THE NOTE BOOK OF A LINGUIST (continued 5)

I saw the other day a large, lovely Cazin, kept in higher key than is customary, which is Schumannesque. We do not find the dull, wet grass we know; the grey, sage-green of some sad world’s end he has made his.

This picture shows a blond, sun-dusted field on a hot day. A field whose gold, whose perpendicular light is dulled by its own splendor. The field forms the foreground. The background one end of a low farm house, whose coral roof all but touches the ground. A low, green tree makes out the house-line, with aid of one of his windmills. Above, blue heat of noon; happy, white, harvest clouds.

No. 59—A Schreyer. White Arab horses; mettlesome, fine. Eloquent outline of horsemen. A red bournous that lights the picture. A heavy, heat-smoking Algerian sky.

Diaz and Harpignies are represented. Rousseau has a ruddy-tinted Forest of Fontainbleau.

Ziem is here! This is a charming canvas. Venice of my dreams—in the distance! One large building; cream, rose flushed. Foreground—the sea. A bold, lovely, cobalt sea. Sky of gold. The rich effect of enamel, and muted music.

No. 31—An unusual Harpignies. Trees in middle distance. Under them, ripe level grain, with cold, clear light. In foreground little figures; clear cut, in brown, in dull red.

Diaz shows merry grouped women in a wood. They wear rich costumes. The jeweled splendor of Monticelli is here. Ballard Williams looked upon pictures like this.

There are portraits from England. But I am not in the mood for them. I prefer tawny, rolling, desert hills, the blue harbor of Algiers as Fromentin paints them, or rich autumn woodlands of Rousseau.

No. 48—The dull, storm beaten, resentful black-green of Jacque. Splendid!

No. 58—Ziem again! Stately old Venetian palaces I love. They border a canal of cool, even flowing water. On the right, a red building, which peculiarly enough brings touch of the exactitude, coldness of Canaletto, and which I do not like. The sky is happy. Sun flecked, dappled ... this sky bends over Venice!

No. 54—Ziem. Again superb. At his best. In distance the long, elegant, aristocratic line of the Sea’s Queen City, Venice, which he knew better than any one else. White buildings flushed rosy. Beyond, violet-blue. High above, a sky, clear, sweet, but touched with quiver of heat. In the foreground a grassy space and there a tree, (superbly painted) whose top is touched with rose-hued light. Beneath the tree, happy figures wearing vivid colors. High, light, lyric note. Love.

The Corots are of his late manner, when he had grown sentimental, and thought retrospectively. I like best the pictures of Italy he did in youth.

No. 5—A small Pasini. It makes me regret my pocket holds doughnuts not dollars. Delightful picture! A Moorish doorway; white, eloquently curved, bordered with mosaics in faded blue. In front, an Arab, whose red upper garment outdazzles the ruby when the sun pierces its heart. A laugh of color! Pure, delicious, lyric.

Quintillian is a fine phrase maker. He speaks of the milky exuberance of Livy. What could be more juste! If one could forget the Latin text, one would think it the printed page of some incisive French critic. Writers who come at end of periods that have been æsthetically productive, are alike, just as, perhaps, peaches and pears, in the youth of Nero, or William the Silent. Few make figures of speech more startlingly brilliant, vigorous in casting light, than Quintillian. They are exploding suns.

Quintillian declares the evenly sustained mediocrity of Apollonious is not to be despised. To quote him verbatim: “The old comedy retains alone the pure grace of Attic diction.” He means Aristophanes, Eupolis, Cratinus.

The power to distinguish, differentiate, at command of Quintillian is marvellous. I seldom have greater pleasure than his pages have been giving me. Quintillian knows how to balance meaning. He splits an hair evenly with the thin edge of wit. He possessed calm, dispassionate, critical, penetrating intellect. There are few more reliable judges of men’s minds. He does not become color of the thing he reads, as small worms take color of what they feed upon. Writers of the antique world stimulate mind. Modern writers seldom do this. They are more likely to enervate me, or make me weary. The old are life giving.

That sensitive prose of Loti is expression of a tradition that goes far back in Latin life. It is in Ovid. It is in the early Italians. It is in songs of Provençe. It is in early French prosateurs. From Chateaubriand the road to him lies clear. There is no great stylist who leaps up unheralded. The mind must form a chain with some past, to which self-forgetful love has welded him.

Loti has been faithful to the garden of the soul God gave him. He kept out of it things foreign. Nothing ugly grows there. But it sheltered the beauty of the world.

I have not cared a picayune to see the kings, potentates, princes, who have come to America on various successfully disguised errands of selfishness, to visit, and at the same time to gather stray dollars. I did long to see the face of Loti. I wanted to look into eyes that had looked understandingly upon the earth’s loveliness. I wanted, too, to look upon the man who can weave such superb tissue out of words.

I stood gladly outside the Waldorf in the rain. I waited for hours. I watched across the street from the public school he was going to visit. But I did not see him. My consolation had to be what I read in the papers when I reached home that night, his farewell to America: All the winds of winter cry me home to Turkestan! Such a sentence ought to be consolation enough for any one.

Loti has seen the world. Its poets, princes, have entertained him. His eyes have rested upon the fallen glory of the monarchies of the past. Now, like Alexander, he sighs for new ones.

What a delight in the long ago, upon the burnt, barren plains, where Presbyterianism thrived like a green bay tree in Purgatory, were the early books of Loti: Pécheur d’Island, Pasquala Ivanovich, Madame Chrysanthème, Fleurs d’Ennui, and an earlier one about an adventure in the South Seas, the name of which I can not recall. It was Loti’s first published book.

I was always vexed that Presbyterianism thrived upon sand. It was connected, in my mind, with unloveliness, both of matter and spirit. There was never a surface that refracted so bitterly the light, as the white front of that church. It had three sharp points, in a row, that stuck up ready and willing to impale sinners. The priests of Presbyterianism are stormy and iron hearted.

Once Lily Langtry came here, to the plains, in a private car, with Frederick Gebhardt. They remained a number of days, to go hunting in the Indian Territory. I used to follow her around upon the street, for the joy of looking up at her face. I lived in the desert you know! Her face looked, in those days, like blue-eyed flowers that grow upon the fields of England, where rain falls without stress, and mists come.

Salvini, the younger, came likewise to go hunting. I was overjoyed to meet him. He was hero of Les Trois Mousquetaires, come to life. Brown, supple, gay, and young! Nothing ever came again after that, except the wind, sand....

But hope grew astonishingly. The less soil there is, the better hope grows. Hope is what you might call the indestructible mushroom of the soul. If I were a poet, instead of faultfinder, it might impel me to an ode to courage. But here’s the rub! I might find difficulty in distinguishing between courage and folly.

Everyone was a prospective millionaire, in good old days of wind and sand. The strangest thing was that the entire state was drunk. What was it drunk upon? You see Kansas was like the Isle of Champagne, in the story by that name, where each individual was intoxicated. Only here they were drunk on air instead of champagne. Air came cheap and did not have to be bottled. Champagne cost money, and a bottle. The State was drunk on glittering, mirage-making air. It enfolded the minds with rosy glamour just as it enfolded the landscape. Prohibiting fact lost power. The penniless wanderer in his prairie schooner, felt magic of it, as readily as the dweller in the village. It inflamed the brain through the eye. It wrapped the mind in rosy vision. Just beyond the next land-fold, lay prosperity, the culmination of dreams.

That is the reason Kansas grew wild political fads, long-haired and long-legged, soap-box orators. It was upon air like this, upon which oratory could thrive. No one could see realities. Corn, cabbages, and cranks grew to monstrous size. Being poor today did not matter, because tomorrow we were going to tickle Caesar under the chin.

There was unworn power in the untilled earth that gave vigor. It keeps some of it still. Today there is something there of youth that can not grow old, joy that does not become tinsel, or cheap, an unfading fire in the heart. What can humanity do without youth?

It leaked out through the post office, which was one small unpainted room with a hole in the wall, for things to go into or come out of, that I was buying packages of wicked books from Europe. The neighbors called to investigate. They carried away the startling report that it was packages of yellow-back novels. Probably, highly immoral! One of these books disappeared. It happened to be a volume of Bossuet’s Funeral Orations. It did not come back. They burned it for safety’s sake. The town, however, was saved.

Bossuet, whose silenced voice helped mark the decline of the great age of Louis XIV, had been confessor, in court circles, to fair ladies of France. But I will wager that even he would have been surprised at human inventiveness in the fields of sin, at what happened to his orations for the dead bodies of these same ladies. They felt the red rag of revolution was as evident in these books they could not read, as the red flannel around the lantern the old, bent, fat Santa Fé night-watchman carried, which spotted the long, lonely streets with round dots of light. After that I became a dangerous person. The eyes that were in the habit of glancing at me sideways were bright and shining with disapproval.

But I was deliriously happy through it all, as long as pennies held out with which to buy books, and those magnificent, low, yellow moons of summer swung majestically out of the unknown to poise above the plains. I have never forgotten the feel of the warm winds of those nights of summer so long ago, upon my arms, upon my shoulders. It is one of the things I would like to know again.

