Now this distinction (made without prejudice as to Chesterton's views on capital or corporal punishment) holds good through his whole criticism of modern legislation. He believes that it is better that a man and his family should starve in their own slum, than that they should be moulded, by a cumbersome apparatus of laws and officials and inspectors, into a tame, mildly prosperous and mildly healthy group of individuals, whose opinions, occupations and homes should be provided for them. On these lines he attacks whatever in his opinion will tend to put men into a position where their souls will be less their own. He believes that the man who has been costered by the Government into a mediocre state of life will be less of a man than one who has been left unbothered by officials, and has had to shift for himself.

Very largely, therefore, Chesterton's political faith is an up-to-date variety of the tenets of the Self-Help School, which was own brother to the Manchester School. And here we come to a curious contradiction, the first of a series. For Chesterton loathes the Manchester School.

The contradiction comes of an inveterate nominalism. To G.K.C. all good politics are summed up in the words Liberty, Equality, Fraternity. But nobody, not even a Frenchman, can explain what they mean. Chesterton used to believe that they mean Liberalism, being led astray by the sound of the first word, but he soon realized his error. Let a man say "I believe in Liberty" and only the vagueness of the statement preserves it from the funniness of a Higher Thinker's affirmation, "I believe in Beauty." A man has to feel Liberty, Equality, Fraternity, for they are not in the nature of facts. And one suspects horribly that what Chesterton really feels is merely the masculine liberty, equality and fraternity of the public-house, where men meet together but never do anything. For Chesterton has not yet asked us to do anything, he only requests Parliament to refrain. He supports no political programme. He is opposed to Party Government, which is government by the Government. He is in favour of Home Rule, it may be inferred; and of making things nasty for the Jews, it may be supposed. But he does not poach on the leader-writers' preserves, and his political programme is left hazy. His opposition to Liberal proposals brings him near the Tories. If the Liberals continue in power for a few years longer, and Home Rule drops out of the things opposed by Tories, the latter may well find Chesterton among their doubtful assets. He will probably continue to call himself a Liberal and a "child of the French Revolution," but that will be only his fun. For the interesting abortions to which the French Revolution gave birth—well, they are quite another story.

Chesterton is a warm supporter of the queerly mixed proposals that are known as the "rights of small nationalities," and the smaller the nationality, the more warmly he supports (so he would have us believe) its demand for self-government. Big fleas have little fleas, alas, and that is the difficulty he does not confront. For Home Rule carried to its final sub-division is simply home rule; the independence of homes. Political Home Rule is only assented to on general principles; apparently on the ground that on the day when an Englishman's home really does become his castle he will not, so to speak, mind much whether he is an Englishman or an Irishman.

And here we may bid farewell to the politician who is Chesterton. His politics are like his perverse definitions of the meaning of such words as progress and reform. He is like a child who plays about with the hands of a clock, and makes the surprising discovery that some clocks may be made to tell a time that does not exist—with the small hand at twelve and the large at six, for example. Also that if a clock goes fast, it comes to register an hour behind the true time, and the other way round. And so Chesterton goes on playing with the times, until at last a horrid suspicion grips us. What if he cannot tell the time himself?



VIII

A DECADENT OF SORTS

AN idea, if treated gently, may be brought up to perform many useful tasks. It is, however, apt to pine in solitude, and should be allowed to enjoy the company of others of its own kind. It is much easier to overwork an idea than a man, and of the two, the wearied idea presents an infinitely more pathetic appearance. Those of us who, for our sins, have to review the novels of other people, are accustomed to the saddening spectacle of a poor little idea, beautiful and fresh in its youth, come wearily to its tombstone on page 300 (where or whereabouts novels end), trailing after it an immense load of stiff and heavy puppets, taken down from the common property-cupboards of the nation's fiction, and not even dusted for the occasion. Manalive, as we have seen, suffered from its devotion to one single idea, but the poor little thing was kept going to the bitter end by the flow of humorous encouragement given it by the author. The later works of Chesterton, however, are symbolized by a performing flea, dragging behind it a little cartload of passengers. But it sometimes happens that the humour of Manalive is not there, that one weary idea has to support an intolerable deal of prose.

In An Essay on Two Cities[3] there is a long passage illustrating the adventures of a man who tried to find people in London by the names of the places. He might go into Buckingham Palace in search of the Duke of Buckingham, into Marlborough House in quest of the Duke of Marlborough. He might even look for the Duke of Wellington at Waterloo.

I wonder that no one has written a wild romance about the adventures of such an alien, seeking the great English aristocrats, and only guided by the names; looking for the Duke of Bedford in the town of that name, seeking for some trace of the Duke of Norfolk in Norfolk. He might sail for Wellington in New Zealand to find the ancient seat of the Wellingtons. The last scene might show him trying to learn Welsh in order to converse with the Prince of Wales.

Here is an idea that is distinctly amusing when made to fill one short paragraph, and might be deadly tedious if extended into a wild romance. Perhaps the best way of summarizing the peculiar decadence into which Chesterton seemed at one time to be falling is by the statement that up to the present he has not found time to write the book, but has done others like it. And yet the decadence has never showed signs of that fin de siecle rustiness that marked the decadent movement (if it was really a movement and not just an obsession) of the generation that preceded Chesterton. He cursed it in the dedication to Mr. E. C. Bentley of The Man who was Thursday, and he remained true to the point of view expressed in that curse for ever afterwards.

A cloud was on the mind of men, and wailing went the weather, Yea, a sick cloud upon the soul, when we were boys together. Science announced nonentity, and art admired decay; The world was old and ended: but you and I were gay. Round us in antic order their crippled vices came— Lust that had lost its laughter, fear that had lost its shame. Like the white lock of Whistler, that lit our aimless gloom, Men showed their own white feather as proudly as a plume. Life was a fly that faded, and death a drone that stung; The world was very old indeed when you and I were young. They twisted even decent sin to shapes not to be named: Men were ashamed of honour; but we were not ashamed.

