 'Yogis,' people might perhaps sit down a little longer in -front of things than they seemed to do." - -What native observer of American writing will not welcome the justice of -this comment? Surely the contemporary American poems, novels, tales, and -critiques which express an individual and attentively-considered -impression of any subject from our own life here are few: and these not, -it would appear, greatly in vogue. Why? Everyone will have his own -answer. - -In replying to the first part of the question--why closely-considered -individual impressions of our life are few--I think it should be said -that the habit of respect for close attention of any kind is not among -the American virtues. The visitor of our political conventions, the -reader of our "literary criticism" must have noted a prevailing, -shuffling, and perfunctory mood of casual disregard for the matter in -hand. Many American people are indeed reared to suppose that if they -appear to bestow an interested attention on the matter before them, some -misunderstanding will ensue as to their own social importance. Nearly -everyone must have noted with a sinking of the heart this attitude -towards the public among library attendants, hotel-clerks, and plumbers. -This abstraction is not, however, confined to the pursuers of any -occupation, but to some degree affects us all. In the consciousness of -our nation there appears to exist a mysterious though deep-seated awe -for the prestige of the casual and the off-hand. - -Especially we think it an unworthiness in an author that he should, as -the phrase is, "take himself seriously." We consider the attitude we -have described as characterizing library attendants and hotel-clerks as -the only correct one for writers--the attitude of a person doing -something as it were unconsciously, a matter he pooh-poohs and scarcely -cares to expend his energy and time upon in the grand course of his -personal existence. You may hear plenty of American authors talk of "not -taking themselves seriously" who, if they spoke with accuracy, should -say that they regarded themselves as too important and precious to -exhaust themselves by doing their work with conscience. - -This dull self-importance insidiously saps in our country the respect -for thoroughness and application characteristic of Germany; insidiously -blunts in American penetrative powers the English faculty of being -"keen" on a subject, recently presented to us with such grace in the -young hero's eager pursuits in Compton Mackenzie's Sinister Street; and -disparages lightly but often completely the growth of the fresh and -varied spirit of production described in the passage of de Maupassant to -which Mr. Galsworthy refers. This passage expresses the clear fire of -attention our American habits lack, with a sympathy it is a pleasure to -quote here in its entirety. De Maupassant says in the preface of Pierre -et Jean: - - For seven years I wrote verses, I wrote stories, I wrote novels. - I even wrote a detestable play. Of these nothing survives. The - master (Flaubert) read them all, and on the following Sunday at - luncheon he would give me his criticism, and inculcate little by - little two or three principles that sum up his long and patient - lesson. "If one has any originality, the first thing requisite is - to bring it out: if one has none, the first thing to be done is - to acquire it." - - Talent is long patience. Everything which one desires to express - must be considered with sufficient attention and during a - sufficiently long time to discover in it some aspect which no one - has yet seen or described. In everything there is still some spot - unexplored, because we are accustomed to look at things only with - the recollection of what others before us have thought of the - subject we are contemplating. The smallest object contains - something unknown. Let us find it. In order to describe a fire - that flames and a tree on the plain, we must keep looking at that - flame and that tree until to our eyes they no longer resemble any - other tree, or any other fire. - - This is the way to become original. - - Having besides laid down this truth that there are not in the - whole world two grains of sand, two specks, two hands, or two - noses alike, Flaubert compelled me to describe in a few phrases a - being or an object in such a manner as to clearly particularize - it, and distinguish it from all the other beings or all the other - objects of the same race, or the same species. "When you pass," - he would say, "a grocer seated at his shop door, a janitor - smoking his pipe, a stand of hackney coaches, show me that grocer - and that janitor, their attitude, their whole physical - appearance, including also by a skilful description their whole - moral nature so that I cannot confound them with any other grocer - or any other janitor: make me see, in one word, that a certain - cab-horse does not resemble the fifty others that follow or - precede it." - -One underlying reason why American writers so seldom pursue such studies -and methods as these is the prevailing disesteem for clearly-focussed -attention we have described. Another reason is that the American writer -of fiction who loves the pursuit of precise expression will indubitably -have to face a number of difficulties which may perhaps not be readily -apparent to the writers of other countries. - -Naturally enough, in his more newly-settled, or rather his settling, -nation, made up of many nationalities, the American writer who desires -to "particularize" a subject from his country's contemporary history, -and "to distinguish this from all the other beings and all the other -objects of the same race," will have many more heretofore unexpressed -conditions and basic circumstances to evoke in his reader's mind than -the German or French or English writer must summon. - -For instance, the young French writer of de Maupassant's narrative who -was to call up out of the deep of European life the individuality of one -single French grocer, would himself have and would address an audience -who had--whether for better or worse (to my way of thinking, as it -chances, for worse)--a fairly fixed social conception of the class of -this retail merchant. The American writer who knows very well that -General Grant once kept an unsuccessful shoe store, and that some of the -most distinguished paintings the country possesses have been selected by -the admirably-educated taste and knowledge of one or two public-spirited -retail dry-goods merchants; and who also has seen gaunt and -poverty-stricken Russian store-keepers standing among stalls of rotten -strawberries in Jefferson Street market, in Chicago--that writer will -neither speak from nor address this definite social conception according -to mere character of occupation which I have indicated as a part of the -French author's means of exactitude in expression. - -Nothing in our own random civilization, as it seems to me, is quite so -fixed as that French grocer seated in his doorway, that de Maupassant -and Flaubert mention with such charm. Nothing here is so neat as that. -To convey social truth, the American writer interested in giving his own -impression of a grocer in America, whether rich or poor or moderately -prospering, will have to individualize him and all his surrounding -condition more, and to classify him and all his surrounding condition -less, than de Maupassant does, to convey the social truth his own -inimitable sketches impart. - -Again, ours is a very changing population. Its movement of life through -one of our cities is attended with various and choppy and many-toned -sounds communicating a varied rhythm of its own. To return to our figure -of the retail tradesman--if this tradesman be in Chicago, for instance, -he may neither be expressed clearly by typical classifications, nor -shown without a genuine error in historical perspective against a static -street background and trade life. This background must have change and -motion, unless the writer is to copy into his own picture some foreign -author's rendition of a totally different place and state of human -existence. The tune of the story's text, too, should repeat for the -reader's inward ear the special experience of truth the author has -perceived, the special ragged sound and rhythm of the motion of life he -has heard telling the tale of that special place. - -May one add what is only too obvious, and said because I think it may -serve to explain in some degree why individual impressions of American -life are not greatly encouraged in this country? It will be quite plain -that such a limpid, clear-spaced, reverent style and stilled background -as speaks in one of Mr. Galsworthy's stories the tragedy of a London -shoe-maker's commercial ruin, would be false to all these values. It -will be quite plain that such a bright, hard, definite manner as that -which states with perfection the life of the circles of the petty -government-official and his wife in The Necklace would be powerless to -convey some of the elements we have selected as characterizing the -American subject we have tried to suggest. - -But many American reviewers and professional readers and publishers, who -suppose themselves to be devoted to "realism" and to writing of -"radical" tendency, believe not at all that the realistic writer should -adopt de Maupassant's method and incarnate for us his own American -vision of the life he sees here, but simply that he should imitate the -manner of de Maupassant. Many such American reviewers and professional -readers and publishers believe not at all that the radical writer should -find and represent for us some unseen branching root of certain American -social phenomena which he himself has detected, but simply that he -should copy some excellent drawing of English roots by Mr. Galsworthy, -or of Russian roots by Gorky. - -The craze for imitation in American writing is almost unbelievably -pervasive. The author here, who is devoted to the attempt to speak his -own truth--and the more devoted he is the more reverently, I believe, -will he regard all other authors' truth as theirs and derived exactly -from their own point of view--will find opposed to him not only the -great body of conventional romanticists and conservatives who will think -he ought to stereotype and conventionalize his work into a poor, dulled -contemporary imitation of the delightful narratives of Sir Walter Scott. -He will also find opposed to him the great body of conventional -"realists" and "radicals" who will think he ought to stereotype and -conventionalize his work into a poor, blurred imitation of the keen -narratives of Mr. H. G. Wells. - -Sometimes these counsellors, not content with commending a copied -manner, seriously urge--one might think at the risk of advising -plagiarism--that the American author simply transplant the social ideas -of some admirable foreign artist to one of our own local scenes. Thus, a -year or two ago, in one of our critical journals, I saw the writer of a -novel about Indiana state politicians severely blamed for not making the -same observations on the subject that Mr. Wells had made about English -national parliamentary life in The New Machiavelli. Not long since -another American reviewer of "radical" tendency harshly censured the -author of a novel about American under-graduate life in a New York -college, because the daughter of the college president uttered views of -sex and marriage unlike those expressed in Ann Veronica. - -This sort of criticism--equally unflattering and obtuse, it appears to -me, in its perception of the special characterizations of Mr. Wells's -thoughtful pages, and in its counsel to the artist depicting an -alien topic to insert extraneous and unrelated views in his -landscape--proceeds from a certain strange and ridiculous conception of -truth peculiar to many persons engaged in the great fields of our -literary criticism and of our publishing and political activities. - -This is a conception of truth not at all as something capable of -irradiating any scene on the globe, like light; but as some very -definite and limited force, driving a band-wagon. People who possess -this conception of truth seem to argue very reasonably that if Mr. Wells -is "in" it, so to speak, with truth, and is saying "the thing" to say -about sex or about the liberal party, then the intelligent author -anywhere who desires to be "in" it with truth will surely get into this -band-wagon of Mr. Wells's and stand on the very planks he has placed in -the platform of its particular wagonbed. It is an ironical, if tragic, -comment on the intelligence of American reading that the driver I have -chanced to see most frequently urged for authors here should be Mr. H. -G. Wells, who has done probably more than any other living writer of -English to encourage varied specialistic and non-partisan expression. - -We have said that to tell his own truth the American writer will have to -sit longer before his subject and will have more to do to express it, -than if he chose it from a country of more ancient practices in art, and -of longer ancestral sojourns. We have said that he will be urged not to -tell his own truth considerably more than an English or German or French -writer would be. These authors are at least not advised to imitate -American expression, and they live in countries where the habit of -copying the work of other artists is much less widely regarded as an -evidence of sophistication than it is here. - -The American writer must also face a marked historical peculiarity of -our national letters. The publishing centres of England and of Germany -and of France are in the midst of these nations. Outside the daily -press, the greater part of the publishing business of our own country is -in New York--situated in the northeast corner, nearly a continent away -from many of our national interests and from many millions of our -population. By an odd coincidence, outside the daily press, the field of -our national letters in magazine and book publication seems to be -occupied not at all with individual impressions of truth from over the -whole country, but with what may be called the New York truth. - -The young American author in the Klondike or in San Francisco who -desires to sit long before his subject and to reveal its hitherto -unrecorded aspect must do so with the clear knowledge that the field of -publication for him in the East is already filled by our old friend the -New York Klondike, scarcely changed by the disappearance of one dog or -sweater from the early days of the gold discoveries; and that no -earthquake has shaken the New York San Francisco. - -Of course we know, because she almost annually reassures the country on -these points, that New York instantly welcomes all original and fresh -writing arising from the remotest borders of the nation; and that in all -these matters she is not and never possibly could be dull. Yet one can -understand how the Klondike author, interested, as Mr. Galsworthy -advises, in seeing an object in "the way that he alone can see it" and -"with the part of him which makes him This man and not That," might feel -a trifle dashed by New York's way of showing her love of originality in -spending nearly all the money and energy her publishers and reviewers -have in advertising and in praising authors as the sixteenth Kipling of -the Klondike or the thirtieth O. Henry, of California. This is apt to be -bewildering, too, for the readers of Mr. Kipling and O. Henry, who have -enjoyed in the tales of each of these men the truth told "with the part -of him which makes him This man and not That." It is possible to -understand, too, how the young author in San Francisco may feel that -since New York's consciousness of his city has remained virtually -untouched for eight years by the greatest cataclysm of nature on our -continent, perhaps she overrates the extreme swiftness and sensitiveness -of her reaction to novel impression from without; and might conceivably -not hear a story of heretofore unexpressed aspects of San Francisco told -by the truthful voice of one young writer. - -These are some of my own guesses as to why individual impressions of our -national life are few and why they are not greatly in vogue in America. -Whether they be poor or good guesses they represent one Middle Western -reader's observation of some of the actual difficulties that will have -to be faced in America by the writer who by temperament desires to -follow that golden and beautiful way of Flaubert's, which Mr. Galsworthy -has mentioned. - -This writer will doubtless get from these difficulties far more fun than -he ever could have had without them. They are suggested here in the -pages of THE LITTLE REVIEW, not at all with the idea of discouraging a -single traveler from setting out on that splendid road, but rather as a -step towards the beginning of that true and long comradeship with effort -that is worth befriending which our felicitous English well-wisher hopes -may be THE LITTLE REVIEW'S abiding purpose. - -"Henceforth I ask not Good Fortune: I, myself, am Good Fortune." - - - - - Impression - - - GEORGE SOULE - - Her life was late a new-built house-- - Empty, with shining window panes, - Where neither sorrow nor carouse - Had left red stains. - - A passing vagrant, least of men, - Entered and used; her hearth-fire shone. - She mellowed, he grew restless then-- - Left her alone. - - Now she is vacant as before, - Desolate through the weary whiles; - Yet play about the darkened door - Shadows of smiles. - - - - - Art and Life - - - GEORGE BURMAN FOSTER - -Odium theologicum--it is a deadly thing. But the ridicule and obloquy, -formerly characteristic of credal fanaticism, seem to have passed over -in recent years into the camp of art connoisseurs. No denying it, it was -a Homeric warfare that reverberated up and down the earth from land to -land, and from century to century, between what was ever the "old" faith -and the "new." In this year of grace, however, it is the disciples of -"classic" art--aureoled with the sanctity of some antiquity or -idealism--and "modern" art--in whatever nuance or novelty of most -disapproved and screaming modernity--who hereticize each other, who even -deny each other right of domicile, save, perhaps, in the unvisited -solitudes of interstellar spaces. To be sure, those august and frozen -solitudes of the everlasting nothing may be conceivably preferable to -the theological Inferno, though probably this question has not yet -received the attention from critics and philanthropists that its -importance would seem to merit. - -At the outset it seemed as if the religious warfare had a certain -advantage over the esthetic--it agitated more people, and seized men in -their idiomatic and innermost interests, while, on the other side, but -small and select circles participated in partisan questions and -controversies respecting art. But it looks now as if it would soon be -the other way around. The people face religious problems with less and -less sympathy and understanding. But art, art of some kind and some -degree, they are keenly alive as to that, and quick to appraise or to -argue. The churches are ever emptier; the theatres, concert halls, -museums, "movies," ever fuller. A religious book--short of -epoch-making--finds, at best, only a reluctant and panicky publisher; a -new play, a new novel, see how many editions it passes through, how hard -it is to draw at the libraries, even after the staff and all their -friends and sweethearts have courteously had first chance at it! - -Now, it is of no use to quarrel