William Butler Yeats to American Poets
The current number of Poetry prints a speech that William Butler Yeats made during his recent visit to Chicago, in which he took occasion to warn his confreres in America against a number of besetting sins. He said, in part:
Twenty-five years ago a celebrated writer from South Africa said she lived in the East End of London because only there could she see the faces of people without a mask. To this Oscar Wilde replied that he lived in the West End because nothing interested him but the mask. After a week of lecturing I am too tired to assume a mask, so I will address my remarks especially to a fellow craftsman. For since coming to Chicago I have read several times a poem by Mr. Lindsay, one which will be in the anthologies, General Booth Enters Into Heaven. This poem is stripped bare of ornament; it has an earnest simplicity, a strange beauty, and you know Bacon said, “There is no excellent beauty without strangeness.” ...
I have lived a good many years and have read many writers. When I was younger than Mr. Lindsay, and was beginning to write in Ireland, there was all around me the rhetorical poetry of the Irish politicians. We young writers rebelled against that rhetoric; there was too much of it and to a great extent it was meaningless. When I went to London I found a group of young lyric writers who were also against rhetoric. We formed the Rhymers’ Club; we used to meet and read our poems to one another, and we tried to rid them of rhetoric.
But now, when I open the ordinary American magazine, I find that all we rebelled against in those early days—the sentimentality, the rhetoric, the “moral uplift”—still exists here. Not because you are too far from England, but because you are too far from Paris.
It is from Paris that nearly all the great influences in art and literature have come, from the time of Chaucer until now. Today the metrical experiments of French poets are overwhelming in their variety and delicacy. The best English writing is dominated by French criticism; in France is the great critical mind.
The Victorians forgot this; also, they forgot the austerity of art and began to preach. When I saw Paul Verlaine in Paris, he told me that he could not translate Tennyson because he was “too Anglais, too noble”—“when he should be broken-hearted he has too many reminiscences.”
We in England, our little group of rhymers, were weary of all this. We wanted to get rid not only of rhetoric but of poetic diction. We tried to strip away everything that was artificial, to get a style like speech, as simple as the simplest prose, like a cry of the heart....
Real enjoyment of a beautiful thing is not achieved when a poet tries to teach. It is not the business of a poet to instruct his age. He should be too humble to instruct his age. His business is merely to express himself, whatever that self may be. I would have all American poets keep in mind the example of François Villon.
So you who are readers should encourage American poets to strive to become very simple, very humble. Your poet must put the fervor of his life into his work, giving you his emotions before the world, the evil with the good, not thinking whether he is a good man or a bad man, or whether he is teaching you. A poet does not know whether he is a good man. If he is a good man, he probably thinks he is a bad man.
Poetry that is naturally simple, that might exist as the simplest prose, should have instantaneousness of effect, provided it finds the right audience. You may have to wait years for that audience, but when it is found that instantaneousness of effect is produced....
We rebelled against rhetoric, and now there is a group of younger poets who dare to call us rhetorical. When I returned to London from Ireland, I had a young man go over all my work with me to eliminate the abstract. This was an American poet, Ezra Pound. Much of his work is experimental; his work will come slowly, he will make many an experiment before he comes into his own. I should like to read to you two poems of permanent value, The Ballad of the Goodly Fere and The Return. This last is, I think, the most beautiful poem that has been written in the free form, one of the few in which I find real organic rhythm. A great many poets use vers libre because they think it is easier to write than rhymed verse, but it is much more difficult.
The whole movement of poetry is toward pictures, sensuous images, away from rhetoric, from the abstract, toward humility. But I fear I am now becoming rhetorical. I have been driven into Irish public life—how can I avoid rhetoric?
Letters to The Little Review
What an insouciant little pagan paper you flourish before our bewildered eyes! Please accept the congratulations of a stranger.
But you must not scoff at age, little bright eyes, for some day you, too, will know age; and you should not jeer at robustness of form, slim one, for the time may come when you, too, will find the burdens of flesh upon you. Above all, do not proclaim too loudly the substitution of Nietzsche for Jesus of the Little Town in the niche of your invisible temple, for when you are broken and forgotten there is no comfort in the Overman.
One thing more: Restraint is sometimes better than expression. One who has learned this lesson cannot refrain from saying this apropos of the first paragraphs in the criticism of The Dark Flower. Do not give folk a chance to misunderstand you. Being a woman, you have to pay too high a price for moments of high intellectual orgy.
Forgive all this and go on valiantly.
Sade Iverson.
Chicago.
I am greatly indebted for a copy of The Little Review. I take this opportunity of stating that the publication is one of the cleverest and best things I have seen. It deserves success, for it contains stuff which will compare very favorably with the best that is being written.
G. Frank Lydston.
Chicago.
Will you allow me to congratulate you on your magnificent effort in bringing out The Little Review?
I have found it very refreshing after having suffered for so long by reading the so-called book review magazines that have no right to more than passing notice.
You have accomplished wonders, and if your efforts of the future come up to those put into the first number of The Little Review, your success is assured.
The best wish I can offer is that its path may be covered with roses and bordered with the trees of prosperity.
Again congratulating you, I am, with every good wish, very truly yours,
Lee A. Stone, M. D.
Chicago.