The Chestertonian decadence was not even an all-round falling-off. If anybody were to make the statement that in the year nineteen-hundred-and-something Chesterton produced his worst work it would be open to anybody else to declare, with equal truth, that in the same year Chesterton produced his best work. And the year in which these extremes met would be either 1913 or 1914, the years of Father Brown and The Flying Inn on one hand, and of Father Brown and some of the songs of The Flying Inn on the other. It was not a technical decline, but the period of certain intellectual wearinesses, when Chesterton's mental resilience failed him for a time, and he welcomed with too much enthusiasm the nasty ideas from which no man is wholly free.

The main feature indeed of this period of decadence is the brandishing about of a whole mass of antipathies. A man is perfectly entitled to hate what he will, but it is generally assumed that the hater has some ideas on the subject of the reform of the hatee. But Chesterton is as devoid of suggestions as a goat is of modesty. A man may have a violent objection against women earning their own livings, and yet be regarded as a reasonable being if he has any alternative proposals for the well-being of the unendowed and temporarily or permanently unmarriageable woman, with no relatives able to support her—and there are two or three millions of such women in the United Kingdom. But a mere "You shouldn't" is neither here nor there.

Take this verse. It was written two or three years ago and is from a poem entitled To a Turk.

With us too rage against the rood Your devils and your swine; A colder scorn of womanhood, A baser fear of wine, And lust without the harem, And Doom without the God, Go. It is not this rabble Sayeth to you "Ichabod."

A previous stanza talks about "the creedless chapel." Here is a whole mass of prejudices collected into a large splutter at the expense of England. If the verse means anything at all, it means that the English are nearer the beasts than the Turks.

Another of Chesterton's intellectual aberrations is his anti-Semitism. He continually denied in the columns of The Daily Herald that he was an anti-Semite, but his references to the Jews are innumerable and always on the same side. If one admits what appears to be Chesterton's contention that Judaism is largely just an exclusive form of contemporary atheism, then one is entitled to ask, Why is a wicked Gentile atheist merely an atheist, while a Jewish atheist remains a Jew? Surely the morals of both are on the same level, and the atheism, and not the race, is the offensive feature. The Jews have their sinners and their saints, including the greatest Saint of all.

They and they only, amongst all mankind, Received the transcript of the eternal mind; Were trusted with His own engraven laws, And constituted guardians of His cause: Their's were the prophets, their's the priestly call, And their's, by birth, the Saviour of us all.

Even if Chesterton cannot work himself up to Cowper's enthusiasm (and few of us can), he cannot deny that the race he is continually blackguarding was preparing his religion, and discovering the way to health at a time when his own Gentile ancestors were probably performing human sacrifices and eating worms. Unquestionably what is the matter with the modern Jew, especially of the educated classes, is that he refuses to be impressed by the Christian Church. But the Christian Church cannot fairly be said to have made herself attractive in the past; her methods of Inquisition, for example. . . .

It is difficult to write apathetically on this extreme instance of a great writer's intolerance. One single example will suffice. A year or two ago, a Jew called Beilis was put on his trial (after an imprisonment of nearly three years) for the murder of a small Christian boy named Yushinsky, in order that his blood might be used for ritual purposes. Yushinsky, who was found dead under peculiar circumstances, was probably a Jew himself, but that does not affect the point at issue. Mr. Arthur Henderson, M.P., tried to arouse an agitation in order to secure the freedom of Beilis, because it was perfectly evident from the behaviour of certain parties that the prisoner's conviction would be the signal for the outbreak of a series of massacres of the Jews, and because a case which had taken nearly three years to prepare was obviously a very thin case. Chesterton wrote a ribald article in The Daily Herald on Mr. Henderson's attempt at intervention, saying in effect, How do you know that Beilis isn't guilty? Now it is impossible to hold the belief that Beilis might be guilty and at the same time disbelieve that the Jews are capable of committing human sacrifice. When a leading Russian critic named Rosanov, also an anti-Semite, issued a pamphlet proclaiming that the Jews did, in fact, commit this loathsome crime, he was ignominiously ejected from a prominent Russian literary society. The comparison should appeal to Chesterton.

The nadir of these antipathies is reached in The Flying Inn, a novel published a few months before the Great War broke out, and before we all made the discovery that, hold what prejudices we will, we are all immensely dependent on one another. In this book we are given a picture of England of the future, conquered by the Turk. As a concession to Islam, all intoxicating drink is prohibited in England. It is amusing to note that a few months after the publication of this silly prognostication, the greatest Empire in Christendom prohibited drink within its frontiers in order to conquer the Turk—and his Allies. A Patrick Dalroy, an Irishman (with red hair), and of course a giant, has been performing Homeric feats against the conquering Turks. A Lord Ivywood, an abstraction bloodless to the point of albinism, is at the head of affairs in England. The Jews dominate everything. Dalroy and Humphrey Pump, an evicted innkeeper, discovering that drinks may still be sold where an inn-sign may be found, start journeying around England loaded only with the sign-board of "The Green Man," a large cheese, and a keg of rum. They are, in fact, a peripatetic public-house, and the only democratic institution of its kind left in England. Every other chapter the new innkeepers run into Ivywood and his hangers-on. As the story wriggles its inconsequent length, the author curses through the mouths of his heroes. He anathematizes teetotallers, brewers, vegetarians, temperance drinks, model villages, aesthetic poets, Oriental art, Parliament, politicians, Jews, Turks, and infidels in general, futurist painting, and other things. In the end, Dalroy and Pump lead a vast insurrection, and thousands of dumb, long-suffering Englishmen attack Ivywood in his Hall, and so free their country from the Turk.

Only the songs already described in Chapter V preserve this book from extreme dullness. Technically it is poor. The action is as scattered as the parts of a futurist picture. A whole chapter is devoted to a picture of a newspaper editor at work, inventing the phraseology of indefiniteness. Epigrams are few and are very much overworked. Once a catchword is sprung, it is run to death. The Turk who by means of silly puns attempts to prove that Islamic civilization is better than European, never ceases in his efforts. The heartlessness of Ivywood is continuous, and ends in insanity.

