The Project Gutenberg eBook of The Yale Literary Magazine (Vol. LXXXVIII, No. 3), by (Students of Yale) This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Yale Literary Magazine (Vol. LXXXVIII, No. 3) Author: (Students of Yale) Release Date: May 8, 2022 [eBook #68021] Language: English Produced by: hekula03 and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.) *** START OF THE PROJECT GUTENBERG EBOOK THE YALE LITERARY MAGAZINE (VOL. LXXXVIII, NO. 3) *** Vol. LXXXVIII No. 3 The Yale Literary Magazine Conducted by the Students of Yale University. [Illustration] “Dum mens grata manet, nomen laudesque YALENSES Cantabunt SOBOLES, unanimique PATRES.” December, 1922. New Haven: Published by the Editors. Printed at the Van Dyck Press, 121-123 Olive St., New Haven. Price: Thirty-five Cents. _Entered as second-class matter at the New Haven Post Office._ * * * * * THE YALE LITERARY MAGAZINE has the following amount of trade at a 10% discount with these places: ALEXANDER—Suits $32.00 CHASE—Men’s Furnishings 30.00 GAMER—Tailors 32.00 KLEINER—Tailors 32.00 KIRBY—Jewelers 63.00 KNOX-RAY—Silverware 30.00 PACH—Photographers 24.00 PALLMAN—Kodaks 32.00 ROGER SHERMAN—Photographers 63.00 YALE CO-OP. 63.00 YALE UNIVERSITY PRESS—Books 125.00 If you want any of this drop a card to the Business Manager, Yale Station, and a trade slip will be returned on the same day. * * * * * ESTABLISHED 1818 [Illustration: _Brooks Brothers_, CLOTHING, Gentlemen’s Furnishing Goods.] MADISON AVENUE COR. FORTY-FOURTH STREET NEW YORK _Telephone Murray Hill 8800_ Useful Christmas Gifts for Men and Boys are listed alphabetically and priced in our Booklet “Christmas Suggestions” which we shall be pleased to send on request One of our Gift Certificates is suggested as a solution of the question of what to give the man for whom it is difficult to make a selection BOSTON TREMONT COR. BOYLSTON NEWPORT 220 BELLEVUE AVENUE * * * * * THE YALE CO-OP. _A Story of Progress_ At the close of the fiscal year, July, 1921, the total membership was 1187. For the same period ending July, 1922, the membership was 1696. On October 5th, 1922, or one week after the opening of college the membership was 1752, and men are still joining. Why stay out when a membership will save you manifold times the cost of the fee. THE YALE LITERARY MAGAZINE Contents DECEMBER, 1922 Leader F. O. MATTHIESSEN 75 Poems RUSSELL W. DAVENPORT 79 Five Sonnets MAXWELL E. FOSTER 94 Dagonet HERBERT W. HARTMAN, JR. 97 The Dark Priest K. A. CAMPBELL 98 Poem R. C. BATES 99 Sonnet WINFIELD SHIRAS 100 _Book Reviews_ 101 _Editor’s Babel_ 106 The Yale Literary Magazine VOL. LXXXVIII DECEMBER, 1922 NO. 3 _EDITORS_ MAXWELL EVARTS FOSTER RUSSELL WHEELER DAVENPORT ROBERT CHAPMAN BATES WINFIELD SHIRAS FRANCIS OTTO MATTHIESSEN _BUSINESS MANAGERS_ CHARLES EVANDER SCHLEY HORACE JEREMIAH VOORHIS _Leader_ Here at Yale we are inclined to take things rather too much for granted. We talk glibly of our traditions as something everlasting, and forget that most of them originated in the vague limbo of eighteen-ninety. We unconsciously consider the College of to-day to be the same as our fathers knew, and so it is astonishing to find in the musty pages of an old LIT. an account of “the more splendid entrances of Durfee, a building which is certainly ornamental and whose rooms are spacious and elegant”. For, in general, we have accepted our surroundings as a permanent matter of fact, and have not stopped to analyze just why they are as they are. Most of us hardly know the reason for our being here at all. In our four years we are continually passing through a series of changes—παντα ρει—everything is in a state of flux. Our ideas and ideals, our opinions and our minds are ever changing, developing, broadening. The Senior is the Freshman only in that he is the unifying body in which during the four-year span these many shifting thoughts have been welded together, and the instant has in truth been made eternity. For the Freshman is too engrossed with the business of becoming acclimatized, heeling some publication or other activity, and making friends to have much time for anything else. Towards the close of the spring term he looks forward to Sophomore year with a certain relish. Then is when he will do all that reading and extra study, that plain living and high thinking, which he has planned. But, curiously enough, Sophomore year brings with it new and unforeseen petty distractions which devour the time at an incredible rate, and leave no more room for contemplation than the year previous. And so with the last half of the cycle: the two final years swing by confusedly and bring us to the precipice of graduation, a charm or two on our watch chain, a smattering of knowledge which we may or may not find comforting, nothing more. Our development