The Little Review came this morning! And I have read it all! And I love it! Much more than I expected, to be perfectly honest! I feared something too radical—too modern—if that is possible. If it had been like The Masses—well, I can never express my contempt for that sheet. But you’re perfectly sane, intelligent, readable, and enthusiastic—gloriously so!
Your description of Kreisler is worth much to me. It is precisely what I have always felt about him. Paderewski, too. But I think the Mason and Hamlin reference a little too commercial. I realize you want The Little Review to be straightforward, honest, intimate, etc., but I fear that kind of thing will be taken as advertisement and not as a personal belief and enthusiasm.
If I should never know anything more of Mr. George Soule than his sonnet and New York letter I should have to like him. The man who could feel and write that last paragraph is a splendid type.
But the whole thing is beautiful, and worth while, whether you agree with it all or not. A thousand congratulations!
Agnes Darrow.
Dayton, Ohio.
[Of course our remarks about the Mason and Hamlin violated all journalistic traditions. But traditions are so likely to need violation, and diplomacy and caution are such uninteresting qualities! What we feel and tried to say about that piano is that it’s as definitely a work of art as good poetry or good music. Why not say so, quite naturally? We know something of the man who is responsible for its quality of tone; he’s as authentic an artist as those musicians who create on his foundations. Is there any reason why such an achievement is not to be mentioned in a journal that means to devote itself to beauty? Is anything vital ever gained by a cautious regard for “on dit”? Above all, if one can discover no importance in journalistic tradition of that type, why defer to it?—The Editor.]
I haven’t got over your beautiful magazine yet. Don’t let anybody keep you from making it a truthful expression of yourself—but you won’t.
First of all, it’s beautifully made. You couldn’t have done better typographically. It’s the most inviting magazine published. I like the color and the paper label.
Second, its spirit blows keen and with a pure fragrance. If you can continue to show such freshness you will have gone far toward achieving the goal Mr. Galsworthy urges—that “sleeping out under the stars” which cleans our hearts of all things artificial.
With sincerest congratulations,
Henry S.
New York.
I am very much pleased with the first issue of The Little Review. I am very glad to know that such a thing should be started, and it should be both a cause and an effect of better times in literature. I shall do everything I can to make it better known.
William Lyon Phelps.
Yale University.
When I found that the local bookstores had sold out their first orders of The Little Review I was delighted; for it meant folks were interested in the fledgeling. The first number deserves the praise and congratulations of everybody interested in literature; everything in it is fine, even unto the composition of the “ad” pages. With its fresh, cheerful note The Little Review very fittingly comes forth on the first day of Spring. Long may it spread sweetness and light.
W. W. G.
Chicago.
There are so many things that I admire in the first issue of The Little Review that I find it difficult to decide just where to begin. It was like taking up a copy of the Preludes of Debussy for the first time; after playing them over and over again I found it difficult to know whether it was what he said or the way he said it which held the greater charm for me. I congratulate you most sincerely on the distinct personal quality which is so evident in your magazine and you may count upon me to rejoice with you if it meets with anything like the great success which it so distinctly merits.
F. L. R.
Chicago.
Your new publication has just fallen into my hands. The vital thing!
I cannot begin to tell you what its pulsating, teeming import means to me. I know nothing today in magazine form that will mean so much to busy, thinking people.
Nannie C. Love.
Indianapolis.
Please let me offer my sincerest congratulations and my warmest wishes for the continued success of The Little Review. There are numerous points in the first issue that I should like to discuss with you; I must warn you that you are tempting your readers and must not be surprised if you are overwhelmed with letters, questioning, approving, and criticising.
The foreword strikes such a splendid note! I hope no criticism will influence you to change it.
You agree, evidently, with the point that The Dark Flower suggests a Greek classic; so do I. But, conceding that, how could you have been surprised that countless people care nothing for it? Don’t you know that the majority of people in the world do not really “possess” the Greek classics? Without the background of the world’s thought, ages ago, and its progress—unless we agree with Alfred Russell Wallace that we have made no progress—can’t you see that The Dark Flower could genuinely startle many people? So I beg for less sharpness toward those who do not feel the wonder of it. The tragedy is in their lives.
For just the same reason Jean Christophe belongs to a few, comparatively. If you had never before felt the power of a great epic, could you really grasp this one? Modern as we claim to be—and independent—must there not be some foundation? Oh dear!—I do want to tell you why I think Vanity Fair is greater than Succession and why Ysaye’s music is inspired—when I listen, at least. But one can’t go on forever.
Since the “Critics’ Critic” expressed a doubt about that quotation from Euripides and since you insisted that it sounded like a Gilbert Murray translation, you may be glad to know that it is both. But you quoted it wrong. It is from Aeolus, a lost play, and this is the correct version:
This Cyprian,
She is a thousand, thousand changing things;
She brings more pain than any god; she brings
More joy. I cannot judge her. May it be
An hour of mercy when she looks on me.
I do agree that “a million, million changing things” is somehow more perfect; I even agree now, though not at first, with the order of attributes: “She brings more joy than any god, she brings more pain.” On a re-reading of Aeolus I am taken with the way you misquoted it. Joy was surely first in the Greek’s life. And of course the human beauty of the thing made me think immediately of the way Mrs. Browning “struck off” Euripides:
Our Euripides, the human,
With his droppings of warm tears
And his touches of things common
Till they rose to touch the spheres!
