ILLUSTRATED EDITION OF

An Attic Philosopher in Paris; Or, A Peep at the World from a Garret. Being the Journal of a Happy Man. By EMILE SOUVEstre. Svo, cloth, $1.50.

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The great popularity of "An Attic Philosopher in Paris," by Emile Souvestre, has led the publishers to prepare this fine illustrated edition, uniform with the illustrated edition of Colette." For this volume a large number of full-page and vignette illustrations have been made by the French artist Jean Claude, the illustrator of "Colette." A rich binding has been specially designed, and this volume, considering the fine literary quality of the text and the daintiness of the book's appearance, will, it is believed, prove one of the most popular of the autumn books.

In Gold and Silver.

By GEORGE H. ELLWANGER, author of "The Story of My House," "The Garden's Story," etc. With many illustrations. 16mo, cloth, $2.00.

Also limited édition de luxe, on Japanese vellum, $5.00.

"In this volume the author carries the reader from the Orient to the outdoor life of our own country, of which he is so competent to speak. "In Gold and Silver" has been magnificently illustrated by two of the foremost American artists, W. Hamilton Gibson and A. B. Wenzell, who have furnished full-page drawings, vignettes, and initials; while there are several pen-and-ink drawings of Oriental articles by W. C. Greenough, and there is a specially designed title-page and cover by H. B. Sherwin. Altogether, this book may safely be called one of the best examples of fine book-making produced in recent years.

Love Songs of English Poets. 1500-1800.

With Notes by RALPH H. CAINE, and frontispiece after ANGELICA KAUFFMAN. 16mo, cloth. "An admirable selection."-London Athenæum.

Abraham Lincoln:

THE TRUE STORY OF A GREAT LIFE.

By WILLIAM H. HERNDON and JESSE W. WEIK. With numerous illustrations. New and revised edition, with an introduction by HORACE WHITE. In two volumes, 12mo, cloth, $3.00.

This book, by Lincoln's law-partner, William H. Herndon, and his friend, Jesse W. Weik, shows us Lincoln the man. It is a true picture of his surroundings and influences and acts. The writers knew Lincoln intimately; their frank testimony must be accepted, and their biography must take permanent rank as the best and most illuminating study of Lincoln's character and personality.

The Story of Columbus.

By ELIZABETH EGGLESTON SEELYE. Edited by Dr. Edward Eggleston. With 100 illustrations by Allegra Eggleston. 12mo, cloth, $1.75.

This book is the result of most extensive investigations, which have been carefully verified by the eminent historian and novelist, Dr. Eggleston. To a considerable extent the plan of both text and illustrations is like that of Eggleston's Household History of the United States." It is hardly necessary to say more regarding the fitness of this volume for a place in every American private, public, and school library.

God's Fool.

By MAARTEN MAARTENS, author of "The Sin of Joost Avelingh." 12mo, cloth, $1.50.

In the opinion of competent critics, "God's Fool," the new novel by Maarten Maartens, represents the finest development thus far of the author's powers, and its appearance in book form will enlist general attention. There can be no question regarding the high appreciation of Maarten Maartens's work by American and English readers.

From Dusk to Dawn.

By KATHARINE P. WOODS, author of "Metzerott, Shoemaker." 12mo, cloth, $1.25.

This book is an original one, like its predecessor, in that it follows none of the beaten paths of fiction; and it raises questions of vital interest, and addresses itself to the reader's thoughts instead of merely tickling his fancy. There is a story, a romance, which will interest novel-readers, but the book will hold the attention of those for whom the average novel has little charm.

"The reader of this volume will not marvel more at the unfailing interest of each page than at the extraordinary collection of eminent persons whom the author all his life knew intimately and met frequently."- New York Times.

Hermine's Triumphs.

A Story for Girls and Boys. By MADAME COLOMB. With 100 illustrations, 8vo, cloth, $1.50.

The popularity of this charming story of French home life, which has passed through many editions in Paris, has been earned by the sustained interest of the narrative, the sympathetic presentation of character, and the wholesomeness of the lessons which are suggested. One of the most delightful books for girls published in recent years. It is bound uniformly with Straight On."

