the new age vol 1 orage

8/13/2019 the new age vol 1 orage

http://slidepdf.com/reader/full/the-new-age-vol-1-orage 1/84

T H E L I T T L E R E V I EW

Literature Drama Music Art

MARGARET C. ANDERSONEDITOR

D E C E M B E R 9 4

Poems Richard Aldington

A Great Pilgrim-P agan I t- I George Soule

M y Fri end , the Incurable: Ibn Gabirol

On Germanophobia; on the perils of Monomania;

on Raskolinkov and Alexander Berkman; on surro

gates and sundry subtleties.

O n Poetry:

Aesthetics and Common-Sense Llewellyn Jones

In Defense of Vers Libre Arthur Davison txcke

^The Decorative Straig ht-Jac ket^ - Maxtvell Bodenheim~—~ '

Harriet Monroe's Poetry Eunice Tietjens

Scharmel Iris ilo Winter

A m y Lowell's Contribution M. C. A.

Star Trouble Helen Hoyt

Parasite Conrad Aiken

Personality George Burman Foster

The Prophecy of Gwic'hlan Edward Ramos

Winter Rain Eunice Tietjens

Home as an Emotional Adventure The Editor

A Miracle Charles Ashleigh

London Letter E. Buxton Shanks

New York Letter George Soule

The Th eatre, Mus ic, A rt

u l i shed M o n t h l y

M A R G A R E T C . A N D E R S O N Pubt l sner

F , n e r t s15 cents a copy Buimmg $1.50 a yearr

C H I C A G O

Ent ered a s s e c o n d - c l a s s m a t t e r at Postoft ice . C hi ca g o



FOR THE HOLIDAYS

VAUDEVILLEBy Caroline Caffin and Marius de Zayas

8vo. Cloth, richly illustrated in tint and in black an d white. $3.50 net

Lovers of vaudevil le—and they are legion—will f ind this a book of rarefascination.

Caroline Caff in knows vaudevil le from the inside; she loves it too, and shewrites with understanding of the men and women who, season after season, bringjoy to so m an y people in all of the large r cities. M r. D e Zaya s, one of the cleve restof l iv ing cartoonists, furnishes almost two score of his inimitable caricatures of ourmost popular vaudevil le stars.

A m on g those w ho f lit through the se pages are :Nora Bayes Ruth St . Denis M a n e L l o y dEva Tan guay Gertrude Hoffm an Annette Kel lermanHar ry Lauder The Castles Frank TinneyYvette Guilbert Bernhardt M cInty re & Hea th

Fa y T emple to n Elsie Ianis Al Jolson

TH E NEW MOVEMENT INTHE THEATRE By Sheldon Cheney

8vo. Cloth, with sixteen plates and explanatory tissues. $2.00 net

A m ost com preh ensive book. Th er e is not an aspect of the treme ndou slyinterest ing new movement in the theatre upon which Mr. Cheney does not touch.And to every chapter he brings a wealth of knowledge gathered from a great variety of sou rce s— m ost of it at first hand . Fu rthe rm ore, he wr ites wit h charm anddist inction his book ne ver fails, befo re all else, to interest. Gor don Craig, M axReinhardt, Bakst , and the Russian Ballet ; Sh aw, Galsworthy , the German, Frenchand American contemporary drama; David Belasco, the inf luence of the Greektheatre, the newest mechanical and architectural developments in the theatre—all these and others are in Mr. Chen ey's dozen brill iant chapters. Nu m ero usinteresting illustrations add to the value of his book and make it one that nolover of the theatre can afford to be without.

Order from Your Bookseller

M I T C H E L L K E N N E R L E Y , P U B L I S H E R , N E W Y O R K



T H E L I T T L E RE V IEWV o l. I D E C E M B E R , 1 91 4 N o . 9

P o e m s

R I C H A R D A L D I N G T O N

O n a M o t o r - B u s a t N i g h t

( O x f o r d S t r e e t )

The ha rd ra in-drops bea t l ike we t pe l le t s

On my nose and r ight cheek

As we je rk and s l i the r through the t ra f f ic .

T h er e is a gre a t bea t ing of wh ee ls

And a rumble of ugly machines .

The wes t -bound buses a re fu l l of men

In grey c lo thes and hard ha ts ,

H o l d i n g u p u m b r e l l a s

Over the i r sa l low facesAs t he y re tu rn t o t he suburba n ra bb i t -ho l e s .

T h e w o m e n - c l e r k s

T ry to be br ight ly dresse d ;

N o w the w ind m ak es the ir f ive-shill ing-hats ju m p

And the ha t -p ins pul l the i r ha i r .

When one i s qui te f ree , and cur ious ,

They a re fasc ina t ing to look a t—

Poor devi ls of a sober hel l .

The shop- l a mps a nd t he s t r e e t - l a mps

Send steady rayed floods of yel low and red l ight

So tha t O x fo rd s t ree t is pave d wi th coppe r and cha lcedon y.



The Little Review2

C h u r c h W a l k , K e n s i n g t o n

( S u n d a y M o r n i n g )

The c r ipp l e s a re go ing t o c hurc h .The i r c ru t c he s be a t upon the s t one s ,

And the y ha ve c lumsy i ron boo t s .

T he i r c lo thes a re b lack , the i r faces pea ke d a nd m ean ;

Th e i r le gs a re wi the re d

Like d r i e d be a n-pods .

The i r eyes a re as s tupid as f rogs ' .

A n d t h e g o d , S e p t e m b e r ,

H a s p a u s e d f o r a m o m e n t h e r e

Ga r l a nde d wi th c r imson l e a ve s .

H e he ld a br an ch of f ru i ted oak.

H e smi l e d l i ke H e r m e s t he b e a u t i fu l

Cu t i n ma rb l e .

A G r e a t P i l g r i m - P a g a nG E O R G E S O U L E

SH A K E S P E A R E in r e d m o r o c c o s e em s a l w a y s w a n a n d p a t h e ti c . I s ee

him looking g loomi ly out of h i s unread respec tabi l i ty , bored wi th h i s

sc ho la r ly c a non iz a t i on a nd h i s un rom a n t i c ow ne r s . H ow he l ongs fo r t he

i r re spons ib l e da ys whe n he wa s l ove d o r i gnore d fo r h i s own sa ke Now he i s

fo re v e r impr i so ne d in m a rb l e bus t s a nd t o r tu re d i n H i s to r i e s o f En g l i sh L i t

e ra tu r e . T he re i s no m ore t r a g i c f a t e i n t he a nn a l s o f ima g ina t i on . T e r

r ib le i s the vengeance taken by ins t i tu t iona l cul ture on those who a re grea t

e nou gh to c om m a nd i ts a dm i ra t i o n .

Th e re fo re , a ge n ius wh o ha s no t be e n t a gge d un du ly by t he p un d i t s

inspi res me wi th a profound de l icacy, in a sense akin to the reverence for a

beau t i fu l chi ld . H er e i s a v i r tu e wh ich the wo rld need s . O ne wo uld l ike to

p roc l a im i t f rom the hou se top s . Ye t t he re a re t he r abb l e , r e a dy wi th t he i r

e l e c t i on -n igh t e n thus i a sm, a nd t he s c ho l a r s , wi th t he i r pompous n i c he s . I fone could only f ind a l l those whom the man himse l f would have se lec ted as

f r i e nds a nd whi spe r t he r i gh t word i n t he i r e a r s But , a f te r a l l , we must

spe a k i n pub l i c , r e me mbe r ing t ha t e ve n mi sunde rs t a nd ing i s t he b i r t h r igh t o f

the ge n ius . I t is be t t e r t ha t pow e r shou ld be e xp re s se d in de v ious a nd un

foreseen channe ls than not a t a l l .



The Little Review 3

A flippant friend once told me that he had never had the courage to

read William Vaughn Moody because the poet had such a dark brown name.

Th at is impor tant because of its triv iali ty. I have no doubt tha t if the gospel

hymns had never been written, and if we had never on gloomy Sunday even

ings seen those pale books with the scroll-work Moody-and-Sankey covers,

bringing all their dismal train of musical and religious doggerel, we should

have been spared many misgivings about the evangelist's vicarious name

sake. Let it be firmly understood , therefore, tha t there is nothing dark

brown, or evangelistic, or stupidly sober-serious about the new poet of the

Fir e-B rin ger . May he neve r go into a household-classics edition

But there is a tinge of New En gland abou t him, just the same. Onl y one

who has in his blood the solemn possibilities of religious emotion can react

against orthodo x narro wne ss with out becoming trivial. It is the fashion to

blame all modern ills on puri tan tradi tions. We should be wise if in order

to fight our evils we should invoke a little of the Pilgrim Fathers' heroism.

Too many of us take up the patter of radicalism with as little genuine sin

cerity as a spearmint ribbon-clerk repeats the latest Sunday-comic slang.

If you have ever walked over a New England countryside the endless miles

of stone walls may have set you thinking. Ever y one of those millions of

stones has been laboriously picked out of the fields—and there ar e still man y

ther e. Befo re that the trees had to be cleared away, and the Indians fought,

and the ocean crossed withou t char t or govern men t buoy. Fo r over two

centuries our ancestors grimly created our country for us, with an incessant

summe r- and winter-coura ge that seems the attrib ute of giants. Wh at

wonde r if they we re ha rd and na rr ow ? W e scoff at the ir termina l mor¬

raine ; but we should be more deserving of thei r gift if we should emulat e

their stout hearts in clearing away the remaining debris from the economical

and spiritual fields. In spite of injur ious pur ita n tradi tions the re is some

thing inalienably Ame ric an and truly gre at about old New Engl and . It is

the same una fra id stoutness of heart tha t is at the bottom of Moody 's pe r

sonali ty. It gives him power ; it gives him unconscious digni ty.

Yet Moody was indeed a rebel against the religious and social muddle

in which he found himself. Someth ing red and paga n poured into his veins

the instinct of defiance to a jea lous god and to pale cust oms . Th e best

of the Greek was hi s; instinctively he tur ne d at last to Greek dr am a for

his form an d to Gre ek myt ho lo gy for his figures. There was in him

that sponde wh i c h Ari sto tle believed essentia l for the poet— a qual ity

so rare am on g us th at the literal trans lat ion, "high se riou sne ss, " con

veys littl e hin t of its wa r mth , its nobi lit y and spl end or. H e belie ved inthe body as in the soul; and his conception of the godly was rounded

and not in hu ma n. Di on ys us wa s eve ry bit as real to him as th e ma n

of so rr ow s. Is not thi s the new spirit of Am er ic a whi ch we wi sh t o

no ur is h? An d is th er e not a pec ulia r vir tu e in the poet wh o wi th th e



4 The Little Review

s t r ong a rm of t he p i lg r im and the consec r a t ion o f t he pur i t an fought

fo r t h e k i n g d o m o f j o y a m o n g u s ? I n The Masque of Judgment h e p i c

t u r e s a g r o u p o f h e r o i c u n r e p e n t a n t r e b e l s a g a i n s t d i v i n e g r a c e w h o

h a v e n o t y e t f al le n u n d e r t h e s w o r d o f t h e d e s t r o y i n g a n g e l . O f t h e m

o n e , a y o u t h , s i n g s :

B e t t e r w i t h c a p t i v e s in t h e s l a v e r ' s p e n

H e a r w o m e n s o b , a n d s i t w i t h c u r s i n g m e n .

Y e a , b e t t e r h e r e a m o n g t h e s e w r i t h e n l i p s ,

T h a n p l u c k o u t f r o m t h e b l o o d i ts o l d c o m p a n i o n s h i p s .

I f G o d h a d s e t m e f o r o n e h o u r a l o n e ,

A p a r t f r o m c l as h o f s w o r d

A n d t r u m p e t p e a l é d w o r d ,

I t h i n k I s h o u l d h a v e f l e d u n t o h i s t h r o n e .

B u t a l w a y s e r e t h e d a y s p r i n g s h o o k t h e s k y ,

S o m e w h e r e t h e s i l v e r t r u m p e t s w e r e a e r y , —

S w e e t , h i g h , o h , h i g h a n d s w e e t

W h a t v o i c e c o u l d s u m m o n s o b u t t h e s o u l ' s p a r a c l e t e ?

W h o m s h o u l d s u c h v o i c e s c a ll b u t m e , t o d a r e a n d d i e ?

O y e a s l e e p h e r e i n t h e e y r i e t o w n ,

Y e m o t h e r s , b a b e s , a n d m a i d s , a n d a g e d m e n ,

T h e p l a i n i s f u l l o f f o e m e n T u r n a g a i n —

S l e e p s o u n d , o r w a k e n h a l f

O n l y t o h e a r o u r h a p p y b u g l e s l a u g h

L o v e l y d e f i a n c e d o w n ,A s t h r o u g h t h e s t e e p

G r e y s t r e e t s w e s w e e p ,

E a c h h o r s e a n d m a n a ribbed f a n t o s c a t t e r a l l t h a t chaff

H o w f r o m t h e l a n c e - s h o c k a n d t h e g r i d i n g s w o r d

U n t w i n e t h e s t i l l s m a l l a c c e n t s o f t h e L o r d ?

H o w h e a r t h e P r i n c e o f P e a c e a n d L o r d o f H o s t s

S p e a k f r o m t h e z e n i t h ' m i d h i s m a r s h a l l e d g h o s t s ,

" V e n g e a n c e i s m i n e , I w i l l r e p a y ;

C e a s e t h o u a n d c o m e a w a y "

O r h a v i n g s e e n a n d h e a r k e n e d , h o w r e f r a i nF r o m c r y i n g , h e a r t a n d b r a i n ,

" S o , L o r d , T h o u s a y e s t i t, T h i n e —

B u t a l s o m i n e , a h , s u r e l y a l s o m i n e

E l s e w h y a n d f o r w h a t g o o d

T h e s t r e n g t h o f a r m m y f a t h e r g o t f o r m e

B y p e r f e c t c h a s t i t y ,

T h i s g l o r i o u s a n g e r p o u r e d i n t o m y b l o o d

O u t o f m y m o t h e r ' s d e p t h s o f a r d e n c y ? "

S o t h e s a n c t i t y o f t h e w a r r i o r . A n d t h e s a n c t i t y o f o t h e r p a s s i o n s is

t h e r e , t o o . A w o m a n s a y s :

O s i s t e r s , b r o t h e r s , h e l p m e t o a r i s e

O f G o d ' s t w o - h o r n é d t h r o n e I w i l l l a y h o l d

A n d l e t h i m s e e m y e y e s ;

T h a t h e m a y u n d e r s t a n d w h a t l o v e c a n b e ,

A n d r a i s e h i s c u r s e , a n d s e t h i s c h i l d r e n f r e e .



5he Little Review

B u t q u o t a t i o n s c r o w d u p o n m e . M o s t of M o o d y ' s b e s t w o r k b e a r s

w i tn es s to h i s g lo r i f i ca t ion o f m an ' s pos s ib le pe r s on a l i ty in r ebe l l ion

a g a i n s t m a n ' s r e s t r i c t i v e c o n c e p t i o n of s o c i e t y a n d g o d . W e h a v e h a d

m an y su ch r ebe l s ; t he pec u l i a r s ign i f i cance o f Mo od y l i e s in th e f ac t

tha t he l acks u t t e r ly the t r iv i a l i ty o f the l i t t l e r ad ica l , and tha t h i s i s

a p o w e r w h i c h s p r i n g s f ro m t h e m o s t h e r o i c i n A m e r i c a n q u a l i t y .

O f c o u r s e al l t h i s w o u l d b e w o r t h n o t h i n g u n l e s s M o o d y h a d t h e

a u t h e n t i c u t t e r a n c e o f t h e p o e t . H i s fu l n e s s of i n s p i r a t i o n , c o m b i n e d

wi th h i s sens i t ive ed i t ing , has l e f t u s sca r ce ly a l i ne wh ich shou ld have

go ne to oblivion. A s an ex am ple of his m ag ic tak e thr ee l ines f rom I Am

the Woman, in wh ich the wo m an is w alk ing with he r lover :

B u t I w a s m u t e w i t h p a s s i o n a t e p r o p h e c i e s ;M y h e a r t w e n t v e i l e d a n d f a i n t i n t h e g o l d e n w e a t h e r ,

W h i l e u n i v e r s e d r i f t e d b y a f t e r s ti ll u n i v e r s e .

Or the woman ' s r e sponse to Pando ra ' s s ing ing in The Fire-Bringer:

H a r k , h a r k , t h e p o u r i n g m u s i c N e v e r y e t

T h e p o o l s b e l o w t h e w a t e r f a l l s , t h y p o o l s ,

T h y d a r k p o o l s , O m y h e a r t —

F r a g m e n t a r y , m y s t i c , u n r e l a t e d w i t h t h e c o n t e x t ; y e t w h o t h a t h a s

he a rd pe r f ec t m us ic can f ai l t o un de r s t a nd tha t c r y? I t i s i nde ed th i s

m y s t i c r i c h n e s s , t h e s e d e p t h s b e l o w d e p t h s , t h a t m a k e a l a r g e p a r t o fM o o d y ' s i n d i v i d u a l f a s c i n a t i o n . H e r a r e l y h a s t h e l i m p i d c l a r i t y o r t h e

soa r ing s impl ic i ty which ma ke the pop ula r ly r ic is t such as Shel ley . T he re

is too much grasp of the mind in his work for the large public; only

t h o s e w h o h a v e i n s o m e d e g r e e d i s c o v e r e d t h e b e a u t y o f t h e w i d e r a n g e s

can f ee l a t ho m e in h im . O n e b r ea th es w i th th e s t r e ng th of g r ea t v i r i l i t y ,

— a n a b l e a n d d e m a n d i n g b o d y , a m i n d w h i c h c o n q u e r s t h e h e i g h t s ,

a n d t h o s e i n f i n i t e l y s u b t l e a n d v i b r a t i n g r e a c h e s o f s p i r i t w h i c h b e l o n g

espe c ia l ly to the p oe t .

T o m e t h e t h o u g h t o f M o o d y i s s a t i s f y i n g n o t o n l y b e c a u s e h e t y p i

fies tho se qua l i t i e s wh ich I l i ke to th in k we o ug h t to f ind in Am er ic an

l i t e r a tu r e , bu t be ca us e he exem pl i f i e s m y idea l of a poe t . T h e re h av e

b e e n m a n y i n s a n e g e n i u s e s ; m e n w h o s e g l o r y h a s s h o n e s o m e t i m e s

fitfully th ro ug h bod i ly o r m en ta l i n f i rmi ty . So m e o f u s a r e ac cu s

tom ed to th e idea th a t ge n i u s i s i n f ac t i n s an i ty o r i s ak in to i t . C e r

t a i n l y t h e w o r d s " w h o l e s o m e " a n d " h e a l t h y " h a v e b e e n a p p l i e d s o m a n y

t i m e s t o m e d i o c r e p r o d u c t i o n s t h a t w e a r e w a r y of t h e m . B u t i s n o t

t h e i n s a n i t y o f g e n i u s a f t e r a l l m e r e l y t h e a b n o r m a l g r e a t n e s s a n d p r e

po nd e r an ce o f a s in g le qu a l i ty in a m a n ? I f by so m e mi r ac le h i s o t he r

qua l i t i e s cou ld have been equa l ly g r ea t , wou ld he no t have been a

s t il l n o b l e r a r t i s t ? T o m e t h e G r e e k i m p u l s e of p r o p o r t i o n a t e d e v e l

op m en t ha s an i r r e s i s t ib l e ap pea l . T o be san e , no t by th e den ia l o f a

d i sp ropo r t iona te in sp i r a t ion , bu t by the l i f t i ng o f a l l t he f acu l t i e s to i t s



6 The Little Review

level : t ha t is a d r e am w or t hy o f the god in m an . T o be an a r t i s t n o t

b y t h e d e n i a l of c o m p e t i n g f a c u l t i e s , b u t b y t h e f u ll e s t d e v e l o p m e n t

o f a l l f a c u l t i e s u n d e r a n i n e x o r a b l e w i l l w h i c h u n i t e s t h e m i n a c o m

m o n p u r p o s e : t h a t i s a r i c h c o n c e p t i o n of p e r s o n a l i t y . T h e p e r f e c t

p o e t s h o u l d b e t h e p e r f e c t m a n . H e s h o u l d b e n o t i n s a n e , b u t s a n e r

t h a n t h e r e s t o f u s . M o o d y n o t o n l y e x p r e s s e d t h i s i d e a l in h i s li fe ,

b u t in h i s w o r k . H e w a s s t r o n g a n d s o u n d , p h y s i c a l l y , m e n t a l l y , s p i r

i t u a l l y . N o o n e w h o h a s r e a d h i s l e t t e r s c a n m i s s t h e g o l d e n r o u n d n e s s

of h i s h u m o r , h i s h u m a n i t y , h i s m a n l i n e s s . Y e t n e v e r fo r a m o m e n t

d id he m ak e a co m for tab le den ia l o f the wi l l to soa r . In h is po em The

Death of Eve h e h a s b u r n i n g l y e x p r e s s e d th e d e v e l o p m e n t o f p e r s o n a l i t y .

E v e , an aged woman , has no t succumbed to the v i ew tha t she commi t t e d a n u n f o r g i v a b l e s i n i n d i s o b e y i n g G o d t o t a s t e t h e a p p l e . T a k i n g o l d

C a in wi th he r , she f ea r l e ss ly en te r s the ga rden aga in to show he r se l f t o God

bef ore she d ies . In her mys t ic song she s ings :

B e h o l d , a g a i n s t t h y w i l l , a g a i n s t t h y w o r d ,

A g a i n s t t h e w r a t h a n d w a r n i n g o f t h y s w o r d ,

E v e h a s b e e n E v e , O L o r d

A p i t ch e r f i lled, she co m es bac k f rom t he b r oo k ,

A w a i n s h e c o m e s , l a d e n w i t h m e l l o w e a r s ;

S h e i s a r o l l i n s c r i b e d , a p r o p h e t ' s b o o kW r i t s t r o n g w i t h c h a r a c t e r s .

B e h o l d , E v e w i l l e d i t s o ; l o o k , i f i t b e s o , l o o k

And af te r s ing ing of her l i fe and of how she had been sensi t ive to the

l o v e o f h e r h u s b a n d a n d c h i l d r e n , s h e g o e s o n :

S t i l l , s t i ll w i t h p r a y e r a n d e c s t a s y s h e s t r o v e

T o b e t h e w o m a n t h e y d i d w e l l a p p r o v e ,

T h a t , n a r r o w e d t o t h e i r l o v e ,

S h e m i g h t h a v e d o n e w i t h b i t t e r n e s s a n d b l a m e ;

B u t s t i l l a l o n g t h e y o n d e r e d g e o f p r a y e rA sp i r i t i n a fie ry wh i r l w in d c am e—

E v e ' s s p i r i t , w i l d a n d f a i r —

C r y i n g w i t h E v e ' s o w n v o i c e t h e n u m b e r o f h e r n a m e .

Y e a , t u r n i n g i n t h e w h i r l w i n d a n d t h e f i r e ,

E v e s a w h e r o w n p r o u d b e i n g a l l e n t i r e

M a d e p e r f e c t by d e s i r e ;

A n d f r o m t h e r o u n d e d g l a d n e s s o f t h a t s p h e r e

C a m e b r i d a l s o n g s a n d h a r p i n g s a n d f r e s h l a u g h t e r ;

" G l o r y u n t o t h e f a i t h f u l , " s o u n d e d c l e a r .

A n d t h e n , a l i t t le a f t e r ,

" W h o s o d e n y e t h a u g h t , le t h i m d e p a r t f r o m h e r e "

A n d o n l y t h u s d o e s E v e f i n d g o d — i n h e r p e r f e c t self—

R e a d y a n d b o o n t o b e f u l f i l l e d o f T h e e ,

T h i n e a m p l e , t a m e l e s s c r e a t u r e , —

A g a i n s t t h y w i l l a n d w o r d , b e h o l d , L o r d , t h i s i s S h e



7he Little Review

H er e , i ndee d , i s t he r e l ig ion o f ou r t im e . A f a i th fu lness th a t is de ep e r

t h a n t h e o l d f a i t h f u l n e s s ; a n d t h a t c h a l l e n g e w h i c h of a l l m o d e r n i n

sp ir at io n is th e m o s t flaming:

W h o s o d e n y e t h a u g h t , le t h i m d e p a r t f r o m h e r e

This is not the balance of a personali ty that denies i tself Like Nie tz sche ,

Moody is shaken with the convict ion that the most deadly sin is not diso

b e d i e n c e , b u t s m a l l n e s s .

T h e r e is a s t r i k i n g s i m i l a r i t y b e t w e e n t h e r e l i g i o u s a t t i t u d e of M o o d y

and tha t o f Nie tzsc he . M oo dy me nt io ns Za ra thu st ra on ly once in h is

publ ished le t te r s . Cer ta in ly he wa s no t obsessed by the G erm an , o r a con

fessed fo l lower . N or d id M ood y e labo ra te any soc ia l ph i loso phy , beyo nd agenera l rad ica l i sm qui te d i f fe ren t f rom Nie tzsche ' s condemnat ion of soc ia l

i sm. But , l ike Nie tzsch e , M oo dy was in reac t ion aga ins t a fa lse and na r

row cu l tu re . A nd like h im, Moo dy found in Hel le n ic idea ls a b lood- s t i r r in g

insp i ra t ion . H e found no t the ex t ern a l g race of the Greek which K eat s

ce lebra ted , no t the s ta t ic c lass ica l per fec t ion which has furn ished an anodyne

for scho lars . I t wa s the deeper , c loudy sp i r i t o f Ae schy lus , the he ave n-

sca l ing cha l lenge of Eur ip ides , the Dionysiac worsh ip of joy and pas

s ion . Ta ke , fo r ins tanc e , the cho rus of you ng me n in The Fire-Bringer

which Professor Manly has ca l led " inso len t"—though i t seems to me of adivin e insolence :

E r o s , h o w s w e e t

I s t h e c u p o f t h y d r u n k e n n e s s

D i o n y s u s , h o w o u r f e e t

H a s t e n t o t h e b u r n i n g c u p

T h o u l i f t e s t u p

B u t O h o w s w e e t a n d h o w m o s t b u r n i n g i t i s

T o d r i n k t h e w i n e o f t h y l i g h t s o m e c h a l i c e s ,

A p o l l o A p o l l o T o - d a yW e sa y we wi l l fo l l ow t he e a n d pu t a l l o t he r s a w a y

F o r t h o u a l o n e , O t h o u a l o n e a r t h e

W h o s e t t e s t t h e p r i s o n e d s p i r i t f r e e .

A n d s o m e t i m e s l e a d e s t t h e r a p t s o u l o n

W h e r e n e v e r m o r t a l t h o u g h t h a s g o n e ;

T i l l b y t h e u l t i m a t e s t r e a m

O f v i s i o n a n d o f d r e a m

S h e s t a n d s

W i t h s t a r t l e d e y es a n d o u t s t r e t c h e d h a n d s ,

L o o k i n g w h e r e o t h e r s u n s r i s e o v e r o t h e r l a n d s ,

A n d r e n d s t h e l o n e l y s k i e s w i t h h e r p r o p h e t i c s c r e a m .

Moody , too , t r an sva lua te s va lues eve rywhere . The Death of Eve is an ex

am ple of i t . I t is to " T h e B ru te " th at he looks for the reg en era t io n of

soc ie ty . Pr om et he us i s a hero ic sa v iour o f m ank ind ; rebe l l ion i s h is v i r



8 The Little Review

t u e , no t h is s in . P an do ra i s no t a mis ch iev ous person wh o th r ou gh her c ur i

os i ty le ts ou t a l l the t roubles on the wor ld , bu t a d iv ine , wind- l ike inqui rer ,

the in sp i r a t ion o f P r om e th eu s . T he God o f jud gm en t -da y is h imse l f swep t

aw ay by the des t ruc t i on of m an kin d for the s ins o f com miss ion . A nd theins ign if icance of m an c om par ed w i th wha t he mi ght be i s sa t i r ica l ly show n

in The Menagerie.

But le t me no t c rea te the impress ion tha t Moody cannot be de l ica te .

F r o m Heart's Wild Flower:

B u t w h e r e s h e s t r a y s , t h r o u g h b l i g h t o r b l o o t h , o n e f a d e l e s s flo wer s h e w e a r s ,

A l i t t l e g i f t G o d g a v e m y y o u t h , — w h o s e p e t a l s d i m w e r e f e a r s ,

A w e s , a d o r a t i o n s , s o n g s o f r u t h , h e s i t a n c i e s , a n d t e a r s .

From the gen t l e poem o f mo the rhood , The Daguerreotype:

A n d a l l i s we l l , fo r I ha ve s e e n t he m p l a i n ,

T h e u n f o r g e t t a b l e , t h e u n f o r g o t t e n e y e s

A c r o s s t h e b l i n d i n g g u s h o f t h e s e g o o d t e a r s

T h e y s h i n e a s i n t h e s w e e t a n d h e a v y y e a r s

W h e n b y h e r b e d a n d c h a i r

W e c h i l d r e n g a t h e r e d j e a l o u s l y t o s h a r e

T h e s u n l i t a u r a b r e a t h i n g m y r r h a n d t h y m e ,

W h e r e t h e s o r e - s t r i c k e n b o d y m a d e a c li m e

G e n t l e r t h a n M a y a n d p l e a s a n t e r t h a n r h y m e ,

H o l i e r a n d m o r e m y s t i c a l t h a n p r a y e r .

Or f rom The Moon-Moth:

M o u n t a i n s a n d s e a s , c i t i e s a n d is l e s a n d c a p e s ,

Al l f r a i l a s i n a d r e a m a nd pa i n t e d l i ke a d re a m ,

A l l s w i m m i n g w i t h t h e f a i r y l i g h t t h a t d r a p e s

A b u b b l e , w h e n t h e c o l o r s c u r l a n d s t r e a m

A n d m e e t a n d flee a s u n d e r . I c o u l d d e e m

T h i s e a r t h , t h i s a i r , m y d i z z y s o u l , t h e s k y ,

T i m e , k n o w l e d g e , a n d t h e g o d s

W e r e l a p s i n g , c u r l i n g , s t r e a m i n g l a zi l y

D o w n a g r e a t b u b b l e ' s r o n d u r e , d y e o n d y e ,

T o s w e l l t h a t " p e r i l o u s c l i n g i n g d r o p t h a t n o d s ,

G a t h e r s , a n d n o d s , a n d c l i n g s , t h r o u g h a l l e t e r n i t y .

H er e , sure ly , i s an A m er i ca n poet who speaks in e te r na l te rm s of the

new insp i ra t ion ; one wh o wa s san e and b laz ing a t the s am e t im e ; one wh o

in ord er to be m od er n d id no t need to use a poo r imi ta t ion of W hi tm an ,

screech of bo i le r fac tor ies and exa l t a somewhat doubtfu l b rand of democ

r acy ; one w ho was unco mp rom isin g ly rad ica l wi tho ut be ing fev er ish ; above

all , one who succeeded in wr i t ing the most beau t i fu l verse wi thout go ing toLo nd on to do i t. W h e n one i s oppre ssed w i th the doub t o f Am er ic an po s

sibi l i t ies i t is a ren ew al of fai th to tu rn to him . I f W h it m an is of o ur

so i l, M ood y is no less so ; th r ou gh th ese two th e bes t in us has th us fa r

found i t s ind iv idual exp ress io n .



The Little Review 9

T h e tem pta t ion to quo te is one tha t shou ld not be res i s ted . A nd I can

th ink of no be t te r way to send readers to Moody in the present wor ld c r i s i s

t ha n to quo te t he song o f P a n d o ra :

O f w o u n d s a n d s o r e d e f e a t

I m a d e m y b a t t l e s t a y ;

W i n g e d s a n d a l s f o r m y f e e t

I w ove o f m y de l a y ;

O f w e a r i n e s s a n d f e a r

I m a d e m y s h o u t i n g s p e a r ;

O f l o s s , a n d d o u b t , a n d d r e a d ,

A n d s w i f t o n c o m i n g d o o m

I m a d e a h e l m e t f o r m y h e a d

A n d a f loat ing p lu m e.

F r o m t h e s h u t t i n g m i s t o f d e a t h ,F r o m t h e f a i l u r e o f t h e b r e a t h ,

I m a d e a b a t t l e - h o r n t o b l o w

A c r o s s t h e v a l e s o f o v e r t h r o w .

O h e a r k e n , l o v e , t h e b a t t l e - h o r n

T h e t r i u m p h c l e a r , t h e s i l v e r s c o r n

O h e a r k e n w h e r e t h e e c h o e s b r i n g ,

D o w n t h e g r e y d i s a s t r o u s m o r n ,

L a u g h t e r a n d r a l l y i n g

I f t h e y ( m e n ) w e r e b o o k s , I w o u l d n o t r e a d t h e m . — G o e t h e .



10 The ittle Review

M y F r i e nd , the Incurable

i i

O n Germanophobia; on the perils of Monoman ia; on Raskoln i

kov and Alexander Berkman; on surrogates

and sundry subtleties

v

PVKa

\2 —shou ted the Incu rabl e, wh en I came on my mo nt hl y c a l l .

m2j have solve d the mys ter y that has baffled you r idealis ts since the out

break of the W a r . Th e pueril e effusions of H a r d y , Ga lsw or th y, and otherOlympians wh o in the mist of inter nation al hostilities confused Niet zsche

w i t h Ber nh ar di , are quite explaina ble. It is w e l l known that our success

f u l wr it er s have no time or in cl in at io n to read other f e l l ow s ' books: they

leave this task to jour nalis ts and book-r eview ers. He nce their splendid

ignorance of Niet zsche. Th e advent of great events showered upon the

innocent la ym en prob lems, names, and terms that have been a terra in-

cognita to most of them , and ju st ly so : for wha t has the artist to do w i t h

facts and theories, —what is He cu ba to hi m ? B u t of late it has become

s t y l i s h fo r men of letters to declare thei r opinio ns on all sorts o f ques

tions, regardless of the fact that they have as much right to judge those

pi ub le ms as the cobbl er has the righ t to judge past ry. T o the ai d of the

E n g l i s h nove lists wh o wan ted to say "so met hin g about the wa r, " but whose

information on the subject was zero , came the dear profes sor C ram b. A

quick perusal of his short work* supplied the students w i t h an outlook

and a vie w- poi nt, and out came the patri oti c cookies to the astonishm ent

o f the w o r l d . Su ch , at least, is m y int erpr etat ion o f the myst ery.