Katherine Tappert.
Davenport, Iowa.
... I don’t know when I’ve read anything so inspiring as that letter from Galsworthy. Can’t all of you who are helping to make the magazine arrange to march up to it mentally and present your “copy” for approval before you decide to print it?
I like the article on Paderewski and the one about The Dark Flower. But do be careful of “beauty” and “passion.” It’s easy to make them commonplace. Also spare your adjectives a bit; you don’t need an adjective for everything. I realize that your abbreviations are made in the interest of readableness, but however informal you want to make it you only succeed in sounding hideously colloquial. It doesn’t read well, and it makes me feel that you’re trying to achieve through the style what ought to be achieved quite simply through the material itself. Not that I approve of anything stilted, but you can easily overdo the other side of it. And wouldn’t it be better to leave some of the things unsigned? People who don’t know that the various Anderson contributors are unrelated will think it’s rather a family monopoly.
The Ficke poems are exquisite; and how I love Nicholas Vachel Lindsay’s! Also I like the New York letter very much, but George Soule’s Major Symphony could just as well be unwritten. Poetry has to be so much better than that to be real poetry. Another thing: I think your quotations from Succession weren’t as efficient as you hoped. It’s a book that can’t well be quoted except to one who knows it.
You wanted frankness, so here it is. Otherwise, I have nothing but praise for the whole glorious undertaking!
Lois Allen Peters.
Philadelphia.
[Being a sister of the editor, Mrs. Peters speaks her mind with a freedom that enchants us. It also helps us—though we want to shake her for one or two of those remarks. However—may her letter serve as a model to timid but opinionated readers!—The Editor.]
If you will allow me to be perfectly frank about your first issue, I should like to tell you that The Little Review seems rather too esthetic in tone and spirit to avoid being “restrictive”—a wish you expressed in your editorial. There is not enough variety in it, for one thing. For another, some of its critical judgments are too personal—are too largely temperamental judgments—to be of any permanent value. You seem to have set out to exploit personalities; and there’s a juvenility in many of the articles that I’m afraid you’ll all blush for in ten years.
A Well-Meaning Critic.
The first number of The Little Review came as a delightful surprise and I have enjoyed reading it. I particularly appreciate the spirit of appreciation running through the pages, which I believe will be of inestimable service to young writers, if you are able to keep it up.
M. K.
New York.
The Little Review looks very interesting. I hope to have the pleasure of reading it through very soon, but at the moment my small sister is devouring it and refuses absolutely to give it up. If you are as successful in pleasing women generally as you have been in pleasing her you need have no fear for the success of the magazine.
J. C. P.
New York.
Professor Foster’s essay on The Prophet of a New Culture is magnificent—a soul-searching, heart-breaking bit of writing, fiery and tragic. Nicholas Vachel Lindsay’s How a Little Girl Danced is a delightful thing—airy, high-minded, and full of his burning spirit. In fact, The Little Review is full of things that one reads with a keen zest.
W. L. C.
Denver.
The Little Review came to hand promptly, but I was unable to read it until last night. That is where I made my first mistake, as I had been denying myself a very pleasant two hours. My second mistake was in having read it at all, as it has now become one of those eight or ten journals which are always welcome and more or less necessary. Ten journals each month (and some weeklies), quietly yet insistently urging me to take them up, are like those good friends who tempt me with an outing in Spring when work is crowding. So with The Little Review. It has with one reading become a distinctly individual friend.
W. M. L.
Philadelphia.
Your Little Review has just reached me. I took it home for leisurely examination on Sunday. I congratulate you upon launching and hope that you’ll meet no adverse trade winds in your voyage. Its atmosphere is certainly anything but editorial, and you’ve put plenty of your own personality into it. And what a delightfully charming letter is that from Galsworthy!
I should take sharp issue with you on one or two slight points could I face you across a lunch table, but as it is, I tuck my differences away, with a sigh of envy at your enthusiasm, and the sincere wish that you may always keep it.
With best wishes for your good luck.
Beatrice L. Miller.
Boston.
I think your first number very interesting indeed, and congratulate you on your fine start. I am always delighted with every new manifestation of the life and enthusiasm in Chicago!
With best wishes for your future.
Alice C. Henderson.
Chicago.
... I’ve fallen in love with M. H. P., “The Critics’ Critic.” She’s just the sort of person I’d like to go and talk with this afternoon. Please ask her to write a letter properly sitting on Agnes Repplier for her Atlantic essays. A very delicate, cultured, polite little woman sitting behind a tea-table in her aloof apartment, and given over to well-bred sneering at things she doesn’t know anything about—that’s how I picture Miss Repplier.
A Contributor.
The Little Review is here, and I have so enjoyed going over it.
It is a great first number and sets a pace that would have made most of us breathless before we started; but anyone can know it isn’t so with you, from that last paragraph of your announcement. It was lovely!
I loved the Paderewski, too. Was there anything more wonderful than the glory of the Funeral March as he played it the afternoon of his first recital here this winter? I know you heard it from the way you write of it. An emotion that brings the tears and makes the sobs struggle in the back of your throat is always worth living through, and I wouldn’t have missed it for worlds.