Parts of The Flying Inn convey the impression that Chesterton was tired of his own style and his own manner of controversy, and had taken to parodying himself. The arguments of the already-mentioned Turk, for example, might well pass for a really good parody of the theological dispute in the first chapter of The Ball and the Cross. There, it may be remembered, two men (more or less) discussed the symbolism of balls and crosses. In The Flying Inn people discuss the symbolism of crescents and crosses, and the Turk, Misysra Ammon, explains, "When the English see an English youth, they cry out 'He is crescent!' But when they see an English aged man, they cry out 'He is cross!'" On these lines a great deal of The Flying Inn is written.

We now come to Chesterton's political decadence, traceable, like many features in his history, to Mr. Hilaire Belloc. The friendship between G.K.C. and the ex-Liberal M.P. for Rochdale bore a number of interesting fruits. There were the amusing illustrations to The Great Enquiry, an amusing skit on the Tariff Reform League, to Emmanuel Burden and The Green Overcoat. But curious artificialities sprang into existence, like so many funguses, under the lengthening shadow of Mr. Belloc. To him is due the far-fetchedness of some of Chesterton's pleading in support of the miraculous element in religion. To him also is due the growing antipathy against the Liberal Party and the party system in general.

Up to the end of January, 1913, Chesterton had continued his connection with The Daily News. On January 28th there took place, at the Queen's Hall, London, a debate between Mr. Bernard Shaw and Mr. Hilaire Belloc. The latter moved "That if we do not re-establish the institution of property, we shall re-establish the institution of slavery; there is no third course." The debate was an extremely poor affair, as neither combatant dealt, except parenthetically, with his opponent's points. In the course of it Mr. Shaw, to illustrate an argument, referred to Chesterton as "a flourishing property of Mr. Cadbury," a remark which G.K.C. appears to have taken to heart. His quarrel with official Liberalism was at the moment more bitter than ever before. Mr. Belloc had taken a very decided stand on the Marconi affair, and Mr. Cecil Chesterton, G.K.C.'s brother, was sturdily supporting him. The Daily News, on the other hand, was of course vigorously defending the Government. Chesterton suddenly severed his long connection with The Daily News and came over to The Daily Herald. This paper, which is now defunct, except in a weekly edition, was the organ of Syndicalism and rebellion in general. In a letter to the editor of The Herald, Chesterton explained with pathetic irony that The Daily News "had come to stand for almost everything I disagree with; and I thought I had better resign before the next great measure of social reform made it illegal to go on strike."

A week or so later, Chesterton started his series of Saturday articles in The Daily Herald. His first few efforts show that he made a determined attempt to get down to the intellectual level of the Syndicalist. But anybody who sits down to read through these articles will notice that before many weeks had passed Chesterton was beginning to feel a certain discomfort in the company he was keeping. He writes to say that he likes writing for The Daily Herald because it is the most revolutionary paper he knows, "even though I do not agree with all the revolutions it advocates," and goes on to state that, personally, he likes most of the people he meets. Having thus, as it were, cleared his conscience in advance, Chesterton let himself go. He attacked the Government for its alleged nepotism, dishonesty, and corruption. He ended one such article with, "There is nothing but a trumpet at midnight, calling for volunteers." The New Statesman then published an article, "Trumpets and How to Blow Them," suggesting, among other things, that there was little use in being merely destructive. It is typical of what I have called the decadence of Chesterton that he borrowed another writer's most offensive description of a lady prominently connected with The New Statesman in order to quote it with glee by way of answer to this article. The Syndicalist hates the Socialist for his catholicity. The Socialist wishes to see the world a comfortable place, the Syndicalist merely wishes to work in a comfortable factory. Chesterton seized the opportunity, being mildly rebuked by a Socialist paper, to declare that the Fabians "are constructing a man-trap." A little later on he writes, with reference to a controversialist's request, that he should explain why, after all, he was not a Socialist:

If he wants to know what the Marconi Scandal has saved us from, I can tell him. It has saved us from Socialism. My God! what Socialism, and run by what sort of Socialists! My God! what an escape! If we had transferred the simplest national systems to the State (as we wanted to do in our youth) it is to these men that we should have transferred them.

There never was an example of more muddled thinking. Let us apply it to something definite, to that harmless, necessary article of diet, milk, to be precise, cow's milk. To-day milk is made expensive by a multiplicity of men who have interests in keeping milk expensive. There are too many milkmen's wages to be paid, too many milk-carts to be built, too many shop-rents paid, and too much apparatus bought, simply because we have not yet had the intelligence to let any municipality or county run its own milk-service and so avoid all manner of duplication. Chesterton's answer to this is: "I used to think so, but what about Lord Murray, Mr. Lloyd George, and Mr. Godfrey Isaacs?" It would be as relevant to say, "What about Dr. Crippen, Jack Sheppard, and Ananias," or, "But what about Mr. Bernard Shaw, the Grand Duke Nicolas, and my brother?" The week later Chesterton addresses the Labour Party in these words:

Comrades (I mean gentlemen), there is only one real result of anything you have done. You have justified the vulgar slander of the suburban Conservatives that men from below are men who merely want to rise. It is a lie. No one knows so well as you that it was a lie: you who drove out Grayson and deserted Lansbury. Before you went into Parliament to represent the working classes, the working classes were feared. Since you have represented the working classes, they are not even respected. Just when there was a hope of Democracy, you have revived the notion that the demagogue was only the sycophant. Just when there had begun to be an English people to represent, you have been paid to misrepresent them. Get out of our path. Take your money; go.

Regarding which passage there is only to be said that it is grossly unjust both to the Labour Party and to the working classes. It was followed up in subsequent numbers by violent attacks on woman suffrage and the economic independence of women; a proceeding quite commendably amusing in a paper with a patron saint surnamed Pankhurst. A promise to say no more about Votes for Women was followed by several more spirited references to it, from the same point of view. After which Chesterton cooled off and wrote about detective stories, telephones, and worked himself down into an all-round fizzle of disgust at things as they are, to illustrate which "I will not run into a paroxysm of citations again," as Milton said in the course of his Epistle in two books on Reformation in England.