The way to study pictures is not to study them, not to try to know history, nor making, but just to look at them, then keep on looking. The beginning of joy is the beginning of wisdom. The eye trains itself. Like an independent organism, it searches, chooses, judges, until it has distinguished good from bad. Looking at pictures, making no attempt to interpret, to explain, trains vision, until everywhere we turn our heads, we make pictures for ourselves. The eye, without command, instruction, selects, adjusts, keys itself to the artist’s trained seeing.

The more we enjoy a picture, the more, for that fleeting moment, we are in harmony with the mind that produced it. Pictures flash us out of our dull selves into clear, unvexed dominance. There is healing, health, in beauty. It represents that from which imperfections have been taken. Pictures are temperamental tuning forks.

Small, paper-bound, cheaply-priced books containing prints should be as common upon reading tables as papers. It is not easy to measure the good of contact with the silent things of art.

I like prints. I have something that resembles affection for them. That is why I regret that the skies of Piranesi are troubled. I wanted them to be glowing, clear.

The simply treated skies of Le Père please me. They are barely marked.

The etched line of Pennell is feminine. When he etched the Panama Series he forced it to Brangwyn bravoura, for which it is not suited. They are not art, these plates, whether the initial be large or small.

The etchings of Piranesi resemble the musical compositions of Handel. Both made temples stern, lofty, with mystery in the depths.

The etchings of Daubigny recall Virgil, in the Bucolics. The lovely, Latin land where cities are not near, fields are cultivated, and little rivers draw water birds! The line of Daubigny is gentle, loving. It is of the unforced rhythm of Virgil.

The line of Haden is cold, pure.

The line of Whistler is fretful, nervous, capricious. But marvellously sensitive! If he is not big, genial, he is exquisite. For one fretful moment Whistler could love gleam of a surface. He never at any time cared what was beneath. He could not hold calmness long enough to love anything into serenity. He possessed audacity, as much as skill. There floated before his keen, sensitive mind, memory of mighty Japanese, Chinese craftsmen, who outdistanced him by force of love, that self-sacrificing humility, which makes men great. He liked to startle. He liked to shock by technical surprises. He liked to lash observers with virtuosity.

He was a Czar bent upon forcing submission. With his genius there was commingled the trickster, mountebank. Nothing Whistler etched had weight. He could not bother with a vulgar thing. Instead it had witchery. The butterfly in flight!

I like the wet streets of Buhot when restless clouds are reflected on them, or the fleeting carriage of some Parisian mondaine. They are refreshing. He loves rain as Hiroshige loved it. But he shows it differently because he is of a different race. He has not the childlike sincerity of the Japanese. The sad wisdom of the decadent Latin is in him. Shadows are black which speeding wheels of Parisian beauties leave. But memory fills distance with magic, with wistfulness.

In the dim streets, the twilight corners of the Paris of Meryon, dwells old French romance. Gay, interesting, pathetic figures of Balzac! Dumas the Elder, Hugo! It is the Paris that inspired Baudelaire, Gautier.

Etching has humming-bird grace; it has poignancy and intimacy. One holds it to the heart like a violin. It catches the moment which vanishes. It holds cruelly, derisively, the flash of sunlight that caressed some surface we regret but love. Etching is near the soul.

There is a print of an actor by Kiyotsune which shows pink of Watteau made strange by being seen by the Orient’s black beetle eyes. This same artist has a red dark, bronzed, brutal, that rings with metal blare.

Looking at the collection of Japanese prints, large and fine, in the Boston Museum, I have had a good time. I found browns etherealized to grey, with vast, uncanny, spacial suggestiveness. This is background of Horunobu. He has an orange I remember. It has lost its fire, to be sure, with years; vicissitudes of change. Now it keeps merely memory of some sun of summer of long ago. He combines this with what a prosaic person would call green, but which is a Roman olive orchard in the autumn. He has colors that float with maddening indecision between pink, yellow, brown, grey, blue, green, to unite the shores of the unseen, to surprise then delight.

Koriusai has the weary, meditative violet of gay fête-days that fail. And a red, full of joy as throat of a thrush. I wish they could sing me back, these music-winged colors, out of the sad, beseiging, present, through radiant centuries, to some fabulous, gold-lacquered Palace of Tang!

Kiyonaga made a print where cherry blossoms veil with pink mist the shores of the Sumida, and women wear plain robes of faded hues while their faces keep archaic calm.

Kiyonaga is unique for reds. He has widened with them the gamut of emotion. Some reds are tragic; some terrible. Some are hesitating. Some are sullen, brooding, regretful. Some weigh heavily with memory of deeds not forgotten. Some indiscreet, too full of meaning.

I know a print by Shunsho that makes me cool. It is green, black, grey. There is an old man with twist of coral silk about his waist. The green, one faint stain, gives refreshing sensation of accumulated springs. In the grey I have watched the monstrous blackening clouds of midsummer tempests swing.

I know an Utamaro, which is the loveliest thing in existence! Two tall women. One wears enchanting faded pink, one of the unforgettable colors of poet-print-makers; the misty brown that floats above paper with silken shining threads, only Japan could make. The added splendor of incomparable accents of black. The pauses in South American tango dancers, are like these black accents in Eastern art.

If you think black is just black, go to the East. Learn! There are blacks that surpass in depth, mystery, a thousand nights of Egypt.

Inexplainable, dreadful, has been the fate of the dreamers of the world who have carried to heights the power of vision. A curse followed them, because they dared cross boundaries of the commonplace. To look long upon the sun, is to go blind. I am thinking of Heine.

Heine liked his place of exile, France. It was a Promised Land for Children of the Spirit. He hated England, because England did not possess mental flexibility. Lermontov, the Russian poet, disliked England too, and for the same reason.

In Heine there was the broad culture of Germany, lightness of the Latin, and the commanding passion of the Hebrew. The first thing I did in Paris, was to search out his grave. No one in Paris was more alive, more real, than he.

He blended the sad, serious, comic, light, in much the same way as Gogol. This too is trait of Hungarians.

There were many men of stormy revolutionary mind in Heine’s day. The spirit of Byron was abroad in the world. That which we call modernism, was breaking through prejudice.

The last time Heine went out of doors, he staggered to the Louvre, in order to look once more upon his beloved Venus. He burst into tears at the sight. I wonder if he recalled then his youth’s proud, boastful words: “I have never had but two loves: Venus, and the French Revolution!” What did he think when worn to a ghost he lay dying, and they intoned beside him the hoary desert songs of Judea?

Heine and Goethe, when they met repelled each other. How could two men be more dissimilar! Goethe was Greek; Heine, first of the moderns. The Hebrew is the only man who is ever able accurately to estimate the day in which he lives. Not geographical spaces, but centuries lay between Goethe and Heine. He is the only one who can focus, with perspective, the present.

Paris was full of commanding figures during Heine’s exile. There were Ary Scheffer, and Delacroix. Horace Vernet was exhibiting for the first time. Felix Mendelssohn, an old friend of Heine’s from Berlin, was here; Malebran, Rossini, Meyerbeer. There was a brilliant crowd of exiled Poles. Liszt and Chopin were both here. It was an engaging Paris. It has at no time been greater. And Heine was not least; slender, handsome, blond, young, reading aloud his verses in the salons of fashion, the verses whose structure he had learned from Uhland. He knew Victor Hugo, de Musset, Eugene Sue, George Sand, and Beranger. Since Heine died, the world has had no great idealist.

As wit, Heine ranks with Voltaire, Cervantes, Swift. Of such superb ability there can be but one to a race. These four men I have mentioned represent Judea, France, Spain, and England. Heine reached two heights; wit and lyric poet. He knew how to take what was best in artistic France, intellectual Germany, and then blend them.

Brandes compares Goethe with Heine, to detriment of the latter. What he is really comparing without seeing it, is two ages of time.

Liszt said, in describing rare evenings spent at Chopin’s, when Chopin consented to play to his friends: “Heine, the saddest of humorists listened with the interest of a fellow countryman to the narrations made by Chopin of the mysterious country which haunted his ethereal fancy, and of which he, too, had explored the beautiful shores. At a word, at a glance, at a tone, Chopin and Heine could understand each other: The musician replied to questions murmured in his ear by the poet, giving in tones the most surprising revelations from unknown regions, about that glorious goddess, Genius.” Ziem used to look in upon these evenings at the home of Chopin, whenever he could tear himself away, for any length of time, from the alluring City by the Adriatic, he painted again and again.

The enemies who resist us help us more than the friends who flatter us. They perform the service of unpaid gardeners.

The art madness of Germany was astonishing about the time of Heine. The young wife of Stieglitz, the poet, killed herself so that grief might make her husband great. This gives us key to that gloomy, melancholy north from which a new, a more complex art, was to come, first to oppose and then to surprise the clean-lined Mediterranean classicism, with its plasticity, its reasoned assurance.

People of genius are people of intuition. Plodders are the intellectual. Now scientists rule. They are trying first to isolate self, then exploit it. This is a period of egotism, when man keeps the importance of the microbe, while he feels like the mountain. Money has no meaning as a measure of excellence.