has been somewhat of a hand to mouth affair. We have learned certain unrelated facts about this and that, and have sketchily attempted to piece them together. But ordinarily they have not fitted, because we have not devoted enough sheer intellectual effort to the analysis of our own ideas. We have not the slightest conception of what we _believe_. We may have learned to think with reasonable clarity, and our ideals may be rather high, but we have built up no scheme of life, nothing by which to live. Any philosophy or creed which we may possess is, at best, vague, inchoate, and fragmentary. This, as I have said, is because we have never searched our souls with the cold, relentless light of reason in an attempt to understand every fiber of our make-up, we have taken things for granted, we have known only our exteriors, we have not known ourselves. And living thus almost entirely on the surface, we have inevitably grown to think of a philosophy of life as hardly an essential. “What need have I for all this truck about religion?”, we ask frankly, for we have not yet been brought face to face with the Truth that in order to realize our highest possibilities we must be utterly dominated by an ideal. We wish to move the world, but we have not yet been impressed with the necessity of having a place to stand. We have not been convinced that we must believe in something. The whole question has seemed to be something ethereal, something far removed from our own natural lives. Consequently we have been inclined to think of religion as little else but repression and that its followers knew nothing either of happiness or of life. They seemed to belong to a world apart—to a world that was drab and unreal. So Christianity has become the most forbidding word in the language. Judging it by its present fruits—by a decadent church and by sweaty Y.M.C.A. gymnasiums—we have pronounced it to be woefully lacking. We have not seen that these are in reality not fruits at all, but abortions, that although the church in its present form has outlived its usefulness, the spirit which exists in each one of us is as dominating now as it ever was, if only we will open our hearts to it. We have never stopped to think these questions through to their conclusion. We take untruths and half-truths for granted, and allow misconceptions to pass current without ever a sincere effort to get at the eternal strength of things. And so we hear men talk of humility, and we laugh at them. We wish to assert ourselves, to express our own individuality, and being humble seems to convey the very opposite. We look upon it as something synonymous with servility, as a state of grovelling self-abasement in which a man must sacrifice both his personality and his self-respect. We hear men talk of brotherly love and it seems to us a farce. How could anybody pretend to care for everyone equally, to put his closest friend and the man in the street in the same class? What could be more unnatural, more hypocritical? And again we hear men talk of self-surrender and we hate them for it. Why should I surrender myself? I am I. I possess my ideas and ideals, and these are enough. Why should I not strive to realize them without any external aid, any “something not myself”? Thus we argue and thus we feel because we are repelled by words whose meaning we do not really understand. Our minds have never pried deeply enough to find the Truth that humility is nothing mean, nothing subservient, but rather the natural consciousness of reverence before everything beautiful and sacred in the universe. We have thought the ideal of brotherly love to be futile because we have looked upon it only superficially. We have not realized that instead of a mere question of surface like or dislike, it involves a tremendous tolerance and sympathy with all of mankind, and that although difficult, if not impossible, to attain in its fulness, it certainly is the antithesis of hypocritical. We have loathed the very sound of self-surrender because we have taken the word in its cold and literal sense, and have not understood that instead of sacrificing any trace of individuality in giving ourselves up to the spiritual and the ideal, we find instead a new fulness and depth to life. For self-surrender is actually a self-realization more compelling than our brightest dreams. F. O. MATTHIESSEN. _Poems_ I. Sometimes you are younger than the dawn; But sometimes you are older than the stars. Your eyes are made that way: new light is drawn From the piled gold where ancient suns have gone, When your gaze reaches mine. Immersed in wars, I seek rebellion, fearing to rebel; And sigh, not yet desirous of relief; And grieve, not yet relinquishing my grief; And love the more—I who have loved so well. II. I love you. But it is a sorry task To