with this turn matters have taken. And -we miss the mark if we say that it is all bad. Off moments come to the -best of us when we grow a bit tired of being "uplifted" and "reformed." -Humanity has turned to art and, in doing so, has, on some side of its -life, moved forward apace, mounted to higher modes of existence, and, -whether the church knows it or not, along the steeps of Parnassus and in -the home of the muses has heard some music and caught some glimpses of -the not too distant fatherland of the divine and the eternal. - -First-rate spirits of light and leading have pointed the way to a new -esthetic culture--prophetic spirits who in blackest night when deep -sleep had fallen upon most men saw the rosy-fingered dawn of our new -day. It was to be a day when beauty should be bidden to lead the dance -at the ball of life. There were serious philosophers--there was Kant, -who contemplated art as the keystone in the sublime structure which -modern knowledge and moral will should be summoned to erect in life. -There was Schopenhauer, to whom art was the unveiling of the riddle of -the world, the most intimate revelation of the divine mystery of life. -There was the hero of Baireuth, who, in his artistic creations, summed -up all the spiritual and moral forces of humanity, and made them -fruitful for the rebirth and fruition of our modern day. - -Among these prophets of a new esthetic culture, Friedrich Nietzsche -occupies a quite special place, and influences the course of coming -events. As a most enthusiastic apostle of the gospel of a -world-redeeming art he first flung his fire-brand into the land, but -only to scorn and blaspheme soon thereafter the very gods he had -formerly so passionately worshipped; now degrading them to idols. His -faith in art, not this art or that, but in all art, in art as such, -pathetically wavered. Still the artist in him himself did not die; its -eye was undimmed and its bow abode in strength. And though he later -confronted every work of art with a malevolent and exasperating -interrogation, all this was only his pure and pellucid soul wrestling -for better and surer values, for new and nobler revelations, of the -artistic genius. Indeed, it was precisely in these interrogations that -he was at once our liberator and our leader--our liberator from the -frenzy into which the overfoaming enthusiasm as regards art had -transported men; our leader to a livelier, loftier beauty summoned to -the creation of the humanest, divinest robes for the adornment of -humanity as a whole. - -The great movement and seething in the artistic life of our age -signifies at the same time a turning point in our entire cultural life. -This turning point discloses new perspective into vast illimitable -distances where new victories are to be achieved by new struggles. The -great diremption in our present world, making men sick and weak, calling -for relaxation and convalescence, appears at a definite stage as the -opposition between life and art. Life is serious, art is gay--so were we -taught. Seriousness and gaiety--it was the fatality of our time that -these could not be combined. So art and life were torn asunder. Art was -no serious matter, no vital matter, satisfying a true and necessary -human requirement. Art was a luxury, a sport, and since but few men were -in a position to avail themselves of such luxury, art came to be the -prerogative of a few rich people. Down at the bottom, in homes of want -and misery, life's tragedies were real and fearful; life was real, -indeed, life was earnest, indeed; at the top, however, pleasures claimed -the senses and thoughts of men; so much so, that even tragedies served -but to amuse; tragedies were an illusion of the senses, not realities of -life and pain. What God had joined together man had put asunder--and -there was art without life, life without art, and both art and life -suffering from ailments which neither understood. - -There was a time when men worked, too, but it was a beautiful halcyon -time, when pleasure and joy throbbed in the very heart of the work -itself; when a sunny serenity suffused life's profoundest seriousness. -Art pervaded all life, active in all man's activities, present in every -nook and corner whither his vagrant feet wandered. Indeed, art was the -very life of man, revealing his strength, his freedom, his creativeness, -with which he fashioned things after his own image and according to his -own likeness. Every craftsman was an artist, every peasant a poet. Man -put his soul into all that he said and did, all that he lived; his work -was a work of art, his speech a song, his life beauty. No man lived by -bread alone; everyone heard and had a word that was the True Bread. His -cathedrals--domes of many-colored glass--preached it to him; his actors -sang it to him; even his priests were artists. With a sort of divine -humor, man thus subjected to himself all the anxiety and need of life. - -Then, later, man came to think that he could live by bread alone. Even -the True Bread came to be mere bread--public influence; political power. -And then man's poor soul hungered. And when he longed for a Living Word -that was not mere bread, he was given printer's ink and the "sacred -letter" of the Bible. But this--ah, this was no soul's food. So the soul -lost its soul. Then, as man had no soul to work with, he had to work -with his head, his arms, his feet. Man ceased to be an artist who -breathes his living soul into his life, an artist who illumined all the -seriousness of life with the sunshine of his living love. Would he art, -he could not make it, he had to buy it. Could he not buy it, he had to -do without it. Thus, life became as jejune and rational as a Protestant -service, where, to be sure, there was no priest more, but also no -artist, only scribe and theologian--where religion became dogmatics, -faith a sum in arithmetic, Christianity a documentarily deposited -judicial process between God and man. To be sure, under certain -circumstances, decoration and color, even pomp and magnificence, may be -found in this church, but no living connection between the outward -appearance of these churches and their inner and peculiar service. Thus, -too, our private dwellings have lost living union between their -appointments and their inmates. What all are curious to know about these -houses is whether the men who dwell in them are rich or poor, not -whether they have souls, and what lives in their souls, should they have -any. - -And because art had no soul of its own more, it became patronizing and -mendicant--coquetting for the favors of the rich and powerful, sitting -at their tables, perhaps even picking up the crumbs that fall beneath -the tables. Art, ah, art sought bread--mere bread--and adopted the sorry -principle that to get bread was the sacredest of all duties. - -Art without life, life without art! Then came that mighty movement of -spirits to bring art and life together again, to reconquer and recreate -and reestablish a view of life in which man should learn to see and -achieve beauty once yet again. Of that movement, Friedrich Nietzsche was -the purest and intensest herald. Bold, fiery spirit, with words that -burn, he uttered what had been for a long time a soul-burden of all -deeper spirits. This burden of souls was that an art creation should go -on in every human life as its highest and holiest calling; that, without -the living effectuation of the artistic power of the human soul, all -human culture would serve but beastliness and barbarity. - -To this end our poet-philosopher returns to the Urgrund, the abyss of -nature's life, from whose mysterious deep all tempestuous, wild impulses -tumble forth and struggle for form and expression in man. It is life -which seeks death in order to renew itself in the painful pleasure of -its destruction, perceived but then by man in the thrill of delight -which prepares the way for his most original eternal revelation. To -breed pleasure from pain; to suck forces of life from the most shocking -tragedies; to eavesdrop on the brink of the abysmal so as to fashion -sweet phantoms in the divine intoxication of the soul,--this is music, -this is art, in this, man struggles beyond and above his whole -contradictory nature, transfigures death, creates forms and figures in -which he celebrates his self-redemption from seriousness, from the curse -of existence. Here, at last, art is no sport, no fiddle-faddle, but at -once highest and gayest seriousness. It returns from the service of -death which it has performed, to its life, which it receives from "every -word that proceedeth out of the mouth of God." Herein lies the -over-powering, the prophetic, in this Nietzschean preaching of art. It -tells us that we are very far from comprehending life when we have but -measured its length and breadth with yardstick and square; that nature -is far different from what scholars have figured it out to be, or from -what investigators have seen of it with telescope and microscope. It -teaches us to listen to the old eternal murmurs of the spirit, whose -sigh we hear indeed, but whence it comes and whither it goes we never -know--murmurs and sighs which bring forth the elementary forces, -instincts, passions, and friendships in man, which men fashion and -shape, regulate and direct indeed, but whose coming and going, whose -ebbing and flowing, is not within their power. Inspiration, divine -in-breathing--a dead concept as applied by theologians to their -Bible--comes into its own again in human nature as a whole, it is the -true element in man's life, by virtue of which the soul feels within -itself a creative life--its own proof that its dependence is no -slave-service, but freedom; that its deepest suffering of pain is itself -creative life, creative pleasure. - -Is it, now, the tragic fatality of a sick soul, is it the demoniac play -of a spirit of negation when precisely the very preacher of this -grandiose art-prophecy goes astray in his own preaching, when he finally -thrusts it from him, with shrill laughter? The poet-philosopher begins -to think concerning his preaching! Art makes the thinker's heart heavy! -Art ever speaks a language which thought cannot express. Art strikes -chords in the human heart, and there are at once intimations of a Beyond -of all thought. And the thinker of today has bidden good-bye to every -Beyond of his thought. Nothing unthinkable was to be left for the -feelings. So the thinker felt a stab in every art for his thinker's -heart, a doubt whether he should hold fast to the incomprehensible or -sell himself to the devil of the universally comprehensible. And this -doubt becomes an open confession of sin in the Zarathustra poesy: -poets--and Zarathustra himself was a poet--lie too much! It is -adulterated wine which they set before the thirsty. They muddy all their -streams so that they shall appear deep. Into the kingdom of clouds they -go, and build their air-castles on all too airy foundations. Thus, -Zarathustra, poet, grows weary of their lies; he is a bit tired even of -himself. And so, now, this doubt-respecting art slips into the soul of -even its most enthusiastic prophets--nor are they the worst artists at -whose souls these doubts gnaw! To create a beautiful culture in which -man shall receive a higher revelation of life, and mount to a higher -stage of his development, to this, art which receives its consecration -in dizziness and dream, is not yet called. In fact, these artists do lie -too much! They seek life indeed, they hunger for life; but, because life -is too living to them, too natural, they create an artificial glow in -whose heat they think they first have life. Thus, the second deception -becomes worse than the first. The devil of matter-of-fact prose is -driven out by the beelzebub of over-stimulated nerves, and men flee from -the monotony of every-day life to the refinement of sensibility, which -art shall superinduce. Poets do lie too much, not because they tell us -fairy tales--fairy tales could be the beautifulest, holiest truths! But -because they simulate feelings they do not have--feelings which arise in -them not naturally but narcotically! Sculptors, painters, do lie too -much, not because they create forms and colors which no man's eyes have -ever seen, but because they create their own selves unfaithfully--an -alien life which they have somewhere inoculated themselves with and -given out as their own. Even architects lie too much, because they -compel their works to speak a foreign language, as if stone should be -ashamed to speak as stone, wood as wood, iron as iron! - -The Nietzschean doubt respecting art--today this has become a demand for -truth in art and for truthfulness in the artist! And from these a -third--the demand for simplicity! And all this is of a piece with the -purpose to live a simple life. - -Man does not live by bread alone. It is a living question for the sake -of future humanity that our art shall give the True Bread to the heart -of man, so that we may form a life in us and around us, a life whereon -shall not repose the dead weight of a culture artificially burdened with -a thousand anxieties and cares, but a life wherein man shall breathe -freer, because he breathes the fresh free air of life itself. Beautiful -life, artistic culture; this means the opposite of what many mean by it -today--it means, not upholstered chairs, not more cushions and carpets, -not motlier pictures on the walls, and not a pleroma of all varieties of -ornaments overloading stands and tables, but it means a life full of -soul, warm with the sunshine of love, it means that all man does, all -that environs him, shall find through eye and ear the mystic pathway to -the heart, to bear witness there of a joy and an ardor, of a freedom and -a truth, inspiring men to cry: It is good to be here, let us build -tabernacles! For such beautiful life, so little is required, yet so -much! So little sumptuousness, so much soul! So little money, so much -man! - - - - - Patriots - - - ON THE "7:50" - - PARKE FARLEY - - As you go in and out upon the train, - You're always reading poetry? - - ... Yes. - At first it slightly did embarrass me - To have the people stare, - Like you, over my shoulder, - Catching, as it were, a sudden flashing thigh, - Or gleam of sunlight on a truth laid bare, - Then sizing me up from the tail of the eye. - I used to shield the books, and myself, too, - But now I have grown bolder--I don't care ... - They say this morning train from Lake Forest to Chicago - Carries more money, more living money - Than any train of its length and size in the world. - There's the Club car, for Bridge, and then the Smoker, - And four or five other coaches. - It makes one feel rich merely to ride upon it ... - - No, it's not Keats or Shelley--yes, well enough, - But these are living. - I like them young and strenuous, - And when I find one that has done with lies, - I send a word ... - - - - - "Change" at the Fine Arts Theatre - - - DEWITT C. WING - -Your enthusiastic welcome of Change, published in the April number of -THE LITTLE REVIEW, compelled me to see the play, and I hasten to report -a memorable evening. Have you ever heard the hard, sharp, battering, -hammering of an electric riveter used on a steel bridge? Change has a -punch like that, and every punch is a puncture. No kind of orthodoxy can -resist it. - -I have never spent a dozy moment in the Fine Arts Theatre. I shall never -forget Candida, Hindle Wakes, Miles Dixon, Prunella, Change, and other -dramas and tragedies that I have witnessed there. I shall not even -forget Cowards. Chicago some day will reproduce and expand the truth -which a dozen plays have driven into the souls of people who have sat in -that beautiful little room. Whatever the commercial outcome of an -attempt to present beauty and truth as expressions of life, the -management has already achieved a noble success. Hundreds of men and -women will always remember the Fine Arts Theatre as an inner shrine of -authentic art, where the furthermost reaches of the human spirit in the -fiction of plays have touched and quickened the heart of reality. - -Change represents an ever-new voice rising above the rattle of -inevitable dogma and decay. It rings true to life. Even its name is -profoundly appropriate as a label for an inexorable law. If a play -reveals splendid thinking I am almost indifferent to what in that case -becomes largely the incident of acting, for to be engrossed in enforced -thought is to lose that narrow vision of the outward eye which merely -looks on a performance. One is not then an onlooker but a discoverer. -Change was hard, subtle thinking plus admirable interpretative acting. -Like the Irish and English players who have appeared in the Fine Arts -Theatre, the Welsh company who recently gave us this trenchant criticism -of life endowed the word "acting" with a fresh significance. One does -not think of them as players; they impress one as re-livers of the life -that they portray. That is art of a high order. If we Americans are -proud of our wealth and wonders, we must bow in humility when we -consider that the biggest plays that we have seen and the best acting -that we have witnessed are not of domestic authorship. They are -imported, and we have enjoyed them at the Fine Arts Theatre in Chicago. - -Change is in four acts, written by J. O. Francis. It was awarded the -prize offered by the Incorporated Stage Society of London for the best -play of the season. The scene is in a cottage on the Twmp, Aberpandy, in -South Wales. The time is the present. A tragic change occurs in a -family, whose head was a collier. It is a kind of drama that might -inspire the private regret that the tragic martyrdom of Christian -fanatics is no longer in vogue, and offers a species of justification of -summarily removing human obstacles. Who among real men wouldn't have an -impulse to take an active hand in ridding life of a suppressive old -barnacle like John Price? He and his conscience and his God stood -against the primal law of change, with blind passion and colossal -selfishness. If his sons John Henry and Lewis had mangled him I should -have admired their passion. Gwen Price, the wife and mother, suffered -more than all because she was capable of suffering; I did not wish a -change on her account; she was a woman. Her suffering and weakness were -her triumph and strength. Besides, she was not at war with life as she -saw it in her sons. Her love was great and wise enough to confer tragic -beauty and adorn a soul; that kind of love is the supreme religion. - -What John Price felt and expressed as religion was a contemptible mental -narrowness and spiritual poverty; a counterfeit religion based upon fear -and hardened by ceremonial practice. Its one virtue was that it offered -the most formidable opposition to the unfolding of manhood in two young -men. Youth is ever pushing its entangled feet down against the hard -substrata of anterior generations. Too often it is stuck and gradually -smothered in the upper mud, which solidifies as insidiously as it forms. -A man who can be held by dying or dead impedimenta is himself dead. A -man who struggles out and stands triumphant upon it, with the antennae -of his being reaching up and out for the widest and finest contacts, -fulfills destiny by adding a golden grain of solid value on which a -succeeding aspirant for a larger life may stand that much higher on the -old foundation. The man who conforms, remains in and a part of the -common level, plastically flattens out like dough under a rolling pin, -merely fulfills the law of the indestructibility