Pr of es so r Cra mb 's lectures are not an answ er to Be rn ha rd i, as the

publisher wan ts us to beli eve, but ra the r a suppleme nt to the wo rk of the

barrac-philosopher whose theory of the b i o l o g i c a l necessity of war is beau

t i f u l l y corroborated w i t h numerous quotations from the most ancient to

the most mo der n phil osoph ers, hist ori ans, statesmen, and poets. Th e

general splendidly demonstrates the efficiency of German mind, the ab i l i t y

to u t i l i z e the w o r l d cult ure for the Fa th er la nd , to make all thi nker s serve

the holy idea of war, from Her acl it us' s n bXe fxoa rrar^p iravrw to Schil ler 's B r i d e

from Mes sina . Y e t I, in my great love for Germany, should advise the

Kaiser ' s governm ent to appr opri ate a generous s um for the purpose of

spreadin g far and wid e Cra mb' s " A n sw e r ," as the highest g l o r i f i c a t i o n of

Teutonia . N o Ge rm an has express ed more humb le respect and ad mi ra -

Germany and England by J. A . Cra mb. [ E . P. Dut ton and Compa ny,

N e w Y o r k . ]

I



11he Little Review

t ion for Tre i tchke , Bernhard i , and o ther eu log is ts o f the Pruss ian mai led

fis t than th is Eng l ish dre am er of a p rofes sor . F or wha t bu t a fan tas t ic

dre am is h is p ic tu re o f m od ern Ge rm an y as tha t o f a land perm eate d wi th

he ro ic a sp i r a t ions , a me lange o f Napo leon i sm and Nie tz sche an i sm ? N a yi t i s the bur gh er , the "cu l tu re-p h i l i s t ine " tha t dom inate s the land of Wil¬

helm and Eucken , the pe t ty Pruss ian , the parvenu who s ince 1870 has been

cher ish ing the idea of Weltmacht and of the Germaniza t ion of the un iverse .

Pa rdon me , f r i end , I c anno t speak sina ira on th is quest ion ; ou t o f

respec t fo r M r . W ilso n ' s reque st , le t us "ch ang e the sub jec t . " Com e out

wh ere we can observ e in s i lence the sym pho ny of au tum na l sunse t . T he

Slavs ca l l th is month "Lis topad ," the fa l l o f leaves; do you reca l l

T s c h a i k o v s k y ' s Farewell Ye Forests? Si ng i t in si lence, in th at eloque nt

s i lence of which Mae ter l in ck had so beau t i fu l ly spoken . I say had, for my

heart is ful l of anxiety for that Belgian with the face of an obst inate

coach man . H i s l a s t wo rks r evea l sym ptom s o f M ono ma n ia , t ha t swo rd

of Damocles tha t hangs over many a p rofound th inker , par t icu lar ly so i f

th e th in ker i s inc l ined tow ard s my st ic ism . M aeter l inck , as no one e lse ,

ha s fe lt the mys tery of our w or ld ; h is work s echoed h is aw e before th e u n

known, the impenet rab le , bu t a lso h is love for the myster ious , h is re jo ic

ing a t the fac t tha t there a re in our l i fe th ings unexpla inab le and incom

prehe nsib le . H is la tes t essa ys* show s igns of d izz iness , as o f a m an wh o

sta nd s on the br ink of an aby ss. I fear for him ; I fear that the ar t ist ha s

los t h is equ i l ib r ium and i s obsessed wi th ph an tas m s, psyc hom etry , and o the r

non sens e . T he ve i l o f m yst ery i r r i ta te s h im, he c raves to ren d i t as un der ,

to answer a l l r idd les , to c la r i fy a l l obscur i t ies , to in te rpre t the unknow

able ; as a resu l t he fa l l s in to the p i t o f char la tan ism and credul i ty .

I f t h e r e w e r e n o m o r e i n s o l u b l e q u e s t i o n s n o r i m p e n e t r a b l e r i d d l e s , i n f in i t y w o u l d

no t be i n f i n i t e ; a n d we sho u l d h a v e fo re v e r t o c u r se t he f a t e t ha t p l a c e d us i n a un i

v e r s e p r o p o r t i o n a t e t o o u r i n t e l l i g e n c e . A l l t h a t e x i s t s w o u l d b e b u t a g a t e l e s s p r i s o n ,

a n i r r e p a r a b l e e vi l a n d m i s t a k e . T h e u n k n o w n a n d u n k n o w a b l e a r e n e c e s s a r y t o o u r

h a p p i n e s s . I n a n y c a s e I w o u l d n o t w i s h m y w o r s t e n e m y , w e r e h i s u n d e r s t a n d i n g a

t h o u s a n d t i m e s l o f t i e r a n d a t h o u s a n d f o l d m i g h t i e r t h a n m i n e , t o b e c o n d e m n e d e t e r

n a l l y t o i n h a b i t a w o r l d o f w h i c h h e h a d s u r p r i s e d a n e s s e n t i a l s e c r e t a n d o f w h i c h ,

a s a m a n , h e h a d b e g u n t o g r a s p t h e l e a s t a t o m .

These words were wr i t ten by Maeter l inck a few years ago in h is essay ,

Our Eternity. H e has sure ly gone as t ray s ince . T he las t book is wr i t ten

in a du l l pa le s ty le , in a tone of a p rofess ional tab le- rapper , enumera t ing

leg ions of " fac ts" to p rove the theory of psychometry or whatever i t may

be, fo rge t t ing h i s own wo rds of some t ime ag o : "F ac t s a r e no th in g bu t

the laggards , the sp ies , and camp fo l lowers o f the grea t fo rces we cannot

se e . " W h a t a t r a g e d y

*The Unknown Guest, by M aur ic e Mae te r l inck . [Do dd , M ead and C om

pany , New York . ]



12 The Little Review

W a s Do s toev sky a m y s t i c? Un do ub ted ly so , bu t no t exc lus ive ly so .

Fa r f r om be ing a m onom aniac , he app l i ed h i s gen ius to va r ious a spec t s

of l i fe and wis t ful ly absorbed the rea l i s t ic mani fes ta t ions of h is fe l low-

being s as wel l as the inn er s t ru gg les of the i r souls . Do sto ev sky i s the

Céza nne o f t he nove l . W i t h the sam e eage rn ess t ha t Céza nne pu t s i n to

h i s endeavor to p roduce the " t r eeness" o f a t r ee , b rush ing a s ide i r r e l evan t

de ta i l s , does Dos toe vsky s t r ive to p r e sen t t he " so u ln ess " of a sou l , s t r i p

p ing i t o f i t s ve i l s and dem ons t r a t ing i t s t h robb ing nudeness be for e our

te r r i f ied eyes . W e fear him , for he i s c rue l an d tak es gre a t p le asu re in

to r tu r in g us , in br i ng ing us to the ver ge of hys te r ia ; we fe ar him , for we

fee l unea sy when we a r e sho wn a nu de sou l . Pe rh ap s he owed h i s wo nd e r

ful c la i rvoyancy to his i l l hea l th , a fea ture tha t reminds us of h is grea t

disc iple , Nie tzsch e . I do not kn ow wh ich is m or e aw eso me in Raskolni¬

kov* : h is phy sica l , r ea l i s t ic tor t ur es , or h is my ster iou s d rea m s and ha l

luc in a t ion s . In a ll h i s hero es : the win ged m ur d er er w ho wishe d to ki ll a

p r inc ip l e ; the ha r lot , So ny a , w ho se l ls he r bo dy for the sake of her d ru n k ar d

f a t h e r a n d h e r s t e p m o t h e r ; t h e f a t h e r , M a r m e l a d o v , w h o s e m o n o l o g u e s

in the t ave rn p r e sen t t he m os t hea r t - g r i pp i ng rha pso dy of so r row an d de

sp a i r ; t he pe rv e r sed nob lem an , Sv idr iga i lov , b ro ad -he a r t e d and cyn ica l , w ho

jok ing ly b lows ou t h i s b r a ins—in the whole ga l l e ry o f h i s m orb id types

Dos toevsky m ing le s t he r ea l w i th the f an ta s t i c , m akes us wande r i n t hel abyr in th o f i ll us iona ry f ac t s and p r e t e rna tu r a l d r ea m s , b r ing s us i n d i z

z i ly-c lose touch wi th the nuances of pa lpi ta t ing souls , and leaves us menta l ly

ma im ed an d s tupef ied. I th in k of Do sto evs ky as of a D em on , a Ru ss ia n

De m o n, t he so r ro wfu l De m o n of t he poe t Le rm on tov , t he g r ace fu l hu m an e

Me phi s to phe le s o f t he scu lp to r A ntok o l sk y .

Th e t r age dy of Rask o ln ik ov i s tw ofo ld : he is a Ru ss i a n and an in

te l lec tua l . T h e c rav ing , re l ig iou s soul of the chi ld of the endles s m elan

choly pla ins , keened by a profound, ana lyt ic in te l lec t seeks in va in an out

l e t f o r i t s s t r i v ings and doubt ings in t he l and where in t e r roga t ion m arksar e off ic ia lly forbidd en. T h e yo un g m an should ha ve plu ng ed into the

Rev olu t ion , t he b ro ad-b reas t e d r ive r t ha t ha s we lcom ed tho us and s o f R us

s ian yo uth ; bu t Do stoe vsk y w i l led no t h is he ro to take the logica l roa d.

Th e ep i lep t i c Dem on h a ted th e "Po sse sse d" r evo lu t ion i s t s ; he saw the

Ru ss i an idea l in Ch r is t i an suf fer ing. " H e is a gre a t poe t , bu t an abom i

nable c rea ture , qui te Chr is t ian in his emot ions and a t the same t ime qui te

sadique. H i s who le m o ra l i t y i s wh a t you hav e bap t i sed s l ave -m o ra l i t y"

— thi s f rom Dr . Bra nd es ' s l e t t e r t o N ie t z sche ,—a spec im en of p rof e sso r i a l

n o m e n c l a t u r e .

I am th ink ing of a t h r ee fo ld — nay , o f a m a ni fo ld— trage dy of a youn g

* Crime an d Punishment, b y F y o d o r D o s t o e v s k y . [ T h e M a c m i l l an C o m

p a n y , N e w Y o r k . ]



The Little Review 13

m an , wh o, besid es being a Russ ian a nd an intel lectual , is a revo lution ist

an d is a son of the eter nal A ha sv er , the people that hav e bo rn e for cen

tur ies the double c ross o f be ing persecu ted and of teach ing the i r perse

cu to rs . W ha t mak es th is t rag edy s t il l m ore t rag ic i s the e leme nt o f g r imirony tha t en te rs i t as in those of At t ic Greece : the Ru ss ian -Je w is t -A na r

ch is t i s hur le d by Fa te in to the cou ntry of Ma t te r -o f -F ac t , yo ur U ni t ed

St ate s. T he boy is poetic , sen tim ent al , ideal ist ic ; imb ued w ith the lof ty

t rad i t ions of the Narodovol tzy , the Russian sa in ts- revolu t ion is ts , he c raves

for a hero ic deed, for an act of self-sacr if ice for the "p eo ple ." "A h, the

P e o p l e T h e g r a n d , m y s t e r i o u s , y e t s o n e a r a n d r e a l, P e o p l e . . . " * H e

at tempts to shoot an oppressor o f the people , i s de l ivered to the Jus t ice ,

and i s sen tence d to tw ent y- tw o yea rs o f p r ison confinement . T he cur t a in

falls, bu t does the t raged y end he re? N o, i t on ly beg ins .

F o r h e w h o li v e s m o r e l i v e s t h a n o n e

M o r e d e a t h s t h a n o n e m u s t d i e .

Ras koln ikov w ant ed to ki ll a p r inc ip le ; he wa nte d to r id the w or ld of

a use less o ld pawnbroker , in o rder to enable h imsel f to live a use ful life.

H e fa i led ; the pr inc ip le rem aine d deadly a l ive in the form of a gn aw ing

consc ience . " I am an aes the t ic lo use ," he b i t te r ly d enou nces himself.

A l e x a n d e r B e r k m a n w a n t e d t o die for a pr inciple, to render the people a

serv ice th ro ug h h is dea th . H e has fa iled . A t leas t he has tho ug ht so . T he

Atten ta t p roduced ne i ther the mater ia l nor the mora l e f fec t tha t the idea l i s t

had expe cted . Socie ty con dem ned h im, o f cours e ; the s t r ikers , fo r wh ose

benefi t he eagerly gav e his l i fe , looked u pon his act as on a gr av e m isf or tu ne

tha t would augment the i r misery ; even h is comrades , except a very few,

d isap prov ed of h is hero ic deed . T he icy rea l i ty sobered the na ive R uss ian .

W as i t wo r th wh i l e? Fo r the "pe op l e?"

T h e Memoirs have s t i r r ed me mo re p ro found ly than Dos toevsky ' s

Memoirs from a House of the Dead, f a r more than Wi lde ' s

De Profundis:

the t ragedy here i s so much more complex , more appal l ing in i t s u t te r i l

log ica l ity . O n the o th er hand the book is w r i t te n so s incere ly , so hear te d ly ,

so ing enu ous ly, th at you feel the wings of the m ar ty r ' s soul f lapping

upon you rs . Be rk m an beco mes so nea r , so dear , tha t i t pa ins to th ink of

h im. Yo u are wi th h im throu gh ou t h is v ic iss i tudes ; you shar e h is ang uish ,

lone l iness , su ic ida l mood s ; yo ur sp i r i t and you r body un de rgo the sam e

inhuman tor tu res , the same unnecessary c rue l t ies , tha t he descr ibes so

s imply , so modest ly ; you re jo ice in h is pa le p r ison joys , your hear t goes

out to the gen t le boy , Johnny , who whispers th rough the dungeon wal l h islove for S ash enk a ; you we ep over the dea th of Dick , the f r iend ly sp ar r ow

*Pr i son Memoirs of an Anarchist, b y A l e x a n d e r B e r k m a n . [ M o t h e r E a r t h

C o m p a n y , N e w Y o r k . ]




whose c h i rp ing sounde d l i ke he a ve n ly mus i c to the p r i s o n e r ; you are filled

w i t h a d m i r a t i o n and love for the Gi r l who hov e rs som e w he re o u t s ide l i ke

a g o d d e s s , " i m m u t a b l e , " d e v o t e d , n o b l e , r e s e r v e d ; you are, la s t ly , out in

the f ree , and how deeply you s y m p a t h i z e w i t h the su f fe re r wh e n he fleesh u m a n b e i n g s and so l i c i t ous f r i e nds . . . W h e n I r e a d t h r o u g h the b l e e d ing

p a g e s , I fe l t l ike fa l l ing on my k n e e s and k i s s ing the feet of the u n k n o w n ,

ye t so de a r , m a r ty r . Su re ly , t hou ha s t kn ow n su f fe r ing . . .

D o n ' t s n e e r at my i nc ura b l e s e n t ime n ta l i t y , you h a p p y n o r m a l . The

t r a g e d y of A l e x a n d e r B e r k m a n is c o m m o n to all of us, t r a n sp l a n t e d wi ld

flowers. It is the t r a g e d y of g e t t i n g the s u r r o g a t e for the rea l th in g .

B e r k m a n and the Gi r l pa s s iona t e ly k i s s ing the alle go rica l figure of the So

c i a l Re vo lu t i on—isn ' t t h i s the s y m b o l of the e mp ty g re y l i f e in t h i s n o r

m a l l a n d ? W h a t do you offer the s e e k ing , s t r i v ing , c oura ge ou s sou l s but

s u r r o g a t e s , s u b s t i t u te s ? Y o u r r a d i c a l s — t h e y a re n a u s e a t i n g T h e y c h a t t e r

a b o u t N i e t z s c h e and S t i r n e r and W h i t m a n , w a v e the red flag and s c re a m

a bou t i nd iv idua l f r e e dom ; but let one of t h e m t r a n s g r e s s the s e ve n th c om

m a n d m e n t or c o m m i t any t h i n g t h a t is not comme il faut a c c o r d i n g to t he i r

c ode , and lo, the r a d i c a l i sm has e v a p o r a t e d , and the a t a v is t i c m o u l d y m o r a l

ity has c o m e to d e m o n s t r a t e it s wr in k l e d fa ce . H as not J o h n M o s t re

p u d i a t e d the act of his d i sc ip l e , Be rkm a n , be c a use it was a real act and not

a pa pe r a l l e gory? Of c o u r s e , M o s t was G e r m a n . . .

H u s h W e r e we not g o i n g to o b s e r v e in s i lence the p u r p l e - c r i m s o n

cruc i f ix ion of a u t u m n a l P h o e b u s ? I have been as s i lent as the B a r b e r of

S c h e h e r e z a d e . W oe me, the I n c u r a b l e

IBN G A B I R O L .

SufficienceH E L E N H O Y T

I wish no g u a r d i a n a n g e l :

I do not seek fa ir ies in the t r e e s :

T h e t r e e s are e n o u g h in t h e m s e l v e s



15he Little Review

On Poe t ry

Aesthet ics a n d Common-Sense

L L E W E L L Y N J O N E S

P OETRY, we are o f ten to ld , cannot be def ined bu t—by way of conso la

t ion— can a lw ays be recognized . Un for tun ate ly the la t te r ha l f o f tha t

s ta te me nt seems no longer t rue , espec ia lly o f la t te r -da y poet ry . Fra t ic id a l

s t r i f e be tween make r s o f vers libre and formal is t s goes on me rr i ly , w hi le

the people who se con t r ibu t ion to poe t ry i s the i r apprec ia t ion of i t— and

purchase of i t—are no t unnatura l ly p lay ing safe and buying Longfe l low in

padded ooze .

I a lways thought I cou ld recognize au then t ic poe t ry on most themes

and even f lat tered myself that I had some l i t t le understanding of the psycho

logy of i ts pro du cti on . La tte r ly tw o voices ha ve com e to me , one aff irming

tha t I was r igh t in my pre jud ice tha t a l l durab le verse should have conten t

as wel l as fo rm, should have meaning as wel l as sound—though in c loses t

un ion wi th the sound ,—that , in shor t , the poet should be a th inker as wel l

as a c raf t sman; an emot ional th inker , o f course , i f tha t te rm be permi t ted ,

bu t no t a me re c la i raudie n t wie lder of wo rds . A nd then I hea rd a vo icewhich bid me forget al l that and l ist to

L o n g b r e a t h s , i n a g r e e n a n d y e l l o w d i n .

Hasten ing to g ive c red i t where i t i s due , le t me remind the readers o f

T H E L I T T L E REVIEW tha t this is the last line of a po em by M ax w el l Boden¬

heim in the las t nu m be r of tha t per iod ica l . I t ru s t tha t M r . Bod enh eim

will forgive me for using him to point a moral and adorn a cr i t ical ar t ic le ,

espec ia l ly as I sha l l have to compare h im wi th Wordswor th before I ge t

th r oug h , and sha l l have to ask h im wh eth er he i s no t car r y in g the W o rd s¬worthian tradit ion just a l i t t le too far into the region of the individual and

subjec t ive , in to the unknown te r r i to ry of the most i so la ted th ing in the

w o r l d : the human mind in those regions of i t which have not been social ly

d isc ip l ined in to the ca tegor ies which make communica t ion poss ib le be tween

mind and mind .

The o ther vo ice which I have ment ioned i s tha t o f Professor S . B .

G a s s , o f the Un ive r s i ty o f Neb raska , who wr i t e s on L i t e r a tu r e a s a F ine

Ar t in The Mid-West Quarterly for Ju ly.

Professor Gass takes the very sane posi t ion tha t words a re the soc ia l ly -crea ted too ls—arbi t ra ry symbols , he ca l l s them—to g ive us "no t the th ing

itself, bu t someth ing about the th ing—some re la t ionsh ip , some c lass i f ica t ion ,

some genera l iza t ion , some cause , some ef fec t , some a t t r ibu te , someth ing

that goes on wholly in the mind and is not sensuously present in the thing




itself." And tha t work , he c on t inue s , i s t hough t , a nd i t p roc e e ds by s t a t e me n t .

B u t u n d o u b t e d l y w o r d s h a v e s e n s u o u s s o u n d s a n d s e n s u o u s d e n o t a t i o n s a n d

c o n n o t a t i o n s . P r o f e s s o r G a s s a d m i t s t h i s , b u t r e g a r d s t h e i r s e n s u o u s p r o p e r

t ie s—and espec ia l ly , I imagine he would ins i s t , the i r sensuous sounds basedon phys io log i c al a c c ide n t— a s se c on da ry . H e n c e , t o h im, Im a g i s m wo uld be a

use o f w or ds fo r pu re ly s e c ond a ry re su l t s . A n d tha t i s de c a de nc e : " D e

c a de nc e a r i s e s ou t o f t he p r im a ry pursu i t o f s e c o nda r y func t ion s . " N ow

Wordswor th a nd t he roma n t i c s c hoo l ge ne ra l l y use d words i n t h i s wa y , a nd

so , l og ic a ll y e nou gh , P ro fe s so r Ga ss cl as s if ie s W or ds w or th a s a de c a d e n t .

In doing so we fea r he exh ibi t s an in te l lec t too pr on e to d ich roto mi ze . H e

c u t s h u m a n p s y c h o l o g y u p i n t o t o o m a n y a n d t o o w a t e r - t i g h t c o m p a r t m e n t s .

W h e n h e q u o t e s W o r d s w o r t h ' s

. . . I s aw a c ro w d ,

A h o s t o f g o l d e n d a f f o d i l s ;

B e s i d e t h e l a k e , b e n e a t h t h e t r e e s ,

F l u t t e r i n g a n d d a n c i n g in t h e b r e e z e .

he seem s to forge t th a t the r e is m or e in tha t poe m tha n i t s ima gis m — as

w e wou ld ca ll it no w ; tha t i t i s rec or d of a pe r son a l ex per ien ce , tha t i s no t

only a t re spass on the domain of the pa in te r ( to speak as i f we agreed wi th

ou r c r i t i c ) bu t th a t i t i s a pe r son a l rea c t ion to the p ic tur e pa in te d in tho se

w ord s , t ha t i t t e ll s u s some th in g t ha t no me re p i c tu re c ou ld do . T h e poe m ,

in fact , is a pic tu re plus a s to ry of the effect of the pic t ur e upo n a h u m an

soul .

Bu t t he po in t i n wh ic h I a g re e wi th P ro fe s so r Ga ss i s t ha t—wha te ve r

the u l t ima te pu rpose o f l i t e ra tu re , i nc lud ing t he l y r i c ; whe the r , a s he s a ys ,

i t is "a reflect ion of human nature , inte l lec tual in i ts mode, cri t ica l in i ts

sp i r i t , and m or a l in it s fu nc t ion " ; or wh e th er i t i s l eg i t im a te to reg ar d i t s

r h y t h m s i n w o r d s a n d " s e c o n d a r y " c o n n o t a t i o n s a n d a s s o c i a t i o n s o f w o r d s

as m ate r ia l s for an a r t ra th e r tha n for a c r i t i c i sm of l i fe— the po int bey ond

a l l t h i s t ha t I t h ink funda me n ta l i s t ha t l i t e ra tu re doe s wha t i t doe s—info rm,

e n l ig h t e n , o r t r a n s p o r t — b y u n d e r s t a n d a b l e s t a t e m e n t .

Cer ta in ly a l l apprec ia t ion of l i t e ra ture tha t da res to voice i t se l f—tha t

i s a l l c r i t i c i sm—must proceed on th i s suppos i t ion , and i t i s jus t th i s sup

pos i t ion tha t i s f louted by some of Mr. Bodenhe im's poems.

Ta ke t he fo l l owing , fo r i n s t a nc e :

T O

Y o u a r e a b r o a d , g r o w i n g s i e v e .

M e n a n d w o m e n c o m e t o y o u t o l o o s e n y o u r s u p p l e f r a m e ,

A n d w e a v e a n o t h e r s l i m s q u a r e i n t o y o u —

O r p e r h a p s a b l u e o b l o n g , a s a f f r o n c i r c l e .

P e o p l e f ling t h e i r p o w d e r e d s o u l s a t y o u :

Y o u s e e m t o l o s e t h e m , b u t r e t a i n

T h e s h i f t i n g s h a d o w o f a s t a i n o n y o u r r i g i d l i n e s .




Now obvious ly the re i s no sense in th i s in the ordina ry in te l lec tua l i s te

m ean ing of the w ord sense . U nl ik e mo st po e t ry , i t can no t be ana lyz ed in to

a content which we might say was expressed sui tably or unsui tably in a

form . I f, the n , i t be a goo d poe m, we m us t look e l sew here for i t s exce l

lence. I wo uld hesi ta te to f ind th at exce l lence in th e m er e so un d of th e

w or ds . Is i t then in the i r a ssoc ia t ions ? A r t h ur Ra ns om e , t he En g l i sh c r i t ic ,

accounts for the pecul iar effect of poetry by i ts use of what he cal ls poten

t i a l l a ngua ge —of words wh ic h by l ong a s soc i a t i on ha ve c ome to me a n more

than they say , tha t have not only a denota t ion l ike sc ient i f ic words , but a

somet imes de f in i te , somet imes hazy, connota t ion , an emot iona l content over

and above wha t i s in te l lec tua l ly g iven in the i r pure ly e tymologica l content .

Doe s t h i s he lp us he re ? I a m a f ra id n o t . Pe r s ona l ly I ha ve a lwa y s a s so

c ia ted sieves wi th ashes and gard en -e a r t h ( th e r e is a l so a l i t tl e t r i a ng ula r

s ieve tha t f its in to k i tche n s in ks ) . Blue oblongs and sa ffron c i rc les rem ind

m e o f a dve r t i s i ng po s t e r s a nd fu tu r i s t p i c tu re s ; wh i l e — I a dm i t a c e r t a in

poe t i c qua l i t y o f a so r t he re —powde re d sou l s r e mind me o f Aubre y Be a rds -

ley.

But , pe rhaps , the u l t ima te objec t ion to th i s poem as i t s tands i s the fac t

t ha t I ha ve a n une a sy susp i c ion t ha t some p r in t e r ma y ha ve t r a nspose d some

of these exp ress ion s . F o r wo uld it not rea lly hav e m ad e be t t e r sense if th e

poem had spoke n of a sa f f ron o blon g and a b lue sq ua re ? Ce r ta in ly if Ichoose to th ink tha t tha t i s wha t i t mus t have been or ig ina l ly no o the r reader ,

on the face of the m at te r , could convince m e oth e rw ise . W hi l e , if a no the r

re a de r t o ld me tha t Mr . Bode nhe im ha d onc e s tud i e d ge ome t ry a nd t he re

fore could not poss ib ly have wri t ten about a " s l im square" , I would be qui te

una b le t o c onv inc e h im o the rwi se .

But—it wi l l be objec ted—it i s qui te unfa i r to any poem to ana lyze i t

w or d by w or d. I t spoi l s i t s bea uty . I cha l leng e the asse r t ion , an d even

ass ert the op po si te . A s a m at te r of fact , i t i s only by ana lys is th at we can

te ll good poe t r y f rom bad poe t ry . F o r ins tan ce :

C r o w n h i m w i t h m a n y c r o w n s

T h e l a m b u p o n h i s t h r o n e .

A naly ze tha t and i t s t r a ig htw ay app ear s the no nse nse tha t i t rea l ly i s . Bu t ,

on t he o the r ha nd , t a ke t h i s poe m of F ra nc i s Thompson ' s ( I quo t e on ly a

pa r t ) :

D o e s t h e f i s h s o a r t o f i n d t h e o c e a n ,

T h e e a g l e p l u n g e t o find t h e a i r —

T h a t w e a s k of t h e s t a r s in m o t i o nI f t h e y h a v e r u m o u r of t h e e t h e r e ?

N o t w h e r e t h e w h e e l i n g s y s t e m s d a r k e n ,

A n d o u r b e n u m b e d c o n c e i v i n g s o a r s —

T h e d ri f t o f p i n i o n s , w o u l d w e h e a r k e n ,

B e a t s a t o u r o w n c l a y - s h u t t e r e d d o o r s .




T h e a n g e l s k e e p t h e i r a n c i e n t p l a c e s ; —

T u r n b u t a s t o n e , a n d s t a r t a w i n g

' T i s y e , ' t i s y o u r e s t r a n g e d f a c e s ,

T h a t m i s s t h e m a n y - s p l e n d o r e d t h i n g .

Now tha t poem, i t wi l l be obse rved, i s not unre la ted in subjec t to

the tw o l ines qu oted ju s t abov e i t. A n d ye t , ho w i t de f ies an y e ffor t to

a na lyz e i t ou t i n to a ny th ing e l s e t ha n itself. R h y t h m , c o s m i c p i c t u r i n g s ,

the homely metaphors of the dus ty road, a l l combine to p lace us in an

a t t i tu de tow ar d , to g ive us a fee l ing for , rea l i ty , which i s d i f fe rent f rom ,

a nd nob le r t ha n , t hose o f t he ma n who ha s e i t he r ne ve r r e a d t h i s poe m,

ne ve r r e a d t he s a me me ssa ge i n o the r poe t i c l a ngua ge , o r—wha t i s more

to t he po in t— ne v e r ma n a g e d to ge t fo r h imse l f t he s a me e xp e r i e n c e w hic h

d ic t a t e d t ha t poe m.

Fo r , a f t e r a l l, if I w e re t o a g re e wi th P r o f e s s o r Ga s s t ha t po e t ry ( a s

a pa r t of l i t e ra tu re ) i s not a f ine a r t , i t wo uld be bec aus e I th in k it m or e

tha n a f ine a r t . Be cau se I th i nk the func t ion of po e t r y is no t m ere ly to be

a ve rba l p ic ture a r t or a ve rba l music a r t , but to be an organon of reconc i l ia

t ion be tw een a r t and l i fe. T h e bes t po em s, I th in k , wi l l be fou nd to be those

whic h a l t e r ou r c onsc iousne s s i n suc h a wa y tha t ou r i nwa rd , a nd e ve n our

ou tw ar d , l ives a r e a l te r ed . T h e poe t sees the wor ld as w e do no t see it .

Co nse qu e n t ly , he c a n pu t a ne w c om ple x ion on it fo r u s . T h e w or ld i sp lur a l i s t i c , an d so a re we . In te l le c tua l ly w e m ay be of the tw en t ie th cen

tu ry , bu t e mot iona l ly we m a y be bo rn ou t o f ou r due se a son . T he n l et t he

poe t of tha t due season media te to us the emot iona l l i fe tha t we need.

L iv ing i n Am e r i c a , we ma y , t h r ou gh h im, r e a c h Gre e c e o r Ind i a . By h i s

a id we may conquer the rea l wor ld ; by h i s a id we may f lee f rom i t i f i t

t h r e a t e ns t o c on qu e r us . By h i s a id a lone we ma y ge t ou t s id e o f ou r ow n

sk ins a nd i n to t he ve ry he a r t o f t he wor ld .

What , then , sha l l we say , when poe t ry offe rs to conduc t us in to a world

of g rowing s i e ve s , s l im squa re s , powde re d sou l s , c oo l , c o lo r l e s s s t rugg le s ,t he obs t e t r i c a l a dve n tu re s o f wh i t e t h roa t s , a nd g re e n a nd ye l l ow d ins?

I ha ve he a rd o f a book wh ic h e xp l a ins t he fou r th d im e ns ion . I f I e ve r

ge t a chance to read tha t book, and i f I f ind tha t I can unders tand the four th

d im e ns ion , I sha ll ha ve a n o th e r sho t a t t he a ppr e c i a t i on o f t h i s poe t ry . Fo r

I ha ve a s l um be r in g sha d ow of a pa l e -g ra y i de a ( i f I , t oo , m a y w a x poe t i c )

tha t in the sphere of the four th d imens ion a s l im square would be a pe r

fec t ly poss ib le concept ion .

I sha l l a r i se and go home now and read some poems by the la te Mr.

M e re d i th w ho is pop u la r ly s uppo se d t o be obsc ure .




I n Defense of Vers Libre

A R T H U R D A V IS O N F I C K E

{A reply to "Spiritual Dangers of Writing Vers Libre" by Eunice Tietjens

in the November issue of The Little Review)

H E p rope r ly quali f ied ju dg e of poe t ry can hav e no dou bts about vers

libre; if he do ub ts i t , he is no ju dg e. H e belo ngs to th at class of

h ide-bound conserva t ives who are unwi l l ing to d iscard the o ld mere ly be

cause it i s o ld . H e does no t ye t un de rs t an d th a t the new est is a lw ays the

best . W or st o f a l l , he does no t app rec ia te the va lue of Fr ee do m .

Fr ee do m is the grea tes t o f boon s to the a r t i s t . T he sou l o f the a r t i s t

mu st no t be ham pe red by unn ece ssar y con st ra in ts . T h e o ld fixed vers e-

forms—such as the sonnet , b lank verse , and a l l the o ther fami l ia r metres—

were exac t ly as c ramping to the f ree c rea t ing sp i r i t o f the poet as the

pecul ia r spaces and arches of the Sis t ine Chapel were to the des ign ing in

s t inc t o f Michae l Ang e lo . Lam en tab le mis fo r tun e that his Sibyls had to

occupy those aw kw ar d corners . H ow m uch wo uld they no t have ga ined in

grandeur could they have had a l l ou tdoors to expand in

Al l ou tdoo r s i s j u s t wha t vers libre affords the poet of tod ay. H e is

no longer under the necess i ty o f mould ing h is thought in to an ar t i f ic ia l pa t

ter n, co m pre ssi ng i t to a pr ed et er m in ed form ; i t can rem ain f luent , unsub¬

jugated, form less , l ike a sp on tan eo us em otio nal cry . N o long er nee d he

accept such fa ta l and s te reo typed bon dag e as tha t un de r which M il ton

labored when the i ron mechanics o f b lank verse forced h im to s tandard ize ,

to convent ional ize , h is emot ion in such l ines as—

O d a r k d a r k d a r k a m i d t h e b l a z e o f n o o n ,

I r r e c o v e r a b l y d a r k , t o t a l e c l i p s e

W i th o u t a l l h op e o f d a y . . .

To be honest , we must admit tha t there was someth ing s ick ly and

sou l -des t roy ing abou t the ea r l i e r ve r se - fo rm s . Th e too -honeyed sw ee tness

and metr ica l const ra in t o f Paradise Lost has a lways secre t ly repe l led the

t rue judge o f poe t ry ; and S hake spea re ' s Sonn e t s have neve r been tho rou gh ly

sa t i s fac tory jus t because of the fa ta l necess i ty under which the au thor

wo rked , o f rhy m ing h is l ines in con form i ty w i th a fixed order . H o w could

sp i r i tua l o r ig ina l i ty surv ive such an ordea l?