probe the depths of why or how I love. We lovers are more fools the more we ask What lurks behind our kisses, what the mask Of rotting flesh conceals. Surely I love. Surely? Great heaven, who would tell the moon That she’s the light when she herself is cold? Without your love mine would be growing old; Without your eyes, mine would be ashes soon. III. Ashes? Yet there is something infinite About an ash—hoary and cold and wise. Across the spent fires of the night they flit, And often when the day grows pale, they sit, Like monarchs, on a vanished enterprise. Ah, even thus my young love would endure! Without her light the moon would still express Her strength, in shadows not yet bodiless— Hoary and cold and wise: thus am I sure. IV. I have addressed you with love’s first address: I’ve sealed the envelope with all my soul. Each day you add one burden to distress: Your silence! Ah, what icy ghosts caress Expectant hearts when women are the goal— What undreamt women do we hope to see When gazing like tired children heavenward! We say: God help us if our souls are barred From the white arches of infinity. V. Strange that your silence is so deafening And your unwritten page so full of thought! Each time they do not come your letters bring A chaos of conjecture, gathering Its forces like mad winds, ’till I am caught— And swept—and swept into an agony. Ah, ruinous silence that awakes such stress! The noisy thunders of my heart suppress The frail, pale music of my memory. VI. How long! How long, great God, must I regret Fleshly communions with the scattered ghosts Whom in the by-ways of the past I met, And whom I am desirous to forget, Lest at their feasts they shout aloud old toasts And grin with laughter that is desolate? For then the crimson tinge would cross your cheek— A tragic color—and your heart would seek Mutely for spring, though shorn of leaves by Fate. VII. Winter! It is not winter when the snows Whiten the houses and the bare brown trees. It is not winter when the north wind blows, Nor yet when mountain lakes are glazed, and floes On the horizons of the Arctic freeze. There is no winter if the heart is warm!— And I would ask you to remember it. My dear, when you are silent, I must sit Frozen among the figures of the storm. VIII. What do I mean by such queer similes? O heart beloved, I mean to show you how The red autumnal stretches of the trees In crystal twilight, ere the black ponds freeze, Would but reflect your stillness, were I now To tell you things a man’s life most conceals: And next to say that what the autumn is To you, winter would be to me. And this Seems all that any simile reveals. IX. When marble wears the touch of Grecian hands, Or Leonardo’s paints on canvas live, I think the gods are building on the sands Castles of stone, but no one understands How much they can inspire one heart to give: Though I who dream about your untouched hair Can follow Leonardo’s rapid brush, And with it paint those yearning strokes, and crush Beneath a large ideal, life’s strong despair. X. Dante was more than half of Beatrice! Thus for a woman’s warm identity We men go asking where our heaven is, And having found it, for that woman’s kiss We build the altars and the destiny. O Beatrice! How much we would forget, If Dante had forgotten what to write! The Silence and the Distance and the Night— These he erased—and we remember yet! XI. But more than half of Dante was her frame— So fragile and so exquisite that rime Could but produce the soundings of her name, And leave all cold the radiance, the flame Which from her gaze swept Dante out of time. Oh, say not that a woman ever dies When Dante loves her! Yet when Dante loves, His soul becomes the body that he loves: A woman will not have it otherwise. XII. If Beauty can be kind I know it not, Because you have not touched me with your lips, Nor yielded with your eyes. It is my lot To sit, an outcast on some barren spot, And watch the summer clouds, like treasure-ships, Sailing beyond me toward the evening. The beauty there is infinite, is blue!— But pitiless as effigies of you, And bitter with remembrance of the spring. XIII. I am a madman in the wilderness: The gods of anger have bestirred my pen. Where is your magic now? Or your caress? The pressure of your arms, your tenderness? I’ll tear myself away from these, since men Are not as angels are—eternally. Damnation!