Page images

For we are at the crux of the whole trouble. What on earth did Mr. Harrison mean by creating such a personage as Angela and then expect his readers to agree that such is the type of any sort of woman, let alone the class whose sole duty is housework. (Angela could not even make appetizing mayonnaise dressing, and was as bold in her man-hunting as the proverbial brassmonkey.) It is true, we learn in the last chapter, after Angela has caught poor Donald Manford in her net, that her militant cousin, Mary Wing, is the real Womanly Woman, but the news comes too late to assuage the reader's wounded sympathies. And if she is, then why all the ado about such an unattractive person as Angela? The answer seems to be that Mr. Harrison believes there are enough Angelas in the world to require the making of a class for them, and that by using a representative of this group he can the more readily portray his own heroine. But here he is dead wrong. There is no such class, and the creator of such sterling women as Sharlee and Callie Heth did not need to make up such a girl as Angela to show off Mary Wing's good points. For the feminine problem cannot be solved by comparing an unattractive “anti” with an attractive "pro," and this is what our author tries to do.

But there are several phases to the book that almost counteract the infelicitous episodes. Charles Garrott King and Judge Blenso with their charming freshness and quaint wit are characters that only Mr. Harrison could draw, while Mary Wing in the latter part of the book is a fitting portrait to be added to his gallery of real women—who are not independent as Mary was at first, or dependent as Angela always was but “interdependent.” In fact, our advice is, if you want to read the book, and we suppose you do, pin your faith to Mary from the start, and overlook Angela as much as possible. With this advance warning, you may survive to the redeeming last chapter, where Charles and Mary find out that, as each has much to give and much to receive from the other, they are indeed as headlong in love as a rising young author and a school-teacher, aged thirty some, can well be.



mund Trombly. Boston: Sherman, French & Company.

The two volumes which have come, during last year and this, from the pen of Mr. Trombly, call especial attention to this poet, whose preoccupation with the themes of love is so noticeable, even in the titles of the volumes. His art, with its many graceful turns and its authentic inspiration, is conscious and precious. It is impossible to escape the obsession that the poems are "stylicized": they are deliberately couched in language that is patently poetical. A catalogue of words used by Mr. Trombly would evoke an irrepressible smile

A more commendable simplicity than is ordinarily characteristic of the author is noticeable in “As Wakens on the Morn" — though it is not quite easy to forgive "golden kisses.” A most felicitous use of the adjective, abused as it dreadfully is, may be found in the pretty rondeau, “My Golden Boy." There is one grateful sonnet to Bliss Perry, "great-hearted friend"; we may guess the identity of still another sonnet, amusingly beginning “Critic, despair not yet ..." and dedicated "To B. P.” To B. P. then shall we leave him, with the iterated injunction : "Critic, despair not yet.

A. H.

[ocr errors]

The MINISTRY OF ART. By Ralph Adams Cram. New York: Houghton

Miffin Co.

To all neo-Gothics the “beauty of holiness" becomes, as Lanier would say, “the holiness of beauty.” And the revision is made without essentially changing the underlying meaning of either phrase, for to them holiness and beauty are one to such an extent that they would consider it inconceivable to compare a plain New England meeting-house with a Gothic cathedral or English abbey, as a place for the true worship of God. Art, they claim, is the divine means whereby finity can sound the depths or scale the heights of infinity, and live in communion with it. Hence the sooner our present machinery-ridden, superficial world turns again to the production of real art (whether kitchen utensils or cathedral) the sooner the millenium may be expected. And these Gothic propagandists urge that the most fruitful beginning can be made by rediscovering the untold

[ocr errors]

beauties of mediæval art, especially Gothic, though any real artistry, whether Grecian or Buddhist, is preferable, as a basis, to the artificiality and hideous makeshifts produced as art since the Renaissance. That a start has already been made in the right direction Mr. Cram would be the first to acknowledge. As he is one of the most distinguished advocates of the movement in this country, so in his professional career as an architect he has bodied forth the true spirit of his crusade in such surpassing creations as the new Graduate College quadrangle at Princeton and the exquisite cathedral of St. John the Divine in New York, now fast nearing completion. The present volume is a collection of "fugitive essays and occasional addresses," all brought into being because of his interest in this Gothic movement, and the revitalization of the whole artistic life of the nation, through school and college courses as well as church and cathedral building.

The reader interested in this modern crusade might better read first his earlier volume, entitled The Gothic Quest, for that book is more of a general introduction to his point of view, while the new one takes for granted that the reader is acquainted with the theories of the movement. Together they form a series of essays that will appeal to all art-lovers, for most will agree with the general principles he lays down as to the functions and achievements of all "high art." His continuous denial of any inspiration to the art produced since the early part of the Renaissance is a possible exception to this universal approval.