of matter and the -conservation of mass. Whereas youth's great dream is symbolized by the -over-topping king of the forest, standing stiff-spined and straight upon -the old earth, its head in rare aloofness, the ease-lover functions as a -lowly parasite. - -With wild winged thoughts of which these remarks are vague memories I -took Change in my consciousness from the theatre. No thoughtful person -could have returned unchanged from the playhouse. The transitoriness of -religions, institutions, customs, and all other so-called fixtures which -constitute modern civilization is the tremendous fact that makes Change -a powerful supplement to social forces. Of course to the modern mind the -idea is already old, but to the primitive majority it is a prophecy. - -The author tempered his mild radicalism with the hard-headed sagacity of -Sam Thatcher, a one-armed pointsman, who, while unintellectually aware -of the changelessness of change, "figured it out" that life is cyclic; -that as experience broadens the attitudes of men they lose their little -individualities in a common resignation, defeat, and decay, which to him -meant contentment. "I've been round the world some--round and round. -That's how things go--round and round--I know, round and round." Sam -thus epitomized an old theory which has so many supporters that it must -be wrong. But if we do not go "round and round" in what direction do we -go? Nobody knows. If our movement is circular there is the desperate -possibility of sufficient momentum to gain new territory by virtue of -centrifugal force. We can at least make the circle larger. Races have -bloomed, fruited, and passed; planets have shone for an abbreviated -eternity and disappeared; baffling facts about life-forms upon the earth -have come to light. Our conscious life is young, densely ignorant, and -full of pain; our instinctive life is ageless, has perfected its -knowledge and can endure, as it has endured, the aeons of change. We -shall some day get the idea of change into our consciousness. - -Unthinkingly one might regret that Sam was clever enough to sway back -toward dogma those wavering minds which might otherwise have yielded to -the drama's punches. But his pathetically amusing romance should have -made it clear to respectable auditors flirting with new ideas that he -was not a competent critic of their particular class-slice of life. What -he said was reassuring, assuaging, brilliantly trite, and an untroubled -mind would take it and reject the austere, burning truth of the -essential message of the play. - -"Naught may endure but mutability": Shelley thus expressed what every -educated man knows. Change is the unvarying order, and yet we are -constitutionally averse to it. Comfortable people dislike it. "All great -natures love stability." Why do we make John Prices of ourselves? (I -think that H. G. Wells, more than any other literary man, has lived in -consonance with the law of change.) An expanding knowledge precludes -constancy. All John Prices are obscurantists. Convictions and blind -faith based upon glorified ignorance have for thousands of years -encysted, cramped, and twisted personal life, but somehow it has burst -through the fetters and arrayed itself for successive struggles. -Analyzing what we see and know, and confessing what we think we feel, we -have the ancient riddle before us. We applaud a play like Change, but -seek security and stability in every relationship. Eventually every man -must feel what Rousseau wrote: "Everything in this world is a tangled -yarn; we taste nothing in its purity, we do not remain two moments in -the same state. Our affections, as well as bodies, are in perpetual -flux." Maybe Sam Thatcher was wise, but if we knew that our life were -cyclic the joy of it to us would cease. The wiser man does not know so -much as Sam professed, but his endless endeavor is to try to know more. -The law of change, which he sees enforced everywhere, increases his -insatiability. - -It is ultimate questions to which Change gives rise, and to such -questions there are no satisfactory answers. The social value of the -play lies in the graphic clearness with which it illustrates the slow -but epochal shifts that are always under way in thinking individuals, -families, and nations. - -There is no Rock of Ages in the land of courageous knowledge. Nothing -endures but mutability. The purpose of a play like Change is to open the -inner mind to this glorious truth, so that with a fortitude born of -understanding we may accept misfortune, calamity, and death as the -effects of unalterable law, and not as donated penalties or inscrutable -accidents. Poise, power, and personality are the fruits of this attitude -toward change, and whoever achieves these has climbed out of the -"reddest hell" - - Armoured and militant, - New-pithed, new-souled, new-visioned, up the steeps - To those great altitudes whereat the weak - Live not. - - - - - Correspondence - - - The Vision of Wells - -I should like to set "M. M.'s" mind at rest about H. G. Wells, but I -can't quite understand what her objection to him really is. She seems to -be in what the charming little old Victorian lady would have called "a -state of mind." Something about Wells annoys her; she hasn't thought it -out clearly, but she raps Wells wherever she can get at him, as a sort -of personal revenge for her discomfort. - -Suppose, for the sake of argument, that the passage she quotes from the -hero really represents Wells's feeling about the relations between the -sexes. He believes that "under existing conditions" there is always -danger of love between men and women unless the man has one sole woman -intimate, and lets "a superficial friendship toward all other women veil -impassable abysses of separation." "M. M." wisely admits the truth of -that--in fact, it's the most obvious of truisms. Then the hero--or -Wells--goes on to say that this, to him, is an intolerable state of -affairs. For this "M. M." calls him "wicked," and "Mr. M. M." accuses -him of not being busy enough, and of not working for a living. - -I wonder if "M. M." stopped to think exactly why the hero considers this -an intolerable state of affairs. The statement means nothing more than -that the man would like to have intimate friendships with more than one -woman. He doesn't say he wants to love more than one woman. Well, it is -easily conceivable that a man of active mind and companionability would -like to have some degree of intimacy with various women. There doesn't -seem to be anything wicked about that, and it's possible that he should -feel so even if he was "working for a living." If we confine ourselves -to one intimacy, we're likely to lose the full relish of it before many -years. The thought of that is certainly intolerable. A man who is close -to a good many people is usually better fitted to appreciate his best -friend. A woman novelist who has a conspicuously successful marriage put -it well the other day. "If you go into a room where there is a bunch of -violets," she said, "you are charmed by the odor. If you stay in the -room all the time, you forget about the odor--or it bores you. But if -you are continually going out and coming in again, it greets you every -time, and you learn to appreciate its subtleties." Perhaps "M. M." -thinks that reason is begging the question. Well, take the other side. -Any human being who is expanding has an insatiable desire for new -experience, new knowledge. That is the healthiest instinct in mankind. -Such a person would naturally fret at the inability to be intimate with -a new acquaintance who interests him. That feeling would not be wicked; -it would be right, by any sane standard. - -Forgive the blatant obviousness of all this. But I'm bent on carrying -through the discussion to the end. Granted, then, that our hero's -feeling is not intrinsically wicked--what then? He faces a dilemma. -Either he must run the risk of a new love affair, or--and this, I think, -escaped "M. M."--present conditions must be changed. If he has a new -love affair, he is at the least violating the Victorian lady's -conventional morality, which says that every man must love not more than -one woman as long as that woman lives. We come then to an extremely -vital problem. On the one hand, is conventional morality desirable? On -the other, can present conditions be so changed as to eliminate the -danger? The solution of that problem is of great importance to anyone -interested in human beings. If it can't be solved, it means that the man -or woman must quench a right and healthy instinct along whichever line -he or she chooses. And that's a bit of pessimism which a warm-hearted -man like H. G. Wells doesn't want to accept without further -investigation. That's the reason he wrote The Passionate Friends. He is -engaged in the noble endeavor to do something at least toward freeing -the great spirit of mankind from the network in which it is enmeshed. -The history of that struggle is the history of human progress. - -Perhaps it isn't necessary further to defend Mr. Wells for the sort of -novels he writes. But I'd like to offer an illustration of the -difference between Wells and the old-fashioned novelist. The old writer -started with the conviction that certain laws and fundamental conditions -were forever fixed, and must limit the destinies of his characters. He -then works out his little story according to rules, and gets his effect -by arousing in us pity for the misfortunes, hatred for the sins, and joy -for the virtuous triumphs of his people. The tendency of the whole was -to show us once more what the eternal verities were--and the result was -highly "moral." Every character was an object lesson. Wells, on the -other hand, is not a preacher, but a scientist. He starts with the -conviction that, through lack of impartial investigation, we don't -really know what the eternal verities are, or what power can be derived -from them. His attitude is as far from the old writers' as is Mme. -Curie's from the alchemists'. He attempts to free his mind from every -prejudice. Then he begins his experiment, puts his characters in their -retort under "controlled conditions," and watches what happens. What his -characters do corresponds to fact as well as his trained mind can make -it. The result may be negative or positive--but at least it is true, -and, like all truth, it is really valuable. - -"M. M." prejudges the case when she talks about denial, and building up -character, and loyalty, and unselfishness. These things may demand her -conclusion, and again they may not. At best they are means to an end. -She may be right. But Wells is going ahead to find out. He isn't arguing -for anything. We may be denying something we ought to have; we may be -building the wrong kind of character; we may be loyal to a false -principle; we may be unselfish with evil result. But if we cease to -becloud the issue, and watch carefully the experiment of Mr. Wells and -his followers, we shall know more about it than we do. - -And, for a general toning of her mind, I should like to ask "M. M." to -read The Death of Eve, by William Vaughn Moody, to pay particular -attention to the majestic song of Eve in the garden, and after she has -felt the tremendous impulse of that line-- - - Whoso denyeth aught, let him depart from here - -to turn back to her words about denial, and see whether she still thinks -denial is always synonymous with strength. - - GEORGE SOULE. - - - Another View of "The Dark Flower" - -It is with no desire to be carping that I offer this criticism of The -Dark Flower, for I, too, am a devoted disciple who hangs on the master's -lips; but being a skeptical modern woman withal, I am not abject. -Perhaps we should be satisfied with what Galsworthy has given us--this -searching vision into the soul of a rarely sensitive man. The writing of -it--what we term style--is beyond doubt Galsworthy's most distinguished -performance, far more poetical than any of his verse. Its material is -invaluable for its sheer honesty as well as its sheer beauty. Its -reality and intimacy are grippingly poignant. And yet how account for -the pain of futility which sweeps over you as you close the book, -drowning for the time the ecstasy of high joy in all its beauty? It is -as if the heavy aroma of autumn's decay had invaded a garden in early -spring. - -Yes, there is something essentially futile about The Dark Flower. It -lies so hidden in the warp and woof of the whole fabric that the casual -reader passes it over unseen. I can best explain by referring to the -novel itself. Each of the three episodes deals with Mark Lennan's -passion for a woman: in his youth for an older woman, in his maturity -for a woman his own age, in his approaching autumn for a young girl. And -in all three passion--the great primal force--is made an illicit -emotion. In the first two episodes the women are married; in the last, -Lennan is. It is scarcely by chance that Lennan's loves were unlawful; -on the contrary, a symbolic significance seems to be intended, that -passion is natural, free, coming and going by tides unbound by man's -will or law. But if that was Galsworthy's aim, he has run an unnecessary -stretch beyond his goal. By his over-emphasis, passion becomes -purposefully illicit, voluntarily seeking out the forbidden object and -the secret passage. And instead of being the priceless inheritance from -a free God, passion becomes an ailment laid upon us by some designing -fate. - -And now glance at the denouement of each episode. In the first it is the -woman who closes the little drama; Mark merely watches her go. In the -second the woman's husband kills her, and Mark is left dazed. In the -last his wife steps in and turns the current of events. Always an -extraneous force makes the decision for him. He is never permitted to -grapple with the situation created. Galsworthy forever extricates him. -Not once is his passion allowed to run its course. Each experience is -abortive. If I had been Mark Lennan I should have been tempted to curse -the meddling fate that insisted upon rescuing me just before I jumped. - -No, a woman would not have had her perfect moment with Mark Lennan, but -only the promise of it. - -Mark is a futile person; his love life a procession of futile -experiences. But in spite of its futility it is an exquisite record for -which I whole-heartedly give thanks. - - MARGUERITE SWAWITE. - - - Dr. Foster's Articles on Nietzsche - -M. H. P.'s remarks in "The Critics' Critic" of the April number of THE -LITTLE REVIEW on Dr. George Burman Foster's paper entitled "The Prophet -of a New Culture" in the March issue induced me to give that notable -article a third reading. M. H. P. says "... there's ... too much -enthusiasm to be borne out by what he actually says," and then asks the -author, "Won't you forget a little of this sound and fury and tell us as -simply as you can just what it is that you want us to do?" This -obviously tired and disturbed "critic" continues: "... I have a feeling -that pure enthusiasm, wasting itself in little geysers, is intrinsically -ridiculous. Enthusiasm should grow trees and put magic in violets--and -that can't be done with undue quickness, or in any but the most simple -way. Nobody cares about the sap except for what it does." - -This irrelevant criticism is an intellectually lazy protest of a -sensuous, self-styled "healthy" person blundering through an -interpretative analysis of hard, serious thought, expecting to find a -program or a plan, cut and dried, ready for the seekers of a new -culture. Dr. Foster properly avoided making any definite proposals based -upon his study of Nietzsche. With a contagious enthusiasm he wrote his -own response to Nietzsche's attitude toward the universe. To condemn his -animation is barbaric stupidity. He probably was not conscious when he -wrote the paper that anybody wanted him to outline in desiccated phrases -a scheme to crystallize the Nietzschean philosophy into personal or -social action. He was fired by his subject, and his function--I do not -say his purpose--was to spread the flame. The depths of feeling must be -reached before action can be more than an abortion of the mind. Dr. -Foster's serious, almost sad, enthusiasm, makes the spirit of Nietzsche -arouse feeling, and feeling underlies every organic social action. It is -not what he "actually says" but what Nietzsche says to him that explains -and justifies Dr. Foster's enthusiasm. - -An incoherent generalization like "pure enthusiasm wasting itself in -little geysers is intrinsically ridiculous" is a part of the typical -literary method of veneering ignorance or prejudices. For a critic who -asks "what is it that you want us to do?" which is the desperate voice -of an imitationist, and then talks glibly of "pure enthusiasm," which is -gaseous rhetoric, I have neither respect nor compassion. What is "pure -enthusiasm"? - -M. H. P.'s objection to "sound and fury," which he associates with -"political speeches" "for a major prophet," clearly is attributable to a -temperamental inability to understand Nietzsche or emotionally to -respond to his dynamic appeal to intelligence. A "healthy" critic--was -there ever one?--is a myth, or a morbidly self-conscious person whose -striving after "healthy" attitudes is an infallible sign of disease at -the top. Such a person is pathologically interesting, but in the realm -of philosophical criticism he is incompetent. I should expect him to -demand that "enthusiasm should grow trees and put magic in -violets"--which is a ridiculous horticulture. To limit enthusiasm to so -definite a purpose as this is to affect a poetic attitude whose labored -simplicity has nothing in common with the magic of violets. - -Your critic, who has a mania for "the most simple way," is aware of his -own amorphous complexity, and demands that thinkers and writers be -specific, calm, easy, leisurely, "healthy," and lucid, thereby -economizing his unhealthy distress. For him, Nietzsche has no message, -and upon him Dr. Foster's enthusiasm is wasted. To him "sound and fury" -exist where to Nietzsche's "preordained readers" there is the new music -of truth. It is that deep harmony which ran in legitimate fury through -the remarkable article contributed by Dr. Foster. "Nietzsche was a -Knight of the Future." This sentence from the article bears -interestingly upon M. H. P.'s allegation of "undue quickness" in what -the author expects from the adoption of the Nietzschean view of life. As -for nobody caring about the sap, I should say that if he have an -enthusiasm for growing trees and putting magic in violets he will, -perforce, have that care for the sap which conditions the strength of -the tree and the magic of the violet. Nietzsche's superman is not to be -achieved in a society that cares nothing about the sap. - -Whoever reads Nietzsche and Whitman "slowly, profoundly, attentively, -prudently, with inner thoughts, with mental doors ajar, with delicate -fingers and eyes," will be better qualified than M. H. P. to serve as a -critic of articles like Dr. Foster's. Why not call it "the critics' -gossip"? - - DEWITT C. WING. - - - - - H. G. Wells's Man of the Future - - - In a little while he will reach out to the other planets, and - take the greater fire, the sun, into his service. He will bring - his solvent intelligence to bear upon the riddles of his - individual interaction, transmute jealousy and every passion, - control his own increase, select and breed for his embodiment a - continually finer and stronger and wiser race. What none of us - can think or will, save in a disconnected partiality, he will - think and will collectively. Already some of us feel our merger - with that greater life. There come moments when the thing shines - out upon our thoughts. Sometimes in the dark, sleepless solitudes - of night one ceases to be so-and-so, one ceases to bear a proper - name, forgets one's quarrels and vanities, forgives and - understands one's enemies and oneself, as one forgives and - understands the quarrels of little children, knowing oneself - indeed to be a being greater than one's personal accidents, - knowing oneself for Man on his planet, flying swiftly to - unmeasured destinies through the starry stillnesses of space.