I t would be unwis e , how ever , to con dem n the wh ole body of pas t poe ts ;

fo r cer ta in of the ear l ie r p rac t i t ioners d id , in the i r rud imentary way , see

the l ight . M ilton in Sampson Agonistes, in th e mi dst of pa ssa ges of the

o ld- fash ioned regular b lank verse , in t roduced severa l choruses in vers libre;

and these could perhaps hard ly be surpassed by any Engl ish or Amer ican

poe t now l iving . As eve ryone know s , W al t Wh i tm an ( see The Poets of




Barbarism b y G e o r g e S a n t a y a n a ) u s e d Vers libre pro fuse ly . In fac t , th e r e

e x t e nds ba c kw a rd f rom us a n un bro ke n c ha in o f d i s t i ngu i sh e d vers libre

t r a d i t i o n , t h r o u g h W h i t m a n , M a t t h e w A r n o l d , S o u t h e y , S h e l l e y , M i l t o n , a n d

ma ny o t he rs ; t he c ha in e nds on ly w i th t ha t first " p rob a b ly a rb or e a l " s i nge r

jus t a n t e da t ing t he f i r s t d i sc ove re r o f r e gu la r rhy thm. Vers libre is as old

as the h i l l s , and we sha l l a lways have i t wi th us .

The one de fe c t o f t he e a r l i e r p ra c t i t i one rs o f vers libre w as tha t they

did not have the wi t to e rec t it in to a cul t . T h ey us ed the f ree form only

when i t seemed to them essent ia l ly appropr ia te to the mat te r :—tha t i s to say ,

t he y use d is spora d i c a l l y , de su l to r i l y . To da y w e kno w be t t e r . To da y w e

know tha t t he f re e fo rm mus t be use d e ve r a nd a lw a ys . In hoc signo vinces

A s a m o d e r n p o e t a d m i r a b l y s a y s —T h o s e e n v i o u s o u t w o r n s o u l s

W h o se fla cc id acc ad em i c pu l se s

B e a t t o n o r y t h m s o f m o r e D i o n y s i a c s c o p e

T h e n m e t r o n o m e s , —

O r d o l l a r - t w e n t y - f i v e a l a r m - c l o c k s , —

T h e y w i l l f o r e v e r

C a v a i l a t n o v e l t y , a t b e a u t y , a t f r e s h n e s s ;

B u t , h e l l —

B u t , a t h o u s a n d d e v i l s —

B u t , Henri Quatre a n d t h e Pont Neuf.—W e of t he ne w age , w ho l eap upo n t he

m o u n t a i n s l i k e g o a t s u p o n t h e

he ap s of t i n can s i n t he va ca nt

l o t s , a n d b u t t t h e s t a r s , —

W e k n o w t h e y a r e l ia r s ,

A n d t h a t w e a r e w h a t w e a r e .

Co uld th a t be exp res sed in a so nn e t? I th in k not . A t leas t , i t could

not be expressed so v igorous ly , so wise ly , so wel l .

T he re i s, how e ve r , one obv ious pe r i l a ga ins t w h ic h the e n thus i a s t mu s t

g u a r d himself. Vers libre is no t of i tse lf a com ple te w ar ra n ty of suc cess ;bec ause a po em is in th i s form , it i s not necessa r i ly f ine poe t ry . "L ov e i s

e nough , " s a ys Wi l l i a m Morr i s ; he w ou ld no t ha ve sa id t he sa me a bou t

vers libre A cer ta in po w er of concep t ion , bey on d the br i l l i an t an d o r ig ina l

idea involved in the very employing of the f ree verse -form, i s requis i te for

rea l im po rtan ce in the f in ished pr od uc t .

N or is t he s t a t e m e n t o f t he poe t ' s ow n un iq ue a nd t e r r i fy ing imp or t a n c e

a suff ic ient the m e to con s t i tu te the bu rd en of a l l h i s wo rk. Sev era l of ou r

mos t immor t a l l i v ing vers librists h ave fa l len in to such an e r ro r . T hi s

" e go ùbe r a l l e s " c onc e p t , t ho ug h p ro fou nd a nd o f a s t a r t l i ng o r ig ina l i t y ,

lacks var ie ty if it be indef in ite ly rep ea te d . Sh ou ld the poe t , ho w eve r , fee l

deep in h is soul tha t the re i s nothing e l se worth saying except th i s , l e t h im

at least tak e ca re to bea ut ify his idea by th e use of every art i f ice . A ft er

say ing " I am I , an d gre a t , " l e t h im not forge t to add var ie ty an d con t ras t

t o t he p i c tu re by me a ns o f t he c omple me nta ry i de a : " Y ou , O w o r ld , a re you ,




an d con tem pti ble ." In such mi ngli ngs of l ight and sha de l ies po etr y 's special

and p rope r beau ty .

Vers libre has one incontes tab le advantage over a l l those more a r t i f ic ia l

vehicles in which the poets of the past have essayed to r ide into immo r ta l i ty . Th is newly po pul ar ver se- f orm can be used per fec t ly wel l wh en

the poet i s d ru nk . Le t no one of tem pe ra te hab i ts un der es t im ate th is ad

va nt ag e ; let h im th ink of o th ers . By ron was dru nk mos t o f the t i m e; had

he been ab le to employ a fo rm l ike th is , how many vo lumes could he perhaps

have added to the mere seventeen tha t now const i tu te h is work Shel ley ,—

seldom a lcohol ic ly a f fec ted, I be l ieve ,—w as a lw ays in tox ica ted w i th ideas ;

he , equipped so le ly wi th the new ins t rument , cou ld have wr i t ten many more

epics like Queen Mab, and would probably have fe l t less need of concent ra t

ing h is work in to the nar row l imi ts o f such formal is t ic poems as The West

Wind.

Let i t be unders tood tha t a l l the pr inc ip les suggested in th is monograph

are in tended on ly for the t rue devotee of vers libre. O ne can have no th in g

but contempt for the poet who, us ing genera l ly the o ld- fash ioned metres ,

tu rn s some t imes to vers libre as a medium, and carr ies over into i t a l l those

fau l t s o f res t ra ined express ion and pa t te rned thought which were the curse

of the o ld form s. Su ch a w r i te r i s beyon d hope , beyon d counse l . W e can

fo rg ive Ma t thew Arno ld , bu t no t a con tempora ry .

Cer ta in devoted Amer ican f r iends of poe t ry have been t ry ing for some

t ime to enc oura ge poe t ry in th is cou ntry ; and I th ink they ar e on the r igh t

t rack when they go about i t by way of encourag ing vers libre. N o o the r

me thod could so swif t ly an d sure ly mul t ip ly the nu m be r of our v ers e-w r i te r s .

F o r the new m ed iu m pr es en ts no diff iculties to any on e ; even th e t i red

business-man wil l f ind himself tempted to record his evening woes in singless

song . T ru e, not ev ery on e wil l be able at f i rst t r ia l to pro du ce vers libre

of the qual i ty tha t appears in the choruses o f Sampson Agonistes:

T h i s , t h i s i s h e ; s o f t l y a w h i l e ;L e t u s n o t b r e a k i n u p o n h i m .

O c h a n g e b e y o n d r e p o r t , t h o u g h t , o r bel ief

Se e ho w he l i e s a t r a nd om , c a re l e s s l y d i f fuse d ,

W i t h l a n g u i s h e d h e a d u n p r o p t ,

A s o n e p a s t h o p e , a b a n d o n e d ,

A n d b y h i m s e l f g i v e n o v e r ,

In s l a v i s h ha b i t , i l l - f it t e d we e ds

O'er -worn a nd so i l e d .

O r d o m y e y e s m i s r e p r e s e n t ? C a n t h i s b e h e ,

T h a t h e r o i c , t h a t r e n o w n e d ,

I r r e s i s ti b l e S a m p s o n ? w h o m , u n a r m e d ,

N o s t r e n g t h o f ma n , o r f ie rc es t w i l d be a s t ,

c o u l d w i t h s t a n d ?

W hi c h f ir st sha l l I be wa i l ,

T h y b o n d a g e o r l o s t s i g h t ,

P r i s o n w i t h i n p r i s o n

I n s e p a r a b l y d a r k ?



22 The ittle Review

That is indeed admirable, and not so easy to write as it looks. But

some k i n d of v rs litr can be turned out by anyone; and to encourage

the use of this medium w i l l be to encourage and vastly increase that m u l -

titud inous body of hum ble and ind ustr iou s ver sif yer s wh o are at presentthe most conspicuous ornament of A m e r i c a n literature.

The Decora t ive Straight-Jacket: Rh ym ed Verse

M X W E L L B O D E N H E I M

H E cl am pi ng of the inevit able strait-j acket, rh ym ed verse, upon the

shr inking form of poet ry has been the pasti me of centu ries. Th os e wh o

w o u l d free poetry from the ou tw or n met al bands an d let her stret ch her

cramped l imbs are labeled decadent, s l o t h f u l , and f u t i l e . H o w easy it is to

paste disagreeable labels upon the things one happens to d i s l i ke .

I admit that poetry freed from the bonds she has so long worn may

become vu lg ar and over -dem onstr ativ e. A convi ct wh o has just been re

leased f rom a penitentiary is perhaps i n c l i n e d to caper d ow n the ro ad , an d

split the air w i t h goo d red shouts. B u t after his first excesses he walks

s l ow l y , thinking of the way before him. W i t h some poets free verse is s t i l l

the boisterous convict; w i t h others it is alr ead y the sober, deter mi ned i n d i -

v i d u a l . B ut I rather l i k e even the lau gh in g convi ct, l o o k i n g back and f l i ng ing

huge shouts at his im po si ng but petty pr iso n.

Suppose I were a Blu eb ear d wh o had enticed a yo un g g i r l into my dim

chamb er of poetic-though t. Suppose I took the l i t t l e

knife of rhyme and

coo l y s l i c ed off one of her ears, two or three of her fingers, and finished by

c l a w i n g out a generous hand ful of her shi mm eri ng, myr iad -tin ted hair, w i t h

the hands of meter. I mi gh t afte rwa rds dis play her to the w o r l d , say ing :

" L o o k Is she not s t i l l beautiful, s t i l l almost perfect? Bu t w o u l d that ex

cuse m y but che ry ? T h e lesson is perha ps f a i r l y clear. R h y m e d verse mut i

lates and cra mp s poet ry. It is imp oss ibl e fo r even the greatest poet com

pletely to rise above its li mi ta ti on s. H e ma y succeed in a measur e, but that

is due to his str eng th and not to the useless fett ers he wear s. B u t , say the

defend ers o f the fetters, rh ym e an d meter are excelle nt disciplines. DoesPoet ry or does the Poet need to be disc ip li ne d? A r e they cr inging slaves

who cannot be trusted to walk alone and unb oun d? Thes e are obvi ous

things , but one mus t sometim es he obv iou s wh en spea kin g to those w ho s t i l l

possess a c h i l d i s h belief. Po et ry is not deter mine d by the mono tonou s form

i n w h i c h it is us ua ll y clo thed , but by the strengt h o r weakness of its voice




Because men have fool ishly placed this voice in the mouth of a chi ld, wearing

a dress wi th so many checks on i t , and a ha t the b lackness of which matches

the ebony of i ts ugly shoes, i t does not necessari ly fol low that the voice be

c ome s mi ra c u lous ly c ha nge d whe n p l a c e d i n some o the r mou th , whose owne rw ea rs a different gar b. T h en th er e is the rh yt hm difficul ty. If the l i tt le

chi ld , Rhyme and Mete r , does not swing h is foot in t ime to wha t he i s say

ing , a dd ing rhy thm, h i s words , a c c ord ing t o some , c ha nge f rom poe t ry t o

p rose . W ha t de l i gh tfu l supe rs t i t i ons

Poe ts can undoubtedly r i se to grea t he ights , in sp i te of the fac t tha t they

mus t r e p l a c e s t ronge r words wi th we a ke r one s , be c a use " pa s s ion" doe s no t

rhy me wi th " a bo ve , " bu t " l ov e " doe s . Bu t how mu c h h ighe r c ou ld the y

r i se if they wer e f ree? I do not say tha t to e l imina te rhym e, me te r , a nd

rh yth m is to m ak e the way absolu te ly c lea r . T h e Poe t mus t s ti ll be a Po e tto c l imb. N or do I say tha t if the Po e t f inds tha t rhy me , rh yth m , and m ete r

ha pp en a lmo st to f it his poet ic th ou gh ts , he m us t not use th em . I only say

that the poet who finds that the usual forms of poetry confine and mar his

poe t ic thoughts should be able to d i sca rd them wi thout rece iv ing the usua l

cho rus of sneers , and tha t if he does he i s not m iraculo us ly chan ged f rom a

poet to a wri ter of prose .

H a r r i e t M o n r o e ' s P o e t r y

E U N I C E T I E T J E N S

You and I, b y H a r r i e t M o n r o e . [ T h e M a c m i l la n C o m p a n y , N e w Y o r k . ]

Right he re in Chicago, under our ve ry noses , the re i s dwel l ing pe rsoni

fied a Re al For ce . I t is don e up in a ne at an d com pac t l i t tle pa cka ge, as

most rea l forces a re tha t a re not of the Krupp var ie ty , and i t works wi th

so l i t t le fuss and fury that i t takes some discernment to recognize i t for a

force a t a l l . N eve r the less i t is a po we r which is fe lt thro ug ho ut the length

and breadth of the count ry , in Ca l i fornia , in F lor ida , in Canada , and in

E ng la nd . A n d w he re ve r it is fe lt i t i s a l ibe ra t i ng force , a force tha t

ru th less ly sha t te rs the outworn convent ions of the a r t in which i t opera tes ,

tha t t ea rs away the t inse l t rappings and b ids a r t and beauty spr ing for thc lean and unt rammeled, to forge for themse lves new forms tha t sha l l be

fitting fo r the ur ge of to da y.

The name by which th i s force i s known in every day par lance i s Miss

H a r r i e t M on roe , a nd i ts ma n i fe s t a t i o ns a re two fo ld— a s poe t a nd a s e d i t o r .



2 4 The Little Review

As ed i to r she has c r ea ted and kep t a l ive the cou rageous l i t t l e magaz ine

Poetry: A Magasine of Verse, wh ich migh t a lm ost , so fa r as Chi cag o i s

concerned , be ca l led the sp i r i tua l o lder s i s te r o f T H E L I T T L E R E V I E W . I t ,

t oo , in i t s own f ie ld , s tands for the revol t o f today aga ins t the h ide-boundspi r i t o f yes te rday , and i t , too , i s a thorn in the s ide of the Phi l i s t ines .

The mos t r ecen t man i f e s t a t ion o f Miss Monroe ' s i n f luence i s , however ,

in he r ch ara c te r as poe t . Sh e ha s co l lec ted tog e th er a la rg e nu m be r of

poems , mos t o f wh ich have a l r eady appea red in the l ead ing magaz ines and

have been wide ly cop ied , and has b rough t them ou t unde r the t i t l e You and I.

Seeing them so co l lec ted , one i s much be t te r ab le to ge t a perspec t ive on the

poems themse lves , and on the ve ry in t e r e s t ing pe r sona l i ty beh ind them.

A nd they bu lk l a rge . Un que s t ion ab ly th i s i s one o f the mo s t im po r ta n t of

the recen t books of poe t ry .You and I is e s sen t i a l ly m od ern in sp i r i t and in t r ea tm en t . M iss M on

roe has the power of looking wi th the eyes of the imagina t ion a t many of

o u r m o d e r n i n s t i t u t i o n s . The Hotel, The Turbine, The Panama Canal, The

Ocean Liner—these ar e som e of the sub jec ts she t re a t s wi t h a rea l un de r

s t and ing and a sweep o f v i s ion tha t qu i t e t r ans f igu re s these work -a -day

ob jec t s . A nd she is equa l ly a t hom e wh en wr i t i ng o f the g r e a t em o t iona l

complex i ty o f State Street at Night o r the s imp le r bu t m ore p ro fou nd

poignancy of the Elegy for a Child. Ind ee d , one of the no t icea b le th in gs

abou t the book i s t he unusua l ly l a rge r ange o f themes t r ea t ed .There i s a lso in th is book the pr imal , bu t unfor tunate ly ra re , g i f t o f

w on de r . T hi s i s one of the essen t ia l qua l i t ies o f t ru e poe t ry , an d i t fu rn ish es

Miss Monroe wi th the key -no te o f the book , an open -eyed , cou rageous f ac ing

of fa te , and an unshakable be l ie f in the redeeming power of beau ty .

T hi s l i t t le ly r ic m ay serv e as an in t ro duc t ion to the sp i r i t o f the book :

T H E W O N D E R O F I T

H o w w i l d , h o w w i t c h - l i k e w e i r d t h a t l if e s h o u l d b e

T h a t t h e i n s e n s a t e r o c k d a r e d d r e a m o f m e ,

A n d t a k e t o b u r s t i n g o u t a n d b u r g e o n i n g —

O h , l o n g a g o y o h o

A n d w e a r i n g g r e e n H o w s t a r k a n d s t r a n g e a t h i n g

T h a t l i f e s h o u l d b e

O h m y s t i c m a d , a r i g a d o o n o f g l e e ,

T h a t dus t shou l d r i s e , a nd l e a p a l i ve , a n d f le e

A f o o t , a w i n g , a n d s h a k e t h e d e e p w i t h c r i e s —

O h , f a r a w a y — y o h a y

W h a t m o o n y m a s k , w h a t a r r o g a n t d i s g u i se

T h a t l i f e s h o u l d b e



25he Little Review

S c h a r m e l I r i s : I t a l i a n P o e t

M I L O W I N T E R

S C H A R M E L I R I S , t he f ir st o f t he I t a l i a ns i n Am e r i c a t o wr i t e poe t ry

in Eng l i sh is a F lo r e n t ine w ho wa s b ro ug h t t o Ch ic a go whe n bu t a n

infant . Before h i s t en th year h i s poem s a t t r ac t ed a t tent ion and we re wa rm ly

pra i se d by suc h me n a s Rusk in , Sw inbu rne a nd Gosse. La t e r F ra nc i s T ho m p

son and Ric har d Le Ga l l ienne exp resse d app rec ia t ion . Th ese poem s which

or ig ina l ly appeared in leading publ ica t ions of England and America a re

ga thered toge ther for the f i rs t t ime and pr in ted by the Ra lph F le tcher Sey

m o u r C o m p a n y ( F i n e A r t s B u i l d in g , C h i c a g o ; $ 1 .0 0 n e t ) . T h e v o l u m e , e n t i

tled Lyrics of a Lad, conta ins h i s most des i rable and charac te r i s t ic lyr ics andis a se r iou s cont r ib ut ion to our poe t ic l i t e ra ture . Th ese poem s cam e to be

re spe c t e d a s a r t t h rough the i r f r e shne ss a nd o r ig ina l i t y—the re a re no t r i t e ,

w orn -ou t , me anin gless ph rase s , or w or ds of an abs t r ac t , gen era l ized s igni f i

canc e. Im m or ta l beau ty is a vis ion in his eyes an d a pass ion in his he art ,

an d he ha s labo red to reve al i t to the w or ld. A rt is a cre at io n of m en 's

mi nds , an d because Mr . I r i s ' s c rea t ion i s d i rec t and spo ntan eou s it become s

gre a t e r a r t . T h i s vo lum e is no t pos t -M i l t on i c o r pos t -Sw inbu rn i a n o r pos t -

Kip lonian . Th is yo un g poe t has the goo d sense to speak na tura l ly and to

pa in t th in gs as he sees them . Bec ause th i s book i s Sch arm el I r i s it i s d i s t inc t ive . I t is w i tho ut sha m an d wi t hou t a f fec tat ion T h e ann ou nce m ent of i t s

publ ica t ion and h is poems in T H E L I T T L E R E V I E W b rough t t he pub l i she r

th re e -hu ndr e d o rd e r s . T he book , s l e nde r a nd we l l -p r in t e d , ha s mo re re a l

poe t ry than any volume of modern ve rse i t has been our good for tune to read .

It is difficul t to do an imp or ta nt boo k jus t ice in a sh or t art ic le . P er h ap s

a mi scel la neo us q uo tat io n of l ines wil l help :

T h e t h r u s h s p il l s g o l d e n r a d i a n c e

F r o m b o u g h s o f d u s k ;

T h e d a y w a s a c h a m e l e o n ;

I n s w e a t a n d p a n g s t h e p r e g n a n t , N i g h t

B r i n g s f o r t h t h e w o n d r o u s i n f a n t , L i g h t ;

W i t h i n t h e s u n s e t - p r e s s , i n c a r n a d i n e ,

T h e s u n , a p e a s a n t , t r a m p l e s o u t h i s w i n e ;

Y o u a r e t h e b o d y - h o u s e o f l u s t ;

W h e r e t w i l i g h t - p e a c o c k s l o r d t h e p l a c e

S p e n d t h r i f t s o f p r i d e a n d g r a c e ;

A n d l o , a t H e a v e n ' s b l u e - w i n d o w e d h o u s e

God s e t s the m oon fo r l a mp ;




T h e s u n b e a m s s o u g h t h e r h a i r ,

A n d r e s t e d t h e r e ;

T h e s e m u t e w h i t e C h r i s t s — t h e d a i l y c r u c if i e d ;

L u c r e t i a B o r g i a f a i r

T h e p o p p y i s .

T h e s u n b e a m s d a n c e in d a w n ' s b a l l e t ;

W h i l e s u n s e t - p a n t h e r s p a s t h e r r u n

T o c a v e r n s o f t h e S u n ;

W h e n f r o m t h e h u s k o f d u s k I s h a k e t h e s t a r s ;

O d u s k , y o u b r o w n c o c o o n ,

R e l e a s e y o u r m o t h , t h e m o o n ,

A h , s i n c e t h a t n i g h t

W h e n t o h e r w i n d o w , s h e c a m e f o r t h a s l i g h t ,

H a v e I b e e n B e a u t y ' s a c o l y t e ;

a nd the re a re m a n y o th e r s t r i k ing li ne s . In The Visionary a poet s teals th e

pennies on a dead man ' s eyes to buy h imse l f bread , and, a f te r h i s dea th , the

m on ey den ied him in l i fe is in tu rn plac ed on his s ight le ss eyes. I t is i ronyof the b i t t e res t sor t . Late January i s a n e xc e l l e n t l a ndsc a pe — in te rp re t i ve

ra the r t ha n de sc r ip t i ve . Scarlet—White i s s t ru ck a t the dou ble s ta nd ar d , and

i s a s t ro ng a nd pow e r fu l u t t e ra nc e . April, Canzonette, Lady of the Titian

Hair a re e xqu i s i t e a nd c h a rm ing ly r i c s . T hr e e g ra c e fu l c omp os i t i ons a re

The Heart-Cry of the Celtic Maid, Tarantella a n d Song for a Rose. The

Ugly Woman w il l cau se disc uss ion , bu t i t is go od art . T h e t r io of Spring

Songs a n d Her Room a re we l l n igh pe rfec t . Mary's Quest i s ve ry tender , a s

is a lso the Twilight Lullaby. The Leopard, Fantasy of Dusk and Dawn, The

Forest of the Sky a re wo nde r fu l l y ima g in a t i ve , a nd we re wr i t t e n i n Ch ic a go ,- - i n t he g r ime a nd ba r re n ne s s o f Ha l s t e d S t re e t . Th e r e is a po ign a n t t h ing o f

f ive l ines , a m ot he r wh o is go in g b l ind ov er the dea th of a son. H er des pa i r

i s hope less and t ragic—she makes a t rue and awful p ic ture of rea l i sm in he r

grief. Heroes t r e a t s o f t he na m e le s s he roe s , da i ly me t a nd ove r look e d . T h e

love poe m s a re s ince re as a l l love po em s m ust be . In Foreboding the no te of

sa dne ss i s e m pha t i c — a lmo s t dom ina n t ; bu t t he r e is m ore t ha n m e re s a dne ss

in i t ; i t i s no t a m in or n ote . I t is t r ag ed y, rea l ly, th at sp eak s in such p oe try :

H e r c o l d a n d r i g i d h a n d sW i l l b e a s i r o n b a n d s

A r o u n d h e r l o v e r ' s h e a r t ;

and

O ' e r t h e e w i l l w i n t e r t h r o u g h t h e s k y ' s g r a y s i e v e

S i f t do wn h i s c ha r i t y o f sno w.




The Mad Woman (p r in t ed in Poetry) is as exce llent as i t is un us ua l , an d

few f iner things have been done in any l i terature.

There i s a f ine f lowing harmony about the poet ry of Scharmel I r i s tha t

den otes a pow er fa r beyond tha t revea led by m an y of tod ay ' s s ing ers . T h epoems are co lor fu l and cer ta in ly musica l and they d isp lay an adequate tech

n ique . Su ch a gif t as his, reve aled in a nu m be r of very f ine ach iev em en ts,

g ives p romise o f genu ine g r ea t ness . Af te r ma ny yea r s o f d i scou ra gem en t

and the hardest work, he has at last found a publisher who bears the cost of

the ed i t ion , pure ly on the me r i t of the wo rk . I t con ta ins a p refa ce by Dr .

Egan , Amer ican min i s t e r in C openhagen , an a t t r ac t ive t i t l e -page deco ra t ion

by Miche le Greco , and a pho tog ravu re po r t r a i t of the au th o r . B y advan c ing

the work of l iving poets l ike Mr. I r is one can repay the debt he owes to the

o ld poets . Th is poe t ry (a s T H E L I T T L E R E V I E W r em ark ed ) i s no t mere ly

the sor t which in te re s ts o r a t t r ac t s ; i t r em ains in your m ind as pa r t o f tha t

ar t t rea sur e-h ous e which is yo ur re l ig ion and yo ur l i fe .

T h e P o e t r y o f T . S t u r g e M o o r e

I

N an ear ly number of T H E L I T T L E R E V I E W a co r r e sp onde n t r emark ed tha t

an ar t ic le I had the honor of con t r ibu t ing sounded a ra ther cur ious no te

inasmuch as i t was a p iece of pure c r i t ic i sm in a magazine de l ibera te ly g iven

ove r to exube rance .

W e l l , i t i s now my turn to s tand up for exuberance as aga ins t a con t r ibu

tor , A . M . , wh o g ives the poe t ry of T S tu rg e M oo re c r i t ic i sm only , and , in

my humble op in ion , c r i t ic i sm as unfa i r as would be a descr ip t ion of Notre

Dame r ende red a l toge the r in t e rms o f ga rgoy le s and the i r r e l a t ive pos i t ions .

Would i t not be more in the spir i t of T H E L I T T L E R E V I E W to point out

in the t i t le poem of Mr . Moore ' s book , The Sea is Kind, such passages as the

t w o f o l l o w i n g :

Eucritos—

T h o u k n o w e s t , M e n a l c a s ,

I b u i l t m y h u t n o t s h e l t e r e d b u t e x p o s e d ,

R o u n d n o t r i g h t - a n g l e d .

A s e p a r a t e w i n d o w l i k e a m o u t h t o b r e a t h e ,

N o m a t t e r w h e n c e t h e b r e e z e m i g h t b l o w , —

A s e p a r a t e w i n d o w l i k e a n e y e t o w a t c h

F r o m off t h e h e a d l a n d l a w n t h a t p r o m p t i n g w i n k

O f O c e a n m u s i n g " W h y , " w h e r e v e r h e

M a y g l i m p s e m e a t s o m e p i t i a b l e t a s k .L o n g s e a a r m s r e a c h b e h i n d m e , a n d s m a l l h i l l s

H a v e w a d e d h a l f a c r o s s t h e b a y i n f r o n t ,

D i v i d i n g m y h o r i z o n m a n y t i m e s

B u t l e a v i n g e v e r y w i n d a n o p e n g a t e .



28 The Little eview

Th er e is a sor cer y in well love d wo rd s :

But unintelligible music still

Probes to the buried Titan in the heart

Whose strength, the vastness of forgotten l ife,

Suff ers bu t is not de ad ;

Tune stirs him as no thought of ours nor aught

Mere comprehension grasps, can him disquiet.

And these are parts of a dramatic poem full of fresh figures, colorful

glimpses of the romance of ancient life, and what a school-boy would

describe as a "perfectly corking" description of a sea fight with dead men

slowly dropping through the green water—

As dead bird leaf -res iste d

Shot on tall plane tree's top,

Down, never truly stopping,

Through green t rans lucence dropping,

They often seemed to stop.

And how, again could any thorough searcher of this book fail to mention

that delightful recipe for wine "Sent From Egypt with a Fair Robe of Tissue

to a Sicilian Vin e-d res ser , 276 B. C." An d surely no obscurit y nor any

uncouthness of figure—such as your critic objects to, as if poets did not

have the faults of their virtues—mar those beautiful child poems:

Th at ma n who wish es not for wi ngs,

Must be the slave of care;

For birds that have them move so well

An d softly th ro ug h the air :

They venture far into the sky,

If not so far as thoughts or angels fly.

Were William Cory making a prediction rather than "An Invocation"

when he ended his poem of th at title with the line :

Two minds shall flow together, the English and the Greek.

I woul d feel like nomi na ti ng Mr. T. S tu rg e Moor e as its fulfillment.

L L E W E L L Y N JONES.



29he Little Review

A m y Lowell 's Contr ibut ion

Sword Blades and Poppy Seed, by Am y Lowe l l . [T he Macmi l l anC o m p a n y , N e w Y o r k . ]

. . . A nd Am y Low el l ' s new volum e of verse re fu te s a l l the c r i t

ica l d isparagement o f vers libre, imag i sm, o r "un rhymed cadence , " a s Miss

Low el l herse l f chooses to ca ll her wo rk . F or she de mo nst ra te s tha t it is

some th ing new—tha t i t i s a c l ea r - eyed workmansh ip wh ich be longs d i s

t inct ly to this ke en er age of ou rs . M iss Lo we ll 's techn ical debt to the Fr en ch

—to the so-ca l led Parnass ian school—has been pa id in a poe t ica l p roduct ion

tha t wi l l pu t to sham e ou r hack neye d an d s lovenly "ac cep ted" poe ts . M ost

of the poems in her book are wri t ten in vers libre, and th is is the wa y M iss

Low el l ana lyze s the m : "T he y are bu i l t upon 'o rgan ic rhy thm , ' o r the r hy thm

of the speaking vo ice wi th i t s necess i ty fo r b rea th ing , ra ther than upon a

s t r ic t me tr ica l sys tem . Th ey d i ffe r f rom ord ina ry pros e rhy th m s by be

ing m ore curv ed and conta in ing mo re s t ress . T he s t ress , and exceeding ly

m ark ed curve , o f any regula r m et re i s eas i ly perce ived . Th ese poems , bu i l t

upon cadence, are more subtle , but the laws they fol low are not less f ixed.

Mere ly chopping prose l ines in to leng ths does no t p roduce cadence; i t i s

cons t ruc te d upo n ma them at ic a l and abso lu te laws of ba lance and t ime . Inthe preface to h is Poems, Henley speaks of ' those unrhyming ry thms in

which I had t r ied to qu in tessen t ia l ize , as ( I be l ieve) one scarce can do in

rhy me . ' T he des i re to 'qu in tes sen t ia l iz e , ' to hea d-up an emo t ion un t i l i t bu rns

whi te -ho t , seems to be an in tegra l par t o f the modern temper , and cer ta in ly

'unrhymed cadence ' i s un ique in i t s power of express ing th is . "

Take Miss Lowe l l ' s White and Green, f o r e x a m p l e :

H e y M y d a f f o d i l - c r o w n e d .

S l i m a n d w i t h o u t s a n d a l s

A s t h e s u d d e n s p u r t o f flam e u p o n d a r k n e s s

S o m y e y e b a l l s a r e s t a r t l e d w i t h y o u ,

S u p p l e - l i m b e d y o u t h a m o n g t h e f r u i t - t r e e s ,

L i g h t r u n n e r t h r o u g h t a s s e ll e d o r c h a r d s .

Y o u a r e a n a l m o n d flo wer u n s h e a t h e d

Le a p i n g a n d f li cker ing b e t w e e n t he bu dd e d b ra n c h e s

O r Absence:

M y c u p i s e m p t y t o n i g h t ,

Col d a nd d ry a re i t s s i de s ,

C h i l l e d b y t h e w i n d f r o m t h e o p e n w i n d o w .

E m p t y a n d v o i d , i t s p a r k l e s w h i t e i n t h e m o o n l i g h t .

The room i s f i l l e d wi t h t he s t r a nge sc e n t

O f w i s t a r i a b l o s s o m s .

T h e y s w a y i n t h e m o o n ' s r a d i a n c e

A n d t a p a g a i n s t t h e w a l l .




But t he c up o f my he a r t i s s t i l l ,

A n d c o l d , a n d e m p t y .

W h e n y o u c o m e , i t b r i m s

R e d a n d t r e m b l i n g w i t h b l o o d ,

H e a r t ' s b l o o d f o r y o u r d r i n k i n g ;

T o fi ll y o u r m o u t h w i t h l o v e

A n d t h e b i t t e r - s w e e t t a s t e o f a s o u l .

— M . C. A .

S t a r T r o u b l e

H E L E N H O Y T

A l i t t le s tar

Came i n t o t h e h eav en

A t the close of eve n.

I t seemed no t very fa r ,

And i t was young and sof t .

Bu t t h e g ray

Got in i t s way,

So tha t I longed to reach my hand a lo f t

A n d p u s h t h e c l o u d s b y

From i t s l i t t l e eye ,

F ro m i t s l i t t le so f t ray .



The Little Review

Paras i teC O N R A D A I K E N

N in e day s he suffered. I t w as in this wise .—

H e , be ing sc ion to Homer in our t ime ,

M us t need s be te l l ing ta les , in prose or rh ym e ;

He was a pa i r of l a rge b lue hungry eyes .

M on ey he had, en ou gh to l ive in ease ;—

D ra nk w ine occas iona l ly ; wo uld of ten s i t—

Chi ld and c r i t i c a l te r na te — in th e P i t :

Cheap a t a ha l f -c rown he thought feas t s l ike theseP la ys he ld h im by t he t h roa t—a nd c ine ma s t oo—

They blanched h is face and made h im gr ip h i s sea t ;

And oh, f ine music to his soul was sweet—

He sa id , " Hi s e a r s t owa rds t ha t mus i c grew "

A nd he kept wa tch wi th s ta rs n igh t a f te r n ight ,

Spinning ta les from the l i t t le of l i fe he knew.—

Of modern l i fe he was the pa ras i te .

Subt le h i s senses were—yea , l ike a chi ld ,

Su dd en his spiri t w as to cry or laugh ;

S t r an ge m od ern b lendin g of the tame and wi ld ;

As sens i t ive to l i fe a s se i smograph.

His sympathies were keen and swee t and quick ,

H e could p lay music su bt ly in yo ur moo d ;

Raw l i fe , to h im, was of ten s t range and rude—

Sl ight acc idents could make h im whi te and s ick .

U nr eas on ing , but lovable was he ;—M en l iked h im, he wa s brav e ; and y e t wi th a l

W he n bru te t ru th s tun ned h im, he could c r inge and c rawl ;

When most he loved the world , he leas t could see .

Now le t h im speak himself, as he well can,

In h i s queer modern s ty le of poesy .—

Then judge h im, you, a s poe t and as man.