ENGLISHMAN'S HAVEN. By W. J. GORDON, author of "The Captain General.” 8 fullpage illustrations. IN THE BOYHOOD OF LINCOLN. A Story of the Tunker School-master and the times of Black Hawk. BY HEZEKIAH BUTTERWORTH, author of "The Zigzag Books," "The Log School-house on the Columbia," With 12 illustrations and colored frontispiece.

etc.

THE DIAL (founded in 1880) is published on the 1st and 16th of each month. TERMS OF SUBSCRIPTION, $2.00 a year in advance, postage prepaid in the United States, Canada, and Mexico; in other countries comprised in the Postal Union, 50 cents a year for extra postage must be added. Unless otherwise ordered, subscriptions will begin with the current number. REMITTANCES should be by check, or by express or postal order, payable to THE DIAL. SPECIAL RATES TO CLUBS and for subscriptions with other publications will be sent on application; and SAMPLE COPY on receipt of 10 cents. ADVERTISING RATES furnished on application. All communications should be addressed to

.

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CONTENTS - Continued.

BOOKS FOR THE YOUNG

Jacobs's Indian Fairy Tales.-Lang's The Green Fairy Book.- Miss Wilkins's The Pot of Gold.Miss Bouvet's Prince Tip-Top.-Julia Goddard's Fairy Tales in Other Lands.-The Children's Library. Hawthorne's Wonder Book, illustrated by Walter Crane.- Mrs. Burnett's Giovanni.-Stockton's The Clocks of Rondaine.-Ouida's Bimbi.Matthews's Tom Paulding.-Johnson's The End of a Rainbow.- Mrs. Molesworth's The Next-Door House. Mrs. Molesworth's Robin Redbreast. Alice Weber's An Affair of Honour.-Helen Milman's Uncle Bill's Children.-Francis's The Boys of the Mirthfield Academy.- Farrar's Through the Wilds.-Hutchison's The Boys' Own Book.-Maria Cox's Jack Brereton.-Rebecca Davis's Kent Hampden.- Greene's The River-Park Rebellion.- Miss Ray's The Cadets of Flemming Hall.-Miss Ray's In Blue Creek Cañon. Mrs. Sidney's Five Little Peppers Grown Up.-Kirk Munroe's Canoe-Mates. Boyesen's Boyhood in Norway.-Trowbridge's The Fortunes of Toby Trafford.-Mrs. Smith's More Good Times.-Olivia Wilson's At the Sign of the White Swan.-Allen's Gulf and Glacier.-Ellis's On the Trail of the Moose.-Optic's Fighting for the Right. Castlemon's Marcy the Refugee. - Mrs. Foot's Rovings of a Restless Boy. - Miscellaneous Books for Boys.-Mrs. Perry's A Rosebud Garden of Girls.-Miss Yonge's The Cross Roads.-Miss Richard's Hildegarde's Home.-Miscellaneous Books for Girls.

BRIEFS ON NEW BOOKS .

Character-Building in Our Public Schools.- Afloat
and Ashore on the Mediterranean.-The Memorials
of an
Estimable Lady."-The Early Training of
Children.-To England and Back.

LITERARY NOTES AND NEWS

LIST OF NEW BOOKS

352

356

357

358

Payne
Tennyson's The Death of Enone.- Whittier's At
Sundown. Mrs. Bates's From Heart's Content.-
Miss Monroe's Valeria, and Other Poems.-Perkins's
Eleusis, and Lesser Poems.