With the best of good wishes.
Mabel Reber.
Chicago.
I want to tell you how very good the first issue of The Little Review is. I don’t know what the succeeding numbers will be like, but you have set a pace in this one that will demand some vigorous effort to keep up. After that “gripping” announcement no one will doubt the real purpose of the Review and the fine optimism that is behind it. I don’t have to believe everything you are going to print, but if those who write it do, by all means keep them together. And don’t let George Soule get away.
It’s too early to make suggestions, but I should say that Number One is well balanced and very readable, and I like the trick of throwing the light on from different angles—like the Galsworthy and Nietzsche discussions. The tone is high, and I am quite sure I never read more intelligent reviews anywhere.
Good luck to The Little Review!
J. D. Marney.
Springfield, Ill.
Will you let me thank you for giving me a very pleasant experience in reading the first copy of The Little Review? There are many things in the first number which arouse one’s interest, though I am not sure that I would at all agree in all the critical judgments which are there pronounced. Anyway, you will let me wish you all success, and wave you my hand with the hope that The Little Review shall be the biggest review in the country.
D. W. Wylie.
Iowa City, Iowa.
Congratulations must be pouring in on you from all sides, but I want, just the same, to add my voice to the chorus of “Bravos” that surrounds you.
The Little Review is a triumph. It even outdoes my picture of it; and that is saying much, for I have known it was to be something exceptionally nice.
It is a delight to look at, showing somebody’s good personal taste; and the contents—well, I like them lots more than I could say adequately or put in this space.
Blessings on you and the heartiest congratulations to all concerned in the making of The Little Review.
Margaret T. Corwin.
New Haven, Conn.
I am pleased with its general appearance, and the contents are inspiring—full of the spirit of youth. I wish The Little Review every success.
Georgia M. Weston.
Geneva, Ill.
The initial number of The Little Review has impressed me so favorably that I want some of my friends also to share in its appreciation.
You surely have made a fine beginning and, in my judgment, cannot do better than to adopt as the creed of The Little Review the sound and encouraging advice given in Mr. Galsworthy’s inspiring letter.
Albert H. Loeb.
Chicago.
From the first page to the last book announcement I have read The Little Review with pride and delight.
Its sincerity attracts me even more than its obvious literary merit, and its comprehensiveness and quality will appeal to all who read at all—especially to those who go below the surface.
Alethea F. Grimsley.
Springfield, Ill.
Thank you so much for The Little Review! I liked it from the moment I saw it, both outside and in. I like particularly the personal note you put into your writing. It’s as though you were really talking to me and telling me how you feel about The Dark Flower and Paderewski and dear Little Antoine with his bad room that was “pretty but stupid for the sound.”
With best wishes to you in your beautiful, big undertaking.
Zetta Gay Whitson.
Chicago.
The “Best Sellers”
The following books, arranged in order of popularity, have been “bestsellers” in Chicago during March:
The Little Review is now on sale in the following bookstores:
New York:
Brentano’s.
Vaughn and Gamme.
M. J. Whaley.
Chicago:
The Little Theatre.
McClurg’s.
Morris’s Book Shop.
Carson, Pirie, Scott and Company.
A. Kroch and Company.
Chandler’s Bookstore, Evanston.
W. S. Lord, Evanston.
Pittsburg:
Davis’s Bookshop.
Springfield, Mass.:
Johnson’s Bookstore.
Cleveland:
Burrows Brothers Company.
Detroit:
Macauley Brothers.
Minneapolis:
Nathaniel McCarthy’s.
Los Angeles:
C. C. Parker’s.
Omaha:
Henry F. Keiser.
Columbus, O.
A. H. Smythe’s.
By John Galsworthy
The Dark Flower
$1.35 net; postage extra.
This splendid story of love which has drawn more attention than anything else Mr. Galsworthy ever wrote, is now in its fourth large edition.
The editor of the new Little Review says of it: “Everything John Galsworthy has done has had its special function in making ‘The Dark Flower’ possible. The sociology of ‘Fraternity,’ the passionate pleading of ‘Justice’ and ‘Strife,’ the incomparable emotional experiments of ‘A Commentary,’ the intellectuality of ‘The Patrician’—all these have contributed to the noble simplicity of ‘The Dark Flower.’”
John Galsworthy’s Plays
The Fugitive
60 cents net; postage extra.
“Mr. Galsworthy deals with the problem of woman’s economic independence, her opportunity and preparation for self-support outside the refuge of marriage....
“‘The Fugitive’ is an admirable piece of dramatic writing. The undeviating exposition of the situation in the first act is certainly the best thing Mr. Galsworthy has yet done in the dramatic field.”
—New York Tribune.
The Pigeon
A Fantasy in Three Acts
60 cents net.
The Eldest Son
A Domestic Drama in Three Acts.
60 cents net.
Justice
A Tragedy in Four Acts.
60 cents net.
The Little Dream
An Allegory in Six Scenes
50 cents net.
Three of these plays—“Justice,” “The Little Dream,” and “The Eldest Son”—have been published in the more convenient form of one volume, entitled “Plays by John Galsworthy, Second Series.”
$1.50 net.