The re wa s a woma n l i ve d by B loomsbury Squa re , —

She was not a l l tha t womankind can be ,—

Yet she was good to me , I thought he r fa i r ,—

I loved her , she wa s a l l the w or ld to m e ;

O, I was adora t ion , she d iv ine ,

And s ta r or moon could not so swee t ly sh ine .



The Little Review

I wi l l say l i t t l e—it was ne i the r ' s faul t—

Yet to a b i t t e r t ime my loving came,

A t ime of doubt , of fa l te r ing , of ha l t ,

A t ime o f pa s s iona t e be gg ing a nd o f sha me ,

When I threw a l l l i fe ' s purpose a t he r fee t ,

And she s tood s t r a nge t o me , a nd c o ld a nd swe e t—

Chi ld tha t I was for when i t came , tha t hour ,

I t wa s i n no wi se a s my he a r t ha d t hough t—

For comic devi l s had me in the i r power ,

She l a ughe d a t me , we wra ng le d , a nd I fough t ,

A nd the re wa s ho t b re a th ga spe d in m ur de ro us wo rds . . .

I t w as a t du sk , w he n swee t ly san g the b i rd s . . . .

Then the re was s i lence—oh, how s t i l l and cold

W i th ou t good-b ye I we n t ; fo r she ha d sa id—

" Y ou ng fool " — tha t wa s a r a p i e r - t u r n t ha t t o ld ;

I could have k i l l ed he r , for she knew I b led—

A nd sm i l e d a l i tt l e , a s I t u r ne d a w a y ;

W e ha ve no t kn ow n e a c h o th e r s i nce t ha t da y .

I had expec ted , i f my love went wrong,

The wor ld i n sympa thy ; I su f fe re d pa in

Tha t e ve n ing whe n I he a rd t he b i rds i n song ,

And s t a r s swa m ou t , a nd t he re wa s no hope fo r r a in ,

A n d t h e a i r w a s d e n s e w i t h l il ac -s w e et . . . I w a l k e d

In sul len w ay ; f ierce wit h m y so ul I ta lk ed — ;

A nd k ne w w ha t kn a ve I wa s ; ye t I de v i se d ,

Be ing s t i l l too angry for s ince re r grief,

Som e pa in , — a pp rop r i a t e fo r a sou l de sp i se d , —

In s imula t e d ve nom c rushe d a leaf,—

And g l a re d a t s t r a nge rs , t h ink ing I wou ld k i l l

Any tha t da re d t o t hwa r t my c a sua l wi l l .

S o , pa s s ing t h rou gh da r k s t r e e t s , wi th he e d l e s s e ye s ,I c a m e upo n a be gg a r , who ha d d r a w n

Pi c tu re s , upo n the s to nes , of sh ip s , an d skies ;

T h e m o o n l i g h t l a y u p o n t h e m , g r e y a n d w a n —

A nd th ey seeme d beaut i fu l , a l ive they seemed ;

Be s ide t he m, c a p i n ha nd , t he i r ma ke r d re a me d .




Above h im the re a long, long whi le I s tood,

S t r iv ing to go , l ike dream-s tuff , to h i s hea r t ;

Striving to pierce his infini te sol i tude,

T o be of h im , and of his wo rld , a pa rt ;

I s tood bes ide h i s seas , benea th h i s sk ies ,

I fe l t h i s sh ips benea th me dip and r i se ;

I he a rd h i s winds go roa r ing t h rough t a l l t r e e s ,

T hu n de r h i s sa i l s , and dr iv e the l if t ed spra y ;

I h ea rd th e sul len bea t in g of his seas ;

In a deep val ley, a t the end of day,

I wa lke d t h rough da rkne ss g re e n a long wi th h im,

And saw the l i t t l e s ta rs , by moon made d im,

Pe e r so f t l y t h rough the dusk , t he c louds be twe e n ,

A n d da nce the i r d ance invio lable and b r igh t ;

Alo f t on ba r re n moun ta ins I ha ve se e n

With h im the s low recess ion of the n ight ,

T h e m o r n i n g d u s k , t h e b r o a d a n d s w i m m i n g s u n ,

And a l l the t ree - tops burn , and va l leys run

W it h w ine of d ay bre ak ; he and I had kep t

Vigi l wi th s ta rs on b i t t e r f ros ty n igh ts :

T h e s ta r s and f ro s t so bu rn ed , w e nev er s lept ,

But cursed the cold , and ta lked, and watched the l ights

Down in the va l leys , pass ing to and f ro ,

L ik e l a rge a nd l um inou s s t a r s t ha t w a nd e re d s low. . .

Ris ing a t da w n, those t imes , we had no f ire,—

And we we re c o ld -—O b i t t e r t ime s we re t hose , —

A nd we we re ra ine d on , a nd we wa lke d t h ro ug h m i re ,

Or found a hays tack , the re to l i e and doze ;

Unti l a t evening, with a le t of ra in,

W e sh ive re d a wa k e , a nd l impe d , wi th c ry ing pa in ,

T o f a r m s , a n d b e g ge d a m e a l . . . if t h e y w e r e k i n dW e w a rm e d ourse lve s , a nd ma yb e we re a l l owe d

T h e b a r n t o s le ep i n. . . I w a s n e a rl y b li nd ,

Some t ime s , wi th ne e d t o s l e e p—some t ime s so c owe d

By pa in and hunger tha t for weeks on end

I 'd w or k in the f ie lds,—and m ay be lose m y friend :



The Little Review

Live s teady for a whi le and f le sh my bones ,

And re a p o r p lough , o r d r ive t he c a t t l e home ,

And we e d the k i t c he n pa t c h , a nd p i l e up s tone s ;B u t a lw a ys i t m us t e nd , a nd I m us t roa m ;

One n ight , a s s t i l l a s s ta rs , I rose , was gone ,

The y ha d no t r a c e o f me a t c ome o f da wn ,

And I wa s ou t onc e more i n wind a nd we a the r ,

Bro the r o f l a rks a nd l e a ve s a nd de wy fe rns ,

F r i e nds o f t he roa d I ha d , we be gge d toge the r ,

A n d s lept toge th er , and te nd ed f i re by tu rn s :

O , t he y we re r a re t ime s , b i t t e r t ime s we re t he y ,

Wind ing t he ope n roa d da y a f t e r da y

A nd then I cam e to Lo nd on . . . . S ick , ha l f dead ,

Cross ing a s t ree t I shocked wi th d izzy pa in ,

W i t h fury of sou nd , and da rk ne ss . . . the n in bed

I w oke ; t he re w a s a l ong w hi t e c o un te rp a ne ;

I hea rd , impass ive ly , the doc tors ta lk .

F rom tha t da y , wi thou t c ru t c h , I c ou ld no t wa lk .

O, t he s i c k -he a r t e d t ime s t ha t t ook me the n

The da ys , l i ke vu l tu re s , s a t t o wa tc h me dy ing .

It seemed as i f they l ived to feed on men.

I found no work, i t seemed so use less t ry ing .

And I go t s i c k o f he a r ing doorbe l l s r i ng :

Be gg ing i n London wa s a hope l e s s t h ing .

Once I had dr iven: I t r i ed to ge t a job

A t d r iv in g ' bus se s , bu t t he r e wa sn ' t a ny ;

Some t ime s , by wa sh ing whe e l s , I e a rne d a bob ;

Som e t im e s he ld ho rs e s fo r a s t ingy p e nn y ;

And i t wa s ha rd t o c hoose be twe e n the be d

Tha t penny pa id for , and a b i te of bread .

Often I h id in pa rks , and s lept on benches ,

Af t e r t he c r i e r s ha d wa i l e d a nd pa s se d me by ;

A n d i t w as cold , bu t be t te r than th e s ten ches

Of ten men packed in one room l ike a s ty.

Tw ic e , I w a s c a ug h t a nd ja i l e d . I t w a sn ' t ba d ,

Come to th ink of the cot and bread I had .



The ittle Review

But O the wea rine ss, day in , day out,

W a tc h in g the people walk ing on so c o l d

So f u l l of purpose, deaf to even a shout,—It was their utter heedlessness that told;

It made me white at heart and sick wi th hate.

Some g u i l t i l y looked away; some walked so straight

Th e y never knew I l i v e d but trod my shadow,

Brushed at the laces that I tried to s e l l . . . .

0 G o d , could I but then have seen a meadow,

O r walked erect in woods, it had been w e l l

These wretched things I might have then forgiven,

N o r spread my shado w be tw ixt them and heaven. .

1 failed at hawking . . . . som eho w, I nev er sold

I wasn' t shaped fo r i t by H i m that makes.

I t r ied wi th matches, toys, sham studs of gold,—

I fa i led; it needs a fakir to s e l l fakes.

The bitter pennies that I saved for buying

W e r e goi ng to h e l l and my whole soul was dying.

I tried to steal a sleep, without my penny,

One night at Joh n's . I hadn 't fed al l day.

It was a shr ew ish wi nt er night, and rai ny .

John fo und me out an d swor e. I said I 'd pay

N e x t afternoon, or die—he said I 'd die . . . .

O I was longing fo r a place to l i e . . .

H e pushed me to the door and opened it,

H i s s t inking arm was smothered round my face,

A n d then I raged and swu ng my crutc h and hit,

He only la ughe d and kno ck ed me into space.

W h e n I came to, Joe Cluer bathed my head,

A n d he had paid my penny, so he said.

Joe Cluer w as a m an — Go d help him now,

Pneumonia got hi m do wn last year and took hi m .

But he had co lore d cha lks, and taugh t me ho w

T o draw on stones; sometimes the d.t.'s shook him

So ha rd he cou ldn' t dra w, him self, but show

The wa y it's done. . . . Th at 's ho w I ma de a go



The ittle Review

A n d w e' d steal out together , he an d I,

A n d draw before the crowds began to come.

A first he he lp ed me . B u t as time went by-D r i n k made hi m worse, and I would help him some

I dre w hi m si x on paper, i n the end ,

A n d he would take them out, and just pretend

T o draw a little on the dew y stones . . . .

B u t it was useless, for the stones wer e w et,

A n d he just wa sted cha lk, and c h i l l e d his bones,

H i s ha nd so sho ok . . . O , I can see h i m yet

Cra m p in g his fingers down with hellish pain

T o wri te out M y O w n Talen t , large and plain.

Somet imes , to go out early, it was fun,

W h e n it was not too c o l d on aut umn days

W h e n leaves were rust l ing do wn wa rd , and the su n

Came r is ing red an d paley th ro ug h the haze. . .

T h e streets were f a i r l y quiet, the people few,

There was a smell of dead leaves damp with dew. .

A n d I' d dra w, si ng in g, places I had seen,

T h e places that I wa lk ed wh en I was free,

A n d of my colors best I loved the green,—

O it would break my heart to draw a tree

G r o w i n g in fields, and sh ak in g off the sun,

W i t h cattle st an di ng unde r, one an d one. . . .

A n d roads I loved to draw, —the whi te roads w i n d i

A w a y up, beau tifull y, thro ugh blue h i l l s ;

Que er, when I dre w them I was always mi nd in g

T h e ha ppy things , forg etti ng all the i l l s

A n d I'd think I was yo un g again, and strong ,

R i s i n g at smell of dawn to walk along. . . .

T o walk along in the c o o l breath of dawn,

T h r o u g h dusk mysterious with faint song of birds.

O u t of the valleys, mist was not yet gone,—

L i k e sleeping ri ve rs ; it were ha rd for wo rds

T o say that quiet wonder, and that sleep,

A n d I alone, walk ing along the steep,



The ittle Review

T o see and love it, l i k e the G o d wh o ma de . . .

A n d I would draw the sea—when I was young

I l i v e d by sea. Its long slow cannonade

Sullen against the c l i f f s as the waves swung,I h eard n ow , and the hollow guttural roar

O f desolate shingl e mu tt er in g do wn the shore. . .

A n d the long swift waves unf ur le d in smoth er of \vh

Snow, streaked wi th green, an d sea-gulls shin in g hi gh

A n d their keen wings ,— I mind ed how, in flight.

They made a w hi mp er in g sound ; and the clean sky,

Swept blue by win ds — O what would I have given

T o change this London p a l l for that sweet heaven

A n d I kept th in ki ng of a Devon village

That snuggled in a sea-side deep ravine,

W i t h the t a l l trees above, and the red tillage,

A n d little houses smoth ered soft in green,

A n d the fishers talking, biding for the tides,

A n d mackerel boats all beached upo n thei r sides.

A n d it was pleasure edged wi th l ig htni ng pain

T o draw these things ag ain i n colo red chalk.

A n d I would sometimes think they l i v e d again,

A n d I would th ink " O Go d, if I could walk,

It's little while I 'd lin ger in this street

G i v i n g my heart to bit ter ly wo un di ng feet. . . ."

A n d shame would gnaw me that I had to do it.

O there were moments when I could have cried

T o dr aw the thi ng I lov ed— and yet, I drew i t;

But how I longed to say I hadn't l i e d

That I had been and seen it, that I wanted

T o go again, that through my dreams it haunted,

That it was lovely here, but lovelier far

U n d e r its o wn sky, sweet as Go d had made.

It hurt me keenly that I had to mar

W i t h gri tty chalk, and smu tchy light and shade,

O n gr im y paving s, in a public square,

W h a t shone so pu rel y yon der in soft a i r



The ittle Review

A n d yet I drew—year after year I drew;

U n t i l the pictures, that I once so loved,

T h o u g h better drawn, seemed not of things I knew,

But dreamed perhaps; my hear t no longer moved;

A n d it no lon ger matte red if the rai n

W i p e d out what I had dr aw n with so much pain.

I only care to f i nd the best-paid places,

T o ge t there first and get my pictures done,

A n d then sit back and hate the p a l l i d faces,

A n d shut my eyes to wa r m them, i f there's sun,

A n d get the pennies saved for harder times,—W i n t e r i n Lo n d o n is no jo ke , by cr ime s.

It 's hellish c o l d . Y o u r hands turn blue at drawing.

Y o u ' r e cra mp ed ; and frost goes cutt in g to yo ur bone s.

O you would pray to G o d for sun and tha wi ng

I f yo u had sat and dithered on these stones,

A n d wa nte d shoes and not kn ow n ho w to get them ,

W i t h these few clothes and winter rains to wet them.

Y o u come and try it, yo u just come and t r y

O fo r one day i f yo u would take my place

I f we could only change once, you and I,

Y o u with your soft white wrists and delicate face

On e day of it, my man , and l i k e Joe Cluer,

Pneumoni a ' d get you and you'd die, that 's sure.

O G o d , i f on dark days yo u yet remem ber

So small and base a thing as I, who pray,

T h o u g h of myself I am but no w the ember —

F o r my great sorrows grant me this, that they

Who look upon me may be shaken deep

B y sufferings; O let me curse their sleep,

A devi l 's dance, a demon's wicked laughter,—

T o hau nt them f or a spac e; so they may kn o w

H o w sleek and fat thei r spi rits ar e; an d after,

W h e n they have prospered of me, I w i l l go;

Gr an t me but thi s, an d I am w e l l content.

T h e n strik e me q u i c k l y G o d , for I am spent.



The ittle Review

Y e t — l i f t me from these streets before I die.

F o r the old hung er takes me, an d I ye arn

T o go where swell ing h i l l s are, and blue sky,

A n d s l o w l y walk in woo ds, and sleep in f e rn ;T o wa ke in fer n, an d see the la rk s go winging,

V a n i s h in sunlight, and s t i l l hear them sin gin g

So die; and leave behind me no more trace

T h a n stays of cha lki ngs after nig ht of ra in ;

E v en myself, I hardly know their place

W h e n I go back next day to draw again;

O n l y the withered leaves, which the rain beat,

A n d the grey gentle stones, wi th ra in s t i l l sweet.

So for nine days I suffered this man's curse,

A n d l i v e d wi th him , and l i v e d his l i f e and ached;

A n d this vic ario us suffering was far worse

T h a n my ow n pai n had been. . . . B u t wh en I wa ke d,

H i s pai n, my so rro w, were together flown;M y grief had l i v e d and di e d; an d the sun shone.

There was a woman l i v e d by Bloomsbury Square—

She is no more to me; I could not sor row

T o think, I loved this woman, she was fa ir ;

A l grief I had was grief that I could bor row—

A beggar's grief. W i t h hi m, all these long years,

I l i ved his l i f e of wretche dness and tears.




Persona l i ty

G E O R GE B U R M A N F O S T E R

P O W E R F U L a p p e a l t o p e o p l e s , e s p ec ia l ly t o t h e G e r m a n p e o p l e s , i t

w as wi t h th is tha t the nin e tee nth cen tur y beg an. S t i l l in the e ig htee nth

cen tu ry the r e we re no peop le s , on ly dyn as t i e s , cou r t s . A l l l i fe r ev o lved

aro un d thes e co ur t s . O n the c ru m bs tha t fel l f rom ro yal tables , peop les

l ived . F o r t he sake o f t he se c ru m bs , peop le s c r aw led and c rouched and

c r inged . T he n cam e the Cor s i can H e t rod und e r f oo t a ll t he se g r ac iou s

sov ere ign s . T h e gr ea te r se l fi shness of the gia nt sw al lo we d up the se l fi sh

ness o f t he pyg m ies . Ge rm an y wa s s ti ll bu t an h i s to r i ca l m e m o ry . Eu ro pe

seem ed to hav e bu t one w i l l : the wi l l of Nap ole on . In th e col lapse of

dynas t i e s , peop le s bega n to cons id e r t hem se lves . P r e ach e r s o f r epe n tan ce

arose who inte rpre ted the suf fer ings of the people in a way tha t could be

un de r s too d . T h e Nap oleon ic th un de r aw ok e them f rom the s l eep o f cen

tu r i e s . Th e r e cam e the p ro ph e t F i ch te w i th h i s eve r -m e m o rab le Reden an

die deutsche Nation. A l iv ing divine br ea th blew ov er the dea d bo nes of

the Fa the r l an d un t i l t hey beca m e a live aga in . A nd a s t he peop le cons id

e r ed and r e f l ec t ed upon them se lves , and showed the a s ton i shed wor ld tha t

t h e y w e r e s t il l t h e r e , t h e j u d g m e n t t h a t w a s e x e c u t e d a g a i n s t t h e r o y a l

cou r t s wa s tu rne d aga in s t t he i r execu tor . Th e Ge rm a n pho en ix a rose f rom

i ts ashe s , the people revea led the i r un w i th er i ng pow er , the i r e te r na l l i f e . A

reb i r th of the peo ple ' s li f e , th is w as the pr og ra m of the m aj or pr op he t

Fic hte . Fo lk cul ture , fo lk edu ca t io n, th is wa s to c rea te a new se lf wi thin

the folk, a free self, dependent upon a l i fe of i ts own, instead of a self

tha t w as un f ree , d ism em bere d, un se t t led . A nd a ll the bes t , f rees t , nobles t

spi r i t s went about the work wi th a wi l l to renew the folk l i fe in head and

h e a r t a n d h a n d .

Did th i s wo rk succe ed? W as even an ausp ic iou s beg inn ing m ad e?O r , wa s a f a lse pa th t aken f rom the ve ry s t a r t ? Con fessed ly op in ions

dev ia te mo st wide ly as to a ll th i s . B ut amo ng tho se w ho con side r th is

wo rk a s abor t iv e and bu ngl ing , no one has a i r ed h i s d i sp l ea sure— if no t ,

i ndeed , h i s d i sgus t and d i s t em per—so ene rge t i ca l ly a s Friedrich Nietzsche.

T he G erm ans g r e w pro ud of t he i r fo lk school s , wh e re eve ry one cou ld l ea rn

to r ead and wr i t e , if no th ing m o re . Bu t N ie t z sc he r aged : "E ve ryb od y can

learn to read and wr i te today, which in the long run ruins not only the

wr i t i n g , bu t t he th ink ing a s we l l " T h e Germ an s founded l i b r a r i e s , bu i l t

r ead ing ha l ls , and a r t i ns t i t u t e s , t ha t t he sp i r i tua l t r e a su re s o f hu m a ni tymig ht be as wide ly ava i lable as poss ible . Bu t Nie tzsch e scof fed : "O nc e

the r e was the Sp i r i t o f God , now—through i t s i n t roduc t ion in to the m asses

i t has become Pöbel, the vu lga r plebe ian mo b " H e even ca l led the wh ole

G e r m a n c u l t u r e pöbelhaft, vu lga r , coa r se , p l ebe ian ; Ge rm a n m an ne r s , un l ike



The Little Review 4 1

Fre nc h , ine legant and unref ined ; och locracy or mobo cracy , the dem ocra t ic

ins t inc t o f modern c iv i l iza t ion—to Nie tzsche , the grave of a l l genuine

human l i fe .

In the tendency of the t imes there is undoubtedly the danger of levelingmen, o f un i formiz ing the i r cu l tu re , consequent ly of ex terna l iz ing the i r cu l

t u r e . Nie t zsche ' s avers io n to th is tende ncy is und ers tan da ble , and is wel l

w or th layin g to he ar t . F o r ex am ple , rel igion ecclesiast icized is dispiri tual¬

ized ; m ora ls c onv entio nali zed ar e d eg rad ed ; so is ar t ; so is even science, a s

is seen in the "sc ience mad e ea sy " cu l t s and cou rses . Nie tzsch e m ad e i t

the special business of his l i fe to dam back this current in the affairs of

ou r mo de rn wor ld . T o h im , the pre ach ing of the equal i ty of al l me n w as

the mo st da nge rou s l ie o f the las t cen tury . Th ere for e , he prea che d the

inequal i ty o f a l l men; requi red of men tha t they should no t be i roned ou t

to the same smoothness , tha t they should no t a l l be hand and g love wi th

each o ther , bu t on the cont rary , tha t they should be aware of the i r manifo ld

inequal i t ies , keep the i r d is tances , and tha t thus grea t and smal l might be

clear as to their real differences. Not l iber ty , equal i ty , f ra te rn i ty , bu t the

Eigenheit, the pecu l ia r i ty , the un iq uen ess , the own-ness o f the hu ma n pe r

sonali ty , the r ight of man to his Eigenheit, the p lea sur e in i t s unf o ld ing

and fo rma t ion—th i s was to be the wa tchword o f the new cu l tu r e .

Th i s was wh a t Nie tz sch e r equ i r ed . H e based h i s r equ i r e me n t upo n

the fac t tha t every m an is an unr epe a ta b le mirac le . H e nev er wa s bef ore ,

he never wil l be again, except in his own self. Th is fac t i s a lmo st self-

evident . I t mus t be kep t in m ind espec ia l ly wh en we p lace a m an in to

re la t ion wi th h is su r ro un din gs . A m an can not poss ib ly be exp la ine d me re ly

as a resu lt of his en vi ron m en t. N o m an can be so exp lain ed , least of al l

a super ior ind iv idual who has awakened to a se l f -consc ious l i fe , o f d is t inc

t ive personal i ty , and who is inward ly aware of the mystery of h is own

pers on . H e re sc ien ti f ic inqui ry , wi t h i t s desc r ip t ions and e xpl ana t ion s ,

ha l t s . A t th is po in t sc ience ceases and we m us t resor t to in tu i t ion and

in terpre ta t ion of l i fe ' s deepest myster ies .

Nie tz sche was r igh t in h i s r equ i r em en t . M an is an un re pea tab le

mirac le . Bu t m ay we no t go even fur the r tha n Nie tz sche d id ? Al l l i fe i s

pec ulia r and singu lar an d un iqu e. Be hold the bi l lowy field of gra in

Cou nt less s ta lks bend to the breeze . T he w hole seems to be bu t a g rea t

hom oge neo us ma ss . Bu t tak e any tw o of these s ta lks and consider th em

m ore min ute ly , com pare them wi th each o the r . Ea ch is som eth in g specia l ,

so me thi ng w ith an indi vid ual l i fe of i ts ow n. Pl uc k an ea r f rom th e stalk .

One grain is side by side with another , one looks for al l the world just l ikean oth er . Bu t, in fact , no one is ju st l ike an oth er . A nd from each gra in

a special stalk grows, so special that the l ike of i t was never in the world

before . O r , you w an de r a long the beach . Inn um era b le a re the gra ins o f

sand on the shor e of the sea . T he mul t i tu de of g ra ins fo rm indeed a un i

form mass , so un i form tha t i t s very un i formi ty wear ies and pa ins the eye ,




i f i t i s looked a t for long . B ut look sha rply , con s ide r an y tw o of these

gra i ns o f s a nd . Ea c h is som e th in g fo r itself. In the wh ole i l l imi table m ass ,

yo u find no secon d gr a in ju s t like the fi rst . W h a t i s t r u e of the l i t tl e gra ins

of san d i s t r ue of e ver y dr op in the wide and deep sea ; t ru e of every m ote inth e a i r , of every leas t pa r t ic le in vas t sho re less cosmic space s . T he n, too ,

t he re a re t he s t a r s—one s t a r d i f f e r s f rom a no the r s t a r i n g lo ry , a s Pa u l s a w

and sa id long ago.

Al l th i s I ca l l the wea l th of na ture , the wea l th , i f you wi l l , of God.

In th i s e te r na l l i fe , no th i ng i s ever repe a ted or dupl ica ted . T hi s I ca l l

i n fin it e c re a t i ve po we r . N e v e r a n d no w he re doe s t he we a v in g a nd w a x ing

w o r l d d e a l w i h c o p i es . E v e r y w h e r e a n d e v e r y w h e n t h e w o r l d c r e a t e s

an or ig ina l fonta l l i fe of i t s ve ry own.

The n shou ld no t ma n be a wa ke ne d to suc h a l i f e —ma n in whose e ye s

a nd sou l a ll t h i s s i ng u l a r a nd pe c u l i a r li fe i s m i r r o r e d ? Sho u ld i t be ma n ' s

lo t a lone t o be e xc lude d f rom a l l t h i s supe ra bound ing fu lne s s o f o r ig ina l

l i fe? Sh ou ld he be offended a t w ha t i s a b less in g to a l l o t he r c r ea t ur es ,

fea r the i r fu lness , f ind the t rue ta sk of h i s l i fe in the renunc ia t ion of th i s

fu ln ess? T o be sur e , the cen t r ip e ta l , so l id a r ic forces of l i fe do indeed

a w a ke n in m a n . W i t h t he b r e a d th of h is sp i r i t m a n spa ns t he g re a t e s t a nd

the leas t , compares the l ikes t and the unl ikes t , combines the neares t and the

fa r the s t . Bu t , for a ll th a t , he w ou ld s in aga ins t l i fe , he w ou ld co m m it

sp i r i t ua l su i c ide , we re he t o use t h i s sys t e ma t i c powe r o f t hough t t o ove r -

pa in t gray in gray the va r iega ted world wi th i t s co lorfu l magni f icence , to

m a k e e ve ry th ing i n h i s ow n wo r ld so s imi l a r , so un i fo rm a nd so un i c o lo re d ,

e ve ry th ing t ha t wa s d iv ine ly de s t i ne d a nd c re a t e d fo r a n e x i s t e nc e o f i t s

ow n . F r om e v e ry th ing t ha t w a s re pe a t e d o r dup l i c a t e d in t he w or ld w ou ld

ascen d an accu sa t io n to Go d in w ho se l i fe a l l hu m an l ife w as roo ted . W e

who wou ld t hus be on ly a r e pe t i t i on o f a no the r wou ld ha ve t he f e e l i ng

tha t we we re so muc h too muc h , t ha t we we re supe r f l uous i n t he wor ld

For the proof tha t we a re not superf luous in l i fe i s to be found in the fac t

tha t no one e l se can be put in to our p lace , can be confounded wi th us , tha t

there is a gap in l i fe , in the heart , into which no one e lse can fi t , and

tha t i f ever another does occupy our p lace in l i fe , the gap abides , surviv ing

a s t he on ly t r a c e o f ou r e x i s t e nc e i n t he huma n he a r t , c o r re spond ing t o

ou r imag e an d ou r na tu re . T o be sup erf luo us in the world , to f ill the re in no

place of on e ' s ow n, to dr i f t an d dra g abo ut w i th th i s fee l ing — the fee l ing

of a l l th i s i s a lone the rea l damnat ion of l i fe , the wors t he l l tha t the re i s

in th i s or in an y o t he r w orl d . B ut the fee l ing , even wi th the mi ni m um

capi ta l of l i fe , which ye t we may ca l l our own—the fee l ing tha t one makesa ne c e s sa ry , o rga n i c , i r r e p l a c e a b l e c on t r i bu t io n t o t he posse s s ions o f hu

mani ty , th i s i s l i fe indeed; who has th i s l i fe , and keeps i t a l ive , knows

more j oy a nd b l i s s t ha n a ny o the r he a ve n c a n gua ra n t e e .

A l i fe of one 's own that shal l yet serve the l i fe of a l l—there is the

c o n s u m m a t i o n d e v o u t l y t o b e w i s h e d In t he se da ys we he a r muc h a bou t



43he Little Review

decadence and the decaden t . W ha t does tha t m ea n? A t bo t tom, the

decadent seeks to escape the d i rempt ion of the modern man be tween the

individual and the social , by aff irming the former and negating the lat ter .

The ind iv idual , the soc ia l ce l l , de taches i t se l f f rom the whole organiza t ion ,f rom the soc ia l body , wi thout consider ing tha t he thereby dooms h imsel f to

dea th . T he cel l can jus t as l i t t le ex is t wi tho ut the orga nism , as the or ga n

ism wi t hou t the ce ll . De caden ce i s the las t wo rd which an t i - soc ia l in d iv id

ualis m has to say to ou r t im e. T h e his tor y of this indi vidu alism is the

jud gm en t o f th i s ind iv idua l i sm . T he ma n wh o fundame n ta l ly de taches

himself f rom society cut s th e ar t er ies of l i fe . St i l l the m an mu st be his

own man, and no t ano ther , even tha t he may g ive a serv ice of h is own to

society, as a cel l must be i ts own cell and not another i f i t is to construct

and co nst i tu te the org anis m of whic h i t i s so smal l a pa r t . Besides , ma nis not entirel y l ike a cel l . H e is in an imp or ta nt s ense a supe rsoc ial b eing ,

as the ce ll i s no t super -org ani c . So we may as wel l go on wi th our d iscu s

s ion of the Nie tzschean un iqueness and own-ness of perso nal i ty . Pe rso na l i ty

is bo th supe r - ind iv idua l and superso c ia l . W e hav e i t s t ru th in va lue - jud g

men t and no t s imp ly in ex i s t ence - judgmen t .

So m ew he re in the o ld forgo t te n gospels the re i s a g r im s t i r r ing w ord :

Enter by the nar row gate , fo r the ga te i s b road and the road i s wide tha t

leads to des t r uc t io n , and m an y en t er tha t way . Bu t the road tha t leads

to l i fe is bo th na rr o w a nd close, an d the re are few w ho find i t .

Y e s , indeed I t is a na r ro w , a ve ry na r row ga te th roug h wh ich men

enter in to l i fe ; a smal l , a very smal l pa th tha t leads to th is nar row gate .

There i s room for on ly one man a t a t ime—only one Th ere is one p r e

cau t ion wi th which man must sharpen a l l h is wi ts , i f he i s to have regard

for th e way, so tha t he ma y at no mo m en t lose sight of th e way ; or if his

feet are not to lose their hold and sl ip , i f he is not to grow dizzy and

plung e in to the abyss . Th is is no t every ma n 's th in g ; i t cos ts s t ress and

str ain a nd ten sion ; i t ne eds s ha rp eye s, cool hea d, f irm an d bra ve he ar t .

I t i s much eas ie r to s t ro l l a long the broad way , where one keeps s tep wi th

ano the r , whe re many wande r a long toge the r ; and i f t he r e bu t be one tha t

is the gu ide of al l , the n of co urs e al l fol low th at one step by step. O n

th is b road way no one need take upon h imsel f any responsib i l i ty fo r the

r igh t wa y . Sh ould the leade r mis lea d h is b l ind fo l lowers , the la t te r w ould

disbe l ieve the i r own eyes ra ther than the i r leader , would "confess" tha t the

fa lse b road way was never the less the r igh t way , ra ther than condemn the i r

ow n b l indness and indolence . Th es e a re the Herdenmenschen, the herd men

wh o cann ot und er s ta nd th a t there i s a s t re ng th which on ly the m an fee lswh o s tan ds a lone . Th es e a re the me n who hav e no s tay in them selves and

seek the i r s tay , therefore , in dependence upon o thers ; possess no suppl ies

of the i r own, and ever therefore on ly consume the cap i ta l which o thers

amass .




F r i e d r i c h N i e t z s c h e s u m m o n e d m e n o u t a n d a w a y f r o m t h i s h e r d .

F r i e dr i ch N ie t z sche w arn ed m en of t he b ro ad way and gu ided the i r m ind s

to the sol i ta ry pa ths which a re di f f icul t and per i lous indeed, but a long which

the t rue l i fe is to be l ived. Th es e smal l pa ths , thes e a re the pa ths of th ec r ea t ive : "W h er e m a n becom es a new for ce , an d a new l aw, a whee l r o l l ing

of itself, an d a f i rs t m o v er " T h er e eve ry force of h is be in g beco mes a

l iv ing c rea t ive force . N o th ou gh t is rep ea te d, no fee l ing, no dec is ion, i s

a copy of so me thin g wh ich w as bef ore . Th is i s a new fa i th in m an . H e

does not need to l ive by bo r ro w in g. T h er e is a s t ra tu m in his ow n soul , in

whose hidden depths ve ins of gold a re concea led, gold tha t he needs but to

min e in or de r to ha ve a w or th of h is ow n, a we al th of h is ow n. Th is is a

new love to the m an w ho concea l s un dre am t o f r i ches un de rn ea t h h i s poor

she ll , d iv ine l i v ing seedcorn p r e se rved wi th ge rm ina t ing pow er un de rne a tha ll t he bu rd en o f t he dead tha t ove r l ay h im . H er e Nie t z sc he , t he god le ss

o n e , chimes wi th the godly Gal le t who va lues the e r ror which man of himsel f

f inds m or e h igh ly than the t r u th he l ea rn s by ro t e . T o be sur e , m an pos

sesses th is tha t i s h is very own, th is power of the c rea tor , in his soul , not

in his coa t , not in his manners , not in l i fe ' s forms of soc ia l in te rcourse .

The man i s s t i l l f a r f rom having everything his very own, i f he be only

d i f fe r en t f r om o the r s , if he on ly says "n o " to w ha t o th e r s say "y es . " Th e r e

a r e peop le enough whom one m igh t ca l l r eve r se Herdenmenschen. T h e y

esteem them selv es or igin a l bec aus e they ac t , th in k, speak di f fe rent ly f rom

wha t t hey see eve rybody e l se do ing , and ye t t hey a r e on ly the coun te rpa r t

of o thers , they rece ive the impulse of the i r l i f e , not f rom what i s l iv ing in

the i r ownse lves , bu t f r om oppos i t i on to wha t t hey them se lves a r e no t .