HOLIDAY PUBLICATIONS

Cole's Old Italian Masters.-Mrs. Van Rensselaer's English Cathedrals.- Eleanor Lewis's Famous Pets of Famous People.-Holmes's Dorothy Q.-Arnold's Selections from Wordsworth's Poems.- Parkman's The Oregon Trail. Thomson's Seasons. -- Alice Corkran's The Poets' Corner.- Virginia Johnson's The Lily of the Arno.-Mrs. Phelps's A Lost Winter. -Miss Jerome's Sun Prints in Sky Tints.-Selected Photogravures.-Curtis's Prue and I.-James's Daisy Miller. Longfellow's Hyperion.- Miss Strickland's Lives of the Queens of England. The Great Streets of the World.-Kaplan's The Magic Laugh.-Dobson's Eighteenth Century Vignettes.-" Darro" edition of Irving's Alhambra.-The Golden Rod Series. - Favorite Folk Ballads.- Miss Huse's Roland's Squires.-Page's Marse Chan.-Souvestre's An Attic Philosopher in Paris.-Miss Humphrey's Kalendar of Beautie. The Fairy Calendar. - Aquarelle Calendar.-Edna Lyall's The Autobiography of a Slander. -Mrs. Browning's Poems.-Selections from Isaac Penington. Miss Porter's A Gift of Love. - La Brète's My Uncle and My Curé.

Not merely for our pleasure, but to purge

The soul from baseness, from ignoble fear,
And all the passions that make dim the clear
Calm vision of the world; our feet to urge
On to ideal far-set goals; to merge

Qur being with the heart of things; brought near
The springs of life, to make us see and hear
And feel its swelling and pulsating surge:—

Such, Thespian art divine, thy nobler aim;
For this the tale of Edipus was told,
Of frenzied Lear, Harpagon's greed of gold;-
And, knowing this, how must we view with shame
Thy low estate, and hear the plaudits loud
That mark thee now but pander to the crowd!

WILLIAM MORTON PAYNE.

LITERATURE ON THE STAGE.

There has been of late, both in England and America, one of the periodically recurrent outbursts of criticism and discussion of the Englishspeaking stage, its present degradation, and its possible future redemption. Attention has been called, in all possible tones of indignation, to the old familiar facts; to the evils of the "star" system, to the alarming prominence of the spectacular element in dramatic production, and to the insistence of the public upon being amused, at whatever cost of the artistic proprieties. That all these evils exist, and many more, is evident to the most casual observer. The theatrical records of London, New York, and Chicago, alike give evidence of a noble art degenerated into a mere amusement, and of the almost complete severance of literature from the stage. But talking about these evils is not likely to prove effective in removing them. The talking will be done by a few earnest people, and the unthinking masses will give, as before, the sanction of their support to the dramatic monstrosities that chiefly occupy our stage. Discussion of the subject but supplies, after all, a new illustration of the homely saying that "a watched pot never boils"; in other words, the kingdom of true dramatic art, like a certain other kingdom, cometh not with observation. The great periods of the art, when literature securely trod the stage, did not result from a deliberate and reasoned conclusion that such art was a desirable possession, but were the spontaneous product of a heightened national consciousness seeking for adequate expression. Such expression was found in the ages and countries of Pericles and of Louis Quatorze, in the period of Spanish history that culminated with the glories of Calderon and Lope de Vega, and at the time of that vast expansion of the English spirit which produced Marlowe and Webster and Shakespeare. We may well wonder what manner of men they were who flocked to their rude theatres in "the spacious times of great Elizabeth," and shared, with no adventitious spectacular allurements to serve as a fillip, in the pure intellectual delight offered by "The Tempest" or "The Midsummer Night's Dream." As Mr. Symonds says, "There remains always something inscrutable in the spontaneous efforts of a nation finely touched to a fine issue."

The stage of to-day certainly does not give us, in England and America, any indication of "a nation finely touched to a fine issue." The playwright, not the poet, the contriver of puppets, not the creator of characters, occupies the higher plane of our existing dramatic art, while the lower plane is hopelessly given over to the buffoon, who acts after his kind. The situation is much better upon the continent of Europe, for there, at least, the stage has an unbroken and dignified tradition. If it can boast few living writers of great distinction, it still preserves its character as a school of conscientious acting, of correct diction, and of accurate enuncia