--H. - G. Wells in Social Forces in England and America. - - - - - Lawton Parker - - - EUNICE TIETJENS - -Paris, the iridescent dream of every struggling art student on the round -world; Paris the sophisticated, the most provincial of all cities--as -provincial as Athens of old in the sense that she is complacently -sufficient to herself and all the world else may wag as it will, since -she cares for nothing that does not happen on a few square miles of soil -beside the Seine; Paris the proud, the difficult;--Paris has recently -done the one thing that could be surprising from her. She has laid aside -her prejudices and her pride and has awarded to a foreigner--and that -foreigner an American--the most coveted prize in the whole realm of -painting. She has given to Lawton Parker of Chicago the first medal at -the Old Salon. - -Hitherto it has been an unwritten law that the first medal was not to go -out of France. The most ambitious American student, dreaming in his -little atelier high up among the pigeons, over fifty centimes' worth of -roast rabbit from the rotisserie and a glass of vin ordinaire, never has -dared even to dream of a first medal. A second has been the height of -his wildest hopes. Ten times only since the foundation of the Old Salon -has a second medal, of which more than one is given each year, been -awarded to an American. Sargent had one. Mary Green Blumenschein, H. O. -Tanner, Manuel Barthold, Robert Mac Cameron, Aston Knight, the son of -Ridgeway Knight, and Richard E. Miller are among the others so honored. -Gari Melchers and Frederick MacMonnies have had a third medal. - -Now Lawton Parker has carried off the first! Even for a Frenchman this -is an extraordinary honor. It is kept for paintings of most unusual -merit, and often no work of the many thousands submitted is considered -worthy of the honor. At least four Salons have passed without the award -being made at all. - -The painting with which Mr. Parker has enchanted Paris is called -Paresse, or Indolence. It is a picture of a nude model resting on a -couch. She lies perfectly relaxed, her body twisted a little and one arm -raised behind her head. The delicate flesh tones are outlined against -pale draperies, mauve, gray, and light yellow. The whole composition is -in a very high key, the red hair of the girl being the strongest note in -the picture. - -But it is the lighting which seems most strongly to have impressed the -French critics. More than forty reviews in Europe have contained -favorable accounts of this painting, and they have been unanimous in -their praise of the effects of lighting. Indeed, they have almost -exhausted the vocabulary in their efforts to describe it. It is the -light of a gray day filtered through a Venetian blind, and the picture's -most puissant charm lies in the way Mr. Parker has caught the delicate -and subtle values of this lighting. "Delicate, nebulous, pale, sifted, -intimate, tender, harmonious"--these are some of the adjectives used by -the French reviewers to describe it. - -All this is, however, built on a foundation of solid knowledge. Mr. -Parker is an excellent draughtsman and understands thoroughly the -possibilities and limitations of his medium. He has long been known -among the artists in the Quarter as the most scientific of them all. The -chemical composition of the colors, their action and interaction, and -the result of time on their brilliancy--these Mr. Parker has studied -minutely. It is a subject with which the old masters were thoroughly -familiar, but which painters of today too often neglect. - -Sanity is one of the chief characteristics of Mr. Parker's work. This is -a day of extravagance, of cutting loose from all ties that bind us to -the past. In Paris the academies are virtually emptied of students, that -the young men may search for individuality in their own little ateliers. -The Cubists and the Futurists are the flowering of the tree of -experimentation that has thrust its roots even into the most academic of -sanctuaries. Many a promising young man has lost his head entirely. But -Lawton Parker has succeeded in keeping his. - -He has gone forward with his day, but not blindly. He has carefully -tested each step as he came to it, and has stopped short where sanity -stopped. The old virtues of draughtsmanship, composition, and color he -has kept. But he has added thereto the modern discoveries in the -treatment of light. - -He and his colleagues, the little group of painters called the Giverny -school, are already known as Luminists. Frederick C. Frieseke, Richard -E. Miller, and Karl Anderson belong to this group. During the summer -months they paint at the beautiful little village of Giverny. They -experiment with light in all its possible manifestations. Frieseke and -Parker have an open-air studio together, a "water-garden" traversed by a -little brook. Here on warm days they paint beautiful opalescent nudes in -the sunlight, among the shimmering greens of the leaves or beside the -luminous water surfaces. All who have followed the exhibitions in France -or even in America during the last few years are familiar with this -"nymph pasture," as it has been wittily called. It was here that the -prize picture was painted--but not on warm, sunny days. A year ago it -rained all summer, and in desperation Mr. Parker resorted to an indoor -canvas, executed in the house adjoining. It was painted with extreme -care. One comparatively unimportant part of the canvas, a bit of wall -space, he painted over twelve or fifteen times to get just the precise -shade he wanted. This painting is now on exhibition in this country. - -Lawton Parker's canvases in his Giverny style are interesting -technically. On a foundation of very careful drawing they are handled -with great freedom of execution. The brush work is loose and vigorous, -the paint being laid on thickly, especially in the background. The flesh -is painted more closely, always with great subtlety in the values. A -nude body in the shade flecked with spots of brilliant sunlight is a -favorite and very difficult subject, in which this subtlety is well -shown. The color is excellent, at times, as in the prize picture, very -delicate and carefully harmonized; at times dealing successfully with -great splashes of autumn leaves or the vivid green of spring foliage. -The composition is pleasing. - -Mr. Parker is not by any means limited to this style. Indeed, it is in -another and quite different character that he is best known in this -country. As a portrait painter his work has for a number of years been -gaining steadily in popularity. Many prominent people have sat for him, -including President Harry Pratt Judson, Judge Peter S. Grosscup, Martin -Ryerson, Mrs. Leonard Wood, and Mrs. N. W. Harris. - -This portrait style of Mr. Parker's is very different from his Giverny -style. He developed it much earlier in his career, but still uses it on -occasion. The difference is one of psychological viewpoint rather than -of technic. A portrait, he feels, should be a livable presentation of -the subject. It is not a picture to be looked at casually and passed by, -but a work to be lived with intimately for long spaces of time. The -exceptions are, of course, those portraits of well-known men and women -which are to hang in public places. Generally speaking, he paints his -portraits in color schemes that will wear well, in a rather low key, -with neutral backgrounds. These likenesses are solid, dignified, and -simple. To catch the individuality of the sitter is of more importance -to him than to paint a striking canvas. That his portraits are -successful technically is proved by the fact that he has taken a number -of prizes with them, both here and abroad. - -Lawton Parker was born at Fairfield, Michigan, in 1868, but spent his -early youth in Kearney, Nebraska. When he took up seriously the study of -painting he moved to Chicago, which has since remained his pied-a-terre -in this country. He studied and taught at the Art Institute there. Later -he went to New York, where, in 1897, he took the "Paris Prize" founded -by John Armstrong Chaloner: a five years' scholarship abroad. In Paris -he studied under Gerome, Whistler, and Jean Paul Laurens. In 1899 he -took the "Prix d'atelier" at the Beaux Arts. In 1900 he received -honorable mention at the Old Salon with a nude; in 1902 a third medal, -on a portrait. Four years ago he missed by three votes a second medal, -which was fortunate for him, since the first cannot be awarded a painter -who has received a second. - -He has also received medals from the Chicago Society of Artists, the St. -Louis Exposition, and the International Exhibition in Munich in 1905. - -All lovers of art in this country, as well as the painters themselves, -should thank Mr. Parker for having opened the way in Paris for so -unprecedented an honor. - - It is rhythm that makes music, that makes poetry, that makes - pictures; what we are all after is rhythm, and the whole of the - young man's life is going to a tune as he walks home, to the same - tune as the stars are going over his head. All things are singing - together.--George Moore in Memoirs of My Dead Self. - - - - - New York Letter - - - GEORGE SOULE - -Pavlowa and her Russian dancers have just finished their tour here in a -high tide of enthusiasm,--and financial success, which is worth -mentioning because it means other tours next year. There is a whisper -that we shall see a ballet still more important which hasn't hitherto -been coaxed west of London and Paris. Only a little of the new art-form -now being developed by Fokine, Diaghilev, Bakst, Rimski-Korsakoff, and -the rest of the great Russian romanticists of the stage, has come to us. -But the important fact is that America, as always behind Europe in -seeing new ideas that are not mechanical, is at last waking up to the -dance as an art on equal terms with the greatest. - -It is curious, but not comforting, to know that in this case the -original inspiration came from Illinois. My authority is Troy Kinney, -who is, without question, our best-informed critic of dancing outside of -the performers and choregraphers themselves. Mr. Kinney tells me that -after Isadora Duncan failed to arouse much interest in America she went -to Europe, leaving a trail of heated discussion there. When she reached -St. Petersburg the head of the imperial academy, Fokine, saw the vision -of a renaissance of the dance from its classic sterility. He gathered -about him the group of dancers whose names are now known around the -world, and persuaded them to desert the imperial academy, which clung to -the formalism of the old French and Italian ballet. Artists and -musicians were attracted to the movement. This proceeding was quite as -daring as it would have been for the superintendent of the United States -Naval Academy to desert with part of his faculty and the best of the -middies. But Diaghilev espoused their cause and persuaded the government -not to punish them, but to let them work out their ideas and then make -themselves useful politically by showing western Europe that Russia was -not as barbarous as was generally supposed. They are now fully -recognized in St. Petersburg and Fokine is again head of the academy. - -On the basis of the old formal steps and positions Fokine built a freer -structure of movement whose chief aim is not virtuosity or pure beauty -of line, but expression. In this new style more modern music was not -only possible, but necessary. Meanwhile, setting and costume of the most -imaginative type--often futuristic--had to be developed. They all set to -work with an ardor possible only to tradition-breakers and are producing -an art which is likely to achieve the supreme place first dreamed of by -the inventors of modern opera. - -Here is another keenly interesting relation brought to light by Mr. -Kinney. Everybody knows, of course, that opera was begun during the -Renaissance as an attempt to revive the Greek drama. It now appears that -in our present Renaissance the revived ballet is probably much nearer -the highest form of Greek drama than opera or anything else ever has -been. The early drama of Athens, according to Mme. Nelidoff of Moscow, -consisted largely of pantomime, dance, and chorus. Words were introduced -for the literal-minded. As the size of theatres increased, the actors -came to use megaphones, to conceal which the mask was invented. The -masks were made larger and heavier to add to the height. With this -handicap to dancing, the actor had to depend more on his voice and -stature; and the elaborate dialogue, combined with the high heels of the -cothurnus, gave dancing its final blow. This kind of drama, says Mme. -Nelidoff, appealed largely to the less imaginative and uncultivated, on -account of their desire to know in detail what was going on. The other -kind, however, continued being developed for smaller audiences, and -retained its purer beauty of form in space, sound, and thought. We have -little record of it outside of sculpture simply because there were few -words, and a choregraphic vocabulary had not been invented. We have -almost no record of Greek music, either. It is a bit shocking to think -that Aeschylus and Sophocles were, perhaps, contributors to an inferior -art, but there seem to be grounds for the ingenious theory. - -Everyone who has been to a "movie show" knows how effective even crude -pantomime can be. But make your pantomime a portrayal of moods and -emotions rather than of events, give it visual beauty which will -occasionally wring tears from anyone sensitive to line, and accompany it -with music whose most complex rhythm and harmonic color are intensified -by the stage picture, and you have an expression on a plane of the -imagination where the introduction of a spoken word is like the creak of -a piano pedal. If we can't lead the people back from the movies to -"plays," can't we give them the modern ballet? - -That is exactly what Kinney proposes. He wants a National Academy for -America, with resources equal to the backing of the Metropolitan Opera -House. Big managers and opera authorities have already admitted that -such an undertaking would, if properly managed, be successful. Compared -with the present interest in good ballet the interest in good music with -which Theodore Thomas started, was nothing. But it is a miracle if -America does a thing like that in the right way. Our princes have, as a -rule, neither good taste nor much public spirit. Our race of -artists--thinkers--mental heroes--is small and largely uncourageous. Our -government accurately represents the most of our people, who still -regard art either as immoral or entertaining and hence not worth the -attention of sensible people. - -How bitterly we need missionaries like THE LITTLE REVIEW and the people -who feel the same spirit! But our case is far from hopeless. The good -fighters among us are glad there is a lot still to do. Such visions give -strength to our hewing arms as we cry room for our new images. - - The men who are cursed with the gift of the literal mind are the - unfortunate ones who are always busy with their nets and neglect - the fishing.--Rabindranath Tagore in Sadhana. - - - - - Union vs. Union Privileges - - - HENRY BLACKMAN SELL - -"We have granted the miners every union demand," benevolently asserts -the remarkable J. D. R., Jr., "but we will not recognize their -organization"--and here is the hitch. The average lay observer of the -fearful struggle raging in Colorado tosses aside his paper after reading -this, and possibly comments that he can't see what the miners want, if -all the union privileges have been granted. - -That was my first thought, but I felt that there must be something -behind the trouble; so I hunted out my old friend Tony Exposito, a -walking delegate for Chicago's pick-and-shovel men, and asked him to -explain. - -Now Tony never took a degree, and his English is reminiscent of sunny -Italy, but he knows just what the trouble is in Colorado. - -"Eh? You wanta know what ees matta downa there? Eh? Meester Rokefella -say he geeve union preeveleg to all da men? Eh? Meester Rokefella say -begess shara men no wanta strike? Eh? He geeve many thengs to da men? -Sure! Sure! He geeve many thengs! He geeve many preeveleg! Sure! He -geeve! Das justa trubble! Das why da men go strike! No wanta thengs be -geeva to them. Santa Maria! when a man breaka hees back en wear da skeen -off hees hans wet da pick en da shovel, hasn' he gotta right to da money -he gets? Eh? Now, w'at you theenka dat? Eh?" - -"Well, Tony," I answered, "I never thought of it that way. It does seem -as though a man might have what he earns without its being handed to him -as if it were a charity." - -"Sure! Sure!" cut in the impetuous Tony. "Sure! das da theng--charety! -Meester Rokefella, he say, 'Coma here, leetle slave, nica leetle slave, -coma here;' en he patta on da head en say, 'You donna have to work so -meny hours; I geeve you tena cents more pay!' Eh? en then what? Eh? He -calla all the newsapaper up en tella dem, 'I maka mucha mon; I geeve -some to my workaman.' Then all the peeple say, 'Whata fuss about?' Eh? I -tella you: Workaman want to sell hees labor justa lika Meester Rokefella -buy hees beega machenes. Notheng extra to nobody. Eh?" - -"But, Tony," I interrupted, "they say that only a few of the men want -the union recognized. What about that?" - -"Sure! Das true! Sure! Das jus da fac. When deesa beeg, granda countree -fighta Eengeland, deed all the men wanta fight? Eh? Tell me! Eh? No, et -was justa few et ferst, dena more, dena more, teel everyone wanta to be -free. Sure! Das da way. Poor nuts, dea don'a know whata rights dea -shoulda have, en dea musta be ah--educate to steek togeater." - -And I wondered how many of my highly educated friends realized so well -as Tony Exposito how frightfully devitalizing gratuities are, and what -it means to be able to take a week's pay with the feeling not of -accepting a charity, but of receiving an honest wage for honest work; -what it means to teach mentally stunned and browbeaten laborers that -they have certain definite rights of life and happiness, and that they -must earn them; that when they have earned those rights, it is no favor -given or received. - - - - - Book Discussion - - - Mr. Chesterton's Prejudices - - The Flying Inn, by G. K. Chesterton. [John Lane Company, New - York.] - -G. K. Chesterton really possesses a philosophy, but it is a question -whether he has ever shown a clear intellectual title to it. His method -of asserting ownership is to abuse those who question either his right -to possess it or the desirability of the philosophy itself. - -In The Flying Inn Mr. Chesterton does two things. He writes a most -amusing criticism of modern tendencies the while he is defending his -philosophy of Augustinian Christianity. - -It may be news to some of Mr. Chesterton's readers that he is a -symbolist with a profound philosophy to expound, and I would never have -guessed from