—ah, but hush—see, my wild hands! If pity be the food my heart demands, Then for the love of heaven pity me. XIV. Or do not pity me. Love is too great For kindly words and sighs and handkerchiefs. Your eyes will be my stars, your arms my fate, And I shall wait for these, although I wait Until the ship goes shattering on reefs Which lurk beyond horizons sailed in vain. Then let the ocean froth, let tempests rave; Let the straight masts bow stiffly to their grave; Let the old love go—go—nor come again! XV. My lady condescends! A little note Written, upon my soul, in hat and glove, Leaves everything unsaid: and what she wrote Would strangle the young cupid by the throat, If he were not immortal. I may love, And she—is glad to have it so. Ah me! How fine a woman draws the thread of hair Which holds her lover dangling in the air, Suspended above all eternity. RUSSELL W. DAVENPORT. _Five Sonnets_ 1. My friends will have it that I might have been A lover, and not thus have loved in vain, Had I had strength enough to kill the rain That showered on the April of our scene. And art to be impassioned and serene, And worn the guise of Abel, being Cain, Worshipping in a mild bucolic vein The blinding fire of the cold eyes of my queen. And calmly in their quiet judicial way, They tell me that the pictures I have drawn Of you are fantasies of my poor brain, And when, if ever, we shall meet again You will not be a person of the dawn, Or Love, herself, uprising from the spray. 2. But I can laugh with them at their good jokes, Knowing they are not serious, and reply That heaven is something less than a wild sky, And love only a pretty, human hoax. Do I not see what all their laughter cloaks, And know that really they would gladly die, Rather than idly pass your beauty by, Which all the dreaming of their hearts invokes. They are ingenious fellows and will play, But in the elements they are the same As I, building the altars of their souls To something that is nameless in a name, And, like a bell upon the night-tide, tolls Setting them midst their capers all to pray. 3. This something seems at times of less import Than what is built thereto. The altars rise Immeasurable records of surmise; The achievement is indeed of the great sort, The length of their magnificence not short, But in our wonder at their grace and size Can we forget they were fashioned for your eyes, Or make of those oblivion in our sport! Oh no, the idolater finds the idol still, Though there be pyramids to dazzle him, And paintings of high art along the wall, Still there is left the goddess young and slim, Her lips still breathe, her breasts still rise and fall,— He kills himself, if her he tries to kill. 4. But these my friends like other men do eat, And sleep, and spend most merrily their while Upon this lily-earth; their hours beguile Each other, each with a memory to repeat. And if by chance they do a noble feat It is for them the subject of a smile, For they know well at some uncertain mile Staunch military Death will blow retreat. Till in a moment they are one with me, And Love has conquered in an unseen way The turrets and the bulwarks of their dreams. No longer is to-morrow yesterday, Nor life the pagan paradox it seems, And they are begging immortality. 5. Immortal girl, what I have said in mirth About these people,—it is true of me, Only they live still rich in poverty, While I am one beyond the reach of earth. These, of their parent clay, still weigh the worth, And hesitate to plunge into the sea. But I, the sooner lost, have found in thee A new and an eternal kind of birth. Because your eyes are flaming, and must burn, Your body fire that kills, your beauty death, I love, worshipping that which I desire. Icarus knew no more: I breathe thy breath, And touch thy hair;—if I to dust return At least I shall be cinders, you still fire. MAXWELL E. FOSTER. _Dagonet_ You come to me for guidance? That’s a queer Anomaly, to ask an aged man What course in Life he recommends, what plan Of conduct,—ask the King, or Bedivere.... The King is dead? Oh, I recall,—last year It was; and Bedivere, last of the clan To follow, like a tired veteran Obeyed the hand that beckoned from the mere. Yes, I remember now: in Camelot When Life was wrapped about us like a flame How we enjoyed the zeal of Arthur’s rule. But that was long ago. And there is not A thing to say, because it was with shame I saw the King seek counsel of his fool. HERBERT W. HARTMAN, JR. _The Dark Priest_ The dark priest tutors me to-day, The dark priest. I turn to the left in the cloister way To the inner court with the hollyhock row, And he looks down upon me and watches me go, The dark priest. I climb the stair to his study door, The dark priest, And I knock (I have done it o’er and o’er) Then he opens it slowly and ushers me in And I sit on the hassock and lessons begin, With the dark priest. His fingers are long and his eyes are grey, The dark priest. The other boys fear him, so they say, But he throws back his cowl and he lets me see The smile on his lips, and he’s kind to me, My dark priest. He takes his viola and tunes it to play, The dark priest, For my Latin’s well read and he promised to-day, And his instrument gleams in the dust-laden beams While