My First Years as a Frenchwoman 1876-1879
By Mary King Waddington, author of “Letters of a Diplomat’s Wife,” “Italian Letters of a Diplomat’s Wife,” etc.
$2.50 net; postage extra.
The years this volume embraces were three of the most critical in the life of the French Republic. Their principal events and conspicuous characters are vividly described by an expert writer who was within the inmost circles of society and diplomacy—she was the daughter of President King of Columbia, and had just married M. William Waddington, one of the leading French diplomats and statesmen of the time.
Notes of a Son and Brother
By Henry James.
Illustrated. With drawings by William James. $2.50 net; postage extra.
Harvard, as it was in the days when, first William, and then Henry, James were undergraduates, is pictured and commented upon by these two famous brothers—by William James through a series of letters written at the time. The book carries forward the early lives of William and Henry, which was begun in “A Small Boy and Others,” published a year ago. Among the distinguished men pictured in its pages are John LaFarge, Hunt, Professor Norton, Professor Childs, and Ralph Waldo Emerson, who was a close friend of Henry James, Senior.
North Africa and the Desert
By George E. Woodberry. $2.00 net; postage extra.
This is one of that very small group of books in which a man of genuine poetic vision has permanently registered the color and spirit of a region and a race. It is as full of atmosphere and sympathetic interpretation as any that have been written. Chapters like that on “Figuig,” “Tougourt,” “Tripoli,” and “On the Mat”—a thoughtful study of Islam—have a rare value and beauty.
By HUDSON STUCK, D.D. Archdeacon of the Yukon.
The Ascent of Denali (Mt. McKinley)
With illustrations and maps $1.75 net; postage extra.
The fact that this narrative describes the only successful attempt to climb this continent’s highest mountain peak, and that the writer led the successful expedition, is enough to give it an intense interest. But when the writer happens to be as sensitive as an artist to all the sights and sounds and incidents of his great adventure, and to be so skilful a writer to convey everything to the reader, the value and interest of the book are irresistible.
Ten Thousand Miles with a Dog Sled
With 48 illustrations, 4 in color. $3.50 net; postage extra.
If you would see the vast snow-fields, frozen rivers, and rugged, barren mountains of the Yukon country but cannot visit them you will do the next best thing by reading this often beautiful account of a missionary’s ten thousand miles of travel in following his hard and dangerous work. It is the story of a brave life amid harsh, grand, and sometimes awful surroundings.
Charles Scribner’s Sons
Fifth Avenue, New York
SPRING PUBLICATIONS
HOUGHTON MIFFLIN COMPANY
4 Park Street, Boston 1914 16 E. 40th St., New York
George Borrow and His Circle
By CLEMENT K. SHORTER
“A treasure and a delight to admirers of Borrow.”—London Athenæum. “A sane book about a sane and magnificently wholesome man.”—London Daily Express.
With frontispiece. $3.00 net. Postage extra.
What Men Live By
By RICHARD C. CABOT, M.D.
A physician’s contribution to the conduct of life. His application of work, play, love, and worship to daily life and his experience of their healing powers are set forth in this volume in an inspiring and readable way.
$1.50 net. Postage extra.
Our Friend John Burroughs
By Dr. CLARA BARRUS
The increasing thousands of lovers of John Burroughs and his writings will welcome this intimate book about the man, his life, and his personality. A picturesque and vivid account of his youth, written by Mr. Burroughs himself, is a prominent and important feature.
Illustrated. $2.00 net. Postage extra.
Annals and Memoirs of the Court of Peking
By J. O. P. BLAND and EDMUND BACKHOUSE
“An extraordinarily vivid picture of life at the Court of Peking from the middle of the sixteenth century down to our day.”—London Truth.
“Of the importance to us today of understanding or endeavoring to understand the Chinese, no one will entertain a doubt, and therefore we heartily welcome a book like this in which the attempt is made, and made, we believe, successfully, to trace cause and effect back to the buried foundations of Chinese philosophy and civilization and to look at things from the Chinese point of view.”—London Globe.
Lavishly illustrated. $4.50 net. Postage extra.
In the Old Paths
By ARTHUR GRANT
A series of delightful essays, by a popular English writer, which recreate with charm and delicacy some of the great scenes of literature. Using as a starting-point some poet, Mr. Grant writes of the country in which he lived, or which lives in his work, and allows a sensitive fancy to draw pictures of the past.
Illustrated. $1.50 net. Postage extra.
Thomas Wentworth Higginson: The Story of His Life
By MARY THACHER HIGGINSON
This intimate biography tells for the first time the full story of the life of one of the most interesting of American soldiers and writers. Fully illustrated from portraits, views of Colonel Higginson’s homes, friends, etc., and with facsimiles of interesting manuscripts.
Illustrated. $3.00 net. Postage extra.
The Ministry of Art
By RALPH ADAMS CRAM
Among the subjects discussed are: Art as an Expression of Religion, the Place of Fine Arts in Public Education, the Significance of the Gothic Revival in American Architecture, American University Architecture.
These papers all embody and eloquently exploit that view of the relation of mediæval ideals to modern life which has made the author the most brilliant exponent of Gothic architecture in America.
$1.50 net. Postage extra.
Elia W. Peattie’s
THE PRECIPICE
“One of the most significant novels that have appeared this season ... so absolutely true to life that it is hard to consider it fiction.”—Boston Post.