his latest work that he was fighting over again the battle -of St. Augustine against the Pelagians. But this book recently fell into -the hands of a more than usually industrious and erudite critic, Mr. -Israel Solon, and in a recent issue of The Friday Literary Review of The -Chicago Evening Post, Mr. Solon took the trouble to explain some of Mr. -Chesterton's symbolism. The general reader, however,--and what a good -thing it is--does not care a red cent about the triumph of Augustinian -Christianity, while the unbiased student of religion knows that -Pelagianism, a healthy-minded British heresy of about 400 A. D., which -denied original sin, was a more reasonable proposition than the -Christianity which it tried to displace. - -The only real interest of Mr. Chesterton's latest book, then, is in his -criticisms of life, and that interest arises from their humor rather -than from their worth. - -Mr. Chesterton's theory of criticism is very simple. Poke fun at -everything you do not like. If it is difficult to poke fun at it on -account of its worth or dignity then misrepresent it first. - -The present story, for instance, covers the adventures of an Irishman -who left the British navy and became a soldier of fortune, and an -innkeeper whose inn is closed by a fanatical temperance advocate holding -office under a very fussy pseudo-liberal government. This personage, who -is an amateur of religions and wishes to combine Mahomedanism and -Christianity, drives the innkeeper into vagabondage. The Irishman -accompanies him, and they carry the old inn sign and a keg of rum and a -round cheese with them. They buy a donkey and cart, and travel the -neighborhood breaking up meetings in favor of temperance, vegetarianism, -polygamy, and other absurdities advocated by the teetotal aristocrat. - -Most of the fooling is excellent, but some of it is very childish. It -shows Mr. Chesterton at his most characteristic. He dislikes all -liberalism, so the efforts of the present British government toward -various forms of amelioration of bonds--ecclesiastical, puritanic, and -economic--are satirized by the implication that the aristocrats of this -story wish to re-establish the Eastern vices of polygamy and abstinence -from wine. He dislikes the Ethical Societies, so he represents them as -meeting in little tin halls and listening to fakers from the East -preaching strange exotic doctrines in return for large fees. He dislikes -the Jews, and so a particularly mean and futile character is painted -very carefully as a Jew who mixes in British politics--a thing which Mr. -Chesterton and his political allies seem to think should be forbidden by -statute. - -If we discount all this, however, we shall be able to derive a lot of -enjoyment from Mr. Chesterton. In particular we shall enjoy his songs -against temperance. One of them concerns Noah's views on drinking: - - Old Noah, he had an ostrich farm, and fowls on the greatest - scale; - He ate his egg with a ladle in an egg-cup big as a pail, - And the soup he took was Elephant Soup and the fish he took was - Whale; - But they all were small to the cellar he took when he set out to - sail; - And Noah, he often said to his wife when he sat down to dine, - "I don't care where the water goes if it doesn't get into the wine." - - The cataract of the cliff of heaven fell blinding off the - brink, - As if it would wash the stars away as suds go down a sink; - The seven heavens came roaring down for the throats of hell to drink, - And Noah, he cocked his eye and said: "It looks like rain, I think." - The water has drowned the Matterhorn as deep as a Mendip mine, - But I don't care where the water goes if it doesn't get into the - wine. - -And for other drinks than those of orthodox alcoholic content he has -nothing but contempt. Witness the following remarks: - - Tea is like the East he grows in, - A great yellow Mandarin, - With urbanity of manner, - And unconsciousness of sin; - All the women, like a harem, - At his pig-tail troop along, - And, like all the East he grows in, - He is Poison when he's strong. - - Tea, although an Oriental, - Is a gentleman at least; - Cocoa is a cad and coward, - Cocoa is a vulgar beast, - Cocoa is a dull, disloyal, - Lying, crawling, cad and clown - And may very well be grateful - To the fool that takes him down. - - As for all the windy waters, - They were rained like trumpets down, - When good drink had been dishonored - By the tipplers of the town. - When red wine had brought red ruin, - And the death-dance of our times, - Heaven sent us Soda Water - As a torment for our crimes. - -To the American cocoa debauchee--if there be any--it should be intimated -that in all probability Mr. Chesterton's turn for symbolism is at work -in the second of the stanzas quoted above. The English cocoa interests -are very powerful and very much interested in the progress of the -present liberal government. In England not cocoa drinkers but certain -liberal politicians will wince with pained appreciation of that -particular stanza. - -Such is the method of attack with which Mr. Chesterton goes after -liberal Christianity, the Ethical Movement, temperance legislation, -futurist art, and--for some insane reason--the Mechnikoff lactic acid -bacillus treatment. As we have said, it is, except in spots, most -interesting and most amusing, but, except in spots, it is not -significant. - - LLEWELLYN JONES. - - - Dr. Flexner on Prostitution - - Prostitution in Europe, by Abraham Flexner. [The Century Company, - New York.] - -There can be no doubt whatever in the mind of any student of the -evolution of "civic conscience" that the prominence now being given to -the subject of prostitution is one of the most promising signs of our -day. It is inevitable in the first uncovering of what has been hidden -for many generations that this prominence should be marred by much that -is to be regretted, by much wild hysteria, and much morbid dwelling on -erstwhile forbidden topics. But in the main the knowledge by the people -at large of the cess-pools that lie below our civilization is the only -starting-point from which to set about the draining and cleaning up of -these cess-pools. - -As Dr. Flexner points out repeatedly in this volume, it is public -opinion, and in the last analysis, that only, which determines the fate -of prostitution in any given city. Even the most stringent laws are of -comparatively little service when unsupported by an intelligent and -watchful interest on the part of the people at large. And on what can an -intelligent interest be founded except on knowledge? The voices raised -in protest--the voice of Agnes Repplier, for instance--belong surely to -the protected "leisure class"--the class which sees no need for change -since they have never known from personal experience that such problems -exist. Yet it is safe to say that for the great majority of the world's -population the question of prostitution and its attendent train of -disease, misery, and degeneration is and has always been one of the most -vital questions of life. - -A single calm, wise, scientific book, like this of Dr. Flexner's, given -into the hands of our boys and girls of eighteen, would do quite as much -good, and for many dispositions infinitely more, than a whole battery of -moral lectures, warning vaguely against the "wickedness of human nature" -and the "allurements of sin." Not that this book was written for boys -and girls. Far from it. It was written for the serious student of the -social evil by Dr. Flexner as representative of the Bureau of Social -Hygiene of New York City. It is an unprejudiced, authoritative statement -of the present condition of prostitution in the various countries of -Europe, and is the result of an impartial and painstaking personal -investigation which required two years of the time of an educational -expert. - -Dr. Flexner nowhere raises any question as to how far European -experience is significant for America, but it is inevitable that the -reader should form certain conclusions of his own. Much of the book is -devoted to the relative merits of the two systems of handling -prostitution now prevalent in Europe: regulation and so-called -"abolition." The weight of evidence is overwhelmingly on the side of -abolition. Regulation is left without a leg to stand on. This, however, -is not a burning issue in America. The New York Committee of Fifteen -decided, years ago, that "regulation does not regulate," and such has -been the general opinion in the United States. But the remainder of the -book and much that is brought out in the discussion of regulation can be -of great service. - -It is impossible to summarize here a book so rich both in thought and -material. But one thing may be said for the encouragement of future -readers: There is in this volume absolutely no trace of the hysteria so -prevalent today, and on the other hand, no trace of the morbid dwelling -on details from which even some of our official investigations have -unfortunately not been free. There is in the entire book not a detailed -account of an individual case to turn the stomach. Yet the opinion of -every prominent expert in Europe is given, and a calm, scientific -attitude is maintained throughout. We are, as Jane Addams has so aptly -expressed it, "facing an ancient evil with a new conscience," and this -book of Dr. Flexner's is the embodied voice of that conscience. This is -his last word on the subject: - - In so far as prostitution is the outcome of ignorance, laws and - police are powerless; only knowledge will aid. In so far as - prostitution is the outcome of mental or moral defect, laws and - police are powerless; only the intelligent guardianship of the - state will avail. In so far as prostitution is the outcome of - natural impulses denied a legitimate expression, only a - rationalized social life will really forestall it. In so far as - prostitution is due to alcohol, to illegitimacy, to broken homes, - to bad homes, to low wages, to wretched industrial conditions--to - any or all of the particular phenomena respecting which the - modern conscience is becoming sensitive,--only a transformation - wrought by education, religion, science, sanitation, enlightened - and far-reaching statesmanship can effect a cure. Our attitude - towards prostitution, in so far as these factors are concerned, - cannot embody itself in a special remedial or repressive policy, - for in this sense it must be dealt with as a part of the larger - social problems with which it is inextricably entangled. - Civilization has stripped for a life-and-death wrestle with - tuberculosis, alcohol and other plagues. It is on the verge of a - similar struggle with the crasser forms of commercialized vice. - Sooner or later it must fling down the gauntlet to the whole - horrible thing. This will be the real contest,--a contest that - will tax the courage, the self-denial, the faith, the resources - of humanity to their uttermost. - - EUNICE TIETJENS. - - The welfare of mankind is as much promoted by the mistakes and - vanity of fools and knaves as by the virtuous activity of wise - and good men.--The late Professor Churton Collins in The English - Review. - - - - - The Critics' Critic - - - MASCULINE AND FEMININE LITERATURE - -Somewhere lately I read a review of Home and the reviewer says that it -was probably written by a woman, giving I forget what reason as to -description of home life, and details of that sort, which "no one but a -woman could have written with such fidelity to truth." But I couldn't -believe it even before the truth came out the other day. Home is -distinctly a man's story, written by a man. The psychology of it is -man-psychology (unconscious of course), and its appeal is more strongly -to masculine than to feminine taste--much as I hate to think they differ -in literature. I have heard several men speak of it as one of the best -stories they ever read, and I, myself, though liking it, could never -become more than mildly enthusiastic. To be sure, it is a great tale of -adventure. But for whom is the great adventure? Alan and Gerry go -blithely about the world in pursuit of it. Alix, Gerry's wife, after -taking a feeble little step in the direction of what was for her a -stirring adventure, returns home, chastened, and is properly punished by -years of waiting for her husband to close up his small affairs. Her -great adventure was sitting at home rearing Gerry's child. Clem's seems -to have been sitting at home waiting for Alan to get through roving and -come back to her. And never a comment to the effect that this should not -have been perfectly soul-satisfying to both of the women, and never a -notion, apparently, but that they were richly rewarded for their waiting -by being allowed to spend the rest of their lives caring for the two -bold adventurers. I couldn't believe a woman living in the twentieth -century could even have imagined such stupidities. I don't mean that -Home isn't interesting, as stories go, but it is the crudest kind of -man-psychology and will be as out-of-date in a few years as Clarissa -Harlowe is now. - -I've been wondering a great deal lately whether there is a masculine and -feminine literature after one is grown up. I know there was for me as a -child. When a story like Camp Mates began in Harper's Young People I -regretted that it was not something by Lucy C. Lillie, who wrote of -adorably nice little girls. But possibly if I had ever gone out for long -walks and camped for the day in the open as my own little lad does now, -I too would have read Camp Mates. A man not undistantly related to me by -marriage confessed the other day that he was fondest of stories telling -of castaways on desert islands. "It's a thing I'd like to do -myself--have a try at an island," he said, eagerly. "With your wife?" I -asked, tentatively. He nodded, and gulped his dinner, and then -immediately repented: "With no woman," he said, firmly; "they bring -civilization, and I'd want it wild." Well, I don't blame him. It's -appalling to think of how many men would measure up to a desert island -test--would procure by hook or crook some manner of sustenance. And I -can think of few, very few women (among whom I do not include myself) -whom I should select as companions if I were thus stranded. I mean, of -course, as far as their resourcefulness is concerned. Perhaps that is -why, in stories of adventure, the woman is left behind, inevitably; or, -if she is washed up on the shore by the waves, proves an encumbrance, -delightful or otherwise. And it is all a matter of training--not, as our -novelist would have us believe, a deplorable lack of brains and stamina. - - - THE EDUCATION OF GIRLS - -And speaking of training--an interesting thing in March Atlantic about -The Education of the Girl has set me thinking. How am I going to bring -up my daughter? The education of a boy is, compared to that, a simple -matter. Too ridiculous, too, the answers to my query returned to me by -different friends and relatives. "Make her a good girl," says one. But -surely "Be good, fair maid; let those who will be clever," has been -ridiculed to a timely demise. Another said: "I hope I shall be able to -bring up my daughter so that when she is grown she can persuade some -nice man to take care of her, as her mother did." No mention is made, of -course, of what happens if the plan miscarries. It sometimes does. And -it is too funny when one realizes that several decades ago, when -absolutely no question was raised as to woman's sphere (home and the -rearing of children), she received in college a severely classical or -scientific training; and now, when it is by no means admitted without -argument that home is her one vocation, noted educators are recommending -that women's colleges abolish Greek and Latin or treat them and science -as purely secondary and take up domestic science, economics, nursing, -etc., in their place. How can I tell beforehand which of the two my -daughter is going to need? I think of myself, filled to the brim with -Greek, Latin, French, and German, producing in my early married life a -distinctly leathery and most unpleasant pie, or rushing to the doctor -with my baby to have him treat a dreadful sore which turned out to be a -mosquito bite, and my tearful struggles with the sewing machine on my -first shirtwaist which I christened a "Dance on the Lawn," for obvious -reasons ... and I wonder. Never would I willingly give up my classics -and the joy they gave me. But a soupcon of domesticity would surely have -done me no harm. Miss Harkness, in this article, is inclined to think -that it does us all harm. She says: - - Would men ever get anywhere, do you think, if they fussed around - with as many disconnected things as most women do? And the worst - of our case is that we are rather inclined to point with pride to - what is really one of the most vicious habits of our sex. - -But in the meantime that daughter of mine! Suppose she prefers to run a -house and be the mother of six children! Some women do, and are -wonderfully fitted for it. Won't she be happier if she knows beforehand -how to do it most efficiently? I hope, of course, she will choose, -besides, a career of her own; but if she doesn't want to? And to give -both does mean a scattering of potentialities! Which brings me back to -the statement that the education of the modern girl is a complex--oh, -but a very complex problem. - -You remember Stevenson's poem to his wife. I speak of it in this -connection because it throws light on one facet of the feminist problem -which perhaps is not sufficiently illuminated. He says: - - Trusty, dusky, vivid, true, - With eyes of gold and bramble-dew; - Steel-true and blade straight, - The great artificer made my mate. - -"Steel-true" and "blade straight" are epithets more often applied to -men; and indeed Mr. McClure, in speaking of Mrs. Stevenson in his -memoirs, says: "She had many of the fine qualities that are usually -attributed to men rather than women: a fair-mindedness, a large -judgment, a robust, inconsequential philosophy of life." - -How then, if in seeking an ideal education for girls, we should dismiss, -or at least diminish, the importance of a purely utilitarian aspect and -look for something that will eventually ensure such qualities? - -If, as the feminists urge, they are trying to raise men to a higher -plane, why not apply a little of this passion for uplift to the -education of women into nobler, higher attitudes? Steel-true, and blade -straight! I like the sound of that. - -This education of the girl is getting to be an obsession with me. -Everything I read resolves itself into terms of girl-psychology. A -ridiculous tale, not long ago, appeared in The Saturday Evening Post, -called Letting George Do It. George, in charge of the kitchen for a few -weeks or days, immediately revolutionized everything; shortened and -lightened labor, invented all sorts of labor-saving devices, etc., etc. -Immediately all men say, derisively: "Well, that's exactly what a man -would do. You boast that women are as good as men. Why haven't they, -years ago, done all these things for themselves?" It seemed -unanswerable. I have heard housekeepers, bright women, too, speak with -exasperation of the foolish story, while helplessly admitting its truth. -But I really think I've stalked the beast to its lair. Granted it is -true, but have men spent their lives for centuries in a narrow round of -domestic drudgery? Women have, and with very little intellectual -diversion, besides, their society limited to other domestic drudges, and -to their own husbands, who don't try to broaden them unless