I sit there athrill to his music of dreams, The dark priest. He plays an old Normandy love song I know, The dark priest, And the strings quaver back the caress of the bow. The chamber grows dark while his notes ring out clear, But he cannot conceal the slow fall of a tear, My dark priest. K. A. CAMPBELL. _Poem_ A little laughter, and a few short days And Life is done: The race throughout this long bewildering maze Is quickly run. A little friendship, and a word or so With worth half guessed— And then a-weary to long sleep we go, And that is best. Life is a little while to dream our dreams Before we rest— And Life to us is always what it seems: That is Life’s jest. A little hope, a friendship which might live, The laughing sun, A tear, a star, is all Life has to give Ere Life be done. R. C. BATES. _Sonnet_ Autumnal dusk was sweeping with a star, Over the wood where lovers’ lips were meeting; Trembled the first cold night-flame, passed the far Low-whistling sadness of a duck’s wings beating. Heart strained to heart. The purple deepened through A twilight shriven in its pain of dying; Swiftly the wing-beats slanted earthward to The darkening marshes, with a throat-soft crying. Night crept through dusk, as now the old surprise Crept through our kisses to the inner love, An age-old wistfulness. Our pensive eyes Yearned to the darkness and the veil thereof; Yea, and our ears found sorrow in the cries Of moor-fowls,—and the darkness wheeled above. WINFIELD SHIRAS. _Book Reviews_ _Abbé Pierre._ By JAY WILLIAM HUDSON. (D. Appleton & Co.) “Abbé Pierre”, by Jay William Hudson, is altogether a delightful and charming book. It may not be called very subtle, nor humorous, nor dramatic, nor sordid—qualities which most modern novels seem to imbibe; but that it is delightful and charming no one may deny. In one respect the book is a picture of a Gascon village—its customs and its traditions, its thoughts and its dreams. These walks with Abbé Pierre along the dusty roads of Gascony, these glimpses of its hills and valleys, these insights into its daily life are most interesting and picturesque. Furthermore, such a background is ideal for the unfolding of the romance of Germaine Sance and the young American, David Ware. In another respect the book is a picture of life viewed broadly and sympathetically. Abbé Pierre left his little Gascon village when he was quite young; he has given the best of his years and strength to the world; and now he returns to spend his last days in this place that he loves above all else. Here he sits in his garden house and writes down some thoughts and ideas about life born of many years of living. And these thoughts of his give the book, along with its beauty of description, its beauty of spirit. I wish that all of us who aimlessly rush about this world with no time to read anything but an “exciting” novel would pause and read this book. I suppose my wish is ludicrous, for does not Abbé Pierre himself say that “Americans always seem to think that unless one is bustling about all the time one is doing nothing”? And then he immediately adds: “Some of the best deeds that I have ever done have been the thoughts I have lived through in this same old garden by the white road, where wooden shoes go up and down”. He who can appreciate such a philosophy will read “Abbé Pierre” with much interest and delight. W. E. H., JR. _Confessions of an Old Priest._ By REV. S. D. MCCONNELL. (The MacMillan Co.) We are all, being students, in a period when our opinions are forming rapidly according to our characters and interests. For those who feel that a religious philosophy is an essential basis from which other values must be derived, or for those whose religion is an untouched field of inherited beliefs and inhibitions, the time and the subject-matter of “Confessions of an Old Priest” are ripe. The Rev. Mr. McConnell remains in the end as devout a Christian as he was fifty years ago, when he entered the Church convinced that “it owed its origin to Jesus Christ, and that He was the unique Son of God”. But he is no longer a worshipper of Jesus; he has taken the very cornerstone out of Christian doctrine and cast it away—and the edifice still shelters him as efficaciously as before. The volume is devoted to his explanation of this paradox: how he finds himself a faithful Christian still, while the result of his historical research has disproved for him the divinity of Jesus. For Jesus, he declares, was not the original Christ; _Christus_, a Greek word, was applied to the heroes of a number of Mystery religions during the century before the obscure Hebrew province of Gallilee had any intimations that the “Messiah” was born. And the most startling attack upon traditional dogma is his analysis of “the trouble with Christianity”. “It is,” he