In a city of huge size like New York, pressure upon the individual is great. It equals ocean pressure, upon deep-sea life. It deforms. It makes shapeless.

Gigantic pieces of engineering shock the senses. People suffer from surfeit of everything. They can not indulge the luxury of longing. They are overfed. They have mental indigestion. Satiety comes. Individuals, in so large a city, become sea sand; uniform, uninteresting, individually inconsequential. Such center of prodigious living becomes the wilderness, in spite of law, a place where savages may roam, the most terrible, civilization’s savages; men who prey upon men. They have become beasts. They people solitudes. Heights, depths, touch then blend. Ambition, inspiration, self-respect, die. No poet can live here, then write poetry. (Only the painter, the etcher, seem to survive.) Look at Percy McKaye for example! When he came from his wooded New England hills, he had gifts of a poet. What does he write now? I would not like to name it. To be humble I do not think I could. It is bare of poetry. His Washington is not a creditable high school performance. It is almost as bad as Drinkwater’s Lincoln! Success kills too often today. George Sterling was wise enough to get out of New York, to Carmel, the blue sea, the mountains. I recall a sonnet-sequence of his, which is the best of American make.

Consider, too, Tarkington after he wrote Beaucaire, and turned to New York, quick dollars. Beaucaire was writing. Compare it with his later prose!

When conflict for life is keen, not only is love between man and man impossible, but kindliness, justice, friendship. Man becomes prey of man. His emotions are those of the beast that destroys. For the body to live, the soul dies.

In well advertised benevolent institutions, the normal feelings of humanity are shut, in order to keep them alive. Soon we shall go to institutions sight-seeing, on Sunday, as we go to the Zoo, to observe queer, useless appendages, that once belonged to man. À la incubator method, they are kept alive. They are as surprising to Twentieth Century eyes as the One Horse Shay. In the future noble feelings, (like exotic flowers) will be kept under glass of hot-houses. In no other way can they survive.

In New York the mean is sacrificed. There is nothing that is good. It is best or else it is worst. The people live, breathe, and have their being in superlatives. We have become a poster art, where everything is black or white. Intermediary shading disappears. Values are not considered. Distinctions are lost. In such a multitude, mind, manners, levels, disappear. Compilation takes place of life.

We pose as the world’s Wunderkind. We are looked over, called l’enfant terrible, while we throw bouquets, dollars at them and waste champagne we ought to save. The doings of this self-conscious Wunderkind occupy the front elevation of illustrated papers.

Other cities permit you to be yourself. New York does not. It begins to set seal upon you. It makes changes in body, in mind. Its distances, its streets, its miles of gallery floors, exhaust the flesh. Its emotional appeal is great. After weariness has done wrong to body, brain, it dulls with superfluity. Buildings of excessive size stun instead of stimulate. They who endure it, survive, become of a separate race; a highly specialized race. They are deformed like athletes who manned the triremes of Caesar. It is a city without national stamp of any people. It is made, to wonder at.

It is so huge the individual is inconsequential. He feels this. It reacts upon him. He loses hope. A less fine pride envelopes him. Cabbages of course grow largest in gardens. There is no other city where money, its power, is so worshipped. There is no other, where life is discounted, where the young so speedily become the old. There is no other place where life just as life, counts so little. Here labor loses dignity, because it is looked down upon. It becomes ignoble. It slips back too soon to that thing called servitude. Visions of useless, unearned wealth breed discontent. Into the port of New York the splendors of the world are poured. Superlatives are standards: highest buildings, the largest shops, greatest park, the most expensive houses. Taste, discrimination, weaken.

Races, religions are poured together like left-overs from a boardinghouse table, to make soup for beggars. Honor is lessened. The premium is so high man cannot buy. Even if man has not honor, he must have meat. Honor is old-fashioned, a rag. Before the eyes that see, minds that judge, merit is nothing; system everything. In his palmiest days Louis the Fourteenth was not acclaimed as New York, city of democratic America, acclaims the dollar, and only what the dollar buys.

I can not read Romain Rolland, Claudel, nor O. Henry. If I had to be punished with one of the three I think I should choose Rolland.

It is too bad that in the letters of Seneca, in which he mentions Pompeii, he does not describe the city. He saw it in its heydey. What a picture he could draw! Not one single glimpse can I get from his letters, however I search. What a Rome it was that had passed in long, glittering pageant before his eyes! He is old, weary of life, as he writes. He tries to prop himself up with stoic mind. Like the majority of thinkers, he learned poverty is best. He declares a life of continued prosperity is a Dead Sea. Lao Tzu on one side of the globe, the Roman thinker on the other declare: He is not poor who has little, but he who desires much.

Again Seneca writes: Riches keep you from wisdom. But poverty is free and without care. The Latin letters of Seneca, and Cicero, have given me a kind of courage I can not procure elsewhere. Cicero is master stylist. There are climaxes in the orations not to be surpassed. I have liked the winged, broad visioned, eagle-mind that contemplated old age in De Senectute.

There will be no more essays like De Amicitia, because friendship does not exist. It perished with the toga virilis, the muscular manhood of Rome. Powerful dramatic anger is gone. And glittering, sword-swinging satire! Where is a Firdusi to write against Sultan Mahmoud? Small, base, worm-like, eating envies crawl in, in place of kings. Not the noble, fearless lion, but the crawling lizard keeps assuredly today the palaces where Mahmoud gloried.

Greek and Latin are out of fashion. However, I do not know of many things of which I should be so proud, as to be called, Greek Scholar. And then merit the name.

The finest piece of translating in modern English is Curtin’s translation of the Polish Trilogy of Sienkiewicz. It can not be adequately praised nor the publisher who has issued it worthily again and again.

There are few better judges of weight of words, stretch of margins. Sienkiewicz has merry characters as waggish as Falstaff, as boisterously humorous as Rabelais, and quite as hilarious as Abu-l-Hasan, who delighted in disguising grotesques and the threading of long mysterious alley-ways, in gay Arabian Nights, in which famous story collection there are no greater characterizations than Sienkiewicz’ Zagloba, Prince of Liars. Almost all literatures that have been great have produced, in art, one immortal liar. We are not great. But we have George Washington and a cherry tree, which I have always considered one of the divinely stupid stories of the world. This has, in America, one parallel in stupidity, Henry Ford’s collection of pumps.

To revert to Sienkiewicz and the Nights of Araby, the Orient is filled with marvels and magic and mystery; with strategy; and beauty that is strange and deadly. The Occident is used to mental food that is colder, and not so highly seasoned. Sienkiewicz has grandeur of conception akin to the East. Only the East with a past that is measureless can be at one and the same moment, bitter and tender, cruel and impassioned. Thousands and thousands of years are necessary to ripen to perfection that rare fruit of Time, the human mind. To twist a Russian proverb to the moment’s need. A young race is not strong; a young apple not sweet.

What an amazing piece of mental architecture Somadeva built long ago, in India in his Ocean of Story. To measure exactly just how petty the art-creative mind of today is, read it! The entire Human Comedy of Balzac would be one little drop to the ocean. It is not properly speaking an Ocean at all; it is greater: It is a world.

Probably the best Voyages are the purely imaginary. Gulliver wrote one, Cyrano de Bergerac another, and Xavier de Maistre a third. One went to the rim of the mind’s nimble making, the second to the moon, and the third merely journeyed around his chamber. But the distances were all equal, and enchanting.

I am heartbroken that I could not have seen the palaces of Nineveh. It is eye-delight that keeps me alive.

Fancy lofty walled interiors completely covered, (or built rather), of a substance resembling precious porcelain, with the blazing surface of a gem. But pictured, colored! Esarhaddon declared that his palace interiors surpassed the rainbow. These glazed fragments are found today in Assyria. Why could I not have seen it? Thêbes, too! And Babylon! I have always hated economy, petty things, and cold hearts. Shabbiness. Not my kingdom for a horse—but all boasted Fifth Avenue for Babylon. And the gardens of Asia!

Petofi was a lonely, but a good deal madder, a more impetuous, Heine, who lived in Hungary, but he was of Slav descent and his original family name was Petrovich. Like Heine, he felt out of harmony with Goethe. In one of his letters to Friedrich Kerenyi he declares: “... I say it right out. I do not like Goethe. I can not stand him! His head is a diamond, his heart a pebble.”

Petofi’s days suffered from lack of that which Goethe had in abundance, wise guidance. There may be envy mixed with hatred. He goes on to exclaim in this letter: “Bury me in the north. Plant an orange tree upon my grave and you will see how my heart will warm it into bloom.”

“Goethe is one of the great poets. A giant, but a giant made of stone.”

He declares impetuously: “When I read George Sand, I am mad to think she could write like that! She was a man, not a woman.”

He adored Dumas. Poor Petofi had only twenty-six years in which to conquer life and art. In addition, the wars claimed him. A pitiful measure, truly! That was the length of life of Lermontov, the Russian poet. The natures of both were stormy, unreasoning, impassioned. They made foes as rapidly as other men make friends. Every brilliant word they uttered made an enemy. And they did not care. Both wrote prose and verse with high, fine rhythm.