W h a t they ca l l bea ut i ful i s no t bea ut i ful to the m becau se it gr ip s th e i r

souls , f i l l s the i r hear t s wi th the f ree joy of vis ion, but because others cannot

en du re i t , an d ca l l i t ugly . T h e goo d for which the y s t r ive i s not goo d

because they have them se lves the r eby becom e s t ronge r , g r ea t e r , be t t e r , and

wi l l a lways becom e s t ronge r , g r ea t e r , be t t e r t he r eby , bu t a capr i ce which

they fol low, making i t a law to themselves , because others may not do so.

As i f anyone could l ive on nega t ion, or c rea te by digging mole t racks in

the f ie lds and meadows of men Ev en the smal l pa th is pa th , and every

path ha s a goa l , and the goa l of eve ry pa th i s a "y e s" and no t a "n o " T h er e

fo r e , F r i edr i ch Nie t z sche , Contem ner o f Pdbcl, of the plebe ian ma ss , would

count al l as Pöbel wh o he ld them se lv es aloof f r om th e b ro ad way pure ly be

cause they saw ho w m an y th ere w er e th a t t ro d it . H e would a lso ca ll the

m os t se l ec t and sought - a f t e r exc lus iv i s t s H erdenmenschen we re they to

der ive the reason of the i r ac t ion and pass ion mere ly f rom the mania anddisease to be di ffe rent f rom the he rd.

P la in , i ndeed , t hen , i s N ie t z sch e ' s g r ea t r equ i r em ent . Le t eve ry m an

honor and sa f egua rd h i s unrepea tab le m i r ac l e , and be som e th ing on h i s

own accoun t . Th i s cu l tu r a l r equ i r em ent is sup p lem enta t ion and deve lop

ment of the mora l idea l of the grea t German prophet a t the beginning of



The Little Review 5

the nine teenth century, speaking as he did out of the blackes t n ight of a

peo ple 's l i fe. Fi ch te, too , wo uld crea te a folk, no Pöbel. T o be folk, all

that is Pöbel m us t be ove rcom e . Pobcl, th at is a l l th at l ives herd - l ik e,

and bor rows the impulse of i t s ac t ion and pass ion f rom others , not f rom

itself ; or , m or e a ccu rate ly, Pöbel, to speak wi th Nie tzsche , i s wherever

man i s not himself, bu t h i s ne ighbor Pöbel signif ies, th ere fo re, no t a

human c lass , not a soc ia l layer of the popula t ion, but a disposition. E v e r y

where the r e a r e a r i s toc r a t i c Pöbel, whe reve r m en pr ide them se lves on

recipro cal ly su rp as sin g each ot he r in f lunkey-like w ay s of thi nk ing . T h er e

is a poli t ical , a par t isan Pöbel which cou nts it hu m an du ty to he lp inc rease

the grea t pr ide tha t runs a f te r a leader on the broad way of the herd.

T h e r e a r e Pöbel in science and in ar t , wherever men do not dare to al lythemselves wi th a cause , a pr inc iple , a work, unt i l some "author i ty" has

pron oun ced jud gm en t i n t he m a t t e r . Th e re a r e p ious Pöbel who cock the i r

ears for what the i r ne ighbor be l ieves , who, even in ques t ions of consc ience

and of hea r t , a r e im pressed by l a rge num ber s and de t e rm ined by vas t he rds .

Pöbel shou t s i ts "h os an na " and i t s "Cru c i fy h im " wi th ou t know ing w ha t

i t does ,an d blas phe me s every bod y wh o does not sho ut wi th i t . T o w ha t

sha l l I com pare th is ge ne ra t ion ? I t i s l ike chi ld ren s i t t ing in the m ark e t

place , wh o ca l l to the i r p la ym ates , " W e piped to you and yo u wo uld not

dance , we l am ented and you would no t bea t your b r eas t s . "W e are a ll inf luenced by wh at the med ic ina l psyc hologis t i s wo nt to

ca ll " sug gest io n"— inf luen ced, tha t i s , by a l ien tho ug hts , a l ien exp ress io ns

of wi l l. W h at we repea tedly h ea r comes to lose i t s s t ran gen ess ; we com e

to th ink tha t we have und e r s to od i t and app rop r i a t ed i t. O u r t a s t e , ou r

mora l judgment , our re l ig ious fa i th , these and such as these a re probably

far more a l ien than domest ic , f a r more the l i fe of o thers than our own,—

in a wo rd, sugges t ion . W e have no t tes ted the a l ien, e lab ora ted i t , m ad e

i t ou r ow n. W e hav e le t these uncr i t ica l ly empty them selves in to the ves

se l of our spi r i t where they coa lesce , mot ley enough a t t imes , wi th theres t of the conte nt . T he re i s , the refo re , some thin g of Pöbel in all of us,

wh eth er we cont ro l o th ers or a re cont ro l led by oth ers . T o form out of

Pöbel s t ro ng and f ree persona l i t ies of our very ow n,— as a ce ll i s form ed

fro m th e pr ec el lu la r stuff of life, as th e flowers an d frui t of a tr ee a re

e labo ra ted f rom the sap and su bsta nce a t the i r d ispo sa l ,— this i s the firs t

and bes t se rvice we can ren de r soc ie ty . T o form o ut of Pöbel a folk,

not a dis t inc t ionless mass tha t wanders a long the broad way to damnat ion,

—a communi ty of men, where each walks the nar row pa th of l i fe , no

herd in which the individua l only has his number and answers when i ti s ca l led,—a body wi th man y mem ber s , each mem ber h av ing i t s ow n l i fe

and i ts own soul ,— also sprach Jesu-Fichte-Nietssche




T h e P r o p h e c y of G w i c ' h l a n( Translated by Edward Ramos from the French of Hersart de la

Villemarque)

I

When the sun sets, when the sea snores, I s ing upon the si l l of my door .

When I was young , I used to s ing ; an d I st il l s ing w ho am gr ow n old.

I sing of the night , of the day, and none the less I am discontent .

I f my head is low, if I am discontented, i t is not without cause.

I t is not that I am afraid; I am not afraid to be ki l led.I t is not that I am afraid ; I have l ived long enough.

When one does no t look for me, I am found; and when one looks for

m e , he f inds me not .

L i t t l e impor t t ha t wh ich advenes : tha t wh ich o ugh t to be wi l l be .

And one must d ie th ree t imes , before he come to repose .

I I

I see the wi ld-bo ar tha t come s ou t o f the wood ; he dr in ks ver y mu ch ,

and he has a w ou nd ed foo t .

Hi s j aws a r e d roop ing , b lood -cove red , and h i s b r i s t l e s a r e wh i t ened

with age .

H e is fo l lowed by h is t r ibe , g ru n t i ng f rom hun ger .*

T h e sea- hors e** come s to me et h im ; he mak es the r ive r b ank s t rem ble in

ho r ro r .

H e is as wh ite as the br i l l ian t snow ; he has si lve r horn s on his fore hea d.

The water bo i l s under h im f rom the thunder - f i re o f h is nost r i l s .

O the r sea -ho r se s su r round h im , c lo se packed a s he rbs by a swamp ."H o l d f a s t ho ld f a s t sea -ho r se ; h i t h im on the he ad ; h i t ha rd , h i t

The bare feet sl ip in the blood h a r d e r have a t them h a r d e r

I see blood flowing like a river h i t ha rd hi t them s t r ike ha rde r

I see the blood r ise to his knees I see blood like a lake

H a r d e r h a v e a t t h e m h a r d e r T h o u m a y ' s t r e st t h ys e lf t o m o r r o w .

H i t h a r d H i t h a r d , s e a - h o r s e H i t h im o n t h e h e a d H i t h a r d H i t

III

As I lay sof t wrapt in sleep in my cold tomb, I heard the eagle cal l inthe midst of the night .

He summoned h is b rood and a l l the b i rds o f the heavens .

*W i ld -boa r and h i s b roo d— the men of B re tag ne and the i r l eade r .

* * S e a - h o r s e — t h e N o r s e m e n .



47he Little Review

He sa id to them in ca l l ing:

" R i se you qu i c k ly upon your two wings

It is not of the rot ten f lesh of dogs or of sheep ; it is of t h e flesh of

Chri s t ians tha t we wi l l be ea t ing

"O ld sea -c row , l is ten ; t e ll me— w ha t d o you hold t he re ?"

" I hold the head of the Chie f of the Army ; I w ish to have h is tw o red

eyes .

I t ea r out h i s two eyes , because he has torn out th ine own."

" And you , fox , t e l l me —wha t do you ho ld t he re ? "

" I ho ld his he ar t , w hich w as fa lse as m in e is ;

The he a r t wh ic h de s i re d your de a th , a nd l ong a go p lo t t e d your de a th . "

" And you , t e l l me , Toa d , wha t do you the re , a t t he c o rne r o f h i s mou th? "" I , I am p ut he re to aw ait his soul in pa ssa ge :

I t wi l l remain in me as long as I sha l l l ive in punishment for the c r ime

he ha s c ommi t t e d a ga ins t t he Ba rd who no l onge r l i ve s be twe e n Roc ' a l l a z a nd

P o r z g u e n n . "




E d i t o r i a ls a n d A n n o u n c e m e n t s

Rupert Brooke on the War

IN H E R L e t t e r f ro m L o n d o n tw o m o n t h s a g o M i s s A m y L o w e l l

m a d e a r e f e r e n c e to H a r o l d M u n r o ' s P o e t r y B o o k S h o p i n L o n

don whic h ma y ha ve se e me d a l i t t l e un fa i r t o pe op le who know

the h igh a im o f M r . M u n ro in t ha t un de r t a k i ng o f h i s . M i s s

Lowel l d id not in tend i t to be so ; in fac t she p lans for an ea r ly

n u m b e r o f T H E L I T T L E R E V I E W an a r t ic le which sha l l se t for th

the i n t e re s t i ng w or k t ha t is be ing don e t he r e . In t he m e a n t im e

we ha ve be e n shown a l e t t e r f rom Robe r t B rooke , one o f t he

Poe t ry Book Shop g roup , wh ic h i s c e r t a in ly no t ope n t o t he c ha rge

of " p re c iou sne s s" . M r . Bro ok e is i n t he W a r ; he i s a Na va l S ub -

Li e u t e n a n t fo r s e rv i c e on l a nd , a t t a c he d to t he Se c ond N a va l B a t

t a l i on a nd wa s s e n t wi th t he re l ie f fo rc e t o A n t w e r p " ju s t t oo

l a t e " . T h e l e t t e r r e a ds : " T h e r e I s a w a c i t y bo m ba r de d a n d a

hundre d t housa nd re fuge e s , s a t i n t he t r e nc he s , ma rc he d a l l n igh t ,a nd d id o the r t yp i c a l a nd i n t e re s t i ng t h ings . N ow w e ' re ba c k fo r

m ore t r a in in g . I wi l l p roba b ly ge t ou t a ga in by Ch r i s tm a s

The re ' s no th ing t o s a y , e xc e p t t ha t t he t r a ge dy o f Be lg ium i s t he

g re a t e s t a nd w or s t o f a ny c o un t ry fo r c e n tu r i e s . I t ' s gha s t l y fo r

a ny one w ho l ike d G e rm a ny a s we l l a s I d id I 'm a f ra id

f i f ty yea rs won ' t g ive them the cont inui ty and love l iness of l i fe

back aga in M os t pe op le a re e n l i s t i ng . - - - - - a n d h i s b r o th e r

ha ve gone i n to c a va l ry ; I 'm he re : a mong my fe l l ow o f f i c e r s be ing

De n i s Brow n, one o f t he be s t mu s i c i a ns i n E ng la n d ; K e l ly , t he

p i a n i s t w ho wo n the D ia m on d Sc u l l s ; one o f t he As qu i ths ; a m a n

w h o h a s b e e n m i n i n g in t h e S o u d a n ; a N e w Z e a l a n d e r — a n O l y m

pic sw im m er ; an inf in ite ly p le asan t A m er ica n yo uth , ca l led - -- -- ,

w ho w as hu rr i ed ly na t ura l ized " to f ight for ju s t i ce " . . . .

a nd a t ho usa nd m ore odd i t i e s . In t he e nd , t hose of us w ho c om e

b a c k w i ll s t a r t w r i t i n g g r e a t n e w p l a y s . " O u r L o n d o n c o r r e

sponde n t , Mr . E . Bux ton Sha nks , s e nds a no t e wi th i n f in i t e pa thos

in i t. " I e nc lose a l e t t e r fo r De c e m be r , " he w r i t e s . " U nf or tu na t e ly i t m ay be m y las t . T h e gr ea te r pa r t of m y reg im ent we nt to

France la s t Monday and I expec t to fo l low i t be fore long, so tha t

th i s may be not only my las t Le t te r to T H E L I T T L E R E V I E W , but

a l so my las t p iece of l i t e ra ture for ever and ever . "



The Little Review 4 )

Russia in Storm

FROM Russ i an newspape r s and p r iva t e l e t t e r s t ha t have beensmu ggled th ro ug h into th is cou nt ry w e learn abo ut the gr ea t

resu r rec t ion th a t i s tak ing place in the land of ex t rem es . T h e w ar

has shak en the do rm an t giant , and l ife i s pu lsa t i ng wi th t r em en do us

vigo r . T he abol i tion of l iqu or - t rad e ha s had an unbel ieva ble e ffec t

on the popu la t ion ; the fac t tha t th is re f or m wa s pro mu lga ted by

the government which has thereby los t near ly a bi l l ion year ly rev

enu e , i s of ines t imable signi f icance . T h e Czar and his counse l lors

have f ina l ly awakened to recognize the imposs ibi l i ty of re igning

over a count ry wi thout c i t izens , and l ibera l re forms on a wide

scope a r e be ing ann oun ced . Na t ion a l i t i e s and pa r t i e s a r e un i t ed

un de r a new s logan : "D ow n wi th Na t io na l i sm Long l ive Pa

t r io t i sm " Ev en the r eac t ion a ry o rg ans have aband oned the i r

chauv in i s t i c t one , and they p r each equa l i t y and f r eedom and the

abol i t ion of the bu rea uc ra t i c régim e wh ich they ascr ib e to German¬

is tic influences . T h e rev olu t ion ary par t ies , ho we ver , a re not in tox i

ca t ed wi th the m om ent a ry u pheav a l ; t hey have had too m any b i t t e r

exp er ien ces to be lu l led by pro mis es f rom the th ron e . Of a ll the

warr ing na t ions the Russ ian soc ia l i s t s were the only par ty to take

an open ly an tago ni s t i c a t t i t ud e tow ard s the i r gov e rnm ent . Th ey

were dem ons t r a t ive ly absen t f r om the Doum a when the war m ani

fes to was announced, and la te r they gave out a dec la ra t ion in which

they expre ssed the i r condem na t ion o f t he gove rnm ent and i t s po l i cy .

Recent ly an of f ic ia l communica t ion s ta ted a discovered conspi racy

am on g the radica l m em be rs of the D ou m a. I t i s c lear tha t the

revo lut io nis t s in ten d to forge the i ron whi le i t is hot ; th i s t ime

af fords them a ra re oppor tuni ty for forc ing the Autocra t to yie ld

to the demands of the people and in def iance of popular sent i

m en t s and d ru m m ed up pa t r io t i sm , the un com pro m is ing fighte rs

bra ve the i r wa y forw ard to the ul t im ate goa l . I t i s gre a t li fe in

Russ i a

Alexander Berkman on the Crime of Prisons

M R . A L E X A N D E R B E R K M A N , a u t ho r of Prison Memoirs of

an Anarchist, w hic h is rev iew ed in this issue, wil l del ive r

two lec tures in Chicago, Sunday, December 6 , in Room 512 of the

M aso nic Tem ple . H is subjec t in the a f te rn oo n wi l l be War and

Culture; in the even ing Th e Psychology of Crime and Prisons.



The ittle Review

W i n t e r R a i n

E U N I E T I E T J E N S

W i n t e r no w has come ag ai n;

A l the gentle summ er ra in

Has grown c h i l l a n d stings l i k e pain,

A n d it whispers o f things slain ,

L o v e o f mine.

I h a d thought to bur y love ,

A l the ways a n d wile s thereofB u r i e d deep a nd buri ed rou gh—

B u t it has no t been eno ugh,

H e a r t o f mine.

T h o u g h I bur ied h im so deep,—

T r a m p e d h is grave a n d pi led it steep,

Strewed with flowers the aching heap,—

Y e t it seems he cannot sleep,

S o u l o f mine.

A n d the drops o f winter rain,

I n the grave where he is l a i n

D r i p a n d dr ip , a n d st ing l i k e pain,

T i l l m y love grow s l i v e again,

L i f e o f m i n e




H o m e as a n E m o t i o n a l A d v e n t u r e

M A R G A R E T C . A N D E R S O N

I wa s go ing Home

It was seven o 'c lock on a c lear, cold, snowless night in December—

the i dea l n igh t fo r a j ou rne y . Be h ind me , Ch ic a g o :— noi se , j a ng l e , rush ,

a nd d i r t ; gre a t c r ow ds of people ; a ha l l roo m of ago niz ing ugl iness , wi th

walks of a green tone tha t produces a sor t of savage menta l b i l iousness and

fur ni tu re of s t r iped oak tha t ma kes you pr ay for des t ru c t ion by fi re ; f rayed

rugs the color of cold d i shwate r and pa in ted woodwork tha t pee ls off l ikea hea l ing sore ; smel l s of im pro m ptu lau nd ry w ork , and dus t tha t s t i cks like

a hope fu l c re d i t o r ; an out look of ba re br ick wa l l s , an d a i r thro ug h the

wi nd ow tha t shou ld hav e been put thro ug h a s ieve be fo re ente r ing . Al l

t he se —a nd one t h ing more whic h ma ke s t he m a s no th ing : t he huge g lo ry o f

a c c ompl i shme n t .

B e f o r e m e ? . . I t w a s s n o w i n g h a r d a s w e s t ea m e d i n. T h e r e

came a c langing of brakes , a cold b las t of snowy a i r through the opened

do or s, a ru sh of ex pe cta nt p eople ; an d the n, shin ing in the glow of a f licker

ing s ta t ion l ight , one of the love l ies t faces I 've ever seen—my s i s te r ' s ,—ando n e o f t h e n o b l e s t — m y " D a d ' s . " T h e n a w h i r r i n g t a x i , a l u x u r i o u s a d j u s t

ment to comfor t in i t s da rk depths , a confus ion of "So glad you ' r e he re , "

a nd " M oth e r ' s w a i t i ng a t ho m e " ; a su rg ing o f a l l my a ppre c i a t i on a t t he

beauty of young Be t ty , wi th he r r ich furs and s tunningly s imple ha t and

exqu is i te ly un tou che d face ; a long dash th ro ug h fam i l ia r s t r ee t s unt i l we

re a c he d the more ope n spa c e s—the Coun t ry C lub d i s t r i c t whe re t he re a re

only a few homes and a grea t expanse of pa rk and t rees ; and f ina l ly a

snor t ing and je rk ing as we drew up before a whi te house f rom which l ights

were sh in ing.

Now th is l i t t l e house i s a l l whi te , wi th green shut te rs and shingles ,

wi th a smal l formal ent rance porch , l ike a Wal lace Nut t ing pr in t , in f ront ,

and a la rge whi te -p i l l a red , g lass -enc losed l iv ing-p orch on one s ide . A red

br ick wa lk of the New England type leads up to i t , and grea t t rees s tand l ike

sent ine ls a t the back. O n a w int e r n ight , wh en the red wa lk and the te r ra ce

are covered wi th sof t snow, when the l i t t l e cedar t rees massed a round the

ent rance sparkle wi th icy f ros t , when the warm l ight f rom the windows

touches the whi teness wi th an amethys t radiance—wel l , i t ' s the k ind of

house t ha t a l l good d re a me rs some t ime s ha ve t he r e wa rd o f d re a ming a bou t .

And whe n Mothe r ope ne d the door , l e t t i ng ou t a no the r s t r e a m of l i gh t a nd

showing he r t he re a ga ins t t he wa rm re d ba c kground o f t he ha l l , I wa s c on

vinced tha t ge t t ing home was l ike be ing invi ted to pa radise .




Of cour se we t a lked and l aughed fo r an hour ; and unde rnea th i t a l l

I was consc ious , above everything, of the red and whi te room in which we

sat ; of the ro ar in g, s ing ing f ire ; o f t he sha do ws i t t h r ew on the lux ur io us

rug s an d old m ah og an y ; of the boo k- l ined wal l s ; of the sca t te red ma gaz ineson th e long table ; of the chim ing gr an df a t he r ' s c lock ; of the sof t l ights ;

and—m ore than a l l—of the vase o f whi t e r ose s aga ins t t he r ed wa l l .

"B ut you m u s t he a r t he new Vic t ro l a r ecord s " M oth e r c ri ed . A nd so

I lay back in a deep cha i r wi th my face to the f i re , and l i s tened—lis tened

wi th my soul , I th ink , t o som e of t he wor ld ' s g r ea t m us ic : Sem br ich and

M e l b a a n d H o m e r a n d G l u c k ; P a d e r e w s k i a n d P a c h m a n n , o r c h e s t r a s , o p e r a s ,

and old , o ld so ng s; and f inally m y favo r i tes — the viol in ones . T h er e w as

Kre i s l e r , w i th h i s pe r f ec t a r t , p l ay ing o ld Vie nna w a l t ze s , ha un t in g P r ov

ence folk so ngs , qua in t sev en tee n th- c en tu ry gav o t t e s and da nces ; M au d

P o w e l l p u t t i n g n e w b e a u t y i n t o t h e S c h u b e r t Ave Maria, and tha t exqu i s i t e

tone -p ic tu r e o f Sa in t -Saëns ca l l ed The Swan; an d las t of a l l M isch a E l -

m an , w i th h i s deep , pa ss iona te s ing ing o f Bach ' s Air for the G String and

T s c h a i k o w s k y ' s Ye Who Have Yearned Alone. T h e r e ' s a b e a u t y a b o u t

those las t ones tha t i s a lmost te r r ib le , so c lose i s i t to the hear t of human

sor row.

"Wel l , " sa id Dad, a l i t t le la te r , " I don ' t know about the res t of you,

bu t I m go ing to bed . A n d f irst I m ea n to ha ve some milk an d a piece ofpu m pk in p ie . Doe s tha t a t t r ac t a c i ty g i r l ? "

I t d id — to the ex ten t of thr ee glasse s of mi lk , bes id es the pie . "Y ou ' l l

n o t s l e e p , " w a r n e d M o t h e r ; bu t I re to r te d tha t I d i dn ' t ca re ; I was too

ha pp y to s leep, an yh ow . A nd , bes ides , the ki tch en, in i t s im ma cu la te g ray

and whi t en ess , wa s so r e f r e sh in g tha t I wa n ted to s t ay the r e awhi l e . La rge

baske t s o f g r ape f ru i t s and o r anges and r ed app le s s tood on the pan t ry

she lves ; the s tov e wa s pol i shed unt i l i t looked l ike a Sapol io ad ve r t i s em en t ;

and a c lock, t icking loudly, gave the room tha t cur ious sense of lone l iness

tha t a k i tch en nee ds . I can conce ive of a l ibra ry wi t ho ut boo ks , or a fire place wi thout a f i re , but never of a ki tchen wi thout a loud- t icking c lock.

Af ter whi le we a l l t rooped up to bed—up the whi te s ta i rcase wi th

the m a ho gan y r a i l , and in to f r e sh wh i t e bed roo m s in such pe r f ec t ha rm on y

with the snow outs ide .

"T hi s hou se is pos i t i ve ly sensu ous " I t o ld M oth e r . " I t ' s an em ot iona l

ad ve nt ur e ju st to com e into i t . . . . "

I c l im bed in to a b ig m ahogany four -pos t e r ; bu t not to s leep— oh no

I sa t bo l t up r igh t w i th the s il k com for t l e t ( oh lux ury o f l u xu r i e s ) a ro un dm y knees , and gazed ou t t he windows : for f rom b oth of them I saw a fa i ry

l and . I t was al l whi t e— al l excep t t he am e thys t sh im m er ing s o f bou le va rd

l igh ts ; and whi t e fl akes d ropp ed o ne by one th r ou gh the am e thys t . A w ay

in the dis tance on both s ides were fa int out l ines of woods—bare , brown

woo ds now cov ered warm ly wi th snow. A nd ove r i t a ll a com ple te and ab




solute s t i l lness . Ju s t as in sp rin g I use d to feel fai r ie s lea pin g from ev ery

separa te v io le t and tu l ip and hyac in th fo r the i r twi l igh t dance on the wet

gras s , so now I fe l t a g r ea t com pan y of snow fa i r i es da ncin g in the fa in t

r ay s o f ame t h y s t t h a t d a r t ed i n t o t h e w o o d s —d an c i n g an d s i n g i n g an d g l i t

t e r i ng in the i r s i lver f ros t iness . A nd th en a s low qu ie t win d wo uld so un d

far off in the b ra nc he s o f the oak t ree s ; and g rad ual ly the fa i ry carn iva l

ceased and I went ecs tat ical ly to s leep.

T h e n ex t mo rn i n g , a f t e r b r eak fa s t i n a d i n i n g - ro o m o f o l d b l u e an d

whi te and mahogany , I s t a ted my ideas o f what one ought to do in such a

h o u s e . " I d o n ' t w a n t t o g o an y p l ace o r s ee an y o n e o r d o an y t h i n g . D o n ' t

p lan lunch eon s o r t eas o r o th er th i ngs . I t wi l l t ake a we ek to s to re up a ll

the im pre ss ion s I w an t to . So p lease jus t l e t m e s tay he re qu ie t ly an d ab

s o r b t h e a t m o s p h e r e . "

A n d s o my p rec i o u s w eek b eg an . In t h e m o rn i n g s I ' d p u t o n b o o t s —

fo r t h e s n o w w as d eep b y t h i s t i me—an d t ak e l o n g t r amp s t h ro u g h t h e

w o o d s . T h en each a f t e rn o o n h a d i ts d i s t in c t ad v en t u re : som et im es i t wou ld

b e a m ere w a n d e r i n g ab o u t f ro m ro o m t o ro o m s t an d i n g b e fo re a s p eci a ll y -

loved p ic tu re o r bur ied in a fav or i t e o ld book . A nd w ha t an en ch an t ing

th in g it i s to rea d in such a se t t in g : to look up f rom yo ur book kno w ing tha t

w he re ve r yo ur eyes fa ll they w i ll be res ted ; to fee l yo ur ima gina t ion s ink

ing into the soft depths of a real i ty that i s a lmost dream s tuff

So m et i m es t h e a f t e rn o o n w o u l d h av e it s h a rd - fo u g h t g am e o f ca rd s

b e t w een D ad an d me—w i t h t h e t ab l e d raw n c l o s e t o t h e f i r e , an d Be r t h a

running in f rom the k i t chen wi th a hear ty o f fer ing of c ider and ho t dough

n u t s . (B e r t h a a l w ay s s eemed t o s en s e t h e ex ac t m o m en t w h e n w e d ec l a r ed ,

w i t h g ro an s , t h a t t o w a i t an o t h e r h o u r fo r d i n n e r w o u l d b e a p h y s i ca l i m

poss ib i l i ty . ) So m et im es a t fou r o' c lock I ' d concea l myse l f in a m ass o f

cush ions in the b ig swing on the porch , and wai t fo r the darkness to come on ,

lov ing every change of tone in the g rayness un t i l the bou levard l igh t s b los

s o med li k e f lo w er s an d m ad e an o t h e r f a i ry l an d . A n d a l w ay s w e ' d h av e t ea

b y can d l e - l i g h t —o n t h e p o rch i n d eep w i ck e r ch a i r s , o r b e fo re t h e l eap i n g

fire.

So m e t i m es a f t e r t e a I ' d t ak e a t w o -m i l e t r a m p d o w n t o w n , s t o p p i n g

at the post-off ice (b ec au se a post -off ice in a smal l tow n is a place w or th s ee

ing at f ive o 'clock in the evening) and t rying del iberately to get cold and

t i r ed b e fo re r each i n g h o m e ag a i n , s o t h a t t h e w ar m t h an d co m fo r t w o u l d

com e as a f resh shock and joy . A nd the n a qu i t e wo nde rfu l th in g wo uld

hap pen : nam ely , the m i rac le o f a supe r la t ive ly good d inn er . I sha l l nev er

fo rg e t t h o s e d i n n e r s Not the mere phys ica l p leasure o f them, bu t the i rse t t ing : Mother fee l ing a l i t t l e goss ipy , and t a lk ing coz i ly o f the day ' s smal l

h ap p en i n g s ; D a d i n a m o o d o f t o l e r an t am u s em en t a t o u r ch a t t e r ; an d Be t t y ,

usua l ly in whi te , look ing so adorab le tha t even the roses on the t ab le cou ldn ' t

r ival her .

But mos t per fec t o f a l l were the long even ings Fi rs t we 'd read a loud




a l i t t le Pa ter , jus t fo r the rav ish ing music o f h is language , and then Bet ty

wo uld s ing . I don ' t know a ny love l ie r s ing ing than B et ty ' s ; i t ' s so you ng

and f resh and wis t fu l . A nd whe n she 'd fin ish wi t h the B ra hm s Lullaby

I cou ld hav e cr ied wi th the bea u ty of i t a l l . La ter , whe n everyo ne had gon e

to bed, I would creep downstairs again to l ie by the f ire and have the oblig

ing Mr . Mischa E lman p lay me ano the r conce r t . Ye Who Have Yearned

Alone w as the th i ng he 'd p lay mo st o f ten , fo r i t has a su rg i ng sadness tha t

keeps one hum ble in the mi dst of happi nes s . Ev er y t h i ng of ye arn ing is in

i t : the ago nies of cou ntle ss t ra gic loves ; th e sad, sad str ivi ng s for jo y

and com pre hen sio n ; the wo r ld-o ld m iser ies o f " bu r ied l ive s" ; hop es and

fears and fa i t hs— an d cruc i f ix ions ; ecs tac ies dy in g ou t l ike flames ; u t te r

wear iness o f l iv ing—and u t te r s t r iv ing to l ive .

* * * * *

Oh, you peop le who have homes W h y don't you rea l ize what they

mig ht y ie ld yo u W he n you find yours e l f une age r , s tup if ied wi th conte n t

me nt , ash am ed of yo ur v ic ious co m for t— w hy n ot sh are yo ur hom es ? . . .

Back in Chicago , I have a v is ion s t rong and soo th ing , l ike a poppy seed

th at br in gs sleep. I c lose m y eyes at nig ht ; and sud de nly m y ba re wa lls ar e

l ined w ith b ook s ; sof t l igh ts are l igh ted ; in a gr ea t f ireplace bu rn s a cra ck

l ing f ire that has in i t sometimes sof t sounds l ike bird-singing; and out ofthe rumble of e leva ted t ra ins , d rowning the roar o f t ra f f ic and br ing ing a

deep st i l lness, come the singing tones of a viol in , r ising and fal l ing over an

i m m o r t a l m e l o d y — Ye Who Have Yearned Alone.

A Mirac le

C H A R L E S A S H L E I G H

If the gods of Greece walked abroad ,

The sun b laz ing the i r sp lendor to a l l eyes ,

I t would no t amaze me.

I f the cour t o f So lomon, the k ing ,

In clashing storm of color ,

Were to descend in to the murk of the c i ty ,

I should no t be surpr ised .

For I have conversed wi th a s t r ipped sou l

A nd i t s g r an de ur and wo nd er hav e f illed me.



The Little Review 5 5

L o n d o n L e t t e r

E B U X T O N S H A N K S

London, September 29th.

E N O U G H of wa r poe t ry . A n indu s t r ious s t a t is t i c i an has ca l cu lat ed tha t

three thousand pieces have been pr inted s ince the beginning of August .

When our poe ts a re unanimous in the choice of a subjec t , the i r unanimi ty i s

hor r ib l e . W e have had ly r ica l ou t r ages f rom r a i lway po r t e r s , da i ry m en ,

pos tm en , road scavenge r s , and wh a t no t , w i th the i r nam es and p rof e ss ions

duly appended, in the de lec table fashion se t some t ime ago by Th e English

Review. Me anw hi l e , i n F r a nc e , you ng poe t s a r e k i l li ng one ano the r . W emu st a r r an ge a ba lanc e-shee t of ga in s and losses wh en the w ar i s don e . M .

Ch ar les Pég uy is go ne a l re ad y; tha t i s a loss which m ake s one fear for

Jules Romains and the res t who must be a t the f ront in one a rmy or the

o the r . Th e F renc h and G erm an casua l ty l i st s a r e no t pub l i shed in the En g

l ish pa pe rs : w he n the smo ke clears off aga in the ar t s of the co ntin ent wil l

show a di f fe rent com plexio n.

Meanwhi le we are beginning to ask, premature ly of course , what e f fec t

the war wi ll ha ve indi rec t ly on ou r ow n ar t s . T h e w ar of '70 caused an

epoch of l i te ra ry fe rment in Germany and was a t the back of much goodpoe t ry . T o tha t wa r we owe De t t e r von L i l ienc ron , R icha rd Dehm el , and

Ge rha rd t H au pt m an n , wh o i s , I fr eely adm i t , a g r ea t d r am a t i s t , t houg h I

can no t abid e him . In Fr an ce i t pro du ced the t i red subt le t ies of K ah n,

Rég nie r , and the o th e r Sym bol i s t s . I n Au s t r i a , a cen tu ry o f hum i l i a t ion ,

which has become a lmost a na t iona l habi t , has evolved the t i red e legance of

Ho fm an ns tha l and the we ary tende rne ss of Schni tz le r wh o is so obvious ly so

sor ry for a l l h i s charac te rs as a lmost to make the reader weep wi th him.

I f we win this wa r , w ha t m ay we ex pe c t? W e can be cer ta in tha t the

En gli sh a r t s wil l reac t to the s trai n : the rea ct io n wil l not n eces sar i ly b e agood one , unless the e f for t s of those who s i t about a t home and vulgar ize

wa r a r e neu t r a l i zed o r i gnored . Th e tone o f our new spap e r s— and these

mo uld ou r mind s , w he th er we l ike i t or not— is now most insuf ferably ugly.

And as a resul t of victory, I fear a blatant hol low tone of exultat ion in our

poe t ry tha t— from a l i t e r a ry and soc ia l s t andp oin t— is a lm os t wor se than

the lan gu or s of defea t . I t wil l be well i f we achie ve vic tory wh en e ver y

pers on in the cou nt ry has been mad e to fee l the cos t of i t. Th re e days kne e-

deep in flooded t renc he s— ou r a r t s mu st dr aw s t reng th f rom th a t drea dfu l

expe r i ence .