says, “not an unworthy Christianity, but an unworthy Christ.” When the reader has swallowed hard for a moment over that declaration, he reads on to discover what this astounding pastor means, and finds a wealth of plausible argument to support his extravagance of phrase. Jesus himself preached a “workless” doctrine, a “toil not, nor spin” existence, a “turn the other cheek” attitude, and it is his biographers, together with such followers as Paul, who have incorporated Him into the practical philosophy and morality of the Church, to make Him the greatest exemplar in history of life as it should be lived. Jesus, and “Christlike” people are delightful, adorable characters, according to this book, but they are a care to the community, and should their ethics be generally adopted, civilization would go immediately more or less to smash. The Rev. Mr. McConnell’s conclusions are so wholesale and so radical that I am not sure we can all accept them without comment or refutation. I cannot agree with his method of discriminating between true history and apostolic imagination in the “synoptic” gospels. But I do think every Christian should read this work as a test for his present beliefs and an introduction to new areas of religious thought. And it is quite possible that here is the way to a new religion and a satisfactory one in this time of restlessness and agnosticism. D. G. C. _What I Saw in America._ By G. K. CHESTERTON. (Hodder & Stoughton, Ltd.) After reading Mr. G. K. Chesterton’s account of his recent travels in this country, we recalled to mind a certain cartoon which appeared some time ago in a London periodical, which depicted the author as an immense Zeppelin floating over the city. From his mouth came great clouds of vapor and below were written the words: “G. K. C. spreading paradoxygen over London”. A similar caricature might be made in the present instance, for the gentleman in question has, in this book, tinged his treatment of America and American life with a shade of paradox. It would seem to us as if this most interesting and penetrating series of essays should prove to be of greater interest to American than to English readers. Mr. Chesterton came, saw, and pondered, and the results of his meditations are a series of enlightening essays dealing with everything in America and American life from a discussion of what America is, and what manner of men Americans are, to Prohibition and the Irish question. The author never comments on any subject as you would expect him to. His impressions of the material and the abstract, of which we have formed no very definite opinion because of what might be called that contempt bred of familiarity, come to us as truths which are as worthy of our consideration as they merit the laughter of the foreigner. When he tells you that he is not sure that the outcome of the Civil War may not have been for the best and that he believes that Walt Whitman was the greatest American poet, you may be inclined to disagree, but you will be forced to admit that, as he himself would say, his reasons are reasonable. Nor does this Englishman spare his own country in many of his comparisons. The book is not one to be read through in a sitting; it is something to be picked up and read one part at a time. There is none of the parts but will bear a second and even a third reading, for many of its truths are buried deep. It is a text-book in the art of the appreciation of foreign lands, and its teachings, if followed, would bring more lasting harmony among all peoples than the League of Nations it condemns. M. T. _Aaron’s Rod._ By D. H. LAWRENCE. (Martin Secker.) Mr. Lawrence is undoubtedly the most consistent of the so-called moderns on either side of the Atlantic. His novels, thus far, have set an average standard far above that of his closest rival, Mr. James Joyce. Mr. Lawrence’s books are always readable; Mr. Joyce’s, seldom, but they both have gifts of sincerity and mental acuteness which lift them from the ruck of the ordinary incomprehensible. Their pungent observations on types, existing conditions, and each other, are amusing to say the least. We have heard Mr. Lawrence’s name bandied promiscuously about as a realist. Nothing could be less real than “Aaron’s Rod”. The action and dialogue never took place on this earth, nor does it seem probable that they ever will. There is an odd, pervasive sense of violence saturating this novel. The Great War has evidently left its stamp on the intellects of these younger British geniuses, for their work has a tense, strained quality which is disquieting in the extreme. The characters of “Aaron’s Rod” move ceaselessly back and forth like a scurrying body of ants; they jabber in a rather inhuman way about love, socialism, Italian scenery, and Christmas trees. There is no