Petofi exclaims gayly, carelessly: “If there were no critics, there is nothing in this world I should hate like horse-radish with cream.”

“Hortobagy—Blessed Plain! You are the brow of God. I stand in the center and look about me with delight, a delight the Swiss can not have upon his Alps. Only the Bedouin in heart of the Arabian desert can feel as I feel. Only he knows how my heart expands.”

“My poor Hungary, which the Turks, the Tartars, the grasshoppers, and the politicians have helped destroy! Perhaps, however, a bad poet is the last drop of Vermouth in the bottle—And then one can hope for a better future.”

“For years almost my only reading, my morning, evening prayer, was the French Revolution. It is daily bread. It is the world’s new Bible.”

“We people like to celebrate—we Hungarians. When there aren’t individuals left to celebrate, we shall set about giving festivals for the moon. That is why we are poor, ragged, because we insist upon shining.”

“It has always hurt my feelings to think Shakespeare was an Englishman.” (I think Heine said these words too.)

“Oh divine Art, why is it your priests are devils?”

“In the dark night of my Hungarian Fatherland I am a little flickering flame. But I am flame just the same! By my light, the future Hungary will be forced to read the Book of Fate. Hope is written there.”

“What is a rule? A crutch for feeble, limping, commonplace people.”

Poor, pitiful, proud, impassioned Petofi! He disappeared from the world like Bestushev-Marlinski, as if by magic. No one knows what became of him. As adjutant to the commanding officer he accompanied his general into battle. After the battle was over, he was not seen. His body was never found. About his tragic end there are stories, and romantic stories. Some say he died a prisoner in the mines of Siberia. Some say he became a Russian subject, learned the Russian tongue, and that one of Russia’s famous writers, is Petofi grown old. He was born in 1823.

Hungary has had other spirited story tellers, but none perhaps informed with such peculiarly tragic fire, surely none with such unspoiled lyric gift. Her short story tellers, as a rule possess grace, irony, gaiety. These are qualities that belong to the race. There is a whimsical imagination found among story writers of Hungary, no other nation I know of has. Mikszáth had it richly; and Molnar illustrates the same kind of mind and writing. Other Hungarian story writers are Herczeg, Rakosi, Arpad von Derczik, Jokai, to mention a few, at random, whom I happen to recall.

I found something interesting in Montesquieu’s Persian Letters. He writes: C’est la sagesse des Orientaux, de chercher des remèdes contre la tristesse avec autant de soin que contre les maladies le plus dangereuses. Orientals seek medicaments for sadness as frequently as for ills of the body. This is indicative of the fact that in the Orient they still believe in things of the spirit, of which the West has lost sight. And also that they are older and wiser. Riper. Montesquieu goes on to say: We ought to weep for a man when he is born, not when he dies. What could be more characteristic of Gallic mind? French wit is Oriental philosophy turned inside out.

One of the sayings of La Rochefoucauld which delighted me is: “The evil we do can not begin to draw upon us the persecution our superiorities draw.” How many personal disillusions, how many sad, surprising visions into man’s heart, went to make that!

I enjoy the Satires of Boileau. They play generous part in building that penetrating, discriminating French mind. Especially do I enjoy the prose introduction to the satires, where he speaks of Horace living at a period when it was most dangerous for man to laugh. A strange thing, that, to observe! A dangerous time to laugh! Did something similar occur to Boileau in his own life? Did he learn to know what is the arrogant power, then the selfish pride, of a king?

Condorcet’s Life of Voltaire is fine writing of history. To me it is enthralling romance. In it the same mind is visible, in action, that we find in Taine, Quintillian, Saint Beuve. Taine was novelist and story teller. But his merits as an original creator are overshadowed by that vast, amazing critical writing, which is his work on the literature of England. When I read it I marvel why no Englishman knew himself as this Frenchman, Taine, knew him.

I read Lamennais: Paroles d’un Croyant. He writes like an inspired prophet, to stir masses to unrest, rebellion. His sentences ring like clarions. Magnificently curses fall. It is peculiar how he gives words the quality of metal. Other people use the same words. They are nothing at all.

It has been said that there has been no name so execrated as Machiavelli. He is the supremely hated. An Italian critic writing of him declares: “Voltaire hated him, and Frederick the Great; the Jesuits, and Cardinal Polo. He could only be right in a world in which there are no spiritual truths.” It is a strange thing that living in Italy, at a period when the Church dominated it, he should have written just that book.

There is not necessarily anything important in a likeness. There are resemblances in the world for which in our present condition of knowledge we are unable to account.

When José Asuncion Silvá, poet of Bogotá, who wrote a poem that recalls Poe’s Raven, was in Paris sight-seeing with friends, he happened to pause, by accident, one day in the Louvre, beside the marble bust of Lucius Verus. To their amazement, his friends found that the head of Silvá and that of the dissolute Roman lover of Faustine, were identical. A photograph of Silvá with hair and beard dressed like the statue, was made the next day, and the result is something that no one can explain. They are as alike as two peas. I have the pictures.

Years ago the Mercure de France sent its representative all the way to South America, and then on to Bogotá, city no railroad has succeeded approaching, to secure information about The Nocturn which critics call the greatest poem written in the Americas. The only notice of him in the U. S. was my translation of the poem of which the dead poet’s publishers approved.

If you wish to revel in the beauties of the tropics, minus the long voyage to South America, weeks perhaps of sea-sickness, read Chocano, who laughingly calls himself the spirit of the Andes. He has pictured, in ringing verse, this glowing, romantic continent, from which, in days of old, clipper ships, used to go back to Europe with scuppers awash with emeralds, gold, with amethysts. Reading Chocano gives the rich sensations of the tropics. It is like wandering through vast gardens filled with flaming orchids, curious in shape, amazing in color. Just so evocative is he, varied. Just so seemingly inexhaustible.

Another poet, but in the Portuguese tongue, to the south, is Machado de Assis, of the celebrated poems which all Brazilians know: Uma Creatura, Suave Mare Magno, No Alto. The sonnet which he wrote to his wife is one of the noblest in the Portuguese tongue.

Machado de Assis was telling South America of Chinese poets, translating and publishing versions of them, an half century ago. We are just getting around to it. They have kept over us of the north, the æsthetic superiority of Mediterranean peoples among whom they originated.

We are forced to admit that the outlook of Germany is vast. It is not easy to comprehend how vast. In it, individual welfare has been sacrificed as ruthlessly as the Samurai Creed sacrificed it, centuries ago, in Japan. We call this barbarism. Germany has been cut latest of the European nations by the disease, civilization. As smallpox, other ills of flesh, are more fatal in a young, fresh race, not before visited by it, so young Germany fresh from the forests, the fens, felt the disease, civilization. For her it has been most deadly.

I recall the school on the plains. School is probably too important a word. It was a few bare rooms over a business block. No building for the purpose had been put up. From the windows we could look across the Main Street into upper rooms of other buildings. These rooms had been rented to houses of ill fame. Any time we could turn from our lessons and see the painted creatures lolling in the rooms, with their lovers. They were fat, greasy, disheveled, and clad in gay, cotton Mother Hubbards.

Beneath one of these houses there was a saloon. From the windows we could look over tops of screens that cut the too plain view from the sidewalk, and see Greasers, Indians, the stragglers of the plains, drinking, gambling. They quarreled frequently. Occasionally they fought with knives, with pistols. But the thrust of a knife that killed, in the lonely silence of the circling prairie was unimportant.

It was as if I saw it all far off through sheets of crystal. There was nothing I wanted. It represented the forces from which I longed to get away. As I walked about the streets of this settlement on the plains, drenched with sun and breeze-swept, I was conscious of an unknown world of art. I used to say to myself: I can not know the heights of life, wealth, power. I can not have things that do not depend upon myself. But, with my brain, I can know the heights of art. I can know all men have dreamed. I learned languages as other women learn to sew. For me they kept few difficulties. My foreign tutor, to whom I owe a debt of gratitude, who knew many tongues, was introducing me to books of the Old World. He had a library of his own, of which he was good enough to give me use. His name was Arnold Jeannerett.

I was dazed at first, breathless, at this introduction to the sumptuous Palaces of Thought. Less and less I saw the world about me. It faded away with its crudity, harsh, noisy contrasts; discomforts; its persistent attempt to make life miserable for me. Nothing remained but a place of enchantment where there were no imperfections, and everything was as I wished.

I read Ariosto. I learned to know Petrarch, and the classics of Italy. I read the splendid prose of France; Bossuet, Fenelon, Chateaubriand, Rousseau. I read the lyric poets of Germany. Hidden upon my person somewhere, either in a pocket in my calico petticoat, or else within the lining of my hat, was some tiny book of the Old World.

But an unexpected complication arose. It made the women of the village angry. And in no slight degree. What right had I to amuse myself in ways not theirs? There was nothing left undone within their inventive range, which I soon learned to my sorrow was considerable, to make me understand their displeasure.