“A book which men and women alike will be better for reading, of which any true hearted author might be proud.... The author knows life and human nature thoroughly, and she has written out of ripened perceptions and a full heart.”—Chicago Record Herald.
“An intimate and sympathetic study of new-century womanhood ... presents a profoundly interesting survey of the new social order of things.”—Philadelphia North American.
With frontispiece. $1.35 net. Postage extra.
Diane of the Green Van
The Season’s Great Success
By Leona Dalrymple
Viewed even in the critical light of the high standard set for the winner of a ten-thousand-dollar prize, “Diane of the Green Van” fully measures up to the expectations of the novel-reading public.
This is why it heads the list of best sellers in New York, Chicago, Philadelphia. The advertising value of a big prize offer may account in some degree for the heavy advance sale—although the wholesale buyers ordered after reading. Nothing but sheer merit can account for the extremely large retail sale. Friend-to-friend commendation is steadily increasing over-the-counter demand.
The judges—the readers—all gave “Diane” first place among five hundred manuscripts, many of them by first-class authors. The trade has applauded the choice. Reviewers have called “Diane of the Green Van” well worth the big prize.
We should like to be able to publish the list of twenty or more successful writers who entered stories. On reputation alone, their work would have gone far; but we feel that the story of “Diane” will go farther.
“Here are expectation and enthusiasm justified alike. It is a clear, clean, clever romance.... It combines the love and intrigue of the ‘Zenda’ tale with the freedom of a Locke or Farnol story of broad highways.”—New York World.
“Just what countless pleased readers will devour with avidity.... Gracefully written, vivid in style and suggestion.... Bright and breezy and exciting.”—Chicago Record Herald.
“The tale has unusual dramatic grip, much brilliancy of dialogue.... It is the sort of narrative that no one willingly lays down until the last page has been turned.”—Philadelphia North American.
“The novel throbs with the youthful joy of living and the enchantments of summer hover over its pages. Everywhere is there originality in the invention of the incidents and subtlety in the delineation of characters.”—Chicago Tribune.
“A heroine whose fascination richly merits study. A hero who will capture the heart of the reader from the moment of his first appearance.”—Boston Globe.
“So good a thing, a thing so romantic and thrilling, we have not seen in—lo, these many moons of story telling.”—Louisville Post.
“Diane” is a tale with the freshness and spontaneity of youth, with the rich personality of the author shining through its diverting pages. In its imagination and clever dialogue and plot it strikes the keynote of popular appeal. At the same time, “Diane” has all the essentials of lasting popularity. The publishers feel justified in predicting a long journey for the Green Van and its charming young mistress. ($1.35 net)
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Frontispiece in color. 120 illustrations from actual examples of Garden Architecture and House surroundings. Square octavo. Ornamental cloth, in a box, $5.00 net. Postpaid. $5.25.
A volume for the owner developing his property, large or small, for the amateur or professional garden architect, for the artist, student and nature lover.
The Flower Finder
By GEORGE LINCOLN WALTON, M.D.
590 illus. Limp leather. $2.00 net. Postage extra.
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The Training of a Forester
By GIFFORD PINCHOT.
8 illus. $1.00 net. Postage extra.
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THE SOUTH AMERICAN TOUR
By Annie S. Peck
Author of “A Search for the Apex of America”
With 87 illustrations mainly from photographs by the author.
This is the first guide to THE SOUTH AMERICAN TOUR which is adequate and up-to-date in its treatment, dealing importantly with the subject both in its commercial and pleasure aspects.
8vo. Net $2.50
A BOOKMAN’S LETTERS
By Sir W. Robertson Nicoll, M.A., LL.D.
These papers here collected, forty-eight in all, deal with various literary personalities, problems and impressions and show Sir William Nicoll in his most genial and leisured spirit.
Octavo. Net $1.75
ROBERT LOUIS STEVENSON’S EDINBURGH DAYS
By E. Blantyre Simpson
The hitherto untold record of the boyhood days of Stevenson—the most valuable recent contribution to Stevensoniana.
Fully illustrated. Octavo. Net $2.00
MADAME ROYALE
By Ernest Daudet
Translated from the French by Mrs. Rodolph Stawell
The story of Madame Royale, daughter of Louis XVI and Marie Antoinette, covers the French Revolution, the tragic execution of her parents, and the mystery of the lost Dauphin. Ernest Daudet tells this story in a form which reads like fiction—impressionistic, racy—but is no less truth.
Illustrated. Octavo. Net $3.50
MY FATHER: W. T. Stead
By Estelle W. Stead
The Record of the Personal and Spiritual Experience of W. T. STEAD.
An extraordinary light cast on the life of the great journalist who ordered his life on direct messages from another world.
Octavo. Net $2.50
THINKING BLACK
With many illustrations and maps.
By Dan Crawford, F.R.G.S.
Twenty-two Years Without a Break in the Long Grass of Central Africa. A brilliant and original book which will take its place among the Classics of the Missions. What Paton did for the New Hebrides, Cary for India, and Mackey for Uganda, Crawford has done for Central Africa.
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THE NEW TESTAMENT: A New Translation
By James Moffatt, D.D., D.Litt.