The most unpleasant feature of The Daily Herald articles is the assumption of superiority over the British working man, expressing itself in the patronizing tone. The British working man, as Chesterton sees him, is a very different person from what he is. If the Middle Ages had been the peculiar period Chesterton appears to believe it was, then his working man would be merely a trifling anachronism of five centuries or so. But he is not even that. Five centuries would be but a trifle compared with the difference between him and his real self. Chesterton's attitude towards the working man must resemble that of a certain chivalrous knight towards the distressed damsel he thought he had rescued. He observed, "Well, little one, aren't you going to show me any gratitude?" And the lady replied, "I wasn't playing Andromeda, fathead, I was looking for blackberries. Run away and play."

The attitude of the middle-class suburbanite towards the working man and his wife is not exactly graceful, but the former at any rate does not pretend to love the latter, and to find all decency of feeling and righteousness of behaviour in them. Chesterton both pretends to reverence the working classes, and exhibits a profound contempt for them. He is never happier than when he is telling the working classes that they are wrong. He delights in attacking the Labour Party in order to have the supreme satisfaction of demonstrating that working men are their own worst enemies.

At the beginning of August, 1914, the Great War broke out, and everything seemed changed. No man now living will be able to say definitely what effects the war will have upon literature, but one thing is certain: nothing will remain the same. We have already learned to view each other with different eyes. For better or for worse, old animosities and party cleavages have given way to unforeseen combinations. To assert that we have all grown better would be untrue. But it might reasonably be argued that the innate generousness of the British people has been vitiated by its childlike trust in its journalists, and the men who own them. When Mr. Bernard Shaw wrote a brilliant defence of the British case for intervention in the war, his mild denigration of some of the defects of the English nation, a few trivial inaccuracies, and his perverse bellicosity of style made him the object of the attentions of a horde of panic-stricken heresy-hunters. Those of us who had not the fortune to escape the Press by service abroad, especially those of us who derived our living from it, came to loathe its misrepresentation of the English people. There seemed no end to the nauseous vomits of undigested facts and dishonourable prejudices that came pouring out in daily streams. Then we came to realize, as never before, the value of such men as Chesterton. Christianity and the common decencies fare badly at the hands of the bishops of to-day, and the journalists threw them over as soon as the war began. But, unfortunately for us all, G.K.C. fell seriously ill in the early period of the war, and was in a critical state for many months. But not before he had published a magnificent recantation—for it is no less—of all those bitternesses which, in their sum, had very nearly caused him to hate the British. It is a poem, Blessed are the Peacemakers.

Of old with a divided heart I saw my people's pride expand, Since a man's soul is born apart By mother earth and fatherland.

I knew, through many a tangled tale, Glory and truth not one but two: King, Constable and Amirail Took me like trumpets: but I knew

A blacker thing than blood's own dye Weighed down great Hawkins on the sea; And Nelson turned his blindest eye On Naples and on liberty.

Therefore to you my thanks, O throne, O thousandfold and frozen folk, For whose cold frenzies all your own The Battle of the Rivers broke;

Who have no faith a man could mourn, Nor freedom any man desires; But in a new clean light of scorn Close up my quarrel with my sires;

Who bring my English heart to me, Who mend me like a broken toy; Till I can see you fight and flee, And laugh as if I were a boy.

When we read this poem, with its proclamation of a faith restored, Chesterton's temporary absence from the field of letters appears even more lamentable. For even before his breakdown he had given other signs of a resurrection. Between the overworked descriptions of The Flying Inn and the little book The Barbarism of Berlin which closely followed it, there is a fine difference of style, as if in the interval Chesterton had taken a tonic. Thus there is a jolly passage in which, describing German barbarism, he refers to the different ways of treating women.

The two extremes of the treatment of women might be represented by what are called the respectable classes in America and in France. In America they choose the risk of comradeship; in France the compensation of courtesy. In America it is practically possible for any young gentleman to take any young lady for what he calls (I deeply regret to say) a joy-ride; but at least the man goes with the woman as much as the woman with the man. In France the young woman is protected like a nun while she is unmarried; but when she is a mother she is really a holy woman; and when she is a grandmother she is a holy terror. By both extremes the woman gets something back out of life. France and America aim alike at equality—America by similarity; France by dissimilarity. But North Germany does actually aim at inequality. The woman stands up, with no more irritation than a butler; the man sits down, with no more embarrassment than a guest.

And so on. It runs very easily; we recognize the old touch; the epigrams are not worked to death; and the chains of argument are not mere strings of damped brilliancies. And before 1914 had come to its end, in another pamphlet, Letters to an Old Garibaldian, the same style, the same freshness of thought, and the same resurgent strength were once again in evidence. Then illness overcame.

* * * * *

Of all futures, the future of literature and its professors is the least predictable. We have all, so to speak, turned a corner since August, 1914, but we have not all turned the same way. Chesterton would seem to have felt the great change early in the war. Soon he will break his silence, and we shall know whether we have amongst us a giant with strength renewed or a querulous Nonconformist Crusader, agreeing with no man, while claiming to speak for every man. Early in the course of this study a distinction was drawn between Christians and Crusaders. Chesterton has been throughout his career essentially a Crusader. He set out to put wrongs to rights in the same spirit; in much the same spirit, too, he incidentally chivvied about the Jews he met in his path, just as the Crusaders had done. He fought for the Holy Sepulchre, and gained it. Like the Crusaders, he professed orthodoxy, and, like them, fell between several "orthodoxies." He shared their visions and their faith, so far as they had any. But one thing is true of all Crusaders, they are not necessarily Christians. And there is that about Chesterton which sometimes makes me wonder whether, after all, he is not "a child of the French Revolution" in a sense he himself does not suspect. He has cursed the barren fig-tree of modern religious movements. But there comes a suspicion that he denies too much; that from between those supple sentences and those too plausible arguments one may catch a glimpse of the features of a mocking spirit. Chesterton has given us the keenest enjoyment, and he has provoked thought, even in the silly atheist. We all owe him gratitude, but no two readers of his works are likely to agree as to the causes of their gratitude. That, in itself, is a tribute. Wherefore let it be understood that in writing this study I have been speaking entirely for myself, and if any man think me misguided, inappreciative, hypercritical, frivolous, or anything else, why, he is welcome.