I t i s t ru e pe rha ps tha t we do wish to fee l the cos t . W e are supp osed

to l ive in fear of a Zep pelin raid . In my op inio n, half th e in ha bi tan ts of

Lo nd on consta nt ly thou gh secre tly hop e i t. W e fee l tha t wi th a bom b or two

tum bl ing about our hea ds we sha l l be " in i t . " T o read the ne ws pa pe rs is




l ike ha v ing a su r fe i t o f the k ind of book w hic h i s c a ll e d " T h e Gr e a t W a r

of 19 — . " I ha v e re a d doz e n s o f t he m a n d the y mo ve my ima g ina t i on a lmos t

a s mu c h a s t he r e p or t s— som e of t he m , suc h a s a re we l l -w r i t t e n , li ke M r .

W e l l s ' s War in the Air, e ve n m or e .

T h e re su l t t ha t we m us t p ra y fo r i s a g re a t e r c on c re t e ne s s a n d re a l i t y

in ou r wr i t i ng . W e ha ve de ve lope d a n i nh um a n l i t e ra ry po in t o f v i e w w hic h

i s funda me n ta l l y i n s inc e re a nd whic h i s ne ve r more ug ly o r l e s s c onv inc ing

t h a n w h e n o u r p o e t s t r y t o b e " m o d e r n . " S u c h p o e t s a s E m i l e V e r h a e r e n —

now a re fuge e i n London—tre a t f a c to r i e s a nd so fo r th , t he t yp i c a l p roduc t s ,

t he y t h ink , o f mode rn l i f e , pu re ly a s roma n t i c a ppa r i t i ons , muc h a s t he

r o m a n t i c w r i t e r s t r e a t e d m o u n t a i n s a n d d e s e r t s , e x c u s e s f o r r h e t o r i c a n d

f lamb oyan t desc r ip t io n . T he y ha ve ne ve r fe lt the rea l i ty of the m , beca usemode rn l i f e i n i t s r a p id i t y ha s ou td i s t a nc e d t he poe t ' s mind i n h i s a t t e mpt

to conceive i t .

I hold no br ie f for "m o de rn po e t ry " in tha t sor t of sense : I do not

hold it nec essa ry to w ri te ab ou t thes e th in gs . B ut if you wi l l com pos e up on

a fa c to ry o r a r a i lwa y-s t a t i on , you mus t f e e l wha t f a c to r i e s a nd ra i lwa y-

s ta t io ns rea l ly a re ; you m us t not t ake re fuge in a rom an t ic de sc r ip t ion of

l i gh t s a nd roa r in g ma c h in e ry . T he pe rp e tua l l y b re a k in g h igh no t e o f t he

Fu tu r i s t s i s m ere l y a ra th e r use less a t t em pt to dea l w i th a d i ff iculty th a t w e

a ll kn ow . Pe rh a p s t he w a r wil l b r i n g us r a th e r sudd e n ly a nd j a r r i n g ly i n

tou ch w i th rea l i ty . I t i s ce r t a in tha t the yo un g m en of the c lass f rom w hich

l i te ra ture chie f ly comes , have now in the i r minds a f ixed and permanent

though t wh ic h f rom t ime to t ime c ome s up on to t he su r fa c e o f c onsc ious

n es s . T h i s t ho ug h t is t he t ho ug h t o f v io l e n t de a th . W e ha ve g r ow n phy s

ica l ly and mora l ly sof t in secur i ty ; but , a s I wr i te , a f fa i rs a re reaching a

c r i s is i n F r a n c e , f re sh re g ime n t s a re be ing se n t a b r oa d . W e e a c h o f u s

wonde r wh ic h ma y be t he ne x t t o go .

T h i s hone s t a nd und i sg u i se d fe a r— a m a n i s wo nde r fu l l y i n se ns i t i ve ifhe does not fee l i t and a braggar t i f he wi l l not admi t i t—has a powerful

and pur i fy i ng e ffec t on the sp i r i t . I t s sp i r i tua l ac t ion is com par abl e to th a t

of v io lent an d m ain ta in ed phys ica l exe rc i se . T h e f labby w eig ht of ou r em o

t i ons is be ing re duc e d a nd h a rd e ne d : w e ha ve sw e a t e d a w a y a g re a t m a n y

s ic k fa nc i e s a nd supe r f l uous no t ion s . T he se ve re p re s su re o f t r a in ing fo r

war induces in us a love of reason, a t a s te for ha rd th inking and exac t i tude

and a capac i ty for d i sc ip l ine .

T h e a r t of wa r is for tun a te l y an a r t tha t a l lows i t se l f to be de f in i te ly

jud ge d. E i th e r you win you r ba t t l e s or you lose them . I t i s of no use to saytha t W a r m se r wa s a g re a t ge ne ra l wh ose sub t le a nd e so t e r i c me tho ds o f

m a k in g w a r ha v e ne ve r be e n a ppr e c i a t e d by a num sku l l e d pub l i c . Na po le o n

th ra she d h im a nd the re is a n e nd o f a rg um e nt . A so ld i e r c a nno t r e s igne d ly

app ea l f rom the for t un es of the f ie ld to the a rb i t r am en t of the fu t ure .

The cons ide ra t ion of these fac t s l eads us to wish tha t poe t ry were in the




same case ; and w e a re b eginn ing to fee l both tha t poe t ry m ay b ecome a m or e

ac t ive fac tor in normal l i fe than h i the r to and tha t a ca re ful c r i t i c i sm may

rem ove it f rom the dese r t space of a sse r t io n and undef end ed pre fe re nce

wh ich it now inhab i t s . Poss ib ly the w ar may he lp to cur e us of our anc ien t

Eng l i sh mu dd le -h e a de d ne ss . W e ha ve a wa ke ne d wi th su rp r i s e t o find our

a rm y a n a dm i ra b l e a nd wo rkm a nl ike ma c h ine . T he Sou th Af r i c a n w a r r id

u s, in mi l i t a ry a f fa i rs , of the incompetent amateur and the obs t ruc t ive off i

c ia l. V ag ue ru m or s of wh a t the a r m y had lea r nt the re even reache d o the r

de pa r tme n t s o f a c t i v i t y : possib ly this w ar w il l infect u s al l w ith a new en

e rgy and a new sense of rea l i ty . W e ma y lea rn how to reach our ends by

taking thought and by cher i sh ing ideas ins tead of p lunging on in a sub

l ime ly obs t i na t e a nd i nd i scip l ine d mudd le . A s fo r ou r w a r - po e t r y— I mu s t

end where I began—it i s mere ly a s loughing of the o ld sk in , a l a s t d i scharge

of the old disease.

N e w Y o r k L e t t e rG E O R G E S O U L E

NA T U R E f lowers in the spr ing , m an in the fal l. W i th the first of

November comes a bewi lde rment of e lec t ions , concer t s , books , p lays ,

new magaz ines , bombs , exhibi t ions , and a l l the o the r th ings tha t seem to

hav e b loss om ed so fu t i le ly year a f te r yea r . T o set abo ut the ta sk of d i s

cover ing the s igni f icant in i t a l l i s more confus ing than to a t tempt to t race

the or ig in of new spec ies in a s ingle May count rys ide .

T ak e the the a t r es , for ins tance . T he re i s the usua l inc rease in p lays

which a re so bad tha t even v is i t ing t rave l l ing sa lesmen begin to supec t

t he i r a r t i s t i c i n t e g r i t y . Th e r e i s Sh a w ' s Pygmalion, wh ich som e th in k i s

second-ra te Shavism wel l ac ted by Mrs . Campbe l l , and o the rs be l ieve i s a

good p l a y ba d ly a c t e d . T he re is M oln a r ' s The Phantom Rival, a n a m us in g

and s lender sa t i re which is un der s to od by on e-q ua r te r of the aud ience , and

a pp la ude d fo r i ts f a u l ts by t he o the r t h re e -q ua r t e r s . M a c D ona ld Ha s t i n gs ,

who a rouse d hope s wi th The New Sin, has descended to a ve ry bad sec

on d-r a te in a vehic le for N az im ov a ca l led That Sort. E l s i e Fe r gu son ha s

made a hi t in Outcasts, w r i t t e n b y H u b e r t H e n r y D a v i e s , — t h e a u t h o r o f

the fasc ina t ing Cousin Kate,—as a vehic le for Eth e l Levey, the for m er s ta r

of unspeakable musica l comedy in America who has become a grea t ac t ress

in Lo nd on . I t i s a p lay of sord id " re a l i s m ," wh ose pr inc ip le func t ion seems

to be to ra i se an a lmost academic ques t ion of mora ls and then d isc la im

any moral intent by a solut ion which in the opinion of most of the audience

i s e i t he r g ros s ly imm ora l o r d i sgus t i ng ly mo ra l . Ev e ry th in g i s t opsy - tu rvy .

Ea r ly i n t he s e a son t he Sc hube r t o rga n c re a t e d some a muse me n t by




dem and ing the abo l i t i on o f d r a m a t i c c r i t ic s . H e r e a r e t he m a na ge r s , r an

the a rgum ent , r e spons ib l e bus iness m en who pu t l a rge sum s of m oney

in to new produ c t ion s . A l on g com es yo ur new spa pe r c r i ti c t o t he fi rs t n igh t ,

w i th a som ew ha t exa l t ed s t an da rd o f t a s t e , a j ad ed appe t i t e , and a r ep u

ta t io n for wi t . B efo re the play is ov er he leaves , has t i l y wr i te s a colum n

in which he exploi t s h is own c leverness a t the expense of the play, and

tu rn s aw ay m a ny poss ib l e cus tom er s . Th i s is no t good bus iness e th i c s .

I f the play rea l ly i s bad , le t th e pub l ic f ind i t ou t gra du al ly . Th ey m ay

ne ve r find i t ou t a t a l l . I f i t is go od , we real ly don ' t need the cr i t ics for

pub l i c i ty . T h e a r t i c l e was inge nuo us and engag ing . M os t o f ou r c r i ti c s

a r e so und i sce rn ing tha t we we re g l ad to see them ba i t ed . Pe rh ap s a s a

resul t of th is , Alan Dale and Acton Davies both le f t the i r respec t ive pape rs. B ut as i f to he ap coals of f i re , th e cr i t ic s un ited in a ro ar of pr ais e

fo r The Beautiful Adventure, a. play so t ru ly awfu l th a t the mo st inge niou s

and exp ens ive pus hin g could no t even bluf f the pub l ic in to l ik ing i t. I t

fa i led a f te r a few precar ious weeks .

Jus t now The Ca tho l i c Thea t r e Movem ent has c r ea t ed a d ive r s ion by

i s su ing the i r "Whi t e L i s t " o f p l ays and th r ea t en ing to p rosecu te by l aw

the p rod uce r s o f "u nc lea n" d r a m a . Th ey t ake occas ion to com pl im en t t he

newspape r c r i t i c s f o r abandoning to som e ex ten t a r t i s t i c s t anda rds o f c r i t i

c i sm a n d s u b s t i t u t i n g m o r a l s t a n d a r d s . T h e m o v e m e n t w il l u n d o u b t e d l y

tel l against much undesirable f i l th, but i t is needless to say that i t would

be used wi th equal e f fec t iveness aga ins t most works of genius which might

by som e s t r ange chance be p roduced .

L i t t le T h e a t r e s a r e s p r o u t i n g u p b y t h e h a n d f u l . T h e P u n c h a n d

Ju dy T he a t r e i s a c l eve r im i t a t ion o f t he thea t r i ca l p ro to typ e , w i th bench es

for sea ts , wal l bo xe s for tw o only, an d boy ush ers . I t is the p erso nal

en te rpr i ze o f Cha r l e s Hopkins , a Ya le g r adua te who shows h i s en thus i a sm

by com bin ing no t on ly the rô l e s o f ac to r , m anage r , and p roduce r , bu t

ow ne r and play w r ig ht as wel l . H e ha s not ye t , ho we ve r , put on any of

h i s ow n p lays . M rs . H op kin s , a r ea l ly t a l en ted g r ad ua te o f Ben Gre e t ' s

com pany , p l ays the f em in ine l eads . T h e Ne ighb orh ood T he a t r e i s a quas i -

ph i l a n th ro p ic un de r t ak ing w i th enough m oney beh ind i t t o a sp i r e t o t he

new s tage a r t in a l l i t s magni f icence of the concre te dome and more ex

pens ive se t t ing s . P er ha ps the mo st in te res t ing of a l l wi l l be a new the a t r e

p lanned by the Wash ing ton Squa re v i l l age r s unde r t he l eade r sh ip o f a

c o m m i t t e e a m o n g w h o s e m e m b e r s a r e M r . a n d M r s . M a x E a s t m a n a n d

Ch ar les an d A lbe r t Bo ni . I t wi l l be sup po r ted pr inc ip a l ly by i t s ow n sub scr ibe rs a t a very m od era te ex pen se , and wi l l be as fa r as poss ible f rom

a ph i lan thro pic a t te mp t to "e lev a te the s tag e ." I t i s the resul t m ere ly

of a bel ief that here is a group of people who want to see more intel l igent

dr a m a than i s o rd ina r i ly supp l i ed , and tha t t he d r am a t i c m a te r i a l and ac t ing

and produ c ing ab i li t y a r e ava i l ab le . P l a ys by Am er ica n au th or s w i ll be




used as far as poss ib le , bu t the s tandards wi l l no t be lowered for the sake

o f enc oura g i ng e i t he r au t ho r s o r p ro pag and a . S uch a t h i ng canno t avo id

being a t l eas t a hea l thy ex pe r im en t .

P av l owa opened i n t he Met ropo l i t an a week a f t e r Genée had g i ven a

R e d-C ros s benefi t i n a vaudev i l l e t hea t re . T he con j unc t i on w as a s t r i k i ng

example of the marked infer ior i ty of a romant ic form to a c lass ic unless

the rom an t ic vehic le i s don e hon es t ly an d sup rem ely wel l . Gen ée gav e

in ten minutes more genuine aes thet ic p leasure by her perfect ion of l ine

t han P av l o w a i n a who l e even i ng o f ha l f -d one wor k . P a v l o w a has p rove d

of ten eno ugh tha t she can be one of the god des ses of the dan ce. La s t

ye ar she had w i th her Ceccet i , he r bal le t m as t er , and pract ic ed w i th h im

cons t an t l y . On l y by such ex t e rna l v i g il ance can pe r fec t i on be mai n t a i ned .

Th i s yea r , p re sum ab l y fo r r easo ns of econom y, C ecce t i i s no t p rese n t . T he

com pany i s mu ch we ake ned by t he absence of t he p r i nc i pa l cha ra c t e r dan c

e r s . Th e ope n i ng ba l l e t was a s eco nd- r a t e concoc t i on wi t h a l mos t no r ea l

da nc ing in i t . A nd to top off the insu l t , a th i rd of the pr og ra m w as de

vo t ed t o o rd i na ry ba l l - room dances , wh i ch any number o f cabare t p re -

for me rs in the U ni t ed S ta tes can do bet te r tha n t ra ine d bal le t people . I t

was t he u sua l t r ag edy o f t he a r t i s t who tr i e s t o popu l a r i ze h is w ork . A n

en t hu s i as t s i t t ing nex t m e sa i d : " W e a re now see i ng t he funera l o f good

danc i ng i n Am er i c a . Th ose wh o w an t th i s so r t o f t h i ng wi l l go t o t he

re s ta ur an ts . A nd th e o th ers wi l l say , ' If th i s i s bal le t , g ive me baseba l l . ' "

Bu t the re i s s t il l hop e. T he or ig in al Dia ghi le w com pa ny which p lays year ly

in Lo ndo n and P ar i s is com i ng nex t s eason . Th en we sha ll s ee roma n t i c

bal let at i t s highest .

On l y one o t h e r even t m us t be me n t i one d now. W hi l e va r i ous d i s con

t en t ed pe r sons , pe rhaps anarch i s t s , have been l eav i ng bombs abou t pub l i c

bui ld in gs , the socia l i s t s hav e e lec ted M ey er Lon do n to Co ng ress . In i tse l f

th i s i s no t of gre at s ign i ficance. I t is in te res t ing to see , how ev er , tha t

twelve thousand people went to the publ ic recept ion to h im in MadisonS q ua re Gar den . I t i s s ti ll m ore i n t e res t i ng to com pare wh a t was s a i d t he re

wi t h o rd i na ry po l it i ca l bun com be . M r . Lo nd on began by ca l l ing P re s i de n t

W i l son one o f t he ab l es t men t h i s cou n t ry has p rod uced . H e we n t on t o

say "T h e bu sine ss of social ism is to give intel l igenc e to di sc on te nt . . . When

I t ake my sea t i n C on gres s I do no t expe c t t o accom pl i sh won der s . W h at

I expect to do i s to t ake to Washington the message of the people , to

g ive ex pre ss ion th er e to the phi loso phy of socia l i sm. I w an t to show the m

wh at the E as t s ide of Ne w Yo rk is an d w ha t the E as t s ide Je w i s. I am

conf ident tha t I wi l l ge t fa i r p lay . I wi l l be g iven my oppo r tu ni ty , and Inot in tend to abu se i t. D o not le t you rselv es be deceived by th i s v ic tory .

Yo u a re good no i se -ma kers , bu t you a re poo r o rga n i ze r s . Or gan i ze now

for the ne xt cam pa ign . O rg an ize for v ic tory , no t by v io lence , bu t by the

grea tes t o f al l forces , the force of the hu m an in te l l ec t . Give the people you r

message c lear ly and make them th ink about i t . "




I f the ballot fai ls because of lack of intel l igence, is i t reasonable to

suppose tha t v io lence wi l l succeed wi th the same mater ia l ? O r tha t any

a r r angemen t unde r the sun fo r the we l f a r e o f human be ings can t ake the

p lace o f ind iv idua l hu m an qua l i ty? "M y fr i ends , ma nk in d is som e th ingto be su rpa sse d "

T h e T h e a t r e" T h e P h i l a nde re r "

(Chicago Little Theater)

H E m o s t i n t e re s t i n g t h i n g a b o u t S h a w ' s Philanderer as i t w as pu t on at

The L i t t l e Thea te r the l a t t e r pa r t o f November , was the new t r ea tmen t

i t rece ived a t the ha nd s of the scen ic a r t i s t s of tha t p rec ious ins t i tu t io n . O ne

is tempted to use the tr i te but pret ty f igure and say that i t was an instance of

an o ld gem in a new se t t ing , on ly modify ing i t by the s ta tement tha t ThePhilanderer i s me re ly a fake gem . T he lus te r i t ma y hav e had in the

e igh teen-n ine t ie s is now a lmo st en t i re ly w orn aw ay. In shor t , i t s fun is

po in t l e s s . I b sen , t han ks l a rge ly to M r . Sh aw ' s ac t ive p ro pag and a , is a house

hold pe t . Ibsen c lubs a re as obso le te as B ro w ni ng c lubs ; whi le the "n e w "

w om an as em bodie d in her p res en t -d ay s is te r , the femin is t , i s too fami l ia r and

too pe rm an en t a figure to be the subject of effective sat i re . T h a t the play st i ll

has appeal fo r a modern audience i s due whol ly to i t s charac ters , and ye t these

s tag e people a re no t rea l . Th ey are no m or e tha n car ica t ures , each ef fec t

ive ly d is to r ted and exaggera ted in the drawing , each ef fec t ive ly touched of f

in mo noc h rom e . To u se ano the r ove rw orke d ph ra se , t hey a r e typ ica lly

Sh avia n in tha t they are no t ch ara c te rs bu t t ra i t s o f cha rac t er . Th ey are no t

rea l people ; they are perambula t ing s ta tes o f mind , as a re a lmost a l l o f

Shaw's c rea t ions , and the more emot ional , ra ther than in te l lec tua l , the s ta te

of mind, the wider i ts appeal .

Bu t ne i th er Sh aw no r the p lay i s the th i ng in th is d iscuss io n . T he

se t t ing of the p lay , subord ina te , no doubt , in in ten t ion , bu t p redominat ing

because of i ts novelty , is what interested most the eyes of the laymanbrought up for years on the fami l ia r convent ions of the ord inary-s ized

thea ter . Th e ac t ion de m an ds in te r io r se t t in gs , bu t ins tead of the rea l

i s t ica l ly -pa in ted canvas wal ls and wooden doors , The Li t t le Theater g ives

us t in t ed bac kg r oun ds wi th r ec t an gu la r open ings fo r en t r ances and ex i t s .

The f irst act is done in gray, the second and third in blue, and the fourth



61he Little Review

in a sof t gre en . T h e effect of people, pa r t ic ula r ly of w om en, m ov in g agai nst

such plain unr el iev ed t ints is pictor ia l in the ex tre m e. Ea ch successive

mo vem ent , each new posi t ion i s a new p ic ture . T he cur ta in s pa r t i ng on

the last act , showing the copper t int of a samovar , a vase of del icate pinkflowers, a wh ite tablec loth, a ha nd so m e dark wo m an po ur in g tea, a l l ag ain st a

sof t g low ing gree n , ga ve one the fee l ing of see in g an ar t fu l ly -com posed ,

sk i l l fu l ly -co lored canv as a t a p ic tu re ga l le ry . A nd it sug gest ed , m ore suc

cessfully than any other set t ing I have ever seen, the home of a person of

ref inement and res t ra in t . Les s successfu l wa s the se t t in g for the second

and th i rd ac ts . T h e use of ind ig o in rep res en t ing an Ibsen c lub ma y be

sat ir ical and i t may be subtle , but i ts effect on the spectator af ter an hour

or so i s depress ing , and in the genera l a tmospher ic g loom tha t increases as

the act goes on the sparkle of some of the br ightest dialogue is lost .On the whole , the work ings ou t o f th is new idea in scenery i s suggest ive

in its effect and lovely in its pictorial quality, but until the novelty wears off

i t ob t rude s i tse lf up on the in te res t tha t be longs r igh t ly to the p lay . I t s chea p

ness should ing ra t ia te i t to the profess ional p rod uce r . Na tura l ly , the e ffec t o f

one unre l ieved t in t in the se t t ings of a thea ter o f o rd inary s ize would be dead

ly in i ts monotony, but the idea suggests of i tself endless var iat ion and im

p rove me n t s . Af t e r l eav ing The Philanderer, wi th i t s obviou s l imi ta t ions ,

wi th i t s uneven , a t t imes amateur ish ac t ing , one cannot he lp wish ing tha t our

every n igh t p lays had ha l f th e tho ugh t , ha l f the tas te , ha l f the ima gina t ion

in the i r p roduct ion tha t The Li t t le Theater p lays seem to have .

S A M U E L K A P L A N .

M u s i c

T h e K n e i s e l Q u a r t e t a n d H o f m a n n i z e d C h o p i n

. . . A nd in the m ean t im e w ar went on beyond the ocean . St ra ng e , bu t

th i s ab su rd though t accompan ied me a s a sh r i l l d i s sonance th roughou t the

con cert . I could not help co nje ctu r in g w ha t w ou ld be the resu lt , i f a l l the

wa r r io r s we re b rough t toge the r to l i st en to the Kne i se l Qua r t e t : W ou ld

they no t become ennobled , harmonized , pac i f ied , humanized ? Cou ld they go

on wi th the i r du l l work—for modern war g ives no th r i l l s fo r the ind iv idual

f ighter—after M oz ar t 's Q ua rt et in E Fl at M aj or , wh ich ha s the soot hin g

e ff ec t o f a t r an spa ren t vase? Th ey mig h t have found B r ahm s ' s Qu in te t suf

fe r ing f rom th is a r t i s t ' s usua l weakness—lack of sense of measure,—but the

Sche rzo wou ld ce r t a in ly have e l a ted the mo s t avow ed an t i -Germ an . T he

four ins t r um ent s per for me d the i r wo rk so a r t i s t ica l ly tha t one forgo t the i r

ex is tence and hea rd " ju s t m usi c ." T he on ly nu m be r tha t cou ld have ar ous ed




i n t e rna t iona l compl i ca t ions was the in s ince re g ro te sque o f Zo l t an Koda ly ,

wh o succeeded in mis us in g an exce l l en t sou rce , Da nuv ian mo t ives . "B u t

th is i s M od er n" , I wa s shra pnel l ed . W el l , ca ll me a cons erva t ive , bu t if th is

i s modern mus ic , t hen , i n the name o f Moza r t and B ee thoven , PereatSt i l l imagin ing a Mars ian audience I was no t d ismayed even by the

app ear anc e of the e f feminate Chopin . F or Josef Ho fm an n took the a r t i s t ic

l iber ty of in te rpre t ing the gen t le Po le in h is own way, and the Scherzo in

B Fl a t Min or sounde d as a v i r i le vo lcan ic ch arg e . T he p ian is t re fuse s to

t ake C hop in sen t imen ta l ly , and he pu t s cha rming v igo r even in to the moon-

beamed , t ea r - s t r ewn D F la t Noc tu rne , even in to the f r a i l ephemera l E Mino r

Valse . K.

Hofman 's Concer tTh e spo il ed ch ild o f the wo r ld ' s p i an i sm — Jose f H ofm ann — pla yed Sc hu

mann ' s A Mino r p i ano conce r to wi th the C h icago Symphony Orches t r a a t

two conce r t s du r in g the f ir st week in No vem ber . B o th pe r fo rm ance s we re

master ly and sp lendid in musica l va lues .

Since he lef t his cradle, Hofmann has had the world si t t ing at his pianis¬

tic feet and f ingers so that he has come to take the most vigorous and sincere

ho m ag e as a m at te r o f fac t ; and , perha ps for th is reason , he occas ional ly

fai ls to m eri t i t . H e is inso lent to his w or sh ip pe rs an d fur iou s wit h his cr i t ics .

L on g and copious pra ise has go ne to h is head . H is inso lence is less poe t ic

and f a r l e s s handsome than Pade rewsk i ' s , and Hofmann ' s p l ay ing needs to

reach mag nif icen t p ro po r t io ns before one is ab le to fo rge t h is bad-b oyish

disposi t ion .

B u t one does fo rge t . F o r h is mus ic i ansh ip and key -w iza rd ry a r e th ings

of g re a t bea u ty . De sp i te the fac t tha t h is scorn somet i me s leads h im to

abuse the p iano , in the way of c rude smashing b lows, there i s ( in the

Schumann work , fo r ins tance , which d isp lays h im a t h is bes t ) never a mo

m ent in wh ich he loses a ry th mi c gr as p tha t is deep ly sa t i s fy ing . A nd wh enhe chooses , and doesn ' t lose h is temper , he can br ing for th remarkable tona l

beau t ies f rom the box of wo od and wi re . T he re is an adm irab le d r ive in h is

ar t . I t i s v i ta l an d pow erfu l . O ne ' s reg re t s a r e swal lo wed and qu i te fo r

go t ten in l i s ten ing to h is a r t i s t ic qua l i t ies o f tone , rhy thm, p iano-co lor , and ,

in fact , of genuine music.

H E R M A N S C H U C H E R T .



63he Little Review

Art

Rose Madder o r R ed ?W I L L I A M S A P H I E R

P HYSIC AL use fu lness p r edomina te s in the make -up o f eve ry r ea l p i ece

of c raf t sm ans hip . I t s l ines and the bea u ty of i t s decora t ion mak e up

its value.

A rt does not rely on physic al use fuln ess , form, or de cor at io n. I t is

i t s suggest iveness , i t s appea l to the imagina t ion , i t s d rawing ou t o f sympathy

or ha t red , i t s a rousing of new and deep emot ion—this i s what g ives the

f ine ar ts their imp ort an ce in l i fe . A rt s hould act as a screen for f ine tra gicac ts , for g re a t em ot ion s . N at ur e should be the p ig me nt fo r th e pa in te r ' s

bru sh , bu t no t h is a im . H e should d i lu te i t wi th h is b lood and ma rro w and

fl ing i t on the canvas with determination.

Thus I ponde red a s I en te r ed the twen ty - seven th exh ib i t ion o f Amer i

can Oi l Pa in t i ngs and Scu lp tu r e a t t he C h icago A r t I n s t i tu t e . W an de r in g

f rom canvas to canvas , f rom one pr ize-winner to another , I fe l t a l l my hope

for a mi racl e van ish. Th ey ar e so real , so tru e to l i fe , so bere f t of im ag ina

t ion , tha t one wonders why anybody ever took the t rouble to pa in t them.

Ju st look at thes e f lowers, t ree s, cow s, an d nude s. I ha ve seen the mmany , many t imes exac t ly the same way and unde r the same c i r cumstances

in l ife . Th ey are "p re t ty " an d wi l l und oub ted l y ma ke a goo d de cora t ion

in a middle-c las s hom e. Th is ma y be a w or thy th ing to do , bu t why should

i t be ca l led a r t? I th ink th is i s ou r pu nis hm ent fo r g rea t ach ie vem ents

in the ind ust r ial f ie ld . N o nat ion can go on bu ild ing th e fastes t ra i lro ad s,

the ta l les t skyscrapers , the la rges t fac tor ies , the fas tes t au tomobi les , wi th

out paying for it by a loss of its finer aesthetic senses.

Bu t I am ge t t i ng aw ay f rom the exhib i t ion . I t has becom e the fash ion

to be d i sappo in ted wi th exh ib i t ions bo th he r e and ab road—and wi th good

reaso n . As ther e a re few good ar t i s t s , the chances of ge t t in g the m on a

ju ry i s s l igh t . T he resu l t i s ap pa re n t : good p ieces of c raf t sm ans hip a re

hung along with f ine pieces of ar t , and the pr izes intended for f ine ar t goes

to goo d craf ts ma nsh ip . In say ing th is I do no t wish to jo in the po pula r

spor t o f h i t t ing the ju ry and ge t t in g a roun d of appla use . Bu t how can

one escape these conclus ions i f he compares the pr ize-winner , A Nude, by

R icha rd E . Mi l l e r , w i th "Under the Bough," by A r t hu r B . Dav i s , who se

rhyth mi ca l ly -mo ving figures and beaut i fu l co lors t ra ns po r t one to f a i ry lan d?

The f igures remind me of Hodler , the foremost pa in ter today in Swi tzer land ,

wh o is s ix ty yea rs o ld and youn ge r tha n the you nges t . O r com par e the

pr ize wi th Thomas and his Red Coat, by R o be r t He n r i . W ha t s imp le fo rm s

and co lo r s—wha t a tho rough unde r s t and ing o f a ch i ld and h i s wor ld O r

The Widow, by C ha r l e s W . H aw th o r ne . Thes e a r e wo rks of g r ea t s imp li




c i ty , un de r s t a n d in g , im a g ina t i on , a nd i nd iv idua l i t y ; t he y a re mo nu m e n t s t o

some f ine fee l ing , dream, thought , or inc ident in the l i fe of the i r c rea tors .

As fo r t he o the r p r i z e winne rs—the d i s jo in t e d c o lo r spo t s s e rv ing a s

garden f lowers and the chocola te box cover-des ign—I sha l l not d i scusst h e m . T h e m e a n i n g o f s u c h st u ff a n d t h e r e a s o n f o r a w a r d i n g i s t o o

o b s c u r e .

O u t s id e t he p i c tu re s me n t io ne d a bove t he fo l l owing a re w or th s e e ing :

Th e Venetian Blind, by F re de r i c C . F r i e se ke ; Dance of the Hours, by Louis

F . B e r n e k e r ; Winter Logging, b y G e o r g e E l m e r B r o w n ; Through the Trees,

b y F r a n k T . H u t c h i n s ; Th e Harbor, by Jo na s L i e ; The Garden, b y J e r o m e

S . B lum ; Procession of the Redentore Venice, by Gr a c e Ra v l in ; The Ox

Team, b y C h a u n c e y F . R y d e r ; Smeaton's Quay, St. Ive's, b y H a y l e y L e v e r ;

The Fledgling, b y G r a c e H . T u r n b u l l . A Hudson River Holiday, by Gif

for d B ea l , looks m uc h like a de pa r tm en t s tore . In fac t you may f ind every

th ing in th i s exhibi t ion f rom a f lag to a mounta in—and a l l the popula r

c o lo r s . T he on ly t h in g t ha t i s mi s s ing is a " F o r S a l e " s i gn , wi th a " m a rk e d

d o w n " p r i c e .

Se ve n p i e c e s o f s c u lp tu re by S t a n i s l a w Sz uka l sk i , whose work t he r e a d

ers of T H E L I T T L E R E V I E W ha d a c ha nc e t o s e e r e p roduc e d i n t he l a s t num

ber , make up the most in te res t ing pa r t of the exhibi t ion .

The o r ig ina l obsc ur ing o f t he works o f Gra c e Ra v l in , Gra c e H. Turn -

bu l l , Joh a ns e n , a nd B lum by the ha ng ing c om mi t t e e de se rve s p ra i s e . Bu t

I t h ink i f t he y re a l l y wa n te d t o do some th ing unusua l t he y migh t ha ve

tho ug h t o f som e th in g be t t e r . Fo r i n s t a nc e , ha ng al l t he r e j e c t e d one s in

se pa ra t e rooms , ma rke d " re j e c t e d , " a nd l e t t he v i s i t o r s s e e a nd j udge fo r

the m se lve s . Th i s wo u ld g ive t he e xh ib i t i on a b ig ge r m e a n ing . A s i t i s ,

i t means confus ion; and confus ion asks pe rs i s tent ly in th i s case ; a re the

f ine a r t s a ny th ing i n pa r t i c u l a r o r j u s t a mix tu re o f c ra f t sma nsh ip , c l e ve r

ne s s ( t he usua l c ompa n ion o f e mpt ine s s ) a nd some und ige s t e d i de a s?

L i f e i s a l e a r n i n g t o d i e . — P l a t o .

M a n g r o w s u s e d t o e v e r y t h i n g , t h e s c o u n d r e l — D o s t o e v s k y .



The Little Review 6

Book Di scuss ion

A W a t t e a u e sq u e E n th u s i a s t

The Enchantment of Art, by D u n c a n P h i l l ip s . [ J o h n L a n e C o m p a n y , New

Y o r k . ]

T o Mr . Phi l l ips l i fe is a Fête Galante in W a t t e a u ' s s ty l e. H e sees

n o t h i n g but the e l e ga n t , the poe t ic , the j o y o u s , the e n c h a n t i n g . I p i c tu re

h im in a p o w d e r e d wig, c lad in a g o r g e o u s c o s t u m e of the L o u i x X V . per iod,

p layful ly lorgne t t ing l i fe and art, and ra v ing e c s t a t i c a l l y ove r e ve rybody and

e v e r y t h i n g . I c onfe s s , an a l l - l ov ing pe rson looks susp i c ious to me; but Mr.