they are -exceptional men. And if men had lived such lives would they have -blithely introduced these reforms just because their masculinity makes -them so superior to women that they would develop, even under adverse -conditions? They wouldn't stay drudges, they claim. Well, we won't -either, so George is not so smart as he thinks he is! - - - GERMAN-AMERICANS AND AMERICANS - -I have been greatly interested in an article in the May Century. It was -by Prof. Edward A. Ross, of the University of Wisconsin, the title being -The Germans in America. You know why, of course. My father was born in -Germany, and came over in 1850. About ten years ago Hugo Muensterberg had -an article in the Atlantic on the same subject, in which he tried to -explain the antagonism existing between native-born Germans and -Americans. His argument summed itself up in the statement that the -German considers the American no gentleman, and the American considers -the German no gentleman. But why? I was willing enough to believe him -because of a curious experience of my childhood. I can remember the -incident perfectly, though it is many years since it happened. I was in -the fifth grade, and the girl who figured prominently therein--her name -was Siddons, by the way, and most appropriately, for she spelled tragedy -to me--had called out on the street to a little boy who was carrying my -books home for me, "Aw, George, do you like the Dutch? George is going -with a Dutchman!" - -George was certainly no cavalier, for he dropped my books, mumbled -something, and was off, while I continued on my dazed, bewildered way, -wondering what it was all about. Children learn so quickly to keep their -deepest hurts to themselves that I doubt whether I should ever have -mentioned it at home had it not been for this same bewilderment. My -mother was indignant, not, it seems, because I had had names flung at me -in scorn, but because it was the wrong name! "You are not Dutch. You are -German, and proud of it," she said, holding her head a little higher. -Pressed for an explanation, she revealed that my father had been born in -Germany, "but you must never, never be ashamed of that," she added -earnestly. "Your father was an educated, cultured gentleman." I was then -taken into our little library with its crowded shelves climbing to the -ceiling, and shown volumes of Schiller, Goethe, Lessing in German, -Tauchnitz editions of the great English writers, books of philosophy and -history, and shelves full of Hayden, Beethoven, and Mozart. "He was a -graduate of a German university," said mother, "and you must pay no -attention to these foolish children whose parents never even saw an -American university." All very well, but had my mother been German -herself? No, indeed, so she could hardly realize what it meant to be an -alien and an outcast. Many times during that hard year, while the -detested Siddons crossed my unwilling path would I have bartered an -educated and cultured German forbear for any kind of American, be his -lowly occupation what it might. Later that year a little French girl, -Dunois by name, came into our grade. Joy! Here was another alien who -would be a companion in misery. But to my great surprise she was courted -and flattered by this same Siddons and the two became bosom friends. The -Dunois pere kept a small, unsavory restaurant in a side street, but the -glamour of his "Frenchness" was an aureole compared to the stigma of my -"Dutchness." That is still something of a mystery to me, but the article -in the Century explains in part the cause of this attitude among -unthinking Americans. Prof. Ross says: - -"Between 1839 and 1845 numerous old Lutherans, resenting the attempt of -their king to unite Lutheran and Reformed faiths, migrated hither.... -The political reaction in the German states after the revolution of -1830, and again after the revolution of 1848, brought tens of thousands -of liberty-lovers." And again he says of these political exiles that -they "included many men of unusual attainments and character.... These -university professors, physicians, journalists, and even aristocrats -aroused many of their fellow-countrymen to feel a pride in German -culture, and they left a stamp of political idealism, social radicalism -and religious skepticism which is slow to be effaced." - -Possibly one reason for American antagonism to these earlier, superior -settlers was the fact that they did somewhat despise American culture -and hold rather closely to their own German ways of thinking. I remember -in my childhood, in my own home, that although we had Harper's Young -People and St. Nicholas, we also had English Chatterbox--I rather fancy -as a corrective to Americanisms to be found in the other magazines. You -know Germans in their own land today do not wish for American -governesses to teach their children English; it must be Englishwomen. -All our toys were sent for from the beloved Fatherland, and beautiful -toys they were, too. We had a system of Froebel with all his methods -established in our own home, long before the middle western cities -dreamed of a public kindergarten. This deep distrust of American methods -and culture could not help but impress Americans unfavorably; they would -retaliate with the cry of Dutchman, perhaps. Prof. Ross goes on to say: - -"Germans brought a language, literature, and social customs of their -own, so that although when scattered they Americanized with great -rapidity wherever they were strong enough to maintain church and schools -in their own tongue they were slow to take the American stamp." So much -for those earlier immigrants. The case is vastly different with the -later tides of immigration. "After 1870," he writes, "the Teutonic -overflow was prompted by economic motives, and such a migration shows -little persistence in flying the flag of its national culture. Numbers -came, little instructed." In the words of a German-American, Knortz, -"nine-tenths of all German immigrants come from humble circumstances and -have had only an indifferent schooling. Whoever, therefore, expects -pride in their German descent from these people who owe everything to -their new country and nothing to their fatherland, simply expects too -much." - -Well, then! If they no longer pride themselves on being German, and are -easily assimilated by the second generation, we should expect to see the -slight stigma of being of German descent removed by this time. But is -it? Not long ago I had occasion to attend a Bach revival and the -beautiful passion music was played and sung. One of my friends remarked, -"You have to get used to this music before you can appreciate it," and I -retorted condescendingly, "I don't; I have heard it from childhood. This -is the kind of music we sing in the Lutheran church." This same friend -later, guiding my tottering steps through the mazes and pitfalls of -society in the "most aristocratic suburb of New York," said -hesitatingly, "I don't think I'd mention it, especially to people in -general, that I was a Lutheran, if I were you." Of course I was seized -immediately with a perfectly natural desire to talk of it in season and -out to everyone I met. Why not? Why not be a Lutheran as naturally as an -Episcopalian or a Methodist? "Well, they are mostly Germans, you see." -But I don't see, and I never have seen, although this article, -enlightening and interesting, goes nearer to the reasons for such an -attitude than anything else I have ever read. - - - REJECTIONS BY EDITORS - -Never again shall I feel a sense of shame and humiliation on receiving -my rejected MS. and the printed slip. I have always suspected that it -was on account of the editors' lack of taste and discrimination; now I -am sure of it. Indeed, I'm not quite sure but that it argues more to be -rejected than to be accepted. I'm beginning to be proud of it. Read -Henry Sydnor Harrison's article in the April Atlantic--Adventures with -the Editors--and see if you don't feel the same way! Or, perhaps, you've -never been rejected with the added ignominy of the printed slip. If so, -don't read this; it is not for you. But all ye rejected ones take -renewed hope from this statement that an editor, actually an editor -himself, has made: - -"I think I can tell you why editors so frequently reject the earlier and -often the best work of writers: it is because any new writer who sends -in first-class work sends in work that is very different from what -editors are used to." - -It reminds me of a time when I wrote, maliciously, I admit, to a certain -well-known magazine, to tell its editors a story they had printed by a -renowned author had been cribbed entire (unconsciously, possibly) from -an old classic; and I told them, too, if they would prefer to print -original stories, I had one on hand. I got back such a deliciously -solemn reply regretting the unconscious plagiarism and asking me to send -on any story I had. I did not do so, for the good and sufficient reason -that I had already sent it to them several weeks previously, and had had -it rejected without comment. No doubt it deserved to be rejected; every -one else did the same with it. To be sure, one kindly editor took the -pains to tell me why, personally. "The trouble is," he said, "there -isn't enough story. Your character-drawing is both careful and sincere, -however." So it must have been dull to deserve anything like that. I -wish we could hear a little more of the experiences of those poor -rejected, who never do "get over the wall," as Mr. Harrison terms it. I -imagine it would be both illuminating and ludicrous. - -And, oh! the happy moments I had on reading E. S. Martin's comments, in -Life, on Mr. Harrison's article. Mr. Harrison makes the charge that -magazines will print poor stories of well known writers in preference to -good stories of the unknown, and Mr. Martin's response is: - -"It does not follow that the editors were wrong because they did not buy -Mr. Harrison's tales before Queed. Maybe they were not more than average -stories. But after Queed they were stories by the author of Queed.... -Queed pulled all Mr. Harrison's past tales out of the ruck, and put them -in the running. It was hardly fair to expect the editors to pick them -for winners beforehand." - -What then are editors for, if not to "pick winners?" And Mr. Harrison -says himself that Queed was rejected by two publishers. Probably it was -hardly fair to expect the publishers to pick such a winner in advance. -We, the rejected, have always humbly thought that was their -occupation--their raison d'etre. And if Mr. Harrison's short stories -were "not more than average stories," doesn't it prove his contention -that average poor stories by the known are more acceptable to editors -than good ones by the unknown? - -At least I am going to think so, and some day I shall write an article -on the lofty distinction of being rejected. - - M. H. P. - - The witty mind is the most banal thing that exists.--James - Stephens in The English Review. - - - - - Sentence Reviews - - -The Goldfish: The Confessions of a Successful Man. Anonymous. [The -Century Company, New York.] Proves conclusively, for anyone who may need -such proof, that the "successful" man misses those adventures which -William James ascribed to poverty: "The liberation from material -attachments; the unbribed soul; the manlier indifference; the paying our -way by what we are or do, and not by what we have; the right to fling -away our life at any moment irresponsibly--the more athletic trim, in -short, the fighting shape...." - -Walt Whitman: A Critical Study, by Basil De Selincourt. [Mitchell -Kennerley, New York.] Any biography of Whitman which reveals a large -understanding of his big poems of personality is notable. De Selincourt -proves in his closing sentence that he knows his subject, for it is the -clearest and best characterization of the poet that has ever been -written: "He rises ... above nationality and becomes a universal figure: -poet of the ever-beckoning future, the ever-expanding, ever-insatiable -spirit of man." - -Socialism: Promise or Menace? by Morris Hillquit and Rev. Dr. John A. -Ryan. [The Macmillan Company, New York.] A sophomoric debate between two -dogmatists that ran in Everybody's Magazine. One instinctively feels -that two evils are guised as panaceas and he will have neither of them. -The church, of course, has the last word--in the book. - -Penrod, by Booth Tarkington. [Doubleday, Page, and Company, New York.] -At rare intervals we have a book on boys that holds the genuine boy -boyeousness. The Real Diary of a Real Boy captivated us with the story -of big little boys in a village; The Varmit told us of the irresponsible -capers of little big boys in "prep" school; and now we have Penrod, in -which Mr. Tarkington tells us much--well, of just boys. - -Joseph Pulitzer: Reminiscences of a Secretary, by Alleyne Ireland. -[Mitchell Kennerley, New York.] An extraordinarily interesting piece of -Boswellizing. - -Sadhana: The Realisation of Life, by Rabindranath Tagore. [The Macmillan -Company, New York.] A quiet essay full of the queer charm of conquered -strength memorable for at least one splendid sentence: "... life is -immortal youthfulness, and it hates age that tries to clog its -movements." But Tagore is vying too much with Tango just now among -people who can neither orient nor dance. - -The Meaning of Art, by Paul Gaultier. Translation by H. & E. Baldwin. -[J. B. Lippincott Company, Philadelphia.] What is art? This book gives -the best answer that we have read, but when the author is psychological -he is wrong, in most cases. He has a rare faculty of compelling one to -read between his lines, and argue things out with oneself. - -The Deaf: Their Position in Society, by Harry Best. [Thomas Y. Crowell -Company, New York.] An astonishing compilation of facts and figures by a -social economist who makes a morbid subject interesting to a healthy -citizen unafraid of truth about life. - -Hail and Farewell: Vale, by George Moore. [D. Appleton & Company, New -York.] A completion of the most fascinating autobiography in the English -language. - -American Policy: The Western Hemisphere in Its Relation to the Eastern, -by John Bigelow. [Charles Scribner's Sons, New York.] Cautious -discussions that respect diplomatic red tape interest patriotic pedants -but bore personalities who are concerned with bigger things than -national policies. - -The Fortunate Youth, by William J. Locke. [John Lane Company, New York.] -Has all the Locke charm--and all the Locke prettinesses. The dish has -been served so often that it has become a bit tasteless. Most accurately -described as the kind of story whose heroine is always called "princess" -and whose hero rises from the slums to make flaming speeches in -parliament and achieve the "Vision Splendid." It will probably run into -ten editions and bring much joy. - -The Wonderful Visit, by H. G. Wells. [E. P. Dutton and Company, New -York.] A reprint of a story published in 1895 which shows Mr. Wells in -the very interesting position of groping toward his present altitude. - -Sweetapple Cove, by George Van Schaick. [Small, Maynard, and Company, -Boston.] The kind of sweet, gentle love story that a publisher would -rather discover than anything Ethel Sidgwick could write. We searched in -vain for just one page to hold our attention. - -Idle Wives, by James Oppenheim. [The Century Company, New York.] Despite -a narrative style that at times fairly suffocates with its emotionality, -Mr. Oppenheim has put up a very strong case for the woman who demands -something of life except having things done for her. - -Bedesman 4, by Mary J. H. Shrine. [The Century Company, New York.] The -outline is traditional: an English peasant boy makes his way through -Oxford, becomes a brilliant historian and a "gentleman," and marries a -"lady." But the treatment is fresh and delightful; there is something -real about it. - -Over the Hills, by Mary Findlater. [E. P. Dutton and Company, New York.] -There are no new things to say about a Findlater novel. They are always -good. - -Sunshine Jane, by Anne Warner. [Little, Brown, and Company, Boston.] -Jane has our own theory that one can get what he wants out of life if he -wants it hard enough. Though we don't advocate some of her "sunshine" -sentimentalities. - -The Full of the Moon, by Caroline Lockhart. [J. B. Lippincott Company, -Philadelphia.] As superfluous as The Lady Doc. Those people who are -always asking why such books as The Dark Flower should be written ought -to turn their questioning to things of this type. - -The Congresswoman, by Isabel Gordon Curtis. [Browne and Howell Company, -Chicago.] The tale of an Oklahoma woman elected to congress which closes -with a retreat--though not an ignominious one--to a little white house -with a fireside and a conquering male. - -The Last Shot, by Frederick Palmer. [Charles Scribner's Sons, New York.] -A war novel without a hero by a man who has experienced many wars. - -The Women We Marry, by Arthur Stanwood Pier. [The Century Company, New -York.] One of the most amateurish attempts to meet the modern demand for -sex stories that we have seen. - -A Child of the Orient, by Demetra Vaka. [Houghton Mifflin Company, New -York.] A blend of Greek poetry and Turkish conquest and American -progress in autobiographical form, by the Greek woman who wrote -Haremlik. - -Anybody but Anne, by Carolyn Wells. [J. B. Lippincott Company, -Philadelphia.] A mystery story of which the most fascinating feature is -the architect's plan of the house in which it takes place. - -The Flower-Finder, by George Lincoln Walton; with frontispiece by W. H. -Stedman and photographs by Henry Troth. [J. B. Lippincott Company, -Philadelphia.] Worth owning if merely for the end-papers which literally -lead you into a spring woods. A comprehensive pocket guide to wild -flowers. - -Prisons and Prisoners: Personal Experiences of Constance Lytton and Jane -Warton, Spinster. [George H. Doran Company, New York.] As Lady Lytton, -an enthusiastic convert to militant suffrage, the author received -courteous treatment in prison; disguised successfully as a middle-class -old maid she was handled shamefully. Everyone who doubts the martyrdom -or the intrepidity of the suffragettes ought to read this record. - -Women as World Builders, by Floyd Dell. [Forbes and Company, Chicago.] -Birdseye views of the feminist movement by a literary aviator whose -cleverly-composed snapshots actually justify his cocksure audacity. - -Women and Morality, by a mother, a father, and a woman. [The Laurentian -Publishers, Chicago.] Men and immorality discussed bravely by two women -and a man, without the artistic justification of "getting anywhere." - -Karen Borneman and Lynggaard & Co., by Hjalmar Bergstroem, translated -from the Danish by Edwin Bjoerkman; The Gods of the Mountain, The Golden -Doom, King Argimenes and the Unknown Warrior, The Glittering Gate, and -The Lost Silk Hat, by Lord Dunsany; Peer Gynt, by Henrik Ibsen, with -introduction by R. Ellis Roberts. [Mitchell Kennerley, New York.] New -volumes in The Modern Drama Series. - -What Is It All About? A Sketch of the New Movement in the Theatre, by -Henry Blackman Sell. [The Laurentian Publishers, Chicago.] The "art -theatre" is explained illuminatingly for those who are vague about the -movement. Condensed, to the point, and really informing. - -The Beginning of Grand Opera in Chicago (1850-1859), by Karleton -Hackett. [The Laurentian Publishers, Chicago.] Mr. Hackett is a man of -ideas and he might have written an interesting book by taking "grand -opera in Chicago" as his theme. Instead, he has done a hack job with its -early history and been given the distinction of tasteful binding and -printing. - -Tuberculosis: Its Cause, Cure, and Prevention, by Edward O. Otis, M.D. -[Thomas Y. Crowell Company, New York.] A revised edition of an old, -popular book "for laymen." Abounds in hard, cocksure rules that, if -followed, ought to discourage any germ whose host could outlive it. A -valuable work for persons who must have a definite programme to guide -them in fighting an always individualized disease. - -Roget's Thesaurus of English Words and Phrases, classified and arranged -so as to facilitate the expression of ideas and assist in literary -composition, edited by C. O. Sylvester Mawson. [Thomas Y. Crowell -Company, New York.] A revised edition in large type on thin paper. - -Richard Wagner: The Man and His Work, by Oliver Huckel. [Thomas Y. -Crowell Company, New York.] Between W. J. Henderson's characterization -of Wagner as "the greatest genius that art has produced" and Rupert -Brooke's as an emotionalist with "a fat, wide, hairless face" there -ought to be a man worth biographies ad infinitum. Dr. Huckel's is simply -a clear condensation for the general reader of standard biographical -material, and is worth while. - -The Book of the Epic: All the World's Great Epics Told in Story, by H. -A. Guerber; with introduction by J. Berg Esenwein. [J. B. Lippincott -Company, Philadelphia.] The most satisfying compilation in the field -that has ever been offered to the young student or general reader. - -The Practical Book of Garden Architecture, by Phebe Westcott Humphreys. -[J. B. Lippincott Company, Philadelphia.] A weighty chronicle of garden -architecture, observations in many lands and under many conditions. "A -pick up and browse" book for the nature lover, with delightful -illustrations and much interesting general data of sunny gardens, cobble -walls, and running streams. - - I am that which unseen comes and sings, sings, sings; which - babbles in brooks and scoots in showers on the land, which the - birds know in the woods, mornings and evenings, and the - shore-sands know, and the hissing wave.