FOOTNOTE:

[3] All Things Considered.



BIBLIOGRAPHY (TO JULY, 1915)

WORKS

1900. Greybeards at Play. Brimley Johnson. Cheaper edition, 1902.

The Wild Knight. Grant Richards. Second edition, Brimley Johnson, 1905. Enlarged edition, Dent, 1914.

1901. The Defendant. Brimley Johnson. Second enlarged edition, 1902. Cheap edition, in Dent's Wayfarer's Library, 1914.

1902. Twelve Types. A. L. Humphreys. Partly reprinted as Five Types, 1910, same publisher. Cheap edition, 1911.

G. F. Watts. Duckworth. In Popular Library of Art. Reissued at higher price, 1914.

1903. Robert Browning. In English Men of Letters Series. Macmillan.

1904. The Patriotic Idea. In England a Nation. Edited by Lucien Oldershaw. Brimley Johnson.

The Napoleon of Notting Hill. John Lane. With 7 full-page illustrations by W. Graham Robertson and a Map of the Seat of War.

1905. The Club of Queer Trades. Harper. Cheap edition, Hodder and Stoughton, 1912.

Heretics. John Lane.

1906. Charles Dickens. Methuen. Cheaper edition, 1907. Popular edition, 1913.

1908. The Man who was Thursday. Arrowsmith.

All Things Considered. Methuen.

Orthodoxy. John Lane.

1909. Tremendous Trifles. Methuen.

1910. Alarms and Discursions. Methuen.

Five Types. A. L. Humphreys. Reprinted from Twelve Types, 1905.

What's Wrong with the World? Cassell. Cheap edition, 1912.

William Blake. Duckworth. In Popular Library of Art.

George Bernard Shaw. John Lane. Cheap edition, 1914.

The Ball and the Cross. Wells Gardner, Darton.

1911. The Ballad of the White Horse. Methuen.

Appreciations of Dickens. Dent. Reprinted prefaces from Everyman Series edition of Dickens.

The Innocence of Father Brown. Cassell.

1912. Simplicity and Tolstoy. A. L. Humphreys. Another edition, H. Siegle. In Watteau Series, 1913.

A Miscellany of Men. Methuen.

Manalive. Nelson.

1913. Magic. Martin Seeker.

The Victorian Age in Literature. Williams and Norgate. In Home University Library.

1914. The Wisdom of Father Brown. Cassell.

The Flying Inn. Methuen. (The Songs of the Simple Life appeared originally in The New Witness.)

The Wild Knight. Dent. Enlarged edition, first published 1900.

The Barbarism of Berlin. Cassell.

Letters to an Old Garibaldian. Methuen.

1915. Poems. Burns and Oates.

And articles on Tolstoy, Stevenson, Tennyson, and Dickens in a series of booklets published by The Bookman, 1902-1904.



PREFACES TO THE FOLLOWING BOOKS

1902. Past and Present. By Thomas Carlyle. In World's Classics. Grant Richards.

1903. Life of Johnson. Extracts from Boswell. Isbister.

1904. The Autocrat of the Breakfast Table. By O. W. Holmes. Red Letter Library. Blackie.

Sartor Resartus. By Thomas Carlyle. Cassell's National Library.

The Pilgrim's Progress. By John Bunyan. Cassell's National Library.

1905. Creatures That Once Were Men. By Maxim Gorky. Rivers.

1906 etc. Works of Dickens. In Everyman Library. Dent.

1906. Essays. By Matthew Arnold. In the Everyman Library. Dent.

Literary London. By Elsie M. Lang. Werner Laurie.

1907. The Book of Job. (Wellwood Books.)

From Workhouse to Westminster; the Life Story of Will Crooks, M.P. By George Haw. Cassell. Cheaper edition, 1908.

1908. Poems. By John Ruskin. Muses Library. Routledge.

The Cottage Homes of England. By W. W. Crotch. Industrial Publishing Co.

1909. A Vision of Life. By Darrell Figgis. Lane.

Meadows of Play. By Margaret Arndt. Elkin Mathews.

1910. Selections from Thackeray. Bell.

Eyes of Youth. An Anthology. Herbert and Daniel.

1911. Samuel Johnson. Extracts from, selected by Alice Meynell. Herbert and Daniel.

The Book of Snobs. By W. M. Thackeray. Red Letter Library. Blackie.

1912. Famous Paintings Reproduced in Colour. Cassell.

The English Agricultural Labourer. By A. H. Baverstock. The Vineyard Press.

Fables. By AEsop. Translated by V. S. Vernon Jones. Illustrated by Arthur Rackham. Heinemann.

1913. The Christmas Carol. In the Waverley Dickens.

1915. Bohemia's Claim for Freedom. The London Czech Committee.



ILLUSTRATIONS TO THE FOLLOWING BOOKS BY OTHER WRITERS

1901. Nonsense Rhymes. By W. C. Monkhouse. Brimley Johnson. Cheaper edition, 1902.

1903. The Great Enquiry. By H. B. (Hilaire Belloc). Duckworth.

1904. Emmanuel Burden. By Hilaire Belloc. Methuen.

1905. Biography for Beginners. By E. Clerihew. Cheaper edition, Werner Laurie, 1908. Cheap edition, 1910.

1912. The Green Overcoat. By Hilaire Belloc. Arrowsmith.



CONTRIBUTIONS TO PERIODICALS

Bookman. From 1898 onwards, passim.

The Speaker (afterwards The Nation). From 1898 onwards.

The Daily News. Weekly article, 1900-1913. Also occasional poems and reviews.

The Daily Herald. Weekly article, 1913-1914.

The Illustrated London News. 1905-1914; 1915-

The Eye-Witness (afterwards The New Witness). Poems and articles, 1911 onwards.

Also correspondence columns of The Tribune (1906-1908), The Clarion, and the London Press in general.

The Oxford and Cambridge Review (afterwards The British Review). Articles 1911, etc.