tion. As a conservator of the national speech the Théâtre Français is as important and influential a body as the Académie Française, while a similar function is fulfilled by the theatres of many German cities and of the Scandinavian capitals. To realize what this means, we have only to imagine the derision that would greet the proposal to decide some disputed question of English style or prounciation by reference to the practise of the stage in any English or American city. The explanation of this difference is, of course, largely political. The chief European governments have always held the stage to be an educational institution, and, as such, a legitimate object of government support. The noble motto of the Danish national theatre has been made the working rule of the government-aided European stage. The Théâtre Français permits no week to pass without performance of some work by Corneille, Racine, or Molière; the court theatres of Austria and Germany as frequently produce the plays of Lessing and Schiller, of Goethe and Shakespeare. But in no theatre of the English-speaking world is the presentation of Shakespearian drama thus made a matter of fixed weekly or even monthly recurrence. Germany pays more reverence than we do to our own dramatic poet, to the chief glory of all dramatic literature.

One might suppose that this neglect of a great art would have long since led to the disappearance of the drama from our literature. But the essential vitality of the dramatic form, and the inherent fitness of our English speech to assume that mode of expression, have given us, in spite of all discouragements, an almost unbroken succession of noble dramatic poems. Although our century refuses to witness stage productions of the great works of English dramatic literature, and although they are denied the support of even the reading public, they are still produced in numbers, for the instinct of the poet well knows the value of dramatic expression, and he will not abandon it, however the public may scorn the product of his labors. Such poems as "The Cenci" of Shelley and the "Count Julian" of Landor, or the plays of Browning and Swinburne, had they been written by Frenchmen or Germans, would not have had to wait long before taking their proper places in the classic repertory of the stage. And the greatest poet of our own age, had he not been English, would have obtained more than a grudging recognition, as fitted for stage purposes, of but one or two of the magnificent series of his historical and romantic dramas. Had a German poet written "Harold " and "Becket," or a French poet written "The Foresters," these works would have had more than a cold succès d'estime, for they would have reached a public quick to recognize literary excellence in the drama, and prompt to express its approval of noble workmanship. In excellent dramatic work of a rank lower than the first, our nineteenth century literature is also rich, and to a degree which few readers and no mere

theatre-goers suspect. Such plays as Sergeant Talfourd's "Ion" and Dean Milman's "Fazio," both of which once had a precarious tenure of the stage, well deserve to be revived; the dramatic poems of Sir Henry Taylor, Richard Hengist Horne, and Westland Marston, are infinitely more deserving of attention than nine-tenths of the plays actually produced upon our stage. But they would be caviare to the general audience, hopelessly dull in appreciation of style, and trained to prefer buf-. foonery to comedy, melodrama to tragedy, or, at the very best, sentiment to passion.

The almost complete severance of literature from the English stage is clearly enough shown by the fact that the dramatic works of Tennyson have never succeeded in gaining a foothold there. If a still more striking illustration is wished, it can be furnished by the experience of the Shelley Society in its attempts to produce "The Cenci." According to English law, only licensed plays can be publicly produced. An unlicensed play may be given private performance, a term which means that no money shall be taken at the doors of the theatre, but which is otherwise so conveniently vague that any such performance, arranged in the best of faith, may be undertaken only at considerable risk of violating the law in some unsuspected way. "The Cenci," we must add, the greatest English dramatic poem of the century, has steadily been refused a license by the English authorities, although several applications to legalize its performance have been made. In 1886, the Shelley Society gave a private performance of "The Cenci " in a London theatre, in presence of perhaps the most distinguished audience that recent years have seen collected for any purpose But the whatever. outraged dignity of the censorship was prompt to act, and the manager of the theatre in question allowed to continue his lease only on condition of never thereafter lending his stage for the production of an unlicensed play. In this centennial year of the birth of Shelley, the Society wished to commemorate the occasion by a repetition of "The Cenci " performance, but found it impossible either to get the play licensed for public representation, or to find a manager willing to risk lending his theatre for the private performance contemplated. So the plan was abandoned, and a fresh victory scored for the hosts of the Philistine.