--Walt Whitman. - - - - - Letters to The Little Review - - - A. S. K., Chicago: - -With your permission I shall try to explain why I am not enthusiastic -about the second issue of your magazine: - -The crime of the April issue lies in the fact of its closely following -(chronologically) the issue of March. In the beginning you appeared to -us as a prophet, and we wistfully listened to your unique message; now -you have degenerated into a priest, a dignified station indeed, but -don't you think there are already more priests than worshippers in our -Temple? If you are going to be "one of many" I question the raison -d'etre of THE LITTLE REVIEW. - -Your debut was a revelation, a new word, a rejuvenating breeze in the -tepid atmosphere of our periodical press. It was a wonderful number, all -fresh and beautiful; even the one or two grotesque pieces that had -smuggled in drowned in the mass of splendor, just as the heavy colors of -the rainbow soften in the powerful symphony of the spectrum. - -Now, frankly, would you sign your name under every article of the April -REVIEW? I hope not! You have turned your temple into a parliament of -dissonances; you have admitted Victorian ladies and sentimental -crucifiers of Nietzsche; you have even polluted your pages with an -anti-Bathhouse tirade! Then that cacophony of personal letters: I -blushed at the sight of these tokens of familiarity and tappings over -your shoulder on the part of the benevolent readers. I wished to shout -to the Misses Jones to keep off the altar, lest they besmirch your white -robe with their penny compliments and saccharine effusions. - -I could hardly make myself believe that this irritating copy was THE -LITTLE REVIEW. - -Pardon this frankness. But I wish you success, not popularity. - - Mary W. Ohr, Indianapolis: - -Let me tell you how much pleasure you have given me in the second issue -of your magazine. You are certainly to be congratulated upon having the -initiative to start anything so great as this. - -I have reserved writing to you until now, for I wished to avoid the -appearance of trying to tear down or discourage an effort that was so -much bigger than anything I could ever achieve. Your article on The Dark -Flower made me feel that possibly intolerance might be your stumbling -block, and that your youth and enthusiasm might lead you into many -pitfalls that might not be for the betterment of your work. But this -number has made me your equal in enthusiasm, and I believe THE LITTLE -REVIEW is here to stay. - - Verne DeWitt Rowell, London, Ontario: - -THE LITTLE REVIEW is a whirlwind surprise. There is nothing like it in -America. I am glad to see you playing up Nietzsche. Over here in this -little town we have a Nietzschean vogue, and we are all delighted. Truly -the intellectual center of America has shifted westward. To be sure, New -York has The International; but Chicago has THE LITTLE REVIEW, The -Trimmed Lamp, and one or two other magazines of real literature. Then -there is Burns Lee's Bell Cow in Cleveland. Nietzsche is coming into his -own at last. Wishing every success to THE LITTLE REVIEW, which is one of -the two best magazines in America (the other is Current Opinion). - - Mollie Levin, Chicago: - -The formal bow that THE LITTLE REVIEW made to the public in its first -issue violated tradition beautifully by doing what formal bows never -do--really mean something. It is glorious to be young and enthusiastic, -and still more so to be courageous; and whatever goes into THE LITTLE -REVIEW in that spirit is admirable, regardless of any reader's personal -judgment. - -It's good, too, to have used THE LITTLE REVIEW: It makes me think of a -child--beautiful in its present stage and with promise of infinite -fulfillment. - - Marie Patridge, Clearfield, Pa.: - -I've been tremendously interested in the second issue. It seems to me -your critic is wrong in speaking of juvenility or the restrictive tone -of the magazine. It's exactly that which gives THE LITTLE REVIEW an -excuse for being, that it is not like all other magazines with their -cut-and-dried precision and their "Thus saith the Lord" attitude toward -things. - -As time goes on I think it will be wise to enlarge the scope--more of -drama, more of music, more of world politics and science. You will thus -get away from the aesthetic tendency which your critic mentions. - -I enjoyed the Wells discussion so much. And yet Miss Trevor doesn't -advance any real arguments. It's very easy to call people muddle-headed -and vaguely sentimental, but an appeal to the upbuilding of character -isn't slushy. I'm inclined to agree with "M. M.," though I'd like to -hear an advanced--not a hysterical--argument on the subject. I'm willing -to be convinced of the other side, but assuredly it would take something -stronger and sterner and more logical than Miss Trevor. - - [The suggestion about enlarging our scope is one we hoped no one - would make until we had done it, that being the plan closest to - our hearts. We can only explain our shortcomings in this regard - by referring to a homely but reasonable saying about not being - able to do everything at once.--THE EDITOR.] - - Mabel Frush, Chicago: - -You have invited frank criticism, and that is my reason for not writing -at first: I could not accept it all. In the first place, regarding -Paderewski. Do you never find him a bit over-powering; do you never feel -that a trifle more restraint might give greater strength? In Grieg, for -instance, does he carry you up into the high places, give you that -impression of unlimited space, rugged strength, and wild beauty? Is he -not too subjective? - -I quite agree with you as regards Chopin and Schumann. There he is -satisfying. His interpretations carry a quality that other artists -sometimes treat too lightly; forgetting "a man's reach must exceed his -grasp," and so sacrificing the greater to the lesser in striving for -perfection. Impotency is the price of ultra-civilization. - -Your comments on temperament are interesting, but I feel you are not -quite fair in your comparisons. Is not Paderewski's genius largely a -racial gift? To me all Russian (or Polish) art--both creative and -interpretative--possesses the flame of the elemental, that generative -quality which marks the difference between technical perfection and -living, breathing, throbbing art. Appreciating that "all music is what -awakens in you when reminded by the instrument," he strives for but one -thing: an emotional releasement that results in a temperamental orgy -which leaves his hearers dazed, lost in the labyrinth of their own -emotions. - -As for Rupert Brooke's poetry, I regard him as decadent--at least too -much so to be really vital. Perhaps my vision is clouded, but I could as -easily conceive of Johnson worshipping at the shrine of Boswell as of -Whitman liking Brooke. Now and then he impresses me as being effete, and -I can never separate him from a cult, though I do delight in some of his -poems. - - Mrs. William H. Andrews, Cleveland: - -May I put in my little word and wish you all good speed, editor of THE -LITTLE REVIEW? - -You evidently live in the clear blue sky where fresh enthusiasms rush on -like white clouds bearing us irresistibly along. Life grows even more -vivid under such stimulating courage and pulsing optimism. - -The world is indeed wonderful if we but live it passionately, as did -Jean Christophe and Antoine, leaping forward, breasting the waves, with -music in the soul. My ears are singing with the third movement of -Tschaikowsky's immortal Pathetique, which to me, in larger part, so -belies its name. - -Hail to THE LITTLE REVIEW! May it dart "rose-crowned" along its shining -way, emblazoning the path for many of us. - - Mary Carolyn Davies, New York: - -I have just finished reading THE LITTLE REVIEW from cover to cover, and -much of it twice over. - -Thank you for loving the things I love, and thank you for being young -and not being afraid to be young! This is such a good day to be young -in! - -With all good wishes for the success of THE LITTLE REVIEW (though it -needs no good wishes, for it cannot help succeeding). - - P. H. W., Chicago: - -The article on Mrs. Meynell in your April issue sounded a little curious -in its surroundings, as it was a piece of pure criticism and THE LITTLE -REVIEW is the official organ of exuberance. It is the only one, in fact, -and it is a good thing to have such an organ. - - - - - The "Best Sellers" - - - The following books, arranged in order of popularity, have been the - "best sellers" in Chicago during April: - - - FICTION - - Diane of the Green Van Leona Dalrymple Reilly & Britton - Pollyanna Eleanor H. Porter L. C. Page - Inside the Cup Winston Churchill Macmillan - The Fortunate Youth William J. Locke Lane - Overland Red Anonymous Houghton Mifflin - T. Tembarom Frances H. Burnett Century - Penrod Booth Tarkington Doubleday, Page - Laddie Gene Stratton-Porter Doubleday, Page - Chance Joseph Conrad Doubleday, Page - Pidgin Island Harold McGrath Bobbs-Merrill - The Devil's Garden W. B. Maxwell Bobbs-Merrill - Quick Action Robert Chambers Appleton - Sunshine Jane Anne Warner Little, Brown - Light of the Western Stars Zane Grey Harper - Cap'n Dan's Daughter Joseph Lincoln Appleton - The Woman Thou Gavest Me Hall Caine Lippincott - Daddy-Long-Legs Jean Webster Century - World Set Free H. G. Wells Dutton - The After House Mary R. Rinehart Houghton Mifflin - Miss Billy Married Eleanor H. Porter L. C. Page - Flying U Ranch B. M. Bower Dillingham - Ariadne of Allan Water Sidney McCall Little, Brown - Anybody but Ann Carolyn Wells Lippincott - Rocks of Valpre E. M. Dell Putnam - White Linen Nurse Eleanor Abbott Century - When Ghost Meets Ghost William DeMorgan Holt - Dark Hollow Anna Katherine Greene Dodd, Mead - The Forester's Daughter Hamlin Garland Harper - Peg o' My Heart Hartley Manners Dodd, Mead - Passionate Friends H. G. Wells Harper - Martha by the Day Julie Lippman Holt - Westways S. Weir Mitchell Century - Gold Stewart E. White Doubleday, Page - Valley of the Moon Jack London Macmillan - Home Anonymous Century - It Happened in Egypt C. M. & A. M. Williamson Doubleday, Page - The Treasure Kathleen Norris Macmillan - Witness for the Defense A. E. W. Mason Scribner - Iron Trail Rex Beach Harper - Friendly Road David Grayson Doubleday, Page - - - NON-FICTION - - Crowds Gerald S. Lee Doubleday, Page - What Men Live By Richard C. Cabot Houghton Mifflin - Modern Dances Caroline Walker Saul - Gitanjali Rabindranath Tagore Macmillan - Autobiography Theodore Roosevelt Macmillan - - The press of my foot to the earth springs a hundred - affections.--Walt Whitman. - - I ... am he who places over you no master, owner, better, God, - beyond what waits intrinsically in yourself.--Walt Whitman in - Leaves of Grass. - - - - -Where The Little Review Is on Sale - - - New York: Charles Scribner's Sons. E. P. - Dutton & Co. G. P. Putnam's Sons. Brentano's. - Vaughn & Gomme. M. J. Whaley. - Wanamaker's. - - Chicago: The Little Theatre. McClurg's. - Morris's Book Shop. Carson, Pirie, Scott & - Co. A. Kroch & Co. Chandler's Bookstore, - Evanston. W. S. Lord, Evanston. - - Boston: Old Corner Bookstore. C. E. Lauriat - & Co. - - Pittsburg: Davis's Bookshop. - - Springfield, Mass.: Johnson's Bookstore. - - Cleveland: Burrows Brothers. Korner & Ward. - - Detroit: Macauley Bros. Sheehan & Co. - - Minneapolis: Nathaniel McCarthy's. - - Los Angeles: C. C. Parker's. - - Omaha: Henry F. Keiser. - - Columbus, O.: A. H. Smythe's. - - Dayton, O.: Rike-Kummler Co. - - Indianapolis, Ind.: Stewarts' Book Store. - The New York Store. - - New Haven, Conn.: E. P. Judd Co. - - Portland, Ore.: J. K. Gill Co. - - St. Louis, Mo.: Philip Roeder. - - Seattle, Wash.: Lowman, Hanford & Co. - - Spokane, Wash.: John W. Graham & Co. - - Hartford, Conn.: G.F. Warfield & Co. - - Philadelphia: Geo. W. Jacobs & Co. Leary's - Old Bookstore. John Wanamaker's. - - Rochester, N. Y.: Clarence Smith. - - Syracuse, N. Y.: Clarence E. Wolcott. - - Buffalo, N. Y.: Otto Ulhrick Co. - - Washington, D. C.: Brentano's. - - St. Paul: St. Paul Book & Stationery Co. - - Cincinnati, O.: Stewart & Kidd. - - My First Years as a Frenchwoman 1876-1879 - - BY MARY KING WADDINGTON, author of "Letters of a Diplomat's - Wife," "Italian Letters of a Diplomat's Wife," etc. - - $2.50 net; postage extra. - - The years this volume embraces were three of the most critical in - the life of the French Republic. Their principal events and - conspicuous characters are vividly described by an expert writer - who was within the inmost circles of society and diplomacy--she - was the daughter of President King of Columbia, and had just - married M. William Waddington, one of the leading French - diplomats and statesmen of the time. - - Notes of a Son and Brother - - BY HENRY JAMES. - - Illustrated. With drawings by WILLIAM JAMES. - - $2.50 net; postage extra. - - Harvard, as it was in the days when, first William, and then - Henry, James were undergraduates, is pictured and commented upon - by these two famous brothers--by William James through a series - of letters written at the time. The book carries forward the - early lives of William and Henry, which was begun in "A Small Boy - and Others," published a year ago. Among the distinguished men - pictured in its pages are John LaFarge, Hunt, Professor Norton, - Professor Childs, and Ralph Waldo Emerson, who was a close friend - of Henry James, Senior. - - The American Japanese Problem - - BY SIDNEY L. GULICK. - - Illustrated. $1.75 net; postage extra. - - The writer believes that "The Yellow Peril may be transformed - into golden advantage for us, even as the White Peril in the - Orient is bringing unexpected benefits to those lands." The - statement of this idea forms a part of a comprehensive and - authoritative discussion of the entire subject as set forth in - the title. The author has had a lifetime of intimacy with both - nations, and is trusted and consulted by the governments of each. - - The Influence of the Bible upon Civilisation - - BY ERNEST VON DOBSCHUTZ, Professor of the New Testament at - the University of Halle-Wittenberg, and now lecturing at - Harvard as exchange professor of the year - - $1.25 net; postage extra. - - This is an attempt to answer by the historical method the great - question of the day: "How can Christianity and civilisation - advance in harmony?" The writer simply follows the traces of the - Bible through the different periods of Christian history--a task - which, singularly enough, has hardly ever before even been - attempted, and never before successfully or even thoroughly done. - - Hebrew and Babylonian Traditions - - BY MORRIS JASTROW, JR., PH.D. Professor of Semitic - Languages in the University of Pennsylvania - - 8vo $2.50 net; postage extra. - - An important and extraordinarily interesting study of the - relationship between the Hebrews and the Babylonians, devoted - primarily to pointing out the differences between Babylonian - myths, beliefs, and practices, and the final form assumed by - corresponding Hebrew traditions, despite the fact that both are - to be traced back to the same source. - - New Guides to Old Masters - - BY JOHN C. VAN DYKE - - Professor of the History of Art at Rutgers College and - author of "The Meaning of Pictures," "What is Art?" etc. - - 12 Volumes Each with frontispiece - - A series of art guides, whose little volumes, unique in - conception and execution, should be as natural and essential a - part of every man's traveling equipment as the Baedeker - guide-books are now. - - They are the only descriptive and critical art guides in - existence. They are written by the high authority on art, who is - probably better acquainted than any other writer living with the - European galleries. - - They are composed of clear, pointed critical notes upon - individual pictures, written before those pictures by the author. - - These notes deal comprehensively with practically all of the - European galleries; and therefore discuss and explain practically - all the important paintings that hang in those galleries. - - The volumes are so manufactured as to be easily carried, and they - combine perfectly the qualities of beauty and durability. - - - The Volumes - I. LONDON--National Gallery, Wallace - Collection. With a General - Introduction and Bibliography, - for the Series. - net $1.00 - II. PARIS--Louvre - net .75 - III. AMSTERDAM--Rijks Museum - THE HAGUE--Royal Gallery - HAARLEM--Hals Museum - net .75 - IV. ANTWERP--Royal Museum - BRUSSELS--Royal Museum - net .75 - V. MUNICH--Old Pinacothek - FRANKFORT--Staedel Institute - CASSEL--Royal Gallery - net $1.00 - VI. BERLIN--Kaiser-Friedrich Museum - DRESDEN--Royal Gallery - net $1.00 - VII. VIENNA--Imperial Gallery - BUDAPEST--Museum of Fine Art - net $1.00 - - IN PRESS - VIII. ST. PETERSBURG--Hermitage - IX. VENICE--Academy - MILAN--Brera, Poldi-Pessoli Museum - X. FLORENCE--Uffizi, Pitti, Academy - XI. ROME--Vatican Borghese Gallery - XII. MADRID--Prado - - Charles Scribner's Sons - Fifth Avenue, New York - - - - - IMPORTANT BOOKS - OF THE SPRING - - - IN THE HIGH HILLS - - By Maxwell Struthers Burt - - This little book is one that the lover of poetry cannot overlook. - Mr. Burt has authentic poetic inspiration and a fine command of - poetic language and his work will be read and treasured. - - $1.00 net. Postage extra. - - THE SISTER OF THE WIND - - By Grace Fallow Norton - - This new collection of Miss Norton's work, the first since the - "Little Gray Songs from St. Joseph's," shows remarkable poetic - growth in technical facility, and in range and force of - imagination. - - $1.25 net. Postage extra. - - THE WOLF OF GUBBIO - - By Josephine Preston Peabody - - "The author has succeeded in transferring to the pages of her - drama much of the indefinable sweetness and spirituality which we - associate with the name of St. Francis, and in so doing she has - enhanced the tender and appealing qualities which distinguish all - of her work."