The Dublin Review. Occasional articles.



CONTRIBUTIONS TO OFFICIAL PUBLICATIONS

Evidence before the Joint Select Committee of the House of Lords and the House of Commons on Stage Plays (Censorship), included in the Minutes of Evidence, 1909.



SPEECHES

1908. The Press. Speech at Pan-Anglican Congress. Proceedings published by The Times.

1910. What to do with the Backward Races. Speech at the Nationalities and Subject Races Conference, London. Proceedings published by P. S. King.

1914. Do Miracles Happen? Report of a Discussion at the Little Theatre in January, 1914. Published as a pamphlet by The Christian Commonwealth Co.



PRINTED BY WILLIAM BRENDON AND SON, LTD. PLYMOUTH, ENGLAND



MARTIN SECKER

HIS COMPLETE CATALOGUE MCMXV

The Books in this list should be obtainable from all Booksellers and Libraries, and if any difficulty is experienced the Publisher will be glad to be informed of the fact. He will also be glad if those interested in receiving from time to time Announcement Lists, Prospectuses, &c., of new and forthcoming books from Number Five John Street will send their names and addresses to him for this purpose. Any book in this list may be obtained on approval through the booksellers, or direct from the Publisher, on remitting him the published price, plus the postage.

MARTIN SECKER Publisher Number Five John Street Adelphi London

Telephone Gerrard 4779 Telegraphic Address: Psophidian London



PART ONE

INDEX OF AUTHORS

ABERCROMBIE, LASCELLES SPECULATIVE DIALOGUES. Cr. 8vo. 5s. net. THOMAS HARDY: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. THE EPIC (The Art and Craft of Letters). F'cap 8vo. 1s. net.

AFLALO, F. G. BEHIND THE RANGES. Wide Demy 8vo. 10s. 6d. net. REGILDING THE CRESCENT. Demy 8vo. 10s. 6d. net. BIRDS IN THE CALENDAR. Crown 8vo. 3s. 6d. net.

ALLSHORN, LIONEL STUPOR MUNDI. Medium Octavo. 16s. net.

APPERSON, G. L. THE SOCIAL HISTORY OF SMOKING. Post 8vo. 6s. net.

ARMSTRONG, DONALD THE MARRIAGE OF QUIXOTE. Crown 8vo. 6s.

ARTZIBASHEF, MICHAEL SANINE. Preface by Gilbert Cannan. Crown 8vo. 6s. BREAKING-POINT. Crown 8vo. 6s. THE MILLIONAIRE. Intro. by the Author. Cr. 8vo. 6s. THE REVOLUTION. Crown 8vo. 6s.

BARRINGTON, MICHAEL GRAHAME OF CLAVERHOUSE. Imperial 8vo. 30s. net. Edition de Luxe 63s. net.

BENNETT, ARNOLD THOSE UNITED STATES. Post 8vo. 2s. 6d. net.

BLACK, CLEMENTINA THE LINLEYS OF BATH. Medium 8vo. 16s. net. THE CUMBERLAND LETTERS. Med. 8vo. 16s. net.

BOULGER, D. C. THE BATTLE OF THE BOYNE. Med. 8vo. 21s. net.

BOTTOME, PHYLLIS THE COMMON CHORD. Crown 8vo. 6s.

BROWN, IVOR YEARS OF PLENTY. Crown 8vo. 6s. SECURITY. Crown 8vo. 6s.

BURROW, C. KENNETT CARMINA VARIA. F'cap 8vo. 2s. 6d. net.

CALDERON, GEORGE (With St. John Hankin) THOMPSON: A Comedy. Sq. Cr. 8vo. 2s. net.

CANNAN, GILBERT ROUND THE CORNER. Crown 8vo. 6s. OLD MOLE. Crown 8vo. 6s. YOUNG EARNEST. Crown 8vo. 6s. SAMUEL BUTLER: A CRITICAL STUDY. Demy 8vo. 7s 6d. net. WINDMILLS: A Book of Fables. Cr. 8vo. 5s. net. SATIRE (The Art and Craft of Letters). F'cap 8vo. 1s. net.

CHESTERTON, G. K. MAGIC: A Fantastic Comedy. Sq. Cr. 8vo. 2s. net.

CLAYTON, JOSEPH THE UNDERMAN. Crown 8vo. 6s. LEADERS OF THE PEOPLE. Demy 8vo. 12s. 6d. net. ROBERT KETT. Demy 8vo. 8s. 6d. net.

COKE, DESMOND THE ART OF SILHOUETTE. Demy 8vo. 10s. 6d. net.

CRAVEN, A. SCOTT THE FOOL'S TRAGEDY. Crown 8vo. 6s.

DAWSON, WARRINGTON THE TRUE DIMENSION. Crown 8vo. 6s.

DE SELINCOURT, BASIL WALT WHITMAN: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. RHYME (The Art and Craft of Letters). F'cap 8vo. 1s. net.

DOUGLAS, LORD ALFRED THE WILDE MYTH. Demy 8vo. 12s. 6d. net.

DOUGLAS, NORMAN FOUNTAINS IN THE SAND. Wide Demy 8vo. 7s. 6d. net. OLD CALABRIA. Demy 8vo. 15s. net.

DRAYCOTT, G. M. MAHOMET: FOUNDER OF ISLAM. Demy 8vo. 12s. 6d. net.

DRINKWATER, JOHN WILLIAM MORRIS: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. D. G. ROSSETTI: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. THE LYRIC. (The Art and Craft of Letters). F'cap 8vo. 1s. net.

FALLS, CYRIL RUDYARD KIPLING: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net.

FEA, ALLAN OLD ENGLISH HOUSES. Demy 8vo. 10s. 6d. net. NOOKS AND CORNERS OF OLD ENGLAND. 5s. net. THE REAL CAPTAIN CLEVELAND. Demy 8vo. 8s. 6d. net.

FLECKER, J. E. COLLECTED POEMS. Including THE GOLDEN JOURNEY TO SAMARKAND. Demy 8vo. 7s. 6d. net.