When matters reach such a pass as this, it certainly behooves the friends of literature to see if something cannot be done to rehabilitate the stage. It is not a little significant that an Independent Theatre should have been organized in London not long ago, and that some of the more thoughtful literary men of this country should have united to establish in New York the new Theatre of Arts and Letters. The still older Théâtre Libre of Paris might at first seem to deserve mention in this category, but certainly did not result from a similar necessity, for French dramatic art needs no such encouragement. But the London and New York

organizations have taken what is probably the best method, in a country the genius of whose institutions hardly admits of a stage subsidized by the government, for the furtherance of an important and neglected cause. The most valuable work yet done by the Independent Theatre of London has been the production of several of Herr Ibsen's dramas of modern society, which certainly represent a tendency in dramatic art deserving of encouragement. The plans of the Theatre of Arts and Letters are as yet somewhat indefinite, but the association with the project of such men as Messrs. Edwin Booth, Joseph Jefferson, Augustin Daly, E. C. Stedman, T. B. Aldrich, W. D. Howells, R. W. Gilder, and George E. Woodberry gives the best possible assurance of a serious aim, and the employment of methods consistent with both the dignity of literature and the best dramatic traditions. The production of new plays is the object of the New York organization, but we wish that it might join with this object that of the revival of old masterpieces. The recent production, by the London theatre, of Webster's "Duchess of Malfy," offers a suggestion upon which it would be desirable to act. It reminds us that the century which has partly neglected Shakespeare has totally neglected the other men of that great race of Elizabethans above whose level it required the stature of a Shakespeare to tower.

CHRONICLE AND COMMENT.

The Association of American Authors gave considerable attention, at its last monthly meeting, to the "stamp plan" for checking royalty frauds on the part of publishers. This plan, with whatever variation of detail it be proposed, consists essentially in the furnishing, by authors to their publishers, of stamps to be affixed to all copies of books sold. The sentiment of the meeting upon this subject was divided, and no definite action was taken. There is no doubt that there are serious practical objections to a "stamp plan"; there are the minor difficulties of extra labor and returned copies, and the major difficulty of thwarting any publisher who is set upon dishonesty. The publisher who might wish to act fraudulently would find it easy enough to distribute unstamped copies of books in territories from which evidence of his guilt would not readily be forthcoming. A bookseller in some Californian town would be unchallenged in offering for sale the unstamped work of a New York writer. There is not one chance in a hundred that the fraud would come to the author's knowledge. As a protection for English authors securing copyright under the law of 1891, the "stamp act" would be still more completely inadequate. The Secretary of the New Hampshire Forestry Commission, writing to a Boston paper, makes a pathetic appeal to the literary craft of the country for a stirring poem upon the preservation of the mountain forests of the State. The lumberman is wielding his destructive axe, to the imminent danger of the industries dependent upon power from the streams below, and, unfortunately, the wooded areas of the State are almost entirely private property. This is a vastly important question, not only to New Hampshire, but to the country at

large, and a healthy public sentiment upon the subject seems slow to develop. So Mr. J. B. Harrison, who may be addressed at Franklin Falls, N. H., believing that the pen may prove itself mightier than the axe, asks the poets of the country to help him in his struggle. The time is certainly well chosen, for the presidential campaign is over, and considerable rhythmical energy is doubtless seeking new channels of expression. We would suggest that Mr. Harrison look to Kansas for the assistance so greatly needed. Kansas has many poets, and they are poets of the versatile sort to whom all themes are equally fit for the purposes of song. Besides, the New Hampshire problem does not exist in Kansas, so the latter state may grapple with it without fear of being charged with defective patriotism. If a poem in defense of monometalism were called for, or one denouncing government loans to farmers, for example, a Kansas poet could hardly be expected to meet the request with enthusiam.