Phi l l i p ' s book is so s inc e re , he a d o r e s t h i n g s so pa the t i c a l l y , t ha t I c a nno t

he lp e n joy ing him. H e be c ome s i r r i t a t i ng on ly at s u c h m o m e n t s w h e n he

t r i e s to be v e r y m u c h in e a r n e s t and b re a ks i n to a bsu rd ge ne ra l i z a t i on . His

c r e d o is I m p r e s s i o n i s m — i n l i fe and in a r t — b u t w h a t an e las t ic te rm is Im -

p r e s s i o n i s m to our de a r e n thu s i a s t . G io t to , T i t i a n , Da V inc i , V e la sque z ,

C o r o t , and D e g a s w e r e i m p r e s s i o n i s ts , and so w e r e S h a k e s p e a r e , and

B r o w n i n g , and K e a t s , and Y e a t s , and R o b e r t B r i d g e s and who not

He loves them all, loves beau t i fu l ly , to uch ingly , but he fa i ls pi t i ful ly to definehis be l ie fs . W h y shou ld he define ? W h y not be h a p p y in e n joy ing good th ing s

w i t h o u t g i v i n g r e a s o n s , w i t h o u t s t r a i n e d e n d e a v o r s to form classificat ions

and def in i t ions . Oh, those def in i tions But we eas i ly forgiv e the a u t h o r his

a b s u r d s t a t e m e n t s , we can e ve n sym pa th i z e w i th the p a i n he ge t s w h e n

c o n t e m p l a t i n g the F u t u r i s t s , w h o m he t e r m s " l a w l e s s . " W e f o r g i v e a

l o v e r e v e r y t h i n g , for we feel grateful to him for the m o m e n t s of bl iss that

he ge ne rous ly sha re s w i th us. T r u l y , it is a book of re l i g ious joy . K.

O l d Vi r tues in New Forms

Th e Age of Mother-Power, by C. G a s q u o i n e H a r t l e y (Mrs . W a l t e r M.

G a l l i c h a n ) . [ D o d d , M e a d and C o m p a n y , New Y o r k . ]

O n e is c ompe l l e d to t a k e Mrs . Gal l ichan se r ious ly in her v i s ion ing of

the fu ture soc ia l s ta tus of men and of w o m e n in the w o r l d of sex ; for the

re su l t s of c lose obse rva t ion , r e se a rc h , and c o m p u t a t io n s t r e n g t h e n the mos t

re a sona b le p rophe c i e s . Sh e is m o d e s t e n o u g h to s ta te her big idea in s implet e r m s . She po in t s out th at , s ince soc iety had in its p r i m i t i v e d a y s a l ong

a n d u p - t e n d i n g p e r i o d of m o t h e r - p o w e r , or fe ma le domina nc e ; and, fo l l ow

ing tha t , a p r o t r a c t e d s e a so n of ma sc u l ine ru l e , w h ic h is only now a w a k e n

in g to feminine rebe l l ion ; it is c l e a r ly a ppa re n t t ha t a new era is c o m m e n c

i n g , in w hic h all the old v i r t u e s of m o t h e r - r i g h t w i l l be re -e s t a b l i she d in new




forms, wi th the d is t inc t ly modern addi t ion of tha t so l i ta ry v i r tue of male

desp o t i sm — fa the r -p ro t ec t io n . Th i s i s a theo ry — only a theo ry , if one

wishes to p r een one ' s own p re jud ice—which the wr i t e r app roaches anddevelops f rom va r io us ang les . Sh e has f ru i t fu l ly s tud ie d h is to ry , lege nd ,

fo lk -lo r e , savages , and o the r dep a r tm en t s o f hu m an li fe . H e r deduc t ion s

are carefu l ly and luc id ly thought ou t , s t rongly or ig ina l , and en t i re ly wor thy

of a t ten t ion .

H E R M A N S C H U C H E R T .

A H a n d b o o k of t h e W a r

The Great War, by F ra nk H . S im onds . [Mi tche l l Ken ne r l ey , N ew Yo rk . ]

T h e E u r o p e a n w a r t h r e a t e n s t o b e c o m e a p r o l o n g e d p h e n o m e n o n . T o

the Trans-At lan t ic publ ic i t i s a keen ly- fe l t t ragedy; to us here i t i s an in

t e r e s t ing spec tac le , t he aud ience be ing r eques ted to r ema in neu t r a l , t o r e

f ra in f rom a ppla use and d isapp rova l . E ve n so , we are in nee d of a l ib re t to .

Frank H. Simonds suppl ies us wi th a comprehensive account o f the f i r s t ac tof the dra m a. T h e lay rea de r i s ge t t i ng acq uain ted wi th the com plex i t ies o f

the pre-war events and wi th the fur ther developments o f the conf l ic t down

to the fal l o f A nt w er p . T h e s imple m aps and the luc id com m ent s m ake t he

book no t on ly ins t ru c t ive , bu t a lso read able . Y ou m us t read the book if

you do no t wa nt to p lay the ig no ram us in p re sen t -d ay floating, c ine ma to

g raph ic h i s to ry .

T h e N e w Repor t ing

Insurgent Mexico, by Jo hn R eed . [D . App le ton and C om pany , N ew

Yo rk . ] " W h o i s Joh n R eed ?", a sked the new spap e r s when , f o rg e t t ing fo r the

momen t the i r name-wor sh ipp ing a r rogance , t hey d i scove red tha t t he bes t

r epo r t s f rom Mex ico were coming , no t f rom the ve te r an co r r e sponden t s , bu t

f rom an unk now n . T he answ er is t ha t Joh n R eed i s t he on ly "co r r e spo nd

en t " tha t t he Mex ican mix -up o r the p r e sen t Eu ropean s t rugg le has ye tbrought to l igh t , who has a rea l ly new and ind iv idual method of repor t ing .

These a re no t dogmat ic , cock-sure , c r i s i s - so lv ing "ar t ic les" f rom the f ron t ,

bu t s imple , v iv id repor t ing of scenes and ac t ions tha t have some reason for

be i ng repo r ted . A nd Joh n Re ed is abo ut the on ly rep or t e r wh o has show n

us tha t the M ex ica n people ha ve v is ions of a fu tur e . T h e ne ws pap ers an d




those whose du ty i t seems to uphold the o ld idea a re now cry ing tha t Reed ' s

simple real ism is too sl ight to be of value as history, and that he does not

"ge t benea th the sur face"—but these people have s t i l l to see which k ind ofrepor t ing can endure as h is to ry .

Incorrect Values

Life and Law, b y M a u d e G l a s g o w . [ G . P . P u t n a m ' s S o n s , N e w Y o r k . ]

A seconda ry t i t l e—"The Deve lopmen t o f the Exe rc i se o f the Sex Func

t ion Toge the r wi th a S tudy o f the E f f ec t o f C e r t a in Na tu ra l and Human

Laws and a C ons ide ra t ion o f the Hyg iene o f Sex"—is ev idence per se tha t

the book is ina deq uat e and super f ic ia l. In less tha n tw o hu nd re d pages no

wr i te r can more than h in t a t a l l these top ics , and in t ry ing to cover so muchgr ou nd the au tho r rea lly covers no th ing . Sh e te l ls over o ld fac ts an d f re

quent ly g ives the m w ha t a re now accepted as incor rec t va lues . H er s ta te

ments a re as sweeping as the scare heads of the o ld quack medic ine a lma

na c s . Sh e descr ibes men as ign ora n t , in to lerab le , im mo ra l mon ste rs ; an d

women as be ing un iversa l ly down- t rodden and the sexual v ic t ims of man 's

unb r id le d appe t i te . T he book is as ful l o f "m u st s" and "sh ou ld s" as the

ru les o f an o ld- fash ioned school m aste r . T he au tho r te ll s no th i ng new ;

veers f rom sc ience to sen t im enta l i ty in a mo st d isconc er t ing w ay ; and add s

noth ing to the constan t ly - increas ing l ib rary of va luab le sex books .

M A R Y A D A M S S T E A R N S .

Sentence ReviewsAbroad at Home, by Ju l i an S t r ee t . [Th e C en tu ry C om pany , New

Y or k . ] So fa r as wh at he wi l l wr i te is conc erned we don ' t g ive a rap w he the r

Sh aw v is i t s A me r ic a or no t . Ye s , we do n ' t be l ieve even he could lay out

the s ta t i s t ic ians as St ree t does when he advises us on the purchase of p ig i ron ;

or display such f iendish glee at the chance of hurt ing the feel ings of a pro

fess ional Fa i r booster : o r— wel l , every par ag ra ph of every cha pter i s wor t h

r ead ing .

Reminiscences of Tolstoy, by C ou n t I lya To l s toy . [T he C en tu ry C om

pany , Ne w Yo rk . ] T he book is r ich ly i l lu s t ra ted ; th is i s i t s ma in va lue .

No th in g i s added to wh a t we have know n abou t To l s toy ' s pe r son a l i ty ; we

have had num ero us , pe rha ps too ma ny, w ork s on h is in t im ate l i fe ; Serge¬

yenko near ly exh au ste d the sub jec t . T ru e , we ga i n conside rab le i n fo rm a

t ion abo ut the g rea t ma n' s son, Co un t I lya, bu t , pra y, w ho is inte res ted in i t ?American Public Opinion, b y J a m e s D a v e n p o r t W h e l p l e y . [ E . P . D u t

ton and C ompany , Ne w York . ] Th e nam e is mi s l ea d in g : the book p re sen t s

a ser ies o f a r t ic les on Amer ican in te rna l and fore ign problems, wr i t ten f rom

the po in t o f v iew of a cons erva t iv e . W h y cal l M r . W hel p le y ' s perso nal

op in ion "Amer ican Pub l i c Op in ion" ? T he ar t ic les on ou r fo re ign d ip lom acy

are va luab le ; they revea l ou r in fancy in th is pecu l ia r ly E ur op ea n ar t .



68 The ittle Review

Jael, b y Florence K i p e r Fran k. [Chicago L i t t l e Theater . ] Th e pro-

duction o f this pla y w as treated subjectively in the last issue o f this mag a-

zine. In the rea din g of it the verse impresses one in mu ch the same manner

as th e v i ewing o f the pro duc tio n. T h e two effects ar e so similar as to i m -

press o n e wi th th e coherence and wo nde rfu l w or th o f the Chicago L i t t l e

Theat re i n harmoniz ing th e value o f the play as li terature wi th th e impor-

tance of the prod ucti on.

The House of Deceit. Anonymou s . [Hen ry H o l t and Company, New

Y o r k . ] Ma ur ic e Sangster had a convict ion i n his heart that he was bo rn

to make a conflagra tion of the Tha mes . H e came to L o n do n and proceeded

to attack th e religious, p o l i t i c a l and social institutions o f the present day.

H e serves merely as a b l i n d f o r t h e author , who , attac king almost every-

th in g under the sun, is not courageous enough to reveal his identity.

The Mystery of the Oriental Rug by Dr. G. G r i f f i n L e w i s . [ J . B . L i p -

pincott Compan y, Philade lphia.] o the lover o f Pe rs ia n and Cauca sian

rugs the book w i l l surely bring moments o f exquisite joy. Th e author pos-

sesses both know ledg e and taste, and he tells u s curious things about the

history o f the or ien tal ru g.

A number of reviews of important books are held over until next

month because of lack of space.)

You will receive

T H E L I T T L E R E V I EW

with heartiest hristmas Greetings

From

card like the above wil l e mailed, o n receipt of your check of

1 .50 , to the person to whom y o u wish to send T H E L I T T L E REV IEW

for o n e year.

We will also mail them th e December number , to e delivered o n

Chris tmas Day.




"THE RAFT"B Y

C O N I N G S B Y D A W S O N

Aut hor o f "The Garden W i t hout W al l s ,"

"Florence on a Certain Night ," etc.

" L i f e a t i t s b e g i n n i n g a n d i t s e n d

i s b o u n d e d b y a h a u n t e d w o o d .

W h e n n o o n e i s w a t c h i n g , c h i l d r e nc r e e p b a c k t o i t t o p l a y w i t h t h e

f a i r i e s a n d t o l i s t e n t o t h e a n g e l s '

f o o t s t e p s . A s t h e r o a d o f t h e i r

j o u r n e y l e n g t h e n s , t h e y r e t u r n m o r e

r a r e l y . R e m e m b e r i n g l e s s a n d l e s s,

t h e y b u i l d t h e m s e l v e s c i t i e s o f i m

p e r a t i v e e n d e a v o r . B u t a t n i g h t t h e

w o o d c o m e s m a r c h i n g t o t h e i r w a l l s ,

t a l l t r e e s m o v i n g s i l e n t l y a s c l o u d s

a n d l i t t le t r e e s t r e a d i n g s o f t l y . T h e

g r e e n h o s t h a l t s a n d c a l l s — i n t h e

v o i c e o f m e m o r y , p o e t r y , r e l i g i o n ,

l e ge nd , o r , a s t he Gre e ks pu t i t , i n

t h e f a i n t p i p e s a n d s t a m p e d i n g f e e t

o f P a n . "

H E N R Y H O L T A N D C O M P A N Y

34 West Thirty-third Street

N E W Y O R K



70 h Little Review

I M P O R T A N T N E W

Through the Brazilian WildernessB y T H E O D O R E R O O S E V E L T

Here is C o l o n e l Roosevelt's own v i v i d narrative of his explorations in South A m e r i c a ; his

adventures on the famous R i v e r of Doubt, his visits to remote tribes of naked and who l l ybarbarous Indians, his 500-mile journey on mule-back across the height of the land between

t h river systems of Paraguay and the A m a z c n , his observations on the most brilliant andvaried b i r d l i f e of the South American tropics; hunting of the jaguar , the tapir, the peccary,

t h giant ant-eater, and other unusual animals of the jungle; al l of this varied panorama is

depicted in the author' s most graphic and picturesque style, f u l l of the joy of new adventures.

h book is a permanent addition to the literature of exploration.

Profusely illustrated $3.50 net; postage extra

H E N R Y V A N D Y K E

has written a new volume

o f poems:

The brand

Canyon

A n d Other Poems

This collection of Dr. van

Dyke's recent verse takes its title

from that impressive description

o f the Grand Canyon of Arizona

at daybreak, which stands among

the most beautiful of Dr. van

Dyk e' s poems. Th e rest of the

collection is characterized by

those rare qualities that, as The

Outlook has sai d, have enabled

the author to win the suffrage

o f the few as wel l as the applauseo f the many .

$1.25 net; postage extra.

Half HoursBy J. M . B A R R I E

F ro m the delightful, romantic

fantasy of Pant alo on to the presen dayrealism of The Twe lv e

Pound Lo o k , represents the wide

scope of M r . Barri e's dramatic work.

A l l fo ur of the plays in this vo lume ,

though their subjects are quite diverse, are bea uti fu ll y suggestive of

Barrie at his best with all his keenest

humor, bright est sponta neity , an d

deepest insight.

Pantaloon, The Twelve Pound

Look, Rosalind and The

Will. $1.25 net; postage extra.

I n Dickens'

LondonB y F . H O P K I N S O N S M I T H

T h e rar e vers ati li ty of an author

his impressi ons of atmosphere as

well in charcoal sketch as in

charmingly told description has

made this book an inspiration to

the lover of Dickens and to the

lover of London. Th e dusty old

haunts of dust y ol d people, hid

fo rev er but fo r Dic ke ns , are visited ag

changed. Whe re mode rn things

have crept in they ar e not iced

with quick obser vati on, keen

humor, and that sympathy with

the human which the author

shares with the great Dicke ns

himself.

Illustrated with 24 full-page illustr tio

drawings in charcoal. $3.50

net; postage extra.

Robert FrankBy S I GU RD IBS EN

Henry Ibsen's only son is the author of this drama,

which Will iam Archer, the disti nguished E ngl is h criti c,

considers convincing proof that he possesses dramatic

faculty in abundance. Mr . Archer defines it as a

powerf ul and inte resti ng play which clai ms attent ion

on its own merit s, emine ntl y a play of today , or,

rather, perhaps, of tomorrow.


Artist and PublicA n d Other Essays on Art Subjects

By K E N Y O N C O X

There is no one writ in g of art today wi th the vita lit y

that tills eve ry par agr aph of M r . Co x' s work . Its freedom fr om what has become almos t a co nve

eve ry co mment and sugge sti on, acco unt fo r an altogether exce pti ona l success that his book on The Classic

Spirit has had within the last few years, and that will

be repeated with this volume.

Illustrated $1.5(S net; postage extra

Path-Flower and Other VersesBy O L I V E T . D A R G A N

H e r vo cabu lar y is var ied , glo wing , expressive. Indubit

H U N E K E R , in the North American Review.

$1.25 net.

hPoems of Edgar A l l e n PoeWith an Introducti on by E . C. S T E D M A N and Notes by

P R O F E S S O R G . E . W O O D B E R R Y

Near ly h alf a cent ury passed after the death of Poe

before the appearance of the Stedman-Woodberry

Edition of his works, which embodies in its editorial

depart ments cri tic al schol arshi p of the highest class. In

this volume of Poe's Poems the int roduct ion and the

notes treat not only of the more significant aspects of

Poe's genius as a poet, but his techni cal methods, and

o f scores of bibli ogra phic al and personal matters su

Half morocco, $4.00 net; half calf $3.50 net; cloth,

with portrait, $2.00 net.



The L i t t l e Review 71

S C R I B N E R B O O K S

T h e Diary of Mrs. Robert Louis StevensonT h e Cruise of the J A N E T N I C H O L Among the South Sea Islands

There can be no greater inspir ation and pleasure for lovers of Stevenson and his work than in the diary

o f his wife, written du ri ng their cruise in 1890, with no thought of publication, but, as she says, to help her

husband's memory where his own diary had fallen in arrears. It is full of vivid descriptions of strange

characters, both native and white, and also gives most fascinat ing glimpses of St evenson himself whi ch are a

delightful addition to our knowledge of Stevenson, as they have never be fore been gi ven to the public in

any way.

Fully illustrated from photographs taken during the trip. $1.75 net; postage extra.

T h e End of theT r a i l

B y E . A L E X A N D E R P O W E L L ,

F . R . G . S .

A narrative of the most re-

markable journey ever made by

automobile on this cont inent —a

narrative upon which are strung

descriptions of the climate, cus

toms, charact erist ics, re sources,

problems, and prospects of every

State and province between

Texas and Alaska in such a man

ner as to form the only compre

hensive and recent volume on

the Far West.

With 45 full-page illustrations

and map $3.00 net; postage

extra.

The British Empire and the United StatesA Review of Their Relations During the Century of

Peace Following the Treaty of Ghent, byW I L L I A M

A R C H I B A L D D U N N I N G . With an Introduction

by the R I G H T H O N O R A B L E V I S C O U N T B R Y C E

and a Preface by N I C H O L A S M U R R A Y

B U T L E R

This is the psychological moment for the appearance

o f a book whic h explains the century of peace between

Great Britain and the United States. Wh e n nearly,

every world power except the United States is at war,

the history of our relatio ns with a country, one of

whose dominions borders ours for a distance of 3,000

miles, cannot help being intensely interesting and help

f u l to an understanding of war and peace and their

underlying causes.


The Diplomatic History of the WarEdited by M . P. P R I C E , M . A .

This volume is the first comple te reco rd of the events

preceding the war. It includes a Diary of Negotiations

a n d Events in the Different C apitals, the Texts of the

Official Documents of the Various Governments, full

report of the public speeches in all the European Par

liaments by the leaders of the different parties conce rn

i n g the W a r , an account of the milita ry p reparations,

o f the countri es co ncerne d, and muc h origina l matter.

$2.25 net

MemoriesB y J O H N G A L S W O R T H Y

This is a char mingly sympathetic

biographical sketch of a dog— a cocke r

spaniel that came into the author's

possession almost at birth and remain

ed with him through life. It has none

o f the imaginative exaggerat ion com

m o n in modern animal stories—rec

ords nothing improbable at all. But

the author's insight and his power of

interpretation individualize the little

spaniel and bring himinto the read

er's intimate sympathy.

Illustrated with four full-page colored

illustrations ami a large number

in black and white by M A U D E A R L


Una MaryB y U N A A. H U N T

Here is child idealism beautifully described in per

sonal reminiscences. Asensitive and imagi native chi ld

creates in her fancy a second self emb odyi ng her dear

est ideals. Th e two selves grow up together and event

ually become one, The book is intensely interes ting,

not only from a human point of view, but also from

that of a scientific psychologist.


otes o ovelistsWith Some Other Notes

B y H E N R Y J A M E S

Here is a book which describes

with penetrating analysis and in

a thoroughly entertaining man

ner of telling the work not only

o f the great mo dern novelists of

the last century , Stevenson, Zola,

Balzac, Flaubert, and Thackeray,

but also takes up in a chapter

entitled The NewNo v e l the

work of Galsworthy, Mrs . Whar

t o n , Conrad, Wells, Walpole,

Bennett and the other more im-

portant cont empo rar y novelists.

This chapter gives in a shortspace as keen and authoritative

a criticism of present-day fiction

as can be found.


The Man B ehind the BarsB y W I N I F R E D L O U I S E T A Y L O R

T o gain the confidence of convicts, to know their

inner lives, and throu gh this knowledge to attempt to

better prison conditions and methods of punishment

throughout the country is Miss Taylor's life aim. In

this book, composed of a series of anecdotes, amusing,

pathetic, and all intensely interes ting, she has embod

ie d the experience of many years of concentrated work

i n thi s field. In its sympathy, an essentially hu man

quality, the book is thoro ughly fascinating and gives

the point of view of a class too little kno wn to mosto f us. $1.50 net; postage extra.

FablesB y R O B E R T L O U I S S T E V E N S O N

I amvery mu ch struck with M r . Hermann's' draw

ings to the Stevenson 'Fables.' Th ey seem to me to

show remarkable power, both of invention and hand.

— S I D N E Y C O L V I N .

Illustrated with 20 full-page illustrations 20 initials

and 20 tail-pieces by E. R.H E R M A N N $3.00 net

One W o m a n to AnotherA n d Other Poems

B y C O R I N N E R O O S E V E L T R O B I N S O N

M r s . Robinson has a gift of poetic tho ught and

expression and an ear for the music of poetry which

rarely permits a discordant line, but it is this constant

impression of deep sincerity which is her most appeal

i n g and distinguis hing quality. —Springfield Repub

lican. $1.25 net; postage extra.

CriticismB y W . C. B R O W N E L L

This suggestive essay is a systematic exposi tion and

defense of criticism by one of the foremost Ame ri ca n

critics. It considers philosophically the field, function,

equipment, criterion and method of criticism in a way

that will equally delight readers, authors, and critics^

75 cents net; postage extra.




The gift of

good book

implies a

compliment

to the

intelligence

of the

recipient.

Instead of

giving books

which you

would re

sent having

on your

shelves why

not present

these books

which you

would like

to own?

T A L E S O F T W O C O U N T R I E S

By M A X I M G O R K Y$1 .25 n e t ; w e i g h t a b o u t 18 oz.

A f t e r a n u m b e r of y e a r s , the p o t e n c y of the g r e a t R u s s i a n ' s pen is aga in exe r c i s ed . T h i s c o m m a n d i n g v o l u m e of s to r i e s d i sc lose s va r i ed a spec t s of the fo remostl i v ing wr i t e r among those who a t t r a c t e d u n i v e r s a l a t t e n t i o n to m o d e r n R u s s i a n l i t e r a t u r e .The fo lk and psycho logy of I t a l y , to w h i c h c o u n t r y he r e t i r e d in ex i l e , supp ly the t h e m e sof t h i r t een of the t w e n t y - t w o t a l e s , the o t h e r s are of Rus s i an li f e . Go rky ' s adm i re r s wi l lfind in the col lec t ion a reaff i rmat ion of the ar t w h i ch s e c u r e d his h igh p l ace amo ng in t e r p r e t e r s of l i fe thr ou gh f ic t ion.

D R A M A T I C W O R K S : V o l u m e V

By G E R H A R T H A U P T M A N N$1.50 ne t ; w e i g h t 22 oz .

C O N T A I N S : " S C H L U C K AN D J A U ; A N D P I P P A D A N C E ; "" C H A R L E M A G N E ' S H O S T A G E . "

T h e s e c o n d g r o u p of H a u p t m a n n ' s S y m b o l i c and L e g e n d a r y D r a m a s g a in s u n i t y by ar ecognizab le oneness of i n s p i r a t i o n . The poe t has b e c o m e a s e e k e r ; he q u e s t i o n s then a t u r e and q u a l i t y of v a r i o u s u l t im a t e v a l u e s ; he a b a n d o n s the field of the p e r s o n a l andi nd iv idua l l i f e and " s e n d s his sou l i n to the i n f in i t e . " [A spec i a l c i r cu l a r , wi th con ten t sof the p rece d ing vo lum es , wi ll be ma i l ed upon reque s t to the p u b l i s h e r . ]

W I S C O N S I N P L A Y S$1 .25 n e t ; w e i g h t a b o u t 18 oz .

C O N T A I N S : " T H E N E I G H B O R S , " by Z o n a G a l e ; " I N H O S

P I T A L , " by Thomas H. Dickinson; "G L O R Y OF T H E MORN N / by W i l l i a m E l l e r y L e o n a r d .

A n o t e w o r t h y m a n i f e s t a t i o n of th e i n t e r e s t in the s t a g e and its l i t e r a t u r e is thework , bo th in w r i t i n g of p l ays and t h e i r p e r f o r m a n c e , of the g i f t ed band o rgan ize d ast h e W i s c o n s i n D r a m a t i c S o c i e t y . Th e t h r ee one -ac t p l ays in t h i s vo lume are f ru i t s oft h e m o v e m e n t . H a v i n g met wi th success in the t h e a t r e , t h e y are now offered to thec r e a t i v e r e a d e r to w h o se i m a g i n a t i o n d r a m a t i c l i t e r a t u r e is a s t i m u l u s .

S E L F - C U L T U R E T H R O U G H

T H E V O C A T I O N

By E D W A R D H O W A R D G R I G G S5 0 c e n t s n e t ; w e i g h t a b o u t 8 oz .

T h i s new book in the Art of L i fe Se r i e s dea l s wi th work as a way to c u l t u r e

a n d s e r v i c e . W h e n the cry e v e r y w h e r e is v o c a t io n a l e d u c a t i o n , it is wor th whi l e to s topa n d ask, W h a t of the e d u c a t i o n t h a t is poss ib l e t h rou gh th e voca t ion it se l f? Th i s quest ion is s tud i ed in six c h a p t e r s , w i t h a l i g h t n e s s of t ouch tha t saves the t each ng f romdidac t i c i sm and g ives it u n i v e r s a l h u m a n a p p e a l . T h e book is a c o m p a n o n s t u d y to thea u t h o r ' s p o p u l a r "T he Use of the M a r g i n . " Dr. G r i g g s is pa r t i cu l a r ly sa t i s fy ing in suchbrief, t r e n c h a n t s t u d i e s of d e e p p r o b l e m s of l ife, and the new book sho u ld be of specialv a l u e to y o u n g p e o p le and to men and w o m e n l o n g i n g to make each day yie ld it s fullr e t u r n in c u l t u r e and wi sdom.

T H E D E A T H O F A N O B O D Y

By J U L E S R O M A I N S$1 .25 n e t ; w e i g h t a b o u t 18 oz .

An amaz ing ly pe r fec t p roduc t ion of i n c o m p a r a b l e r e s t r a i n t and p o w e r ; it reve als w i tha qua l i t y encha in ing the a t t e n t i o n , the i n t e r w o v e n web of h u m a n r e v e l a t i o n s , r o m a n t i cf rom the i r ve ry p rosa i cness . The life of one in o t h e r ' s m i n d s — t h e " s o c ia l c o n s c i o u s n e s s "about which the soc io log i s ts have deve loped abs t r use t heo r i e s , is he re p or t raye d exp l i c i t l y ,wi th a f a sc ina t ion no t h e o r y can h a v e . The u n i q u e n e s s of the book is s u g g e s t e d by th ef ac t t ha t the " N o b o d y " a b o u t w h om the ac t ion revo lves d i e s in the second chap te r .Though fiction, it w i l l s u p p l y c o n v i n c i n g a r g u m e n t s to be l i eve r s in l i fe af ter dea th. It isnot on ly a m a s t e r p i e c e of l i t e ra ry art , but migh t we l l be used as the conc re t e t ex t oft he mind of the c r o w d . T r a n s l a t e d f r o m the F r e n c h by D e s m o n d M a c C a r t h y and S y d n e yW a t e r l o w .

A ll of t h e s e may be ob ta ined f rom boo kse l l e r s or f rom the pub l i she r . Up on app l ica t ion to the l a t t e r , a l i s t of i n t e r e s t i n g p u b l i c a t i o n s of 1914 ma y be ob ta ined .

B . W . H U E B S C H , 2 2 5 F i f t h a v e n u e , N e w Y o r k



The ittle Review 73

B O O K C H R I S T M A S S U G G E S T I O N SThe Pastor's Wife

B y the Au thor of El iz abe th an d He r Ge rm an Gar de n

A deli ciou s and ti mely piece of satire on Ger man and E n g l i s h ways by the Author of El izabeth andHer Germa n Gar den . A story of an E n g l i s h g i r l wh o marri es a Ge rma n pastor, and of her laughableattempts to Germani ze herselt and A n g l i c i z e her children.

Illustrated by Arthur Litle. Net $1.35.

BambiBy Marjorie Benton Cooke. B u b b l i n g over w i t h

good cheer and fun, w i t h l i t t l e side-glimpses into

N e w Y o r k Lite rary and Theatrical circles. FourthLarge P r i n t i n g . Il lustrated. Net $1.25.

A Soldier of the LegionBy C. N . and A. M . Williamson. A romance

of Algiers and the famous Foreign Legion, now

fighting at the front. Net $1.35.

The Grand AssizeBy Hugh Carton

I f you were jud ged today what w o u l d the verd ict be? In this volu me, Lawyer, M i n i s t e r A c t o rAuthor , Plutocrat and D e r e l i c t — a l l stand before the Judgmen t B ar . It is a book of ext rao rdi nar ycharacter w h i c h you w i l l not forget in a lone time. Net $1.35.

The Drama League

Series of PlaysA l r e a d y Issued.

I K i n d l i n g .By Charles Kenyon

I I A Thousand YearsA g o

Bv Percy MacKaye

I I I The Great Galeoto.B v Jose Echegaray.

I V The Sunken B e l l .B y Gerhart Hauptmann.

V M a r y Goes First .

By Henry Arthur Jones

V I Her Husband's W i f e .By A. E. Thomas.

V I I Change. A W e l s hP l a y .

By J. O. Francis.

V I I I . M a r t a of the Lowlands.

By Angel Guitnerd

C O M I N G

I X The Thief.By Henry Bernstein

Bound in Brown

Boards. Each net 75c.

Art and Literature

T h e A r t o f t h e L o w o u n t r i e sB y W i l h e l m R . V a l e n t i n e r

of the Metropolitan Museum New

York.

Trans lated by Mrs . Schuy ler Va n RensselaerA surv ey of Dut ch art from the

earl iest time to the present, wr it te nb y the greatest authority in thiscountry. Illustrated. Net $2.50.

Country HousesB y A y m a r E m b u r y I I

Plans w i t h photographs inside andout of a number of houses des ign ed

b y the author. Illustrated. Net $3.00.

Joseph ConradBy Ri char d Cu r ie

T h e first adequate appreciation ofConrad, the man and his works.Frontispiece. Net $1.25.

E a r l y American ChurchesB y A y m a r E m b u r y II

A book of pictures and descriptions of historic A m e r i c a n churches,b y a w e l l - k n o w n architect. Illustra-ted Net $2.80.

Joseph Conrad

The Deep Sea

EditionBound in sea blue limp

leather.

T I T L E S :

Chance. Falk.

Th e Nigger of the Narcissus.

Almayer's Folly.

A n Outcast of th e

Islands.

Youth. Typhoon

'Twixt Land and Sea.

Romance.L o r d Jim.

10 Volumes. Boxed.

Net $15.00. Single

Volumes net $1.50.

A Handbook to the Poetry of Rudyard KiplingB y R A L P H D U R A N D

M r K i p l i n g has perso nal ly help ed prepare t his book, w h i c h clears up the many obscure allusions andunfamiliar ex pressio ns, in his verses. A book for every lover of Ru dy ar d K i p l i n g . Net $2.00.

Illustrated Children's Gift Books

Myths Every Child Should KnowEdi t ed by Hami l t on Wri g h t M abl eI l l us t r a t e d by Ma ry Hami l t on Fr y e

These imperishable tales, w h i c h have delightedchildren the w o r l d over, receive fresh and o r i g i n a ltreatment in M i s s Frye's hands.

10 illustrations in color 10 in black and white.

Boxed net $2.00.

Andersen's Fairy TalesI l l us t r a t e d by Dougal d S t e w a r t W a l k e r

M r Walker 's i l lustrations for these f a i r y tale classics, by reason of their poetic quality and exquisitedetail, make this volume one of the most truly artistic gift books of the H o l i d a y Season.

12 illustrations in color. Many in black and

white. Net $1.50.

Published by D O U B L E D A Y P A G E &C O . , Garden City, N. Y.



74 The L i t t l e eview

O F

P E R C H T H E D E V I LB y G E R T R U D E A T H E R T O N

Author of The Conqueror, Tower of Ivory, etc.

In this novel, whi ch gives the romance of mi ni ng in Mont ana , appears a new figure in

American fiction—Ida Compton—so real, so true to A m e r i c a as to make her almost a

national figure. Th e story of her gro wth f ro m a crude, beautif ul g i r l to a wo ma n of fire

and character makes a wholesome, satisfying novel. $1.35 net.

F o r o t h e r n o v e l s w r i t t e n by a w o m a n a n d h a v i n g th e s c o p e a n d p o w e r o f M r s . A t h e r t o n ' s we m u s t hark

bac k to G e o r g e E l i o t , G e o r g e S a n d , a n d M a d a m e d e S t a e l . It is ha rd to d i s c o v e r A m e r i c a n m e n e q u a l i n gM r s A t h e r t o n i n w i d t h of w i s d o m , d e p t h of s y m p a t h y , a n d s e n s e o f c o n s e c r a t i o n . —Ame r i c a n Review

of Reviews

A R T

B y

C L I V E B E L L

A clever, pungent

book which accounts

fo r and defends the

P o s t - Impressionist

S c h o o l , showing it to

be a l l i e d w i t h v i t a l art

throughout its his

tor y. It is by a man

who has a keen in

terest in l i f e and art,

and can express him-

s e 1 f tersely, w i t hflashes o f hum or. It

has created a l i ve ly

discussion in Engla nd.

Illustrated, $1.25 net.

OO S

T R E I T S C H K E

Select ions from Lectures on

Politics

T h e first E n g l i s h e d i t i o n of the

w o r d s of the great p r o f e s s o r so

often ci t ed b y B ern h a rd i . H e re

is wh at th e great s p o k e s m a n of

m i l i ta r i sm real ly said. Cloth

\2mo 75 cents net

S . S M c C L U R E S

A U T O B I O G R A P H Y

Goes on the same shelf w i t h

Jacob R i i s The Making of an

American, Booke r Washington's Up

from Slavery and M a r y Ant in ' s The

Promised Land. —Brooklyn Eagle.