--San Francisco Chronicle. - - $1.10 net. Postage extra. - - THE LITTLE BOOK OF MODERN VERSE - - By Jessie B. Rittenhouse - - "A delight to all who love poetry.... Surely generations other - than this will be grateful to the wise gatherer of so much - loveliness."--N. Y. Times. - - $1.00 net. Postage extra. - - THE RIDE HOME - - By Florence Wilkinson Evans - - "Rich in beauty of thought, feeling and expression.... All the - songs, whether glad or sorrowful, are human, tender, and - touching."--Chicago Record-Herald. - - $1.25 net. Postage extra. - - THE POEMS OF JOSEPH BEAUMONT - - Poems, most of them hitherto unpublished, of Dr. Joseph Beaumont, - a seventeenth century divine. The manuscript was loaned by Prof. - George H. Palmer to Wellesley College, where it was translated - and equipped with notes and introduction by Eloise Robinson, - under the direction of Professor Katharine Lee Bates. - - $5.00 net. Postage extra. Limited edition, of which 200 - copies are for sale. - - LYRICS FROM THE CHINESE - - By Helen Waddell - - These free translations of a group of Chinese poems are admirable - in their faithfulness to the spirit of the originals. They - breathe the fatalism, wistfulness, homely wisdom, and love of - beauty so characteristic of all Oriental expression. - - $1.00 net. Postage extra. - - LOST DIARIES - - By Maurice Baring - - The many readers who have found piquant pleasure in Mr. Baring's - delightful fabrications, "Dead Letters" and "Diminutive Dramas," - will find similar but fresh delight in his "Lost Diaries." - - $1.25 net. Postage extra. - - PAUL VERLAINE - - By Wilfred Thorley - - This volume deals in a sane and authoritative fashion with that - most brilliant of insane geniuses, Paul Verlaine. Verlaine's - fevered life and his outstanding poetic work are both studied - with full knowledge and with a fine critical sense. - - With portrait. 75 cents net. Postage extra. - - A LIFE OF TOLSTOY - - By Edward Garnett - - Mr. Garnett, who is one of the best known of the younger English - critics, has made a close study of Tolstoy's life and work. He - presents it with sympathy, yet with careful detachment, and - always in harmony with the general relation of life and thought - of the day. - - With portrait. 75 cents net. Postage extra. - - IN THE OLD PATHS - - By Arthur Grant - - "A charming book of sketches that take us into holy - places--places made sacred by association now dear to the lover - of books."--Book News Monthly. - - Illustrated. $1.50 net. Postage extra. - - STORIES AND POEMS AND OTHER UNCOLLECTED WRITINGS OF - BRET HARTE - - The material here collected stands comparison in interest and - value with that in any of Harte's other volumes. Mr. Charles - Meeker Kozlay, who is widely known as the most successful - collector of Hartiana, has been able to collect a group of - stories, essays, and poems from magazine and newspaper sources - that every reader of Bret Harte will want. - - Illustrated. $6.00 net. Postpaid. Limited to 500 copies for - sale. - - A CHILD OF THE ORIENT - - By Demetra Vaka - - A fascinating autobiographical story of the early life of a Greek - girl in Constantinople. It has the exotic, Arabian Nights flavor - of the same author's "Haremlik," with an even keener, more - consecutive narrative interest. - - $1.25 net. Postage extra. - - CLARK'S FIELD - - By Robert Herrick - - One of Mr. Herrick's ablest and strongest novels, showing the - development of a modern girl involved in the changing conditions - of American social and business life. - - $1.40 net. Postage extra. - - 4 Park St. 16 E. 40th St. Boston Houghton Mifflin Company - New York - - - You Will Want to Read - - - - - Diane of the Green Van - - - IF you choose your reading for the suspense of the Plot - - "A plot far removed from the ordinary."--Pittsburgh - Chronicle-Telegraph. - - "Full of surprising turns and hedged around with the - atmosphere of romance which is truly - enthralling."--Philadelphia Record. - - "A plot remarkably striking--bright and breezy and - exciting."--Chicago Record-Herald. - - or - - If you enjoy the development of whimsical Characters - - "A heroine whose fascination richly merits study."--Boston - Globe. - - "Everywhere is there subtlety in the delineation of - character."--Chicago Tribune. - - "Every personage introduced has a distinct - individuality."--Louisville Courier-Journal. - - and - - The wholesomeness of a charming out-of-doors Setting - - "A rare charm in description which brings out the beauty of - the setting without delaying the story."--Indianapolis News. - - "A land of enchantment--the enthrallment of the - Everglades."--Book News Monthly. - - "Pictures fraught with poetic beauty."--San Francisco - Bulletin. - - told - - With all the humor and spontaneity of an individual Style - - "Gracefully written, vivid in style and suggestion."--Chicago - Record-Herald. - - "Lively, thoroughly entertaining."--Philadelphia Public - Ledger. - - "Unusual dramatic grip; much brilliancy of - dialogue."--Philadelphia North American. - - You will find all these qualities in - - Diane - of the - Green Van - - The $10,000 Prize Novel - - By - Leona Dalrymple - - If you like a bright, happy, quick-moving love story, spiced with - individuality, sweetened with clean, wholesome humor, brisked - with a dash of adventure that will make you sit up, toned with a - love of nature and the big out-of-doors, refreshingly free from - "problem," "sex"--99-925/1000 pure story--read "DIANE." - - At All Dealers--Price $1.35 Net - - Publishers Reilly & Britton Chicago - - - - - Mitchell Kennerley's May Books - - - New Men for Old - - By HOWARD VINCENT O'BRIEN. A fine new American novel, serious - in intent but interestingly told and written with charm and - distinction. - - Net $1.25. - - Great Days - - By FRANK HARRIS, author of "The Man Shakespeare," "The Bomb," - "Montes the Matador," etc., etc. - - 12mo. $1.35 net. - - There is nothing of the problem-novel about this newest book by - Frank Harris. It is just a red-blooded gripping yarn, set in the - time of Napoleon. - - Forum Stories - - Selected by CHARLES VALE, author of "John Ward, M. D." Uniform - with "The Lyric Year." - - 12mo. $2.00 net. - - "Forum Stories" is a representative of American short stories, as - was "The Lyric Year" of American poetry. - - The True Adventures of a Play - - By LOUIS SHIPMAN. Illustrated in colors and in black and - white. - - 12mo. $1.50 net. - - Perhaps you remember Henry Miller in "D'Arcy of the Guards." Its - author, Louis Shipman, has written this unique book about - "D'Arcy," in which he tells exactly what happened to the play - from the very first moment the manuscript left his hands. - Letters, contracts, telegrams, etc., are all given in full, and - there are many interesting illustrations, both in color and in - black and white. "The True Adventures of a Play" will prove of - almost inestimable value to all those who practice or hope to - practice the art of playwriting. - - Interpretations and Forecasts - - A STUDY OF SURVIVALS AND TENDENCIES IN CONTEMPORARY SOCIETY - - By VICTOR BRANFORD. - - 8vo. $2.50 net. - - An important book in which are discussed such timely topics as - "The Position of Women," "The Renewed Interest in the Drama," - etc. - - Intermediate Types Among Primitive Folk - - By EDWARD CARPENTER, author of "Towards Democracy," "Love's - Coming of Age," etc. - - 12mo. $2.00 net. - - A new and important book by a man whose writings command the - attention of the civilized world. - - At the Sign of the Van - - By MICHAEL MONAHAN, author of "Adventures in Life and - Letters," etc. - - 12mo. $2.00 net. - - Michael Monahan, founder of that fascinating little magazine, - "The Papyrus," has abundant sympathy, insight, critical acumen, - and above all real flavor. Into this volume he has put much of - his own life story. And there is a remarkable chapter on "Sex in - the Playhouse," besides papers on Roosevelt, O. Henry, Carlyle, - Renan, Tolstoy, and Arthur Brisbane, to mention but a few. - - Nova Hibernia - - By MICHAEL MONAHAN, author of "Adventures in Life in Letters," - etc. - - 12mo. $1.50 net. - - A book of delightful and informing essays about Irishmen and - letters by an Irishman. Some of the chapters are "Yeats and - Synge," "Thomas Moore," "Sheridan," "Irish Balladry," etc., etc. - - Mitchell Kennerley, 32 West 58th Street, New York - - - The Pre-eminence of the - - - - - Mason & Hamlin - - - During the musical season, just closing, the Mason & Hamlin has - been heard more frequently in concerts and public recitals of - note than all other pianos. - - To scan but hurriedly a partial list, is to be reminded of the - greatest musical events of the past season. - - Tetrazzini-Ruffo Concert - Melba-Kubelik Concert - Kneisel Quartet - Flonzaley Quartet - - Concerts of the Apollo Musical Club - Sinai Temple Orchestra - Sunday Evening Club - - MARY ANGELL - HAROLD BAUER - SIMON BUCHHALTER - MME. CLARA BUTT AND KENNERLEY RUMFORD - CAMPANINI CONCERTS - LINA CAVALIERI - VIOLA COLE - CHARLES W. CLARK - JULIA CLAUSSEN - ARMAND CRABBE - HELEN DESMOND - MAX DOELLING - JENNIE DUFAU - HECTOR DUFRANNE - MARIE EDWARDS - CLARENCE EIDAM - AMY EVANS - CECIL FANNING - CARL FLESCH - ALBERT E. FOX - - HEINRICH GEBHARD - ARTHUR GRANQUIST - GLENN DILLARD GUNN - GEORGE HAMLIN - JANE OSBORN-HANNAH - GUSTAVE HUBERDEAU - MARGARET KEYES - RUTH KLAUBER - GEORGIA KOBER - HUGO KORTSCHAK - WINIFRED LAMB - MARIE WHITE LONGMAN - ETHEL L. MARLEY - THEODORE MILITZER - LUCIEN MURATORE - PRUDENCE NEFF - EDGAR A. NELSON - MARX E. OBERNDORFER - ROSA OLITZKA - AGNES HOPE PILLSBURY - EDNA GUNNAR PETERSON - - MABEL RIEGELMAN - EDWIN SCHNEIDER - HENRI SCOTT - ALLEN SPENCER - WALTER SPRY - LUCILLE STEVENSON - SARAH SUTTEL - BELLE TANNENBAUM - MRS. B. L. TAYLOR - MAGGIE TEYTE - DELLA THAL - JACQUES THIBAUD - ROSALIE THORNTON - CYRENA VAN GORDON - EDMOND WARNERY - CLARENCE WHITEHILL - JAMES S. WHITTAKER - HENRIETTA WEBER - CAROLINA WHITE - MEDA ZARBELL - ALICE ZEPPILLI - - Official Piano of the North Shore Music Festival - Official Piano of the Boston Grand Opera Company - - Official Piano of the Chicago Grand Opera Company - Official Piano of the Philadelphia Grand Opera Company - - Mason & Hamlin Pianos - For Sale only at the Warerooms of the - Cable Piano Company - Wabash and Jackson - - - VOL. IV NO. II - - - - - Poetry - - - A Magazine of Verse - - Edited by Harriet Monroe - - - MAY, 1914 - - Nishikigi Ernest Fenollosa - Translation of a Japanese Noh Drama - The Rainbird Bliss Carman - Poems Skipwith Cannell - Ikons--The Blind Man--The Dwarf Speaks--Epilogue to the Crows. - Poems William Butler Yeats - To a Friend Whose Work Has Come to Nothing--Paudeen--To a - Shade--When Helen Lived--Beggar to Beggar Cried--The - Witch--The Peacock--Running to Paradise--The Player - Queen--To a Child Dancing in the Wind--The Magi--A Coat. - Editorial Comments - The Enemies We Have Made--The Later Yeats--Reviews--Notes. - - 543 Cass Street, Chicago - - Annual Subscription $1.50 - - - - - The - Glebe - Monthly - - - A New Book of Permanent Literary Value - - The GLEBE publishes twelve or more complete books a year. It is - an attempt on the part of the editors and publishers to issue - books entirely on their own merit and regardless of their chance - for popular sale. Once a month--and occasionally more - frequently--the GLEBE brings out the complete work of one - individual arranged in book form and free from editorials and - other extraneous matter. - - Prominent among numbers for the year 1914 are Des Imagistes, an - anthology of the Imagists' movement in England, including Pound, - Hueffer, Aldington, Flint and others; essays by ELLEN KEY; a play - by FRANK WEDEKIND; collects and prose pieces by HORACE TRAUBEL; - and THE DOINA, translations by MAURICE AISEN of Roumanian - folksongs. The main purpose of the GLEBE is to bring to light the - really fine work of unknown men. These will appear throughout the - year. - - Single Copies 50c Subscription, $3 per year - - TRIAL SUBSCRIPTION FOUR MONTHS $1.00 - - Des Imagistes - - An anthology of the youngest and most discussed school of English - poetry. Including selections by Ezra Pound, Ford Madox Hueffer, - Amy Lowell, Richard Aldington, Allen Upward, and others. - - "The Imagists are keenly sensitive to the more picturesque - aspects of Nature."--The Literary Digest. - - $1.00 net. Postpaid $1.10. - - Mariana - - BY JOSE ECHEGARAY - - Winner of the Nobel Prize, 1904. - - A drama in three acts and an epilogue. The master piece of modern - Spain's greatest writer. - - Crash Cloth 75c net; 85c postpaid. - - Love of One's Neighbor - - BY LEONID ANDREYEV - - Author of "The Seven Who Were Hanged." - (Authorized translation by Thomas Seltzer.) - - A play in one act, replete with subtle and clever satire. - - Boards 40c postpaid. - - The Thresher's Wife - - BY HARRY KEMP - - A narrative poem of great strength and individuality. Undoubtedly - his greatest poem. Full of intense dramatic interest. - - Boards 40c postpaid. - - Chants Communal - - BY HORACE TRAUBEL - - Boards $1.00 net; $1.10 postpaid. - - Inspirational prose pieces fired by revolutionary idealism and - prophetically subtle in their vision. The high esteem in which - Traubel's work is held is attested by the following unusual - commendations: - - Jack London: "His is the vision of the poet and the voice of the - poet." - - Clarence Darrow: "Horace Traubel is both a poet and a - philosopher. No one can say anything too good about him or his - work." - - George D. Herron: "It is a book of the highest value and beauty - that Horace Traubel proposes to give us, and I can only hope that - it will be read as widely and appreciatively as it more than - deserves to be; for it is with a joy that would seem extravagant, - if I expressed it, that I welcome 'Chants Communal.'" - - Not Guilty - - A Defence of the Bottom Dog - - BY ROBERT BLATCHFORD - - Cloth 50c. Paper 25c. - - A humanitarian plea, unequalled in lucidity and incontrovertible - in its logic. - - Our Irrational Distribution of Wealth - - BY BYRON C. MATHEWS - - Cloth $1.00 net. - - The author undertakes to show that the agencies which are used in - distributing the products of industry and are responsible for the - extremes in the social scale have never been adopted by any - rational action, but have come to be through fortuitous - circumstances and are without moral basis. The wage system, as a - means of distribution, is utterly inadequate to measure the - workers' share. The source of permanent improvement is found in - social ownership, which transfers the power over distribution - from the hands of those individuals who now own the instruments - of production to the hands of the people. - - ALBERT AND CHARLES BONI - PUBLISHERS AND BOOKSELLERS - NINETY-SIX FIFTH AVENUE, NEW YORK CITY - - - - - The Mosher Books - - - - LATEST ANNOUNCEMENTS - - - I - - Billy: The True Story of a Canary Bird - - By MAUD THORNHILL PORTER - - 950 copies, Fcap 8vo. $1.00 net - - This pathetic little story was first issued by Mr. Mosher in a - privately printed edition of 500 copies and was practically sold - out before January 1, 1913. The late Dr. Weir Mitchell in a - letter to the owner of the copyright said among other things: - "Certainly no more beautiful piece of English has been printed of - late years." And again: "May I ask if this lady did not leave - other literary products? The one you print is so unusual in style - and quality and imagination that after I read it I felt convinced - there must be other matter of like character." - - - II - - Billy and Hans: My Squirrel Friends. A True History - - By W. J. STILLMAN - - 950 copies, Fcap 8vo. 75 cents net - - Reprinted from the revised London edition of 1907 by kind - permission of Mrs. W. J. Stillman. - - - III - - Books and the Quiet Life: Being Some Pages from The Private - Papers of Henry Ryecroft - - By GEORGE GISSING - - 950 copies, Fcap 8vo. 75 cents net - - To the lover of what may be called spiritual autobiography, - perhaps no other book in recent English literature appeals with - so potent a charm as "The Private Papers of Henry Ryecroft." It - is the highest expression of Gissing's genius--a book that - deserves a place on the same shelf with the Journals of De Guerin - and Amiel. For the present publication, the numerous passages of - the "Papers" relating to books and reading have been brought - together and given an external setting appropriate to their - exquisite literary flavor. - - Mr. Mosher also begs to state that the following new editions - are now ready: - - - I - - Under a Fool's Cap: Songs - - By DANIEL HENRY HOLMES - - 900 copies, Fcap 8vo, old-rose boards. $1.25 net - - For an Appreciation of this book read Mr. Larned's article in the - February Century. - - - II - - Amphora: A Collection of Prose and Verse chosen by the Editor - of The Bibelot - - 925 copies, Fcap 8vo, old-style ribbed boards. $1.75 net - - The Forum for January, in an Appreciation by Mr. Richard Le - Gallienne, pays tribute to this book in a most convincing manner. - - All books sent postpaid on receipt of price net. - - THOMAS B. MOSHER Portland, Maine - - - - - The Little Review - - - - MARGARET C. ANDERSON, Editor - - - A New Literary Journal Published - Monthly in Chicago - - The March issue contains: - - A Letter by John Galsworthy - Five Japanese Prints (Poems) Arthur Davison Ficke - The Prophet of a New Culture George Burman Foster - How a Little Girl Danced Nicholas Vachel Lindsay - A Remarkable Nietzschean Drama DeWitt C. Wing - The Lost Joy Floyd Dell - "The Dark Flower" and the "Moralists" The Editor - The Meaning of Bergsonism Llewellyn Jones - The New Note Sherwood Anderson - Tagore as a Dynamic George Soule - Rahel Varnhagen: Feminist Margery Currey - Paderewski and the New Gods, Rupert Brooke's Poetry, Ethel Sidgwick's - "Succession," Letters of William Vaughn Moody, etc. - - A vital, unacademic review devoted to appreciation and creative - interpretation, full of the pulse and power of live writers. - - 25 Cents a Copy. $2.50 a Year - - The Little Review - Fine Arts Building :: Chicago, Illinois - - - - - Transcriber's Notes - - -Advertisements were collected at the end of the text. - -The original spelling was mostly preserved. A few obvious typographical -errors were silently corrected. All other changes are listed here -(before/after): - - [p. 13]: - ... makes This man and not That." ... - ... makes him This man and not That." ... - - [p. 26]: - ... broadens the attitudes of men lose ... - ... broadens the attitudes of men they lose ... - - [p. 40]: - ... "I don't care where the water goes if it doesn't go into the - wine." ... - ... "I don't care where the water goes if it doesn't get into the - wine." ... - - - - - - -End of the Project Gutenberg EBook of The Little Review, May 1914 (Vol. 1., -No. 3), by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK THE LITTLE REVIEW, MAY 1914 *** - -***** This file should be named 62966.txt or 62966.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/9/6/62966/ - -Produced by Jens Sadowski and the Online Distributed -Proofreading Team at http://www.pgdp.net. 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