Sweeping past my eyes there was the picturesque panorama of the plains. Interesting things peculiar to isolation were happening.

Chief Joseph, with the warriors who murdered Custer, with their squaws and children, were being removed to a northern Reservation. They stopped in our village. Chief Joseph made a speech which one of the tribal interpreters put into English. The old chief described the massacre. He did it with relish. I sat in front of him, on a board upheld by two nail kegs. When he came to the horrors of it, over his dull eyes, which years had given singular expressionlessness, grey mists floated like spring across black winter. The memory was sweet.

The Main Street with its ugly, flat-topped buildings stretched from north to south. Through this artificial canal swept the wind, having come across desolate plains. Drifting through this street until midnight, moved a strangely assorted crowd, laughing, talking, drinking, quarreling. There were buck Indians in beaded moccasins, a striped calico about their loins, and tin bracelets upon thin, muscled arms. They walked with dignity. Sleek squaws, who toed in, toddled after them. Tin rings were in their ears. There were Mexicans with black, wide faces and white hats; Greasers, whom on-rushing civilization would soon annihilate; cowboys with fringed leggings and high heels, and gamblers with angular, prairie faces. There were soldiers from nearby forts and a few great-hearted pioneers who loved lonely places and who lived their adventures instead of writing them.

The thing I loved best was the clouds that rose high above the levels. They painted pictures. They satisfied my longing to get away.

I loved them when they were white, glittering mountains looking down upon some fairy land.

I used to ride out upon the levels, stop my horse, observe them, feeling happily upon face and arms, the warm, rollicking wind of the south, from unknown spaces where perhaps flowers grew. One longed sometimes here for the lonely comfort of long rains.

Then I would turn my horse and ride home through the twilight, when the little stars first began to prick the day. I like to think of it all again. And the moons of my youth, which poised so superbly above the plains.

I said nothing ever came again. I was wrong. The Strip Opening came.

THE STRIP OPENING

BY

Earl Underwood

Then the little place resembled any cow-town at time of the county fair or the reunion of the Veterans of the Civil War, except that the crowd did not have a carnival spirit. The crowd was made up of cattle-men driven from their former pasture land, old adventurers still looking for a fortune, wanderers of all kinds, professional gamblers who resembled human buzzards, homeless stragglers from everywhere. There were old men with weather beaten faces from the Klondike, from the gold fields of Arizona, and old Mexico. There were poor, honest, but unsuccessful farmers from other states looking for new homes and considering this a kind of Promised Land for inability of all kinds. They came in boomer wagons. They came from every point of the compass. There were some successful Middle West farmers who had just sold their own land for a large price and brought their family here, hoping to get a new start for their sons. The crowd slept in boomer wagons; they slept on the ground; they slept on cots along the streets; they slept on the floors of empty buildings. Seventy-five thousand people were poured into a little village that had barely accommodations for ten thousand.

It was hot. Everyone suffered. The ground was sun-baked until it cracked open in wide fissures. There had been no rain for four months. Daily the south wind blew until the atmosphere kept the hue of a twilight that did not change. The corn was burned and sere. The leaves withered; all the vegetation was colorless and dry. The intense heat was unchanging. The day was followed by a night without dew. The continued milling of horses, wagons, people on foot, ground up the dirt until it became an impalpable powder that penetrated everywhere, even the sides of the houses. And through all this dry, parching heat there was an agonizing lack of water. There were poor families here who had waited, in wagons, for years for the gift of this free land. There were legitimate people who really wanted homes and were willing to work for them. There was a large class too of shiftless, chronic boomers from the entire West, whose lives had been spent in looking for something for nothing. There were chronic wanderers seeking sensation. After this Strip Opening was over, they would sadly turn away, hoping for similar, fresh excitement somewhere else.

It was a prohibition country, but saloons and gambling houses and houses of prostitution were open day and night. Everyone went armed. A man who did not have a gun upon his hip was something to remark about.

The scarcity of water increased from day to day. Horses, dogs, and mules went about sadly with their swollen tongues hanging out. The entire prairie was parched like another Sahara. Over it bent a sky that was just as blue, just as cloudless, just as brazen and wind beaten.

Along with the gamblers came the prostitutes, the Three Card Monte men, from the deserts of Arizona, from the deserts of New Mexico, from Arkansas, and Texas. The prostitutes were not segregated nor isolated. They occupied the second story, front, of the business houses along the one Main Street. Among them were two Cherokee Indian girls, sisters; Violet and May. May was built like the Venus. She was her little sister in the flesh, as far as beauty went. She had thin, fine lined features, coal black hair that reached her ankles, and a complexion the color of a cape-jessamine. The only marks of the Indian were her silence and suppleness; and the grace of her body. Both had been convent bred. After these years of forced and disagreeable restraint in the convent, they turned to the easiest way, or else some law of atavism asserted itself, and swept upon them the insistent instincts of their Indian past.

The streets looked like a scene from a comic opera. Red blanketed Indians mixed freely with the whites, and Mexicans, wearing a fortune in a silver hat band that glittered like a coiled snake around their pointed-crowned, broad-brimmed, white hats. Notwithstanding the fact that the Indian is a stoic and seldom gets excited himself, he gravitates toward a crowd like a fly toward a bowl of sugar, instinctively rebelling against the accumulated loneliness of the past. He does not take any part to be sure, nor does he join in the fun and the noise, but he has his own, ancient, silent, devious ways of pleasure. He did not know of course, the silent watchful Indian, that he was helping to celebrate his own funeral. All these tens of thousands of white men congregated here, were at a given signal, going to leap over the line of the Indian Territory and cut up, into the checker-board squares of little farms, the old, happy hunting ground of his ancestors.

The line-up was on the southern Kansas line. For weeks, for months, they had been getting ready for this race; Texans on their long winded cow-ponies, Kentuckians on their thoroughbreds, Illinois farmers on their fat, overfed, pot-bellied horses, and Missouri farmers driving wagons with mules. It was just like getting ready for a world Marathon, which had fifty thousand entries, and no rules and no judges. They trained hundreds of horses here for weeks; for endurance, for speed, for that first great leap forward. Some had picked out the land they wanted in advance and had a definite objective. The rich paid fabulous sums for horses; tall, gaunt, clean limbed Kentucky racers, or Virginia thoroughbreds, thin and nimble bodied. There were fat mule teams that could not make twenty miles in a day. But everyone was eager for a little square of that rich land.

On the morning of the big day, this entire mass moved to the State Line which was only four miles away, where each one tried for first place. From then until noon it surpassed Pandemonium itself or any congregation of the lost in Purgatory. For a hundred miles this great crowd was held back only by a little group of cavalry-men spread out at intervals that were too great. High noon was the opening hour. It was announced by a cannon. The announcement was passed down the line by the echoing firing of troopers.

By noon the red, sun-baked plain was veiled with a blue haze of heat. There was almost no vegetation. The great drought had killed it. There was no grass, no weeds, no trees that were green, because of months of wind and rainlessness. Nowhere was there a sign of water. All the little cricks were dry. Clouds of sand kicked up by the wind curled derisively over all the former trickling water courses. The thirst was terrible. It all but made men mad.

When at length the signal came, when the cannon roared, instantly that long, black, wavering line became alive, leaped forward like a long supple serpent, then separated into individual units that spread out across the plain. Men on thoroughbreds who knew horses, and even the riders of the humble cow-ponies, husbanded their strength wisely and held their horses down to the long swinging lope of the prairies, which the trained cow-pony can keep up all day. Less experienced riders, senseless with haste and greed, many with expensive horses which they had bought for the occasion, lashed into top speed at the outset, and before two miles were covered they were down and out. Prairie schooners, thousands of them, broke like a huge covey of awkward quail, set out at speed over the levels, and then dropped back to their old lumbering gait. Some had strong horses that pulled vigorously, some, horses that were weary and old and harnessed with ropes. There were even teams of oxen in this long, mad race. One man went in on a thousand dollar Kentucky thoroughbred, and when he reached the land he had picked out, he found a sooner calmly ploughing with his oxen. It occurred to no one that land just over the line was as good as land twenty miles ahead. It was a woman on foot who realized this. When the cannon boomed and the long black line dashed away, she took one step forward, and stuck down in the ground a stake on which she had whittled her name. She sat down on the ground under a large black cotton umbrella and drank her bottled lemonade, while the rest rushed away in the heat, for a claim or a town lot. Cities were built in six hours.

Then came night in these cities of a few hours. What had been bare, red ground at noon, was at night well ordered cities of tents. The next day they elected a mayor and municipal officers and formed a government. In a week there were hundreds of lumber buildings. The second week they had electric lights. And the second day they had a daily paper.