Th e Sco tch- Iri sh boy who came

here to do his best tells of his rise

in a simple, fasci nating way . A s

the editor who introduced to us

K i p l i n g , Stevenson, and others

equally famous, and first brought

American magazines into nationalaffairs, he gives a remarkable inside

view of our letters and national

l i f e . Illustrated. $1.75 net.

ON THE

R A D A

B y A L F R E D N O Y E S

Chris t ian i ty vs . W a r is the theme

of this pow e r f u l p l ay w h o s e ac -

t i o n tak es pla ce in a Ba lk an v i l -

l a g e on Chris tmas Ev e. I t pic-

t u r e s wi th a lm o st pro phet i c ex -

ac tne ss s c e n e s w h i c h may now

be t a k i n g pla ce in the field of

confl ict . Cloth \2mo 60 cents

net

G E R M A N

M A S T E R S

of A R T

B y H E L E N A .

D I C K I N S O N

The first adequate

history of early Ger

man art—the mas

terpieces as yet un

touched by war. Th e

author has made a

special study of the

o r i g i n a l paintings and

writes w i t h insight

and inspir ation. Spe

c i a l attention is de

voted to von Byrde,

Cranach, G r i i n e w a l d ,Moser, the two H o l

beins, D i i r e r , etc. 4

illustrations in color

and 100 in monotone.

C l o t h , 4to, $5.00 net.

WAR

W O M A N a n d W A R

By O L I V E S C H R E I N E R

This part of that cla ss i c , W o m -

a n a n d L a b o r , wri t t en a f t er

th e a uth o r ' s perso na l exp er ien ce

of w a r f a r e , is the best a nd most

e l o q u e n t s t a t e m e n t of wh at war

m e a n s to w o m e n a n d w h a t their

re la t io n is and s h o u l d be to wa r.

Boards \2mo 50 cents net

P u b l i s h e r s — F R E D E R I C K A S T O K E S C O M P A N Y — N e w Y o r k



The L i t t l e eview 75

Appleton s Newest Publications

Washington, The Ma n of Act ionText by Frederick Trevor H i l l

Pictures in Color by J O B (J . O.de Breville)

A s pl endid hol iday biography

of George W a s h i n g t o n , by the

wel l k n o w n A m e r i c a n hstorans uperbl y i l l us trated by the

f a m o u s F r e n c h art is t , Com t e

J Onfr oy de Brev i l le , known

to art l o v e r s the world over as

J O B There are f o r t y - e i g h t

full page pictures ( inc l uding

s e v e r a l d o u b l e - p a g e pictures ) ,

e a c h c o v e r i n g the ent ire page,print ed in the Fr en ch stylew i t h o u t margins , and reprodu edn five colors . Al tog et her

the v o l u m e is the most atractiveand p r o b a b l y the most interestingan d a u t h o r i t a t i v e pctor

ha s been made.

Handsomely bound in greenand gold. Quarto. Boxed.$5.00 net.

Love and the Soul-MakerB y M a r y A u s t i n , author of The Arrow Maker

I n th is new book the autho r makes one of the stron gest pleasfo r the home that has ever been voiced. M r s . A u s t i n discussesfrankly the problems of sex differences that are being encountered everywhere today in our s o c i a l l i f e , and proves that thebalance of the s o c i a l relations can be accomplished only by thesame frank han dl in g of the so-called pro blem of the doub lestandard of morality . E v e r y serious minded man and womanshould read it. Cloth, $1.50 net.

Hail and Farewell—Ave, Salve and Vale

B y George Moore

In these three volumes the author brings us into very closetouch w i t h very many men and women who have helped to makethe hist ory of art and liter ature dur in g the last decade. It isa wonderful tour de force in literary art, w i t h scarcely a parallelsince Rousseau's Conf essio ns. —North American, Philade lphia .Cloth, gilt top, $1.75 each vol.

Insurgent MexicoB y John Reed

This is the true story of the M e x i c o of today; showing thepeon in war and i n peace; int imatel y port ray ing the charactero f this l i t t l e understood people and their leaders; describingmany of the scenes along the march of V i l l a ' s victorious army,

and offering to the reader the only up-to-date and accurate account of the M e x i c a n sit uati on avail able. $1.50 net.

Americans and the BritonsB y Fred eric C. De Sumich rast

A tim ely book di scu ssin g the differences between A m e r i c a n andB r i t i s h s o c i a l order ; The A m e r i c a n Wom an ; Educa t ion; Fore ignRelations; Jo urna l ism in A m e r i c a an d B r i t a i n ; M i l i t a r i s m ;Patr io t i sm; Nat ura li zat ion , and many other importan t subjectso f interest to all E n g l i s h speaki ng people. T he auth or is astron g believer in Democr acy, though he sees many faults in it.These he discusses frankly, w i t h a hopeful outlook for thefuture. Cloth, $1.75 net.

Notable New NovelsAnne Feversham

B y J. C. Sna it h. A splen did pict ure of theElizabethan period. B y the author of Ar am in ta .

$1.35 net.

AchievementB y E . Temp le Th urs to n. Th e thir d volume in

the triolog y of Mr . Thu rsto n's charac ter study ofR i c h a r d F u r l o n g : A r t i s t .

$1.35 net.

SelinaB y George Mad de n M a r t i n . A del ight ful story

o f a bright l i t l e g i r l and her first venture in thebusiness w o r l d . B y the aut hor of E m m y L o u .

Illustrated, $1.30 net

Kent Knowles: QuahaugB y Joseph C. L i n c o l n . Th e quaintest and most

romantic of all Mr. L i n c o l n ' s novels. Th e lovestory of a very quiet young man.

Illustrated, $1.35 net.

Sinister StreetB y Compton Macken z ie

A n O x f o r d graduate's experiences in London's moralby-paths.

$1.35 net.

To-Day's DaughterB y Josephine Daskam B a c o n

T he story of a modern young woman who discoversa romance while in search of a career.

Illustrated, $1.35 net

The Torch BearerB y R e i n a M e l c h e r Marquis

Th e story of a woman 's won derf ul sacrifice and whatcame out of it.

$1.30 net.

MariaB y the Baroness V o n Hut ten

T he roma nc e of a beaut ifu l opera sin ger and a_ B a l -kan k i n g . $1.35 net.

D. A P P L E T O N & C O M P A N Y :: PUB LISHE RS :: N E W Y O R K




Books for the HolidaysJ . B . L I P P I N C O T T C O M P A N Y

P U B L I S H E R S P H I L A D E L P H I A

ILLUSTRATED HOLIDAY CATALOGUE MAILED ON REQUEST

T H E P R A C T I C A L B O O K O F O U T D O O RR O S E G R O W I N G

B y G E O R G E C . T H O M A S , J r .

96 perfect reproductions in full-color of all varieties of roses. Octavo, clothin a box. $4.00 net. Postage extra.

The rose-lover and the rose-grower should be keenly interested in thisbeautiful and comprehensive book on roses. T he exquisite illustrations

and general attractiveness of the volume make it a practical gift bookfor any one engaged in flower-culture.

T H E P R A C T I C A L B O O K O F P E R I O DF U R N I T U R E

B y H A R O L D D O N A L D S O N E B E R L E I N a n d A B B O T M c C L U R E

25 0 illustrations. Octavo. Cloth. In a box. $5.00 net. Postage extra.

A practical book for those who wish to know and b uy period furniture.It contains all th at it is necessary to know about the subject. By meansof an illustrated chronological key (something entirely new) one isenabled to identify the period to which any piece of furniture belongs.

O U R P H I L A D E L P H I A

B y E L I Z A B E T H R O B I N S P E N N E L L . Il lu s . b y J O S E P H P E N N E L L .{Regular Edition). 105 illustrations from lithographs. Quarto. In a box.

$7.50 net. {Autographed Edition). Signed by both author and artist,with ten additional lithographs. Special buckram binding in a box.$18.00 net. Carriage charges extra. {This edition limited to advancesubscribers).

An intimate personal record in text and in picture of the lives of thefamous author and artist in the city whose recent story will be to manyan absolute surprise. M r. Pennell's illustrations, made especially forthis volume, are the greatest he has yet accomplished.

H E R O E S A N D H E R O I N E S O F F I C T I O NBy WILLIAM S. WALSH.

Half morocco. $3.00 net. Postage extra.Mr. Walsh has compiled the famous characters and famous names in

modern novels, romances, poems, and dram as. Thes e are classified,analyzed, and criticised and supplemented with citations from the bestautho rities. A valuab le, interesting reference book.

C O L O N I A L M A N S I O N S O F M A R Y L A N DA N D D E L A W A R E

B y J O H N M A R T IN H A M M O N D .

Limited edition, printed from type, which has been distributed. With 65illustrations. Octavo. In a box, $5.00 net. Postage extra.

Uniform in style and price with others in the Limited Edition Series—"Colonial Homes of Philadelphia," "Manors of Virginia," etc., all of

which are now out of print and at a premium.

T H E A M E R I C A N B E A V E RBy A. RADCLYFFE DU GM OR E

Illustrated with photographs. $2.50 net. Postage extra.

Few people possibly realize that the American Beaver is one of ourmost interesting native animals. M r. Dug more tells everyth ing worthknowing about them, and this new work will delight the stay-at-home aswell as the out-of-doors man.

T H E T R U E

U L Y S S E S S . G R A N T

B y G E N E R A L C H A R L E S K I N G

24. illustrations. Octavo. Buckram. $2.00 net. Half levant.$5.00 net. Postage extra.

This new volume in the TrueBiography and History Series isthe work of a writer peculiarlyfitted to deal with G ran t. N ot

only Grant, the general, but Grantthe man, and Grant, the president,are treated with the same regardfor truth that characterizes all thevolumes in the series.

E S S A Y S , P O L I T I C A L

A N D H I S T O R I C A L

By CHARLEMAGNE TOWER, LL.D.

Former Minister of the United States toAustria-Hungary. Ambassad or toRussia and to Germany.

$1.50 net. Postage extra.Essays upon vital subjects by

one of our greatest figures in thediplomatic world will demand instan t attention. Mr. Tower knowswhereof he speaks when he treatssuch subjects as "The EuropeanAttitude Towards the MonroeD oc trin e," etc . Th e book will bewidely read for its importantrevelations in the light of thepresent disturbed conditions.

T H E M Y S T E R Y O FT H E O R I E N T A L R U G

By Dr . G. GRD7FIN LEWIS.

Frontis in color and 30 full-pageplates. $1.50 net. Postage extra.

This charming book is compactwith information and no one shouldbuy rugs without its aid.

P U B L I S H E R SP H I L A D E L P H I A. B. LIPPINCOTT C O M P A N Y




T H E S T O R I E S A L LCHI LDREN LOVE SERI ES

This se t of books for chi ldren

compri ses some of the most famouss t o r ie s e ve r wr i t t e n . Th e y a rebeaut i ful ly i l lus t ra ted in color .Be sure to ask for this series. Ea ch£1.25 net . T he 19 14 V olu m e is

8 illustrations in color. $1.25 net.This i s one of the most de l ight

ful chi ldren ' s s tor ies ever wri t t en.I n t h e s a m e s e r i e s : " T H E S W I S S

F A M IL Y R O B I N S O N , " " T H EP R I N C E S S A N D T H E G O BL I N , " A T T H E B A C K O F T H EN O R T H W I N D , " " T H E P R I N C E S S

A N D C U R D I E . " " T H E C H R O N I C L E S O F F A I R Y L A N D , " " H A N SA N D E R S E N ' S F A I R Y T A L E S , " " AD O G O F F L A N D E R S . " " B I M B I , "" M O P S A . T H E F A I R Y . "

Boys GirlsSend 14 cents for thi s Beau t i ful

Twe l ve Pa ge Ca l e nda r i n c o l o r .

S t o r i e sA l l c h i l d r e n L o v e

1915 CALENDAR 1915

J. B.LIPPINCOTTCO., Philadelphia

Books for the HolidaysJ . B . L I P P I N C O T T C O M P A N Y

P U B L I S H E R S P H I L A D E L P H I A

ILLUSTRATED HOLIDAY CATALOGU E MAILED ON REQUEST

TWO CHARMING CHRISTMAS BOOKS

B E T T Y ' S V I R G I N I A C H R I S T M A SB y M O L L Y E L L I O T S E A W E L L

Four illustrations in color by Henry J. Soulen. Page Decorations. 12 m o.Cloth, decorated in green and gold, $1.50 net. Postage extra.

A Sout he rn s t o ry t h a t c a r r i e s t he t rue sp i r i t o f Chr i s t ma s t o t he he a r t sof yo un g and old . T o the tu ne of Dix ie fiddles th ere is a ro ut of fest ivedanc es , ea r ly mo rnin g fox-h unts , and spi r i t ed feas t s of turk ey , egg-nog

and the other de l ic ious di shes for which Vi rginia cooks and Vi rginiafa rms a re r i gh t l y f a mous .

O U R S E N T I M E N T A L G A R D E NB y A G N E S a n d E G E R T O N C A S T L EIllustrated in color by Charles Robinso n. Hea d and tail pieces and dec

orative lining -p apers. Octavo. Cloth. $1.7$ net. Postage extra.This book i s a sheer de l ight , f i l l ed wi th the whims and fanc ies of garden-

lovers . T he auth ors h ave caugh t the note of fami ly l ife in a pic t ures queold Engl i sh dwel l ing, where grown-ups and chi ldren l ive l a rge ly out ofdoors , and where bi rds and animals and bees and f lowers become of amos t hum a n c omra d e sh i p . I f one c a nno t own suc h a s e n t i me n t a l ga rde nthe next bes t thing i s to know a l l about one .

GIVE A BOY ONE OF THE TRAIL BLAZERS SERIES

B U F F A L O B I L L A N D T H E O V E R L A N D T R A I LB y E D W I N L . S A B I N Illustrated. $1.23 net. P ostage extra.

An inspi r ing, wonderful s tory of the adventures of a boy dur ing thoseper i lous and exc i t ing t imes when Buffa lo Bi l l began the adventurouscareer tha t has indissolubly l inked hi s pic turesque f igure wi th the openingof th e west to c ivi l i za t ion. T he y were the rom ant i c day s of the O ver lan dTra i l , t he Po ny Expre s s , a nd t he De a dw ood C oa c h . In t he s a me se r ie s ," W I T H C A R S O N A N D F R E M O N T , " " O N T H E P L A I N S W I T HC U S T E R , " " D A V I D C R O C K E T T ; S C O U T , " " D A N I E L B O O N E ;B A C K W O O D S M A N , " " C A P T A I N J O H N S M I T H . "

GOOD FICTION FOR THE CHRISTMAS FIRESIDE

T H E W A R D O F T E C U M S E HB y C R I T T E N D E N M A R R I O T T . Illus. $1.25 net. Postage extra.

PHILADELPHIA PRESS:"His tor ica l romance wi l l never lose i t s fasc ina t ion as long as suchv i v i d , p i c t u re sque , a nd whol l y e n t e r t a i n i ng t a l e s a s t h i s a re fo r t h c omi ng . For 'Th e W a rd of Te c u ms e h ' c ombi ne s t he t h r i l l a nd e xc i t e me nt o f a r e d-b l oode d We s t e rn s t o ry wi t h t he c ompe l l i ng i n t e re s t o fh i s t o r i c n a r r a t i v e . "

T H E T H R E E F U R L O N G E R SB y S H E I L A K A Y E - S M I T H . Frontispiece. $1.25 net. Postage extra.NEW YORK TIMES:

"He r s t o ry i s wr i t t e n wi t h suc h s i nc e r i t y o f f e e l i ng a nd a ppre c i a t i ono f m o r a l b e a u t y a n d c o n t a i n s s o m u c h h u m a n t r u t h t h a t t h e a u t h o rd e s er v e s w a r m c o m m e n d a t i o n . A n a c h i e v e m e n t w o r t h w h i l e . "

T H E D U K E O F O B L I V I O NB y J O H N R E E D S C O T T . Frontispiece. $1.25 net. P ostage extra.

NEW YORK TIMES:"T he re a re p l o t s a nd c oun t e r -p l o t s , ha n d- t o -ha n d f ight s, a nd m a n ythr i l l ing ad ve ntu res . . . . un t i l th e end th e read er i s ke pt in ahigh s ta te of doubt as to whether or not they wi l l a l l e scape in sa fe ty."

P U B L I S H E R SP H I L A D E L P H I A. B. LIPPINCOTT COMPANY




W O R T H W H I L E B O O K SR E C O L L E C T I O N S A N D R E F L E C T I O N S O F A J A P A N E S E A R T I S T

By YOSHIO M A R K I N O Aut hor of A Japanese Arti st in Lond on. 8vo. Clot h. Fif

teen illustrations in color and monochrome. $2.00 net

h e charming intimacies w h i c h were given in the author's previous book are here contin

ued. Mr . Mar ki no' s style is indescr ibable; frankness, o rigi nali ty of expression and spontanei

t y are the c h i e f characteristics.

T H E W A Y O F T H E S T R O N G

By R I D G W E L L C U L L U M Au th or of The

Night Riders, etc. 12mo. Clot h. Wrapper in color and four illustrations by Douglas

It tells the story of a M A N — o f powerful

bu i l d and powerful spirit. In his clash as a

capitalist w i t h labor; in his frenzied love for

h i s w i f e ; in his every undertaking, this man

i s a character o f force and power.

R E D U C I N G t h e C O S T o f L I V I N GBy S C O T T N E A R I N G Ph. D., Wharton

School, University of Pennsylvania. A u

thor of Wages in the United States,Social Adjustment, etc. 12mo. Cl ot h.

With numerous tables. $1.25 net

comprehensive discussion of the prob

lems that enter into the ever-increasing cost

o f l i v i n g . The book is clear, concise and

l o g i c a l . The author's conclusions are based

upon facts.

A M A N U A L O F P L A Y

By W I L L I A M B Y R O N F O R B U S H Ph. D.,Au th or of The Boy Pro blem, etc. 12mo.

Cloth. Illustrated. $1.50 net

Designed for parents and all having the

care of chi ldren. It deals w i t h play w i t hd o l l s , play w i t h balls, imaginative play, con

structive play, laughter plays, play for g i r l s ,Sunday play and neighborhood play, etc.

S H E A R N O N S E N S E

A book for the after-dinner speaker. 16mo.

Cloth. 75 cents net. Li mp leather, boxed.$1.25 net

h e best humor that has appeared in the

last two years. The same discrimination and

refinement that have been responsible for the

success of Tha t Remi nds M e and Tha t

Reminds Me A g a i n are features of this volume.

D A N I E L W E B S T E R

(American C r i s i s Biographies)

By F R E D E R I C A . O G G , Ph. D,, Professor

of History in the University of Wisconsin,

and author of The Governments of Eu

rope. 12mo. Clo th. Wit h portrait.

$1.25 net

h e m n Webster is brought out in strong

contrast to the statesman and publicist.

U L Y S S E S S. G R A N T

(American C r i s i s Biographies)

By F R A N K L I N S. EDMONDS, Author of

A Century's Progress in Education.

12mo. C lo th . Wit h portrait. $1.25 nel

careful study of the great general, fur

nishing some interesting information hereto

fore unknown.

H O W T O W I N A T A U C T I O N

B R I D G E

By EDWIN A N T H O N Y . 16mo. Limp cloth.

With rules and specimen hands.

75 cts. net

n up-to-date work dealing w i t h the game

i n its most interesting for m, R o y a l Spades,

and g i v i n g a b r i e f exposition of the nullo

count.

M O R E A B O U T C O L L E C T I N G

By J A M E S Y O X A L L Au th or of The A B

C About Collecting. 8vo. Cloth. Onehundred and nine illustrations. $2.00 net

G i v e s detailed informat ion for the amateur

and semi-amateur collector of furniture,

earthenware, glassware, porcelain , pictures,

books, autographs, etc.

r s le by ll booksellers or by the publishers

G E O R G E W. J A C O B S & CO., Philadelphia




Many possibilities for giftselecting offered in

T h e R a r e B o o k D e p a r t m e n tIn a r oo m se t qu i te apar t f r om our ge ne r a l s t oc k s ar e ho use d the pr e c io usj e w e l s o f b o o k d o m — t h o u s a n d s o f r a r e v o l u m e s , f i n e l y b o u n d a n d e x t r a -i l lu s tr a te d , be aut i fu l books suc h as c o l l e c tor s l ove to posse s s .

Cont inuous ly ne w book tr e asur e s ar e c om ing in to take the p lac e s o f thosew hic h are go ing out in to pr iva te han ds . K no w in g that the bo ok s in th i s

l i t t le corner of the book wor ld are usual ly but one of a k ind, book-loversm ake a po in t o f dr opp ing in o f te n to as sur e the m se lve s that noth ingde s i r ab le s l ip s by the m .

W e inv i te yo u to be our gu e s t a t you r e ar ly c on ve n ie n c e — to m a ke u seof not on ly the Rar e Book De par tm e nt , bu t the whole M c Clur g s tor e ,whe the r you have any pur c hase in m ind or not .

McClurg's i s more than a book s tore , i t i s a publ ic inst i tut ion .

a t M c C l u r g ' so n W a b a s h A v e n u e , b e t w e e n A d a m s a n d J a c k s o n

The New Poetry

S W O R D B L A D E S n d P O P P Y S E E D

By A M Y L O W E L L

A u t h o r o f " A D O M E O F M A N Y - C O L O U R E D G L A S S , " E tc .

In "The Boston Herald" Josephine Preston P eabody writes of this unusual book:

" F i r s t , l a s t a n d a l l i n c l u s i v e in M i s s A m y L o w e l l ' s p o e t i c e q u i p m e n t is v i t a l i t ye n o u g h t o float t h e w o r k of h a l f a s c o r e o f m i n o r p o e t s . . . . A g a i n s t t h e m u l t i t u d i n o u s a r r a y o f d a i l y v e r s e o u r t i m e s p r o d u c e . . . t h i s v o l u m e u t t e r s i t s el fw i t h a r a n g e a n d b r i l l ia n c y w h o l l y r e m a r k a b l e . . . A w e a l t h o f s u b t l e t i e s a n ds y m p a t h i e s , g o r g e o u s l y w r o u g h t , fu ll of m a c a b r e ef f e ct s ( a s m a n y o f t h e p o e m sa r e ) a n d b r i l l i a n t l y w o r k e d o u t . . . p e r s o n a l l y I c a n n o t s e e t h a t M i s s L o w e l l ' s

u s e o f u n r h y m e d v e r s l i b r e h a s b e e n s u r p a s s e d in E n g l i s h . T h i s b r e a d t h a n d a r d o rr u n t h r o u g h t h e w h o l e f a b r i c o f t h e s u b j e c t m a t t e r . . . . H e r e i s t h e f a i r l yD i o n y s i a c r e v e l r y o f a t i r e l e s s w o r k m a n . W i t h a n h o n e s t y a s w h o l e a s a n y t h i n g i nl i t e r a t u r e s h e h a i l s a n y a n d a l l e x p e r i e n c e a s s tu f f f o r p o e t r y . T h e t h i n g s of s p l e n d o rs h e h a s m a d e s h e w i l l h a r d l y o u t d o i n t h e i r k i n d . "

Price $1.25 net. At all bookstores.

P U B L I S H E D 6 4 - 6 6 5 t h A v e n u eT H E M A C M I L L A N C O M P A N YB Y N E W Y O R K




Madame

Melba s

PrettyCompliment

B

E F O R E M a d a m e M e l b a w e n t a b ro a d l a s t

J u n e , h e r c o n c e r t t o u r b e i n g o v e r , s h e s t e p p e d

i n t o the f a c t o r y w a r e r o o m s t o s e l e c t a M ason

& Hamlin p i a n o f o r her o w n p e r s o n a l u s e .

She tested them herself, fo r she p l a y s a s w e l l a s

s in g s. R i s i n g f r o m b e f o r e a b e a u t i f u l p a r l o r g r a n d , she

s a i d w ith a l l o f a n a r t i s t s e n t b u s i a s m : " T h i s i s t h e p i a n o

f o r m e — i t s j u s t l i k e m y v o i c e ' T hen a n d t h e r e s he

bough t one o f those b e a u t i fu l l y t o ne d

M ason & Hamlin Pianoso r d e r i n g i t s e n t t o h er h om e i n M e l b o u r n e , A u s t r a l i a .

W b a t a p r e t t y c o m p l i m e n t : " I t s j u s t l i k e m y v o i c e "

— a n d y o u c a n e a s i l y f o r g i v e t h e l i t t l e c o n c e i t i n i t ,

f o r s i n g in g t o n e w a s e x a c t l y w hat s he w a s l o o k i n g f o r ,

a n d i t i s e x a c t l y what Mason & Hamlin m a k e r s c o n

t i n u a l l y s t r i v e f o r - - a n d g e t . I f y o u f e e l t h a t t h e b e s t

i s n o n e t o o g o o d f o r y o u , t b e n b y a l l m e a n s c a l l a n d

b e a r th e Mason & Hamlin, t b e S t r a d i v a r i u s o f p i a n o s .

Cable Piano Company

Wabash and Jackson CHICAGO



T h e

G l e b eMonthly

A N e w B o o k o f

P e r m a n e n t L i t e r a r y

V a l u e

T h e G L E B E p u b l i sh e st w e l v e o r m o r e c o m p l e t eb o o k s a y e a r . It is an at

t e m p t on the p a r t of thee d i t o r s an d p u b l i s h e r s to iss u e b o o k s e n t i r e l y o n t h e i ro w n m e r i t an d r e g a r d l e s s oft h e i r c h a n c e fo r p o p u l a rs a le . O n c e a m o n t h — a n do c c a s i o n a ll y m o r e f r e q u e n t l y — t h e G L E B E b r i n g s outt h e c o m p l e t e w o r k of onei n d i v i d u a l a r r a n g e d in b o o kf o r m a n d f r e e f r o m e d i t o r ia l s and o t h e r e x t r a n e o u sm a t t e r .

P r o m i n e n t a m o n g n u m b e r s for the y e a r 1914 are

Des Imagistes. an a n t h o l o g yof the I m a g i s t s ' m o v e m e n tin E n g l a n d , i n c l u d in gPound, Hueffer, Aldington,Flint and others; e s s a y s byELLEN KEY; a p l ay byFRANK WEDEKIND; collectsand p rose p ieces by HORACETRAUBEL; and THE DOINA,t r a n s l a t i o n s by MAURICEAISEN of R o u m a n i a n f o lk

s o n g s . T h e m a i n p u r p o s e oft h e G L E B E is to b r i n g t ol i g h t the r e a l l y f i n e w o r k ofu n k n o w n men . T h e s e w i l la p p e a r t h r o u g h o u t the y e a r .

S i n g l e C o p i e s 50c

S u b s c r i p t i o n , $3 p e r y e a r

T R I A L S U B S C R I P T I O N

F O U R M O N T H S S I .0 0

Des Imagistes $1.00 net. Postpaid $1.10

A n a n t h o l o g y of the y o u n g e s t an d m o s t d i s c u s s e ds c h o o l of E n g l i s h p o e t r y . I n c l u d i n g s e l e c ti o n s by E z r aP o u n d , F o r d M a d o x H u e f f e r , A m y L o w e l l , R i c h a r d

A l d i n g t o n , A l l e n U p w a r d , an d o t h e r s ." T h e I m a g i s t s ar e k e e n l y s e n s i t i v e to the mo r e p ic tur e sq ue

a s p e c t s of N a t u r e . " — T h e L i t e r a r y D i g e s t ." . . c o n t a in s an in f in i te a m o un t of p u r e b e a u t y . " —

T h e O u t l o o k ( L o n d o n ) ." T h e s e y o u n g e x p e r i m e n t a l i s t s are "widening the l ibe r t i e s of

E n g l i s h p o e t r y . " — T h e P o s t ( L o n d o n ) ."I t s t i c ks out of the c r o w d l ike a t a l l m a r b l e m o n u m e n t . " —

T h e N ew W e e k l y .

MarianaBY JOSE ECHEGARAY Crash Cloth 75c net; 85c postpaid.

W i n n e r of the N o b e l P r i z e , 1904.

A d r a m a in t h r e e a c t s and an e p i l o g u e . T h e m a s t e rp i e c e of m o d e r n S p a i n ' s g r e a t e s t w r i t e r .

Love of One's NeighborBY LEONID ANDREYEV Boards 40c postpaid.A u t h o r o f "T he S e v e n W h o W e r e H a n g e d . "

( A u t h o r i z e d t r a n s l a t i o n by T h o m a s S e l t z e r .)A p l a y in one act, r e p l e t e w i t h s u b t l e an d c l e v e r s a t i r e .

The Thresher's WifeBY HARRY KEMP Boards 40c postpaid.

A n a r r a t i v e p o e m of g r e a t s t r e n g t h an d i n d i v i d u a l i t y .U n d o u b t e d l y h is g r e a t e s t p o e m . F u l l of in t e n s e d r a m a t i c i n t e r e s t .

Chants CommunalBY HORACE TRAUBEL Boards $1.00 net; $1.10 postpaid.I n s p i r a t i o n a l p r o s e p i e c e s f i r e d by r e v o l u t i o n a r y i d e a l i s m an d p r o p h e t i c a l l y s u b t l e in t h e i r v i s i o n . T h e h i g he s t e e m in w h i c h T r a u b e l ' s w o r k i s h e l d is a t t e s t e d by

t h e f o l l o w i n g u n u s u a l c o m m e n d a t i o n s :J a c k L o n d o n : His is the v i s io n of the po e t and the v o ic e

of the poet ."C l a r e n c e D a r r o w : " H o r a c e T r a u b e l is b o t h a po e t and a

p h i l o s o p h e r . No one can say a n y t h i n g too g o o d a b o u t him orhi s w o r k ."

G e o r g e D. H e r r o n : It is a bo o k of the h i g h e s t v a l u e andbe a uty tha t Ho r a c e Tr a ube l pr o po se s to g i v e us, and I cano nly ho pe tha t it w i l l be r e a d as w i d e l y and a p p r e c i a t i v e l ya s it m o r e t h a n d e s e r v e s to be ; for It is w i t h a joy t h a tw o u l d s e e m e x t r a v a g a n t , if I e x p r e s s e d it , t h a t I w e l c o m e' C h a n t s C o m m u n a l . '

Not Guilty A Defence of the Bottom DogBY ROBERT BLATCHFORD Cloth 50c. Paper 25c.A h u m a n i t a r i a n p le a , u n e q u a l l e d in l u c i d i t y and in

c o n t r o v e r t i b l e in its l og i c .O u r I r r a t i o n a l D i s t r i b u t i o n o f W e a l t hBY BYRON C. MATHEWS Cloth $1.00 net.

T h e a u t h o r u n d e r t a k e s t o s h o w t h a t t h e a g e n c i e s w h i c ha r e u s e d in d i s t r i b u t i n g t h e p r o d u c t s of i n d u s t r y an d arer e s p o n s i b l e for th e e x t r e m e s in the s o c i a l s c a l e h a v e n e v e rb e e n a d o p t e d by an y r a t i o n a l a c t i o n , b u t h a v e c o m e to bet h r o u g h fo r t u i t o u s c i r c u m s t a n c e s and are w i t h o u t m o r a lb a s i s . T h e w a g e s y s t e m , a s a m e a n s of d i s t r i b u t i o n , isu t t e r l y i n a d e q u a t e t o m e a s u r e t h e w o r k e r s ' s h a r e . Thes o u r c e of p e rm a n e n t i m p r o v e m e n t i s f o u n d in s o c i a l o w n e r s h i p , w h i c h t r a n s f e r s t h e p o w e r o v e r d i s t r i b u t i o n f r o mt h e h a n d s of t h o s e i n d i v i d u a l s wh o now ow n the i n s t r u

m e n t s of p r o d u c t i o n to the h a n d s of the p e o p l e .

A L B E R T A N D C H A R L E S B O N IPUBLISHERS AND BOOK SELLERS

NINETY-SIX FIFTH AV EN UE , NEW YORK CITY



New Books of Reilly Britton

Nancy the JoyousBy Edith Stow

H e r romance shattered by her ow n hand , Na nc y

creeps away into secluded Swaggerty Cove. There,

among the child-hearted mountaineers, where exter

nal s cou nt for no th in g, she tries to fashion a new

l i f e . Sh e finds a bigness where she expect ed bar ren

ness ; she learns that being is more than having.

A n d then, whe n l i f e has grown fuller and richer,

when contact with other aches has soot hed her o wn

—w hy, then in a ve ry sati sfyi ng way Nan cy 's heartcomes into its own.

T h e heart inter est is ge nu in e; the story is natu ra land sincere. Its opt im is m, its wins ome s i m p l i c i t y its

in t r ins ic meri t w i l l wi n the lov e of reader s. W e havegreat faith in Nancy the Joyous.

12mo illustrated; $1.00 net.

The New Mr.HowersonBy Opie Read

A significant figure in Amer ican letters is Opie,Read—the De an of American Humor ist s, whose

Sta rbucks , The Juck l in s , e tc ., hold an enviable^place in the affections of readers. Th e Ne w M r . •Howerson w i l l gain him new friends and confirm theo l d ones. It has all his mast ery of sty le, his mel lowhumor, his r i c h ph ilo soph y, his fertile imag inat ion,ft is Opie Read at his mature best, rev eali ng a per -,

sonality and a power that mak es his n ew book a Jmasterly piece of writing.

It i s the s tor y of a bi g ma n and a lit t le boy, of a I

r i c h m an and a poor fai lur e, of a l o v e l y woman and.a miserabl e rebel against s ocie ty— it is l i f e reco rded I

b y a humo rou s observe r whose analysis is al l thekeener for its kindl ines s.

\2mo; 460 pages; $1.35 net.

Little Wizard Stories of Oz

By L. Frank Baum

O z in miniature , with a ll the ch ar m of the bi g Oz

Books . He re are six short stories, each jus t righ t

bedtime length. Ent ert aini ng, j o l l y — a dozen read

ings w i l l not exhaust the chi ld' s interest. A n assured

success as a popu lar -pr ice 208-page' twe lv emo .

With 36 full-page and 6 double-page pictures in full

color by John R. Neitl. Pictorial jacket and cover in

lay in four colors. 60 cents.

The Mother Goose ParadeBy Anita de Campi

A bi g book, llxl7z

/i inc hes , 160 pages , with features of hand and mind and eye entertainment w i t h ou t l i m i t for youngsters. The Mot he r Goose jinglespictured in gay colors, with key drawings for painti n g in . M a y be used as cut- outs to for m a nurseryborder or decorative frieze. A money's-wor th c h i l dbook whose merchandise value has a strong appeal togrown-ups.

Illuminated boards. $1.50.