action, no story to speak of: A coal miner runs off to London, thence to Italy, from one of the larger Midland towns, for no reason whatsoever except that his wife is fond of him. Persons appear on Mr. Lawrence’s stage, speak their lines, and hurry off again, no one seems to know whither. Nevertheless, these characters are interesting by virtue of Mr. Lawrence’s positive genius for purely physical portraiture. Josephine, Aaron Sisson’s first incidental “amoureuse”, is particularly well done, from a pictorial standpoint. Scarcely a page is given to her, yet she leaves an impression on our minds far more lasting than that of Aaron himself. Pains have been taken with Lady Franks in the same way; it seems as if Mr. Lawrence loses interest in his major characters. He must be on to pastures new. “Aaron’s Rod” can scarcely be called a “good” novel. It contains many advanced ideas in the field of sociology which we found rather difficult to agree with. However, the world may in time grow up to Mr. Lawrence and until then we should seize the opportunity of reading his descriptions of luxurious interiors, and the Alps. They are remarkably able bits of writing. Mr. Lawrence is an important novelist now, but it is in his power to do much better things than he has done so far. If he would lessen his tone of violent indignation, if he would tincture his spiritual realism a little less with impure physical realism, he might be considered one of the great novelists of our time. As it is, his achievement in “Aaron’s Rod” is remarkable in that he has stripped off everything unnecessary, merely giving us the essentials on just about every topic known as a “world problem”. However, we should prefer the doses one at a time; all at once they seem a rather large gulp. G. L. G. _Editor’s Babel_ Chaos! In intonations worthy priests of Baal Ahasuerus and Bukis Mr. Benson and the Egoist The Welcome Intruder and Richard Cory Shout the praises of Poesy. Chaos!! “Be it all poesy—that flaming goddess With bewildering hair.” Intones Richard Cory. _Sic transit prosae contributorum_ Chaos!!! We _will_ be Punditical.... We _are_ Punditical. And so is the LIT. Chaos!!!! “WHEE!” from Cory, Bukis, Ahasuerus, Benson, and the EGOIST. _Yale Lit. Advertiser._ * * * * * Compliments of The Chase National Bank * * * * * HARRY RAPOPORT University Tailor Established 1884 Every Wednesday at Park Avenue Hotel, Park Ave. and 33rd St., New York 1073 CHAPEL STREET NEW HAVEN, CONN. * * * * * DORT SIX _Quality Goes Clear Through_ $990 to $1495 Dort Motor Car Co. _Flint, Michigan_ [Illustration] $1495 * * * * * The Knox-Ray Company Jewelers, Silversmiths, Stationers _Christmas Gifts_ Novelties of Merit Handsome and Useful Cigarette Cases Vanity Cases Photo Cases Powder Boxes Match Safes Belt Buckles Pocket Knives 970 CHAPEL STREET (Formerly with the Ford Co.) * * * * * P. RING 217 ELM STREET Sanitary Soda Fountain Perfect Service Cigars, Cigarettes, Pipes, Magazines, Confectionery Fruit NEW ENLARGED STORE * * * * * [Illustration: _The Aberdeen_ We extend our most sincere wishes for success to those men who step forth this month into the world of business—may each man bring greater glory to Yale. _The “Nettleton” Shop_ 1004 Chapel Street _Opposite Osborn Hall_] * * * * * The Brick Row Book Shop, Inc. Booksellers, Importers, Print Dealers From the very first it has been the policy of the Brick Row to render the best service possible to all lovers of books, first in New Haven, later in New York and Princeton. By adhering conscientiously to this avowed purpose, the Brick Row has gained an enviable place in the hearts of its clients. We hope to be of even more service to you in the future. The Brick Row Book Shop, Inc. 19 East 47th S., New York 104 High St., New Haven 68½ Nassau St., Princeton * * * * * A Derby belongs in every Wardrobe SOONER OR LATER—and not infrequently—an occasion arises where the derby surpasses the soft hat in good taste and correct grooming. For that occasion, we suggest that you select a derby now, and select a Knox. Whatever the model, be assured it is the mode. SEVEN DOLLARS HERE ONLY SHOP OF JENKINS Haberdashery—Knox Hats—Clothing Specialists 940 Chapel Street, New Haven, Conn. * * * * * The Nonpareil Laundry Co. The Oldest Established Laundry to Yale We darn your socks, sew your buttons on, and make all repairs without extra charge. * * * * * PACH BROS. _College Photographers_ 1024 CHAPEL STREET NEW HAVEN, CONN. * * * * * CHAS. MEURISSE & CO. 4638 Cottage Grove Ave., Chicago, Ill. POLO MALLETS, POLO BALLS, POLO SADDLES and POLO EQUIPMENT of every kind Catalog with book of rules on request * * * * * CHASE AND COMPANY _Clothing_ GENTLEMEN’S FURNISHING GOODS 1018-1020 Chapel St., New Haven, Conn. Complete Outfittings for Every Occasion. For Day or Evening Wear. For