The first census showed people from every state in the Union and from far away Australia. There were petty aristocrats from Europe. There was an Hungarian nobleman whose name it is not best to give, because there is just one chance in a thousand that it might have been his own name. Too bad, for it was an imposing name, made up of a title, five given names and a double-deck family name. He resembled a captain of cuirassiers. He was a hero of romance in real life; tall, spare, dark; pointed mustache, snappy black eyes, and a very distinguished manner; the cosmopolitan manner. He was an accomplished linguist, who had disembarked at every great port of the world. He knew Shanghai, Frisco, Rio, and the Straits Settlements. He came as a respectable adventurer, because being an adventurer was a profession here. He probably had no definite aim. Because however, collectively, among such a crowd of people there must be money it was an opportunity for him. And if they had money, his wits were keen enough to get some of it, because that was his objective in life. He lived lightly and easily upon the money which other people worked to earn. He waited patiently and happily until they earned it. And then he took it away from them. He used to relate to circles of open-mouthed listeners, under the round white moon of those first warm nights, when the dewless air was glittering and clear, how once he had circled the world with a prince of the blood royal. The prince had incurred his father’s displeasure so his father had decreed to punish him by temporary banishment. By way of banishment he chartered a yacht for a number of years, gave the boy a fortune in spending money, and sent him away to look the world over.

Here, for a living, this Hungarian nobleman did the people. And he did them successfully. To the German settlers he was a German; to the Hungarian a Hungarian; to the French a Frenchman. To the townspeople in general he was an international lawyer who had never seen the inside of a law book in his life. He sold legal advice for cash. His knowledge of all trickery was profound and worthy of respect. When business in a legal line was dull, he sold clothing to measure. In addition, he dealt in real estate. He was a broker of everything who never failed to leave the person he dealt with broke. He was royal in one thing, in the generous way he knew how to spend other people’s money. Even in this isolated place he contrived to look like a fashion plate. He had a large and elegantly selected wardrobe. He never knew where the next meal was coming from, but he always got a meal.

The superannuated politician from other states, who had worn out the patience of all his constituents at home, was here. There were Georgia colonels, Kentucky captains, with goatees or huge mustaches, and narrow, down hanging, black, string ties. There were judges, generals, old and passés, a conglomeration of ambition and proud failure, looking hopefully for another chance from Fate. To dispute with any one of them that his town would not have a hundred thousand inhabitants in a year meant gun play.

Food was from the usual western lunch counter. Here every one swung himself to a tall stool and ate. Food was reduced largely to beefsteak, canned tomatoes, wet, soggy bread, and black creamless coffee.

Night, in the towns, with the electric lights beating down upon dry sand, was hard and cruel and white. The business streets were one frame shack after another, each shack with an enormous front built up high to make it look imposing. One town’s most popular and crowded corner, was Reece Brothers’ Gambling House. Here roulette, faro, craps, stud poker, kept the restless crowd busy throughout the night. Of the Reece Brothers, Bill was what you would call the typical gambler, an ideal movie gambler of today. Grey-eyed, thin-lipped, with a mouth like a steel trap, at the ends of which there dangled a long, pointed, limp, corn-silk, yellow mustache. He wore a poetic Lord Byron collar, a flowing tie, a hugely plaided suit, and the largest and most expensive sombrero in town. This was a dry country because it was still under government control; an Indian country. Notwithstanding this fact, however, enormous amounts of liquor were sold openly over a regular bar.

Sam Reece was of a deeply religious bent. When Sunday morning came, after his night shift at the faro table, as lookout, he put on his long, black Prince Albert, tall, silk-plush hat ten years out of date, worn black kid gloves with fancy stitching along the back, and looking like an undertaker at a dry convention, he took his stately way to church. The church was an oblong tent. It was unbearably hot in summer, and in winter of course there was no heat in it. Sam had various aspirations in life. His greatest aspiration was to sing solos in the choir. It was his one genuine pleasure.

With night fall, the lonely little towns began to get busy. By eight o’clock the unpaved dusty streets were packed with a crowd of men and women milling back and forth, back and forth, from one gambling house to another. Many of these people back home were not gamblers, but church deacons, conservative business men, farmers, whom the loneliness forced to seek excitement or companionship. Any one from a corn doctor to an anarchist, could have a crowd of applauding listeners about him, if he mounted the empty sugar barrel which stood upon the Public Acre, and stood up to make a speech.

Nearly always the wind blew. It blew throughout the night, throughout the day. The air was so dry it was something glittering, sweeping continually past. The arc lights swinging wildly in the boisterous wind, cast strange and grotesque shadows upon the unpainted shacks, and the people who were moving about. The church and the gambling houses and that long, black, restless ribbon which was the incoming Santa Fé train, were the only civilizing forces that welded men together, and helped drive away distance, homesickness, and loneliness.

Each city’s idea of a celebration of any kind was noise. The ideal of noise was guns and tin pans. Every man carried one gun. The greater number carried two. Since there was no law but martial law, the population’s first desire was for territorial government. When Senator ——? of Washington, Chairman of the Committee on Public Lands, arose in the Senate, stuck his hand in the lapel of his coat and said: Mr. Speaker, as Chairman of the Committee on Public Lands, I demand for the future citizens of Oklahoma, those honest, hard-working Americans that they be given self government, and so forth, and so forth. The speech went on the wire to Oklahoma. The telegraph operator, who was likewise ticket agent, depot master, and a half a dozen other things, got it first. By way of letting the town know that good news was coming, he ran out on the platform and fired a round from his six-shooter. The proprietor of First Chance Saloon, a two-gun man from Texas, stepped out of his shack and let go both guns. He did not know the news but he felt that it must be good. And he believed in helping on a good thing. If it were good he voiced his approval. If, however, it turned out to be bad it meant that he had been voicing his disapproval. When his guns began to bark, the Feed Store Man, next door, began with his, and before another minute had elapsed the entire town was in the street firing up into the sky. It was like magic. Men leaped from shacks. Men leaped from dugouts, and saloons, everywhere. A firing squad began to march up and down the streets, firing by volley, by individuals, by twos and threes. Most of them did not know what for, but when the telegraph operator ran up the hill to deliver his message to the mayor, who, standing on the empty sugar barrel in the Government Acre, read it aloud, the crowd went mad. The celebration lasted all night. If the news happened to prove disappointing on the morrow, no one was vexed, because soon some other news of some kind would come and then they could have another celebration. Occasionally a citizen had an eye knocked out, or a half a dozen teeth, by a spent bullet. Window glass was broken nightly. No one of course minded such trifles. They were merely the by-product of frequent and joyous celebrations.

Mr. Mencken is a pugilist, not an artist. He has always been in the wrong ring. It is safer to take blows, however, which make you blue instead of black.

Mr. William Lyon Phelps is the most art-predatory of non-æsthetic pedants.

It is good to be interested in everything, from the history of pins to the color of pills preferred by potentates, pugilists, or pedagogues.

Coelho Netto, of Rio, is a person. There are not too many! He is peculiarly versatile. He has been physician and surgeon, lawyer, lecturer upon art and letters in great universities, politician, reporter, and writer of many volumes of successful plays which still hold the stage in both Brazil and Portugal. In addition, he is a novelist and prolific short story writer, and one of the first in his tongue, in South America, to gain a livelihood solely by art.

The difficulty of living by the pen, in Rio, in an early day was set down by a Portuguese journalist as follows:

“They say Brazil has thirteen millions of people. Of these twelve millions eight hundred thousand can not read. Of the two hundred thousand that remain, one hundred and fifty thousand read only daily papers; fifty thousand, only French books; thirty thousand, translations. The other fifteen thousand read the Catechism and the Prayer Book; two thousand study Comte. And one thousand read Portuguese books made in Brazil.”

He was one of the earliest artists to show the native life of the land outside the cities, together with man’s effort to contend with the resisting tropic wilderness. He has shown every class of this richly varied life in his extensive country.

Tormenta is a novel of a young physician, which perhaps is reminiscent of his own youth. Sertão is a collection of prose acquarelles of Brazil’s colonizing days, with interesting pictures of the vast, the varied interior. Here we see storms so violent, they are almost unbelievable, like a deluge, and which last for days; then the long dry seasons, and the measureless, solitary pastures; the encrusted gold of sunsets unimpeded over disconcerting levels; and the grey and melancholy dawns.

One of his most powerful novels, the one I perhaps admire most, is Rei Negro. It shows life on a lonely estate in the interior and the confusing conflict, then blending, of black and white races. It is a pathetic, moving story one is forced to remember, of a beautiful woman of the tropics cursed with double race blood and a Negro who was a hero.

O Capital Federal contains enchanting sketches of Rio, and likewise detailed descriptions of existence on a fazenda, in the country, where the luxury is so great, so unexpected, it sets one dreaming of the pleasure places of Tiberius, in the south of Italy. This novel, O Capital Federal, is dedicated to his uncle as follows: “My Uncle: In this book there are pages that belong to you, because I never should have written them had not my Good Fairy guided me to the ascetic but voluptuous retreat where you live in happy tranquility, following the moral law of Epicurus, and treasuring your flowers.”

This alluring place of residence was isolated in a grave garden of roses. It fronted the green, refreshing foam of the sea, where towered two black rocks. In construction it was a Swiss chalet. Steps of marble, polished and rare, led to it. The drawing rooms were ample, luxurious, and filled with objects of art. The bath, in this country home in Brazil, recalls the Baths of Nero. It would have satisfied the sumptuous Ruler of Rome. How he would have enjoyed pushing the buttons which filled the bath room with pink mist of attar of roses or the purple breath of violets! The dining-room, all the other rooms, were equally splendid. There were precious wines in priceless crystal. There was rare and astonishing food. And flowers, dazzling and huge.