FRANCIS, RENE EGYPTIAN AESTHETICS. Wide Demy 8vo. 7s. 6d. net.

GRETTON, R. H. HISTORY (The Art and Craft of Letters). F'cap 8vo. 1s. net.

HANKIN, ST. JOHN THE DRAMATIC WORKS, with an Introduction by John Drinkwater. Small 4to. Definitive Limited Edition in Three Volumes. 25s. net. THE RETURN OF THE PRODIGAL. Sq. Cr. 8vo. 2s. net. THE CASSILIS ENGAGEMENT. Sq. Cr. 8vo. 2s. net. THE CHARITY THAT BEGAN AT HOME. 25s. net. THE CONSTANT LOVER, ETC. Sq. Cr. 8vo. 2s. net.

HAUPTMANN, GERHART THE COMPLETE DRAMATIC WORKS. 6 vols. Crown 8vo. 5s. net per volume.

HEWLETT, WILLIAM TELLING THE TRUTH. Crown 8vo. 6s. UNCLE'S ADVICE: A NOVEL IN LETTERS. Cr. 8vo. 6s. THE CHILD AT THE WINDOW. Crown 8vo. 6s.

HORSNELL, HORACE THE BANKRUPT. Crown 8vo. 6s.

HOWE, P. P. THE REPERTORY THEATRE. Cr. 8vo. 2s. 6d. net. DRAMATIC PORTRAITS. Crown 8vo. 5s. net. BERNARD SHAW: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. J.M. SYNGE: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. CRITICISM (The Art and Craft of Letters). F'cap 8vo. 1s. net.

HUEFFER, FORD MADOX HENRY JAMES: A CRITICAL STUDY. Demy 8vo. 7s. 6d. net. COLLECTED POEMS. Demy 8vo. 6s. net.

IBSEN, HENRIK PEER GYNT. A New Translation by R. Ellis Roberts. Wide Crown 8vo. 5s. net.

JACOB, HAROLD PERFUMES OF ARABY. Wide Demy 8vo. 7s. 6d. net.

JAMES, HENRY THE TURN OF THE SCREW. THE LESSON OF THE MASTER. THE DEATH OF THE LION. THE ASPERN PAPERS. DAISY MILLER. THE COXON FUND. THE REVERBERATOR. THE ALTAR OF THE DEAD. THE BEAST IN THE JUNGLE. THE FIGURE IN THE CARPET. GLASSES. THE PUPIL.

Each F'cap 8vo. 2s. 6d. net.

JOHNSON, OWEN THE SALAMANDER. Crown 8vo. 6s. MAKING MONEY. Crown 8vo. 6s.

LAMONT, L. M. A CORONAL: AN ANTHOLOGY. F'cap 8vo. 2s. 6d. net.

LEWISOHN, L. THE MODERN DRAMA Crown 8vo. 5s. net.

LLUELLYN, RICHARD THE IMPERFECT BRANCH. Crown 8vo. 6s.

LOW, IVY THE QUESTING BEAST. Crown 8vo. 6s.

LYNCH, BOHUN UNOFFICIAL. Crown 8vo. 6s. L.S.D. Crown 8vo. 6s.

McFEE, WILLIAM CASUALS OF THE SEA. Crown 8vo. 6s.

MACHEN, ARTHUR HIEROGLYPHICS F'cap 8vo. 2s. 6d. net.

MACKENZIE, COMPTON THE PASSIONATE ELOPMENT. Cr. 8vo. 6s. and 2s. net. CARNIVAL. Crown 8vo. 6s. and 2s. net. SINISTER STREET. Volume I. Crown 8vo. 6s. SINISTER STREET. Volume II. Crown 8vo. 6s. GUY AND PAULINE. Crown 8vo. 6s. KENSINGTON RHYMES. Crown 4to. 5s. net.

MAKOWER, S.V. THE OUTWARD APPEARANCE. Crown 8vo. 6s.

MAVROGORDATO, JOHN LETTER FROM GREECE. F'cap 8vo. 2s. net. CASSANDRA IN TROY. Small 4to. 5s. net.

MELVILLE, LEWIS SOME ECCENTRICS AND A WOMAN. Demy 8vo. 10s. 6d. net.

METHLEY, VIOLET CAMILLE DESMOULINS: A Biography. Dy. 8vo. 15s. net.

MEYNELL, VIOLA LOT BARROW. Crown 8vo. 6s. MODERN LOVERS. Crown 8vo. 6s. COLUMBINE. Crown 8vo. 6s. NARCISSUS. Crown 8vo. 6s.

MURRY, J. MIDDLETON DOSTOEVSKY: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.

NORTH, LAURENCE IMPATIENT GRISELDA. Crown 8vo. 6s. THE GOLIGHTLYS: FATHER AND SON. Cr. 8vo. 6s.

ONIONS, OLIVER WIDDERSHINS. Crown 8vo. 6s. IN ACCORDANCE WITH THE EVIDENCE. Cr. 8vo. 6s. THE DEBIT ACCOUNT. Crown 8vo. 6s. THE STORY OF LOUIE. Crown 8vo. 6s.

PAIN, BARRY ONE KIND AND ANOTHER. Crown 8vo. 6s. COLLECTED TALES: Volume I. Medium 8vo. 6s. COLLECTED TALES: Volume II. Medium 8vo. 6s. THE SHORT STORY (The Art and Craft of Letters). F'cap 8vo. 1s. net.

PALMER, JOHN PETER PARAGON. Crown 8vo. 6s. THE KING'S MEN. Crown 8vo. 6s. COMEDY (The Art and Craft of Letters). F'cap 8vo. 1s. net.

PERUGINI, MARK E. THE ART OF BALLET. Demy 8vo. 12s. 6d. net.

PHILIPS, AUSTIN BATTLES OF LIFE. Crown 8vo. 6s.

PRESTON, ANNA THE RECORD OF A SILENT LIFE. Crown 8vo. 6s.

REID, FORREST YEATS: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.

ROBERTS, R. ELLIS IBSEN: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. TOLSTOI: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. PEER GYNT: A NEW TRANSLATION. Cr. 8vo. 5s. net.