Dr. Moffatt is one of the most distinguished living scholars of the Greek New Testament. He is also a profound student of modern literature. He has re-translated with the view of giving a modern literary version which shall be verbally accurate in its equivalents for the Greek phrases. It is a work which awakens enthusiasm by its distinguished choice of language and which stirs up thought by its originality of rendering.
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FICTION
EAST OF THE SHADOWS
By Mrs. Hubert Barclay
Author of “A Dream of Blue Roses,” etc.
One of the most original love stories that ever was penned—narrating a woman’s power to restore romance.
12mo. Net $1.25
THE HOUR OF CONFLICT
By Hamilton Gibbs
The story of a man who achieved the extraordinary through remorseful recollection of early wrongdoing.
12mo. Net $1.25
GILLESPIE
By J. Macdougall Hay
A strong, daring, original piece of work, which exhibits that rare but unmistakable quality of permanency.
12mo. Net $1.40
A DOUBTFUL CHARACTER
By Mrs. Baillie-Reynolds
An enigmatic love-story by the author of “Out of the Night,” “A Make-Shift Marriage,” etc.
12mo. Net $1.25
ANOTHER MAN’S SHOES
A Mystery Novel
By Victor Bridges
Many a man leads a double life—this man lived the life of a double in a desperate attempt to cheat destiny.
12mo. Net $1.25
FORTITUDE
By Hugh Walpole
The novel that places Hugh Walpole in the front rank of novelists today. A story of inspiring courage.
12mo. Net $1.40
JEAN AND LOUISE
By Antonin Dusserre
From the French by John M. Raphael with pen portrait of the author by Marguerite Audoux, author of “Marie Claire”
The chief claim of this novel is its entire difference from all other novels. It discovers a new territory and exploring it with beauty and tenderness, makes it appeal in the delicacy and sweetness of its atmosphere and character portraiture.
12mo. $1.20
DOWN AMONG MEN
By Will Levington Comfort
Author of “Routledge Rides Alone”
The high-tide of Mr. Comfort’s art—bigger than his previous novels.
12mo. Net $1.25
THE STORY OF LOUIE
By Oliver Onions
The story of Louie, an experimenter in Life, triumphantly completes Oliver Onions’ remarkable trilogy begun in “In Accordance With the Evidence” and carried through “The Debit Account.”
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PENROD
By BOOTH TARKINGTON
Author of “Monsieur Beaucaire,” “The Gentleman From Indiana,” etc.
It you ever were a boy, if you ever had one, or if you remember your scalawag brother in those days when his last short pair of trousers were fast becoming inadequate to his needs, then the exploits of the unregenerate Penrod will recall some of the most harrowing yet amusing experiences of your life. When a boy is a real boy there is nothing under heaven in his class. JUST OUT. Really illustrated by Gordan Grant. Net, $1.25.
ADE’S FABLES
By GEORGE ADE
Author of “Fables in Slang,” “Knocking the Neighbors,” etc.
“Fables in Slang” up to date. How “Tango Teas,” “Buzzing Blondines” and “Speedy Sprites” appear to George Ade, artist of whimsical and amusing English. Illustrated by John T. McCutcheon. Net $1.00. JUST OUT.
MY GARDEN DOCTOR
By FRANCES DUNCAN
How a sickly lady gave up doctors and nostrums for the cultivation of a garden, and how in the end she was cured. A delightful little romance. JUST OUT. Net $1.00.
THE MEXICAN PEOPLE; THEIR STRUGGLE FOR FREEDOM
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The first true expression of the voice of the Mexican people. A history of the Revolution written by a participator and a leader of the movement. Illustrated. Net $1.50. JUST OUT.
The Carpenter and the Rich Man
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CHANCE
By JOSEPH CONRAD
Author of “Youth,” “Typhoon,” etc.
“Chance” is a novel of the effect of circumstances on character. In the case of Flora de Barral, Chance was finally on her side, though for a long time the reader is left in thick and thrilling uncertainty. Although we never see her face to face, but only reflected, she is one of the most appealing heroines in modern fiction. New York Times. JUST OUT, net, $1.35.
A SON OF THE AGES
By STANLEY WATERLOO
Author of “The Story of Ab,” etc.
The Darwinian theory in fiction. The story of Scar, who, unlike common mortals, lives through the ages and so traces the descent of man. Illustrated by Craig Johns. Net $1.25. JUST OUT.
ST. LOUIS: A CIVIC MASQUE
By PERCY MACKAYE
The acting version of the masque, which is to be performed in the latter part of May in connection with the St. Louis pageant. Net $1.00. Ready May 15th.
THE PANAMA CANAL
By FREDERIC J. HASKIN
Author of “The American Government.”
The story of the Canal with Col. Goethals’s O. K. A complete account of the great work from its inception to its completion. Illustrated. Net $1.35 JUST OUT.
AMERICA AND THE PHILIPPINES
By CARL CROW
The story of the result of the sixteen years American occupation of the islands, which shows the success that has been achieved and opportunity offered in our island possessions. JUST OUT. Illustrated. Net $2.00.