In Rei Negro, Netto’s descriptions of dawn and sunset, and the blinding yellow midday, are both lovely and unforgettable. I keep this book at hand in order to renew my delight in them. There is freshness and exquisiteness in his paintings of the spaces of this unknown land.

His books are many. All of them are excellent. His is no slight talent.

Esphinge (a novel). Immortalidade, (likewise a novel). Treva, a book of five novelettes; Fabulario (short stories). As Sete Dores De N. Senhora, a noble, uplifting book of faith. Saudades, many very brief stories, all of which are attractive and charm with originality. Scenas e Perfis, short stories, too, and O Paraiso.

I am sorry books are advertised as they are in America today. It both lessens interest in buying and reading. Publishers ought to get together, like nations, and arrange a general disarmament plan. At least we might float, occasionally, the white flag of truce.

Every reader has his peculiarities of taste, touched always with emotion, which is something not amenable to reason. I personally prefer for pleasure, a book on falconry written by some acute and sensual oriental, to the detailed facts, marshalled accurately and dated of, say, the Newgate Calendar.

Ships fascinate me, the beginnings of navigation, Strabo’s Geography, maps, old globes, and the Hakluyt Voyages. When I read about a drawing made of a ship a thousand years old, I shiver as at some line of immortal verse. The great emotion sweeps me. Russel Clark wrote: The most beautiful expression of the hand of man is the sailing ship. Old shipping books interest me. And the adventures of whaling days. The mischances that befell the Whaling Barque, George Henry, kept me awake nights. And the wild-tongued, great Elizabethan Voyagers! I hope pictures have been kept of all the great old ships that ever sailed the seas!

I love gardens. But I do not enjoy reading about them. I hate to see words fade and die. I learn of gardens from painters, etchers. And then I try to remember them without words. In Persian and Indian Miniatures I have loved them best. And the flowers Renoir painted when he was old. Yet that old book Gerard’s Herbal still gives out some of the spiced sweetness of all gardens.

I doubt if in novel making there is such thing as Romanticism, Classicism. Critics, like creations of God He forgot to call good, may be little men, who see in part only, or else through a glass darkly. The two terms merely classify different degrees of visibility.

It is not strange that Dr. Jozef Muls, born in one of the world’s richest art cities, Antwerp, a city that knew Rubens, Quentin Matsys, and Breughel, should write about art. And he has written well.

His Modern Art, The Twilight of Flemish Art Cities, and From Greco to Cubism, (Van El Greco Tot Het Cubisme), give him indisputable rank among the foremost critics of the day. Not only are they penetrating and profound as criticism, but accurately documented, and sensitive, and written in delightful, sympathetic prose. He writes in two languages, French and Flemish; and in speech, he is master of many.

He has not only written books of art but books of travel, short stories, and books of verse. I keep in memory two pleasant booklets about cities. One is Rouen, by André Maurois, the other is Het Levende Oud-Antwerpen, by Jozef Muls. The latter has eight etchings by Vaes. Both books have the indescribable charm which love of the thing written about gives to words. He writes again of the city of his birth in De Val Van Antwerpen.

A work of his which has given me hours of enjoyment is still another book about cities. This is called Steden. The chapters on Constantinople and Venice are alluring. He came across from Trieste to Venice one hot August night, over night-black water, to be confronted at dawn with a golden city floating upon a lapis sea. It looked to him like something fabulous from the depths of the ocean. The decaying palaces resembled splendors seen only in a dream. The Bridge of Sighs made him think of melancholy Byron whose heart, he insists, lives on in Venice. He rejoiced in all the eloquent memories of Tintoretto, connoisseur of art that he is, and the past glories of the Republic.

The great canals were merely the mirrors of Venice, Queen of Cities.

Albert Besnard, the distinguished painter, after being for many years director of the school of art in Italy where the coveted Prix de Rome is given, turned to writing after he was an old man. And the book, properly enough, is about Rome: Sous le ciel de Rome. For this he was made an Académicien. And he deserves the honor. Only one or two other men, for a single work’s grace, have become members of L’Académie Française. Books of travel written by sensitive painters like Besnard are things rare and charming. In one place I recall, he exclaims: “I am standing alone at foot of stairway of the Capitol. Rome under the stars—what delight!” I think Besnard is quite as fine in prose as in the bejeweled, gauze-robed, almond-eyed beauties he painted in India.

Besnard remembers Marie Bashkirtseff, as he saw her once in her youth, standing beside a fountain in the gardens of the Villa Medici. She reminded him of a little golden, furred cat. He considered her fine instead of beautiful. His trained eyes found her arms too short. She was exquisite and fashionable, but she was too cold, and in her face there was no joy. Her originality, to him, was in her peculiar physical attractiveness, her elegance, and not in her conversation. He called her a poor, little child whose only pleasure was to design, then wear wonderful gowns, briefly, for the eye-pleasure of the Great Julian. He always remembered her own too cold, sharply expressive blue eyes.

His observations are arresting. He thinks it is the fatality of order and equilibrium with which modern youth can not put up. A balance is lost. Somewhere else he declares that grief is the ransom of genius. Only they who can suffer, arrive. Whenever he returns to Rome, he likes to pause a moment before entering his dwelling, on one of the hills, just for the pleasure of penetrating first with his eyes, the rich, grey, sculptured mass, which is the world’s incomparable wonder, Rome. He savored with pleasure the beauty of the sky that bends over the Deathless City; the grandeur, the severity of outline of Roman horizons; the deserted campagna; the mystery of magnificent palaces with their murmuring fountains, and above everything else, the peculiar charm of the people, who throughout the centuries have known how to keep vehement passions, the grace of the inspiring gesture, and beauty.

Writing from Rome again, he speaks of the winds of art which blow freshly in one’s face, to renew ideas, then strengthen intelligence. Besnard’s book is so alluring, every page of it, (and his book about India, too), that I should not like anyone to miss them. He is a great admirer of D’Annunzio. He writes of the splendor of the Italian poet’s soul on a par with the century-reinforced splendor of the Eternal City.

Sometimes when I read D’Annunzio I feel that he has moulded sentences, phrases, upon the proud painted canvasses of the past of his native land. His prose approaches the sumptuous completeness of Veronese. His old gardens of Rome have the poignancy of personal regret. Listen to this: “Even the garden was dull and sleep held. It was imbued with silence as rich as honey, as thick and heavy as wax, as precious gums. There was abandon and sadness, which exhausted themselves in belated perfume ... from here one could glimpse a pallid swamp with too tall lilies; yellow, heavy with pollen.”

Once when D’Annunzio was ill with fever he dreamed nightly of the rich gardens of Rome, with their fountains.

Of the kind of writing D’Annunzio does, there is not another example in the world today. I fancy there will not be another, until the age of mechanism, scientific mind, reaches its height, and passes. All things perish after they flower, even the ages.

Henry Bordeaux once exclaimed: “Here I am in Rome again after seventeen years!” Then he recalls his youth: O those morning walks in the perfumed gardens on the Pincian! (Rodriguez, the South American novelist, says in Idolos Rotos: “I can not forget the tardy twilights on the Pincian!”) Bordeaux remarks as an aside, that even humble people, in Rome, have the gift of eloquence.

Italy! Enchanting land, which still holds the heart of the world, and all its youth!

A soundly made novel that deserves consideration from thinkers, is Idolos Rotos (Broken Idols), by Manuel Diaz Rodriguez, published long ago in Venezuela. It is powerful in sense of sociological, economical, and political forces. It is a possessive reproduction of locality. I do not know of any other one book in which an idle reader can learn to understand so well, the differing values, the changing present condition of a great race, suddenly thrust into new material backgrounds, undergoing the too rapid physiological pressure of an untried climate. The book has mental detachment. It has balance of ideas. It has calm, unprejudiced observation. It is brilliant, subtle, and penetrating. And it has fine sincerity. The writer carries forward fearlessly the logic of a visioned idea. The prose is always good and sometimes great.

Few have been able to look upon the civilizations that grew up with mushroom swiftness in the new lands of the West, the Americas, with clearer eyes. We meet here the mind of South American youth. And the book has stable novel architecture.

“Victimas de un sistema.... Victims of an educational system which is wholly speed and with which they pretend to ripen brains and polish intelligence, just as heavy machinery is moved about by electricity or steam ... harmonious development is impossible,” writes Rodriguez.

It is a story of a wealthy young South American, educated for years in Europe, who comes home and tries to take up again the life he knew in childhood.

Of April in Caracas, he is enthusiastic: “It is a spectacle worthy of admiration, when the acacias flower, and trees wear crowns of purple and robes of flame!”

Sometimes Rodriguez warns against the dangers of democracies in words which remind us of León Daudet or De Tocqueville. There is no national soul, he says. And nothing is done to develop it. In Venezuela there are three ethnic unities which are hostile to any united progress.