It would be interesting to compare the ideas of Mr. Cram, with his eagerness for the reëstablishment of mediævalism, and those of Miss Maude Egerton King, who contributes a very able paper to the April issue of the Hibbert Journal, entitled “Gothic Ruin and Reconstruction.” In this article she vigorously advocates a return to the economic conditions of the Middle Ages as a cure-all for our present-day industrial evils. One wonders if both Mr. Cram and Miss King are just a trifle one-sided, even if it is granted that they are practical. But the best idea of Mr. Cram's position, attractive as it is in most of its features, can be had by quoting from his own Introduction to The Gothic

Quest. He recounts the story of the first Gothic Quest, when infidel and knight fought in the paynim wilderness for the Holy Grail, and then says that the modern crusade for the rediscovery of beauty is but the same struggle in another form:

"Well, the fight is good and the prize ennobles all, but the fight is never ending, for true beauty is too wonderful a thing to be lightly held and without challenge. The quest to-day is the Gothic Quest in a varied guise, as that was the Quest of the Grail under another form. So in wide desolation, rampired about with scarp and intrenchment, looms the Dark Tower of Childe Roland's pilgrimage:

“The round, squat turret, blind as the fool's heart, the citadel of ugliness, emptiness, and pretence, the first barrier that balks all those that course on the Gothic Quest; and yet not one draws rein nor rides aside, but with unsheathed sword rises in his stirrup and takes upon his lips the words of Childe Roland :

“Not here? When noise was everywhere! it tolled
Increasing like a bell.'”



Other books, some of which will be reviewed in a later issue, have been received, as follows: An Introduction to the History of Connecticut as a Manufacturing State, by Grace Pierpont Fuller. Smith Studies in History, Vol. I, No. 1, October, 1915. Oriental and Greek Peoples. Study Outline, by L. B. Lewis (American Book Co.). Source Problems in English History, by A. P. White and Wallace Notestein (Harper's). The Living Church Annual and Churchman's Almanac. A Church Cyclopædia and Almanac, 1916 (The Young Churchman Co). The Twentieth Century Outlook Upon Holy Scripture, by Edward Lowe Temple (B. F. Johnson Co.). The Rockefeller Foundation. Annual Report. 1913-1914. Second Edition (The Rockefeller Foundation, 61 Broadway). Joseph Conrad, by Wilson Follett (Doubleday, Page & Co.). The Wings of Song, by Harold Hersey (The Library Press, Washinston, D. C.). Sunrise aud Other Poems, by Fannie E. S. Heck (Fleming H. Revell Company). Three Notable Ante

Bellum Magazines of South Caroliua, by Sidney J. Cohen (University Press, Columbia, S. C.). The Universal Text-Book of Religion, Part III, Vol. 1. “Hinduism.” Edited by Annie Besant (Theosophical Publishing House, Adyar, Madras, India). Methods and Aims in the Study of Literature. A Series of Extracts and Illustrations, arranged and adapted by Lane Cooper (Ginn & Co.). Thomas Middleton, edited by Martin W. Sampson (American Book Co.). Questions on Readings in English Literature. A Student's Manual, by Maurice Garland Fulton, Raymond George Bressler, and Glenn Hawthorne Mullin (Century Co.). Studies in Philology, Vol. XII, No. 4, October, 1915, “The Latin Prefix *Pro' in French,” by William Morton Dey (University Press, Chapel Hill, N. C.). Shakespeare and the Italian Renaissance, by Sir Sidney Lee: The Annual Shakespeare Lecture before the British Academy, 1915 (Oxford University Press). Immensee, von Theodor Storm, edited by Louis H. Dirks (American Book Company); Home to Him's Muvver, by Margaret Prescott Montague (E. P. Dutton & Co.), reprinted from the Atlantic Monthly.

Oxford Pamphlets, through the courtesy of Sir Gilbert Parker : Armenian Atrocities. The Murder of a Nation, by Arnold J. Toynbee; with a speech delivered by Lord Bryce in the House of Lords (Hodder & Stoughton); How Do We Stand To-day? Speech of the Rt. Hon. H. Asquith in the House of Commons, Nov. 2, 1915 (T. Fisher Unwin); The Freedom of the Seas, by the Hon. Bernard R. Wise ; Cotton and Contraband, by Viscount Milner ; What Is the Matter With England? A Criticism and a Reply, by Sir Gilbert Parker (Darling & Son); Correspondence with the United States Ambassador Respecting the Execution of Miss Cavell at Brussels. Presented to both Houses of Parliament by Command of His Majesty October, 1915 (T. Fisher Unwin); The Second Belgian Grey Book. Part I and Part II, section 10 (T. Fisher Unwin).

« PreviousContinue »