Travel, Motor or Outdoor Sport. Shirts, Neckwear, Hosiery, Hats and Caps. Rugs, Bags, Leather Goods, Etc. * * * * * Tailors to College Men of Good Discrimination [Illustration: _Gus Alexander_ _DRESS_ TAILOR _SPORTING_] 1123 CHAPEL STREET NEW HAVEN, CONN. * * * * * Established 1852 I. KLEINER & SON TAILORS 1098 Chapel Street NEW HAVEN, CONN. Up Stairs * * * * * Just like a new page of some mystic biography, 1923 has opened to us. Going on, with the advancement and improvements of time, but ever retaining the best from the past, we move into this new year. Continue to be served by the Roger Sherman Studio * * * * * HUGH M. BEIRNE 227 Elm Street _Men’s Furnishings_ “Next to the Gym.” * * * * * Foreign Sweaters, Golf Hose, Wool Half Hose, all of exclusive and a great many original designs. Our motto: “You must be pleased.” John F. Fitzgerald Hotel Taft Bldg. NEW HAVEN, CONN. * * * * * MOTOR MART GARAGE OLIVE AND WOOSTER STS. Oils and Gasoline Turn-auto Repair Service * * * * * VAN DYCK & CO. Incorporated PRINTERS 121-123 Olive Street New Haven, Conn. * * * * * “_Costs less per mile of service_” [Illustration] The new Vesta in handsome hard rubber case, showing how plates are separated by isolators. VESTA STORAGE BATTERY VESTA BATTERY CORPORATION CHICAGO * * * * * The Yale Literary Magazine Solves the Christmas Present Problem. Send a year’s subscription to your family. We will wrap it up and mail it for you. * * * * * [Illustration: NASH SIX FOUR-PASSENGER COUPE _Reduced Price_ $1890 f.o.b. factory] NASH It is just such remarkable features of design and appointment as those presented in the Nash Six Coupe, that have given the Nash line of enclosed models unprecedented leadership in the fine car field. Every late refinement, the most luxurious appointments, serve to mark the Nash Coupe as an outstanding closed car value. THE NASH MOTORS COMPANY KENOSHA, WISCONSIN FOURS _and_ SIXES Reduced Prices Range from $915 to $2190, f.o.b. Factory * * * * * [Illustration] NEW HAVEN CONNECTICUT 522 FIFTH AVENUE NEW YORK CITY Correspondence of James Fenimore-Cooper. Edited by his grandson, James Fenimore Cooper. This unique and fascinating collection of letters, written 1800-1851 by and to the first great American novelist and now authoritatively edited by the novelist’s grandson, is printed from originals in the possession of the Cooper family. As is well known, Cooper, during his last illness, forbade the publication of any biographical material about himself by his then living descendants; and the biographical treatments, including even the late Professor Lounsbury’s valuable work in the American Men of Letters series, have necessarily been written without access to any considerable body of first-hand evidence. The publication of his intimate correspondence in the present collection reveals an altogether more remarkable character than has generally been conceived by even the most ardent twentieth-century admirer of Cooper. The letters tell of his life at Cooperstown, in Westchester County, in New York City, and in various countries abroad. The leading men of the time were among his correspondents—Washington Irving, S. F. B. Morse, General Lafayette, Longfellow, Bryant—and oftentimes their letters to Cooper are included to make the story complete. The two volumes constitute, not only an unique addition to American biography, but also a profound and diverting commentary on the social and family life of the novelist’s generation; on the status of art, letters, and the always fascinating business of writing, publishing, and selling books; on travel and international relations; and on domestic politics through the momentous decades when abolitionism was brewing in the North and secessionism in the South. In fine, there is an overflowing measure of all that one could look for, from the faint breath of old church and family scandals up to the rousing melodrama of Cooper’s long and triumphant legal campaign against newspapers. And there is a great deal more for which one would never think to look, grateful as one is to find it. _Regular Edition. Two volumes. Large 8vo. Over 700 pages. With Frontispiece. $7.50 the set._ _Limited Edition. 250 numbered sets on rag paper, with extra illustrations from the collections of the Cooper family. In a suitable binding. $30.00 the set._ YALE UNIVERSITY PRESS *** END OF THE PROJECT GUTENBERG EBOOK THE YALE LITERARY MAGAZINE (VOL. LXXXVIII, NO. 3) *** Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that: * You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." * You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. * You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. * You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org This website includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.