He has written glowingly of the days of tropic summer. Again I translate from memory: “The cicadas sang. From every tree, every bush, rang their shrill announcement of summer. Near and far, every spot of green, every twig, leaf, was a strident trill, inescapable, like the high, glorious notes of crystal chords vibrating with frenzy until they snap. From the scanty vegetation on the edge of gorges, which, toward the north, divide capriciously the city ... swelled monotonous, sharp song.... From all points of the compass it came. And in Caracas, from every patio, surged the deafening song of the penetrating choir.”

Albert, idle in his studio, thought it was the tortured cry of a land sick with fever, praying the implacable blue for rain. The land was burned. This heat of fever quivered everywhere like a thirst. The fever leaped with violent color-cry to top boughs of the búcares. It leaped in blinding bloom to tall tolu-trees, to the acacias, which were breaking with blossoms. Nowhere in the city nor the forests could one see trees that were not covered with flowers, purple, red, and the hues of flame. From his window he confronted tolu-trees completely enveloped like armor in purple petals.

Both Loti and Barrés suffered from a consuming fear of death, says Daudet. They were constantly preoccupied with the thought that some-time life for them would be no more. Loti fought the fear with change of place, traveling; Barrés, with political affairs. Both were fêted and flattered while they suffered continual boredom. That accomplished Portuguese, Fidelino de Figueiredo, declares that it was boredom which caused the death of Louis Cotter, historian, who wrote Splendor and Decay of the House of Austria.

He died of mental weariness because he could not adapt himself to the mediocrity of a provincial town, its petty quarrels, its local injustice, its horror and hatred of any kind of superiority.

The brilliant Portuguese goes on to say that it was this attitude of mind which caused the French Revolution, and which is now beginning to afflict the minds of men again, with close of a period of time. People sense dumbly that the treasures of emotion, treasures stored by rich soul life (being rapidly destroyed) can never be reassembled. The result means death of culture. Marie Henrietta once wrote that to live does not mean to be upon the Earth either a brief time or a long time, but to be able to feel, to register a great range of sensations.

Evidently lovely Marie Henrietta did not sense the leanness of the long, thin years. Nor the New World that was coming.

A most satisfying and illuminating writer upon art is the Spaniard, Ballesteros de Martos. His Artistas Españoles Contemporaneos is a gem of its kind. It is splendidly illustrated. There is some quality in the prose of De Martos which recalls to my mind the great sculptors of his country who work direct from life in hard stone. It is economy; some unusual direct, swift power of expression. He is not only art critic but novelist and editor. One of his late novels is Luz en el Camino. He was one of the editors of that brilliant Spanish review, Cervantes.

I like this from Bacon’s Advancement of Learning: “The images of men’s wits and knowledge remain in books, exempted from the wrong of time and capable of perpetual renovation. Neither are they fitly to be called images, because they generate still, and cast their seeds in the minds of others, provoking actions and opinions in succeeding ages.”

Charm can come again, even in this dull day! It must be born, however, of brilliant mind united with nobility. Professor Jay William Hudson, in Abbé Pierre’s People, owns that graceful, alluring, polished-surfaced prose, and kindly seeing, Stevenson taught us to know in his short stories, and Charles C. D. Roberts, the Canadian, in little word-canvasses that witched before us French Canada, white winter, and the delicate, blossom-touched, brief spring of the north. He is not only novelist, story writer, but distinguished philosopher, thinker.

Pleasure has disappeared. Now to illumine tædiam vitæ we have gain, efficiency, and a desire for swifter and swifter movement from place to place, physical restlessness. Monkeys in tropic forests move swiftly, daylong, from bough to bough. They are restless because they have no mind and can not live. The people whose physical movements are swiftest and most continual, we ask to write books, philosophize for us, become models of intellect. A rare item, this, in the Great Confusion!

There are pleasures that are, of course, seemingly foolish. One of mine is just to hold in my hands old books printed in Venice.

I suppose there is some difference between peasants on a money-holiday that lasts too long, and nimble-tailed monkeys aswing from tall tropic trees.

Ellis Parker Butler declares pigs is pigs. Then monkeys must be monkeys, tails long or short.

I used to know a little shop in Paris where they kept only books about imaginary travels, travels that never existed. This kind of writing seems to have been done for a little while in the Eighteenth Century. One is about an imaginary trip to the pole and published in Amsterdam in 1723. Abbé Bordelon published a little earlier, a book about a hypochondriac who was forced to travel all the time whether he wanted to or not. Defoe’s Robinson Crusoe belongs to this period. Louis Holberg wrote, about the middle of the Eighteenth Century, describing a strange journey to the interior of the earth. There was an Arab philosopher, by name Ibn Tophail, earlier by a century, in the late Seventeenth Century, who wrote one of the most fascinating travel books in the world. It tells about a boy shipwrecked on a desert island south of Asia, who by means of travel and contemplation, trained his mind to comprehension of the verities, and scientific knowledge. The writer himself had an amazing life spent partly in Africa and partly as Secretary to the Governor of Granada.

Novels which give us the souls of races and the ancient historical progression of peoples such as: Reymont’s Peasants, Hamsun’s Growth of the Soil, are precious, powerful things. In no other way can we know thoroughly other lands and them who dwell there. A series of novels is being published in South America by that accomplished artist and man of letters, Manuel Galvez, which does just that. He is writing a series of fascinating historical novels of the wars in Paraguay, and of life in that great rich country Argentina. At this moment the Paraguay Trilogy is ready. The books are Los caminos de la muerte, Humaitá and Tierra de espectos. One of his earlier books, El solar de la raza, won the Argentine Prize. It is a travel book of old Spain. There are eloquent pages about Castile, strong, proud, noble, profound, whose glories Galvez says he has faith to believe will be duplicated again in Argentina. In this, Galvez has written as eloquently of time-stained, tragic Toledo as Zorilla, or Blanco-Fombona. As prelude to his description of the old stronghold of Spanish cities he says: “Now we are living in an epoch of transition; it is the imperialism of energy under two expressions, namely, will and muscle, while the older civilization of Spain was founded upon imperialism of the spirit. There the soul dominated. In modern cities of the New World people live preoccupied exclusively with material things; sensual pleasures, health, fashion, the acquiring of wealth. In the old days, in old cities such as Toledo, people were preoccupied with questions of the soul, God. Today we have the combative man, the pioneer, the self-made. We have epics of multitudes, whose interests are wholly material.”

“Toledo affirms for us the indelible quality of grief. It is one more illustration of the sudden end of things human. Even the stones of Toledo keep telling that life is continuous death. Cities, philosophies, glories of empire, books—everything—die. In time the civilization of Europe will pass into oblivion too. Later, American civilization will disappear, and with it the civilization of Argentina. Then some writer a thousand years hence will make a soulful and elegiac description of the end. He will find in the abandoned streets of my beloved Buenos Aires the same lofty sorrow, the same memories of the past, which, in nights I can now never forget, the stones of Great Toledo have revealed to me.”

Galvez is the author of many powerful novels of Argentina of today. Among them El mal metafísico, La vida multiple, La sombra del convento, La tragedia de un hombre fuerte, Nacha Regules. To me his most powerful book is El cántico espiritual. A book that has qualities which permit it to rank with the great novels of the world. It is the story of a young South American artist who goes to Paris to live, to continue his profession. There he falls in love with a rich, beautiful, but married woman from his own Argentina. For many years this love dominates his life. He pays court to her. He tries to make her his mistress, but without success. There are pages and pages of noble and inspired writing, rich revelations into the depths of an impassioned heart. After the years they both go back to Argentina again, to Buenos Aires, and here he finds out that she is ready to yield to his pleas and become his mistress. Then he finds his love for her is a thing of the spirit not of the flesh. He finds that she was merely the protective star that watched over his ambitions, his art. These years of sorrow had without his knowing it become years of progression for him, in which he had left behind forever his longing for the inferior beauty and had passed on to a nobler thing. Beauty Absolute, which is divine. In El cántico espiritual, Galvez writes (the close of the novel) the triumph of the spirit over the material, the triumph of an ideal world over a world of reality. It is the long pilgrimage of the soul toward the Absolute, the love of Dante for Beatrice, the philosophy of Socrates in the Banquet. It should be the hymn of a love that was pure, love eternal, a thing of comprehension of the soul, powerful enough to disdain the flesh. At their last meeting when he takes farewell of her, Suzanna, in his studio in Buenos Aires, he says: (This is the close of the novel.) I quote: “For this work which I wish to create, Suzanna, we must be pure. We must forget the flesh and the body. We must be able to life up our souls to the Great Beauty.”

“The darkness was drawing closer about them. They did not light the light. After Morris touched her brow fleetingly with his lips, his face again wore its noble ecstatic expression, his eyes too were strangely revealing of some richer happiness that seemed foreign, far.... With the eyes of the spirit he had confronted the Beauty which is Absolute. He had progressed from the love of one woman toward love of all human things, and from old art which was limited, to a comprehension of the essence of all art, the Divine.”

This book is nobly felt, nobly executed.