The delay, on the part of the World's Columbian Exposition authorities, in providing a building for the educational exhibit is simply inexcusable. Of all the objects for which the Exposition exists, none is of greater importance than this and none should be more carefully considered and liberally provided for. Even with the utmost promptitude in making up for the past neglect of educational interests, the exhibit is now likely to be defective for lack of sufficient time in which to prepare it. The educators of Europe and America have naturally delayed active preparations until they could be assured that education was to be recognized by the Exposition authorities, and either ignorance or inefficiency on the part of the latter is the only possible explanation of the fact that the erection of an educational building is still in doubt. It is probable that some exhibits are already lost, as the result of this dilatory policy,-to give it a considerate name,and it is certain that those responsible for this policy will be held strictly to account for whatever shortcomings may result from it. If the educational exhibit fails to be what it is reasonable to expect, the position of those who shall have contributed to the failure will be anything but enviable.

The government of this country now gives copyright protection to English, French, German, Swiss, Belgian, and Italian authors in accordance with the law of 1891. But this protection is made little more than a mockery for English authors, and a complete mockery for all the others, by the indefensible provision of our law requiring manufacture in this country. THE DIAL gave cordial support to the movement which resulted in enactment of the present law, believing it to be all that was obtainable under the conditions then existing, and much better than no law at all, but it opposed and opposes the condition of American manufacture, and trusts that a more enlightened congress will soon do away with the obnoxious requirement that now makes International Copyright so nearly a barren ideality. We trust also that short shift will be given the barbarous tax upon art and knowledge by which books and pictures are treated as if they were infection-bearing immigrants. The time ought to come, and that speedily, when American and European scholars shall be permitted to exchange their publications by the medium of the postal service, and when an English book shall be purchasable by an American student directly from its publishers. The evidence of final enlightenment to be given by a repeal of the taxes upon books and pictures

ought to be further emphasized by a repeal of the equally indefensible tax upon the instruments of scientific research. The increased tax upon microscopes was not the least of the minor iniquities of McKinleyism, and ought to be one of the first to disappear from the statute-book.

COMMUNICATIONS.

A "TIME-LONG" COPYRIGHT.

(To the Editor of THE DIAL.)

Your admirable St. Louis correspondent, H. W. E.,. while speaking of the destructive competition of the dead writers with the living, touches the nail on the head when he brings up the question of copyright world-wide and time-long. Why not drive in that nail and clinch it? Of course none of us would-even if he could silence any voice in order that his own might be heard. Let every written word, old or new, stand or fall on its own merits; but let all stand on a level as to the commercial market. Why should paid labor come in competition with unpaid labor? Suppose a new Defoe to arise, and write a new " Robinson Crusoe," as good as the old and yet unlike it; suppose him to treat with a publisher for publication on a royalty. The publisher would naturally say: "You know you have your old namesake to compete with." "Yes, but I suppose I stand an even chance with him." Well, scarcely; seeing that Thomas and Richard and Henry can take his book free from any royalty."

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To put it in another form suppose the world's law was such that though you should build a house fit to endure forever, yet at the end of a certain number of years it should cease to belong to you, your heirs, executor, or assigns, and begin to belong to everybody who chose to enter and occupy it. Would not the building of good houses be somewhat discouraged? Chicago, November 5, 1892.

J. K.

AN ENQUIRY REGARDING EDITIONS OF UDALL. (To the Editor of THE DIAL.)

I take the liberty of making use of your journal to inquire whether any of the librarians of this country have under their care one or more of the following editions of Udall's works:

Ralph Roister Doister: Edition of 1818, London; edition of 1821, London; edition of 1830, London (in "The Old English Drama," printed and published by Thos. White).

"Epistola Nuncupatoria" or " Floures for Latin Spekynge, selected and gathered oute of Terence and the same translated into Englysshe "; any edition.

I shall be thankful for any information as to where these volumes may be found. GEORGE HEMPL.

Ann Arbor, Nov. 28, 1892.

A QUARTERLY "Journal of Economy," under the able editorship of Professor J. Lawrence Laughlin, is announced by the University of Chicago, and the first number will appear about the middle of this month. It will contain articles by the editor, by M. de Lavesseur, and by Herr Max Wirth. Early next year, the University will also begin publication of "The University Extension World," edited by the Extension Faculty.