Psychology and Social Sanity
By HUGO MÜNSTERBERG
The closing link in Professor Münsterberg’s popular books on the application of modern psychology to the practical tasks of life—how psychology can help us in settling social problems and contribute to social soundness. In it he discusses the sex problem, socialism, our jury system, investors and investments and other topics of public interest. JUST OUT. Net $1.25.
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TITTA
RUFFO
THE WORLD’S
GREATEST BARITONE
Writes of the
Mason &
Hamlin
THE MAJESTIC HOTEL COMPANY
BERL SEGAL
GENERAL MANAGER
Nov. 16, 1912.
Mason & Hamlin Piano Company,
New York, N. Y.
Gentlemen:
The Mason & Hamlin Piano used by me during my operatic engagement in this country has been a source of great pleasure.
Its beautiful singing tone is remarkable. Such qualities for the vocalists or pianiste must be a great inspiration. I know of no piano that gives me so much satisfaction and heartily recommend it to those of my profession.
Mason & Hamlin should feel proud of their great achievement in producing those wonderful instruments.
Sincerely yours,
Titta Ruffo.
Cable Piano Company
Wabash and Jackson
Some New McClurg Books
The Coming Hawaii
By JOSEPH KING GOODRICH
Beginning with Captain Cook and even earlier navigators, the history of this “Paradise of the Pacific” is briefly told. Descriptions of the character and life of the natives and newcomers follow, and full space is given to the attractions of the islands for tourists and settlers. The products, business and possibilities receive abundant mention, and little worthy of interest is left untouched. The volume is a timely addition to the “The World Today Series.” The statistics are up to date. Illustrated. Net $1.50
Junipero Serra, His Life and His Work
By A. H. FITCH
The present biography is an attempt to supply the need for a popular account of the life and labors of the simple Franciscan monk, whose memory is reverenced and honored by California. Illustrated. Net $1.50
Cubists and Post-Impressionism
By ARTHUR JEROME EDDY
Author of “Delight; the Soul of Art,” and “The New Competition”
This remarkable work is far more than an exposition of certain styles of painting, but while broadly historical and descriptive of many men and schools, presents a plea for the public to react to new impressions, and a defence of freedom for the artist to express himself untrammeled by the past. Illustrated by twenty-four color plates and over forty half-tones of the pictures under discussion. Boxed. Net $3.00
The Art of Story-Telling
By JULIA DARROW COWLES
Out of her broad experience and love for the work, Miss Cowles tells how the art can be made to minister the highest service. She describes story-telling in the home and in the school, and treats at length of different kinds of stories—fables, myths, hero tales, Bible, and many other kinds which may delight and help the children. Parents, teachers, and others who would use this art most profitably and happily, will find here just what they want. Net $1.00
Gerhart Hauptmann: His Life and Work
By KARL HOLL
Gerhart Hauptmann is as yet only known to English readers by some of his works, although since he obtained the Nobel Prize for literature, English and American interest in his work has increased. Dr. Holl describes his personal life and character, and his works from the first epic, afterward suppressed, to the present time. This is a most important piece of critical literature, both on account of its intrinsic merits and because it is alone in its field. Net $1.00
Earmarks of Literature
By ARTHUR E. BOSTWICK
Author of “The Different West.” The things which make good books good are here made clear and interesting for popular reading by the librarian of the St. Louis Public Library, who has gathered and grouped together many things that are herein discussed in readable and compact form. The makers of literature are discussed, and other important features of the subject are admirably treated. Net 90 cents
Right Living: Messages to Youth from Men Who Have Achieved
Edited by HOMER H. COOPER
Men and women who have achieved high place in many departments of life, most of their names being known nation-wide, are the authors of the messages of this book. The articles are characterized by a peculiarly living touch because in most cases specially spoken to or written for a body of students, and in recent months. Net $1.00
A. C. McCLURG & CO.
Publishers CHICAGO
THE DRAMATIC WORKS OF GERHART HAUPTMANN
¶ Four volumes of this edition, epoch-making in dramatic literature, authorized by Hauptmann, and published with his co-operation, are ready. The set will consist of six or more volumes. The editor, Professor Ludwig Lewisohn, supplies an introduction to each.
VOLUME I
BEFORE DAWN
THE WEAVERS
THE BEAVER COAT
THE CONFLAGRATION
VOLUME II
DRAYMAN HENSCHEL
ROSE BERND
THE RATS
VOLUME III
THE RECONCILIATION
LONELY LIVES
COLLEAGUE CRAMPTON
MICHAEL KRAMER
VOLUME IV
HANNELE
THE SUNKEN BELL
HENRY OF AUE
At all bookstores. Each, 12mo., cloth, $1.50 net; each weighs about 24 ounces.
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Transcriber’s Notes
Advertisements were collected at the end of the text.
The original spelling was mostly preserved. A few obvious typographical errors were silently corrected. Further corrections are listed here (before/after):
- ... true: “Euch behren sollst ...
... true: “[Entbehren] sollst ... - ... Du, sollst eutbehren!” (Deny yourself, ...
... Du, sollst [entbehren]!” (Deny yourself, ... - ... To have the sense or creative activity is the ...
... To have the sense [of] creative activity is the ... - ... up a copy of the Preludes of Debessy ...
... up a copy of the Preludes of [Debussy] ... - ... will be like, but you have set a place in ...
... will be like, but you have set a [pace] in ...