SABATINI, RAFAEL THE SEA-HAWK. Crown 8vo. 6s. THE BANNER OF THE BULL. Crown 8vo. 6s.

SAND, MAURICE THE HISTORY OF THE HARLEQUINADE. Two Volumes. Med. 8vo. 25s. net the set.

SCOTT-JAMES, R. A. PERSONALITY IN LITERATURE. Demy 8vo. 7s. 6d. net.

SIDGWICK, FRANK THE BALLAD (The Art and Craft of Letters). F'cap 8vo. 1s. net.

SOLOGUB, FEODOR THE OLD HOUSE. Crown 8vo. 6s. THE LITTLE DEMON. Crown 8vo. 6s. THE CREATED LEGEND. Crown 8vo. 6s.

STONE, CHRISTOPHER THE BURNT HOUSE. Crown 8vo. 6s. PARODY (The Art and Craft of Letters). F'cap 8vo. 1s. net.

STRAUS, RALPH CARRIAGES AND COACHES. Med. 8vo. 18s. net.

STREET, G. S. PEOPLE AND QUESTIONS. Wide Cr. 8vo. 5s. net.

SWINNERTON, FRANK GISSING: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. STEVENSON: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.

TAYLOR, G. R. STIRLING MARY WOLLSTONECRAFT. Demy 8vo. 7s. 6d. net. THE PSYCHOLOGY OF THE GREAT WAR. 2s. 6d. net.

TAYLOR, UNA MAETERLINCK: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.

THOMAS, EDWARD FEMININE INFLUENCE ON THE POETS. Demy 8vo. 10s. 6d. net. SWINBURNE: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. PATER: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. THE TENTH MUSE. F'cap 8vo. 2s. 6d. net.

VAUGHAN, H. M. MELEAGER. Crown 8vo. 6s. AN AUSTRALASIAN WANDER-YEAR. Dy. 8vo. 10s. 6d. net.

WALPOLE, HUGH FORTITUDE. Crown 8vo. 6s. THE DUCHESS OF WREXE. Crown 8vo. 6s.

WEST, JULIUS CHESTERTON: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.

WILLIAMS, ORLO VIE DE BOHEME. Demy 8vo. 15s. net. MEREDITH: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net. THE ESSAY (The Art and Craft of Letters). F'cap 8vo. 1s. net.

YOUNG, FILSON NEW LEAVES. Wide Crown 8vo. 5s. net. A CHRISTMAS CARD. Demy 16mo. 1s. net. PUNCTUATION (The Art and Craft of Letters). F'cap 8vo. 1s. net.

YOUNG, FRANCIS BRETT DEEP SEA. Crown 8vo. 6s. THE DARK TOWER. Crown 8vo. 6s. THE IRON AGE. Crown 8vo. 6s.

YOUNG, F. & E. BRETT UNDERGROWTH. Crown 8vo. 6s. BRIDGES: A CRITICAL STUDY. Dy. 8vo. 7s. 6d. net.



PART TWO: CLASSIFIED

INDEX OF TITLES

General Literature

ART OF BALLET, THE. By Mark E. Perugini. ART OF SILHOUETTE, THE. By Desmond Coke. BATTLE OF THE BOYNE, THE. By D. C. Boulger. BEHIND THE RANGES. By F. G. Aflalo. BIRDS IN THE CALENDAR. By F. G. Aflalo. CAMILLE DESMOULINS. By Violet Methley. CARRIAGES AND COACHES. By Ralph Straus. CHRISTMAS CARD, A. By Filson Young. CUMBERLAND LETTERS, THE. By Clementina Black. DRAMATIC PORTRAITS. By P. P. Howe. FEMININE INFLUENCE ON THE POETS. By E. Thomas. GRAHAME OF CLAVERHOUSE. By Michael Barrington. HIEROGLYPHICS. By Arthur Machen. HISTORY OF THE HARLEQUINADE, THE. By M. Sand. LEADERS OF THE PEOPLE. By Joseph Clayton. LETTERS FROM GREECE. By John Mavrogordato. LINLEYS OF BATH, THE. By Clementina Black. MAHOMET. By G. M. Draycott. MARY WOLLSTONECRAFT. By G. R. Stirling Taylor. NEW LEAVES. By Filson Young. PEOPLE AND QUESTIONS. By G. S. Street. PERSONALITY IN LITERATURE. By R. A. Scott-James. PSYCHOLOGY OF THE GREAT WAR. By Stirling Taylor. REAL CAPTAIN CLEVELAND, THE. By Allan Fea. REGILDING THE CRESCENT. By F. G. Aflalo. ROBERT KETT. By Joseph Clayton. SOCIAL HISTORY OF SMOKING, THE. By G. L. Apperson. SOME ECCENTRICS AND A WOMAN. By Lewis Melville. SPECULATIVE DIALOGUES. By Lascelles Abercrombie. STUPOR MUNDI. By Lionel Allsborn. TENTH MUSE, THE. By Edward Thomas. THOSE UNITED STATES. By Arnold Bennett. VIE DE BOHEME. By Orlo Williams. WILDE MYTH, THE. By Lord Alfred Douglas. WINDMILLS. By Gilbert Cannan.

Verse

COLLECTED POEMS OF J. E. FLECKER. COLLECTED POEMS OF F. M. HUEFFER. CARMINA VARIA. By C. Kennett Burrow. CORONAL, A. A New Anthology. By L. M. Lamont. GOLDEN JOURNEY TO SAMARKAND, THE. By J. E. Flecker. (See Collected Poems.) KENSINGTON RHYMES. By Compton Mackenzie.

Drama

DRAMATIC WORKS OF ST. JOHN HANKIN. 3 vols. DRAMATIC WORKS OF GERHART HAUPTMANN. 6 vols. CASSANDRA IN TROY. By John Mavrogordato. MAGIC. By G. K. Chesterton. MODERN DRAMA, THE. By L. Lewisohn. PEER GYNT. Translated by R. Ellis Roberts. REPERTORY THEATRE, THE. By P. P. Howe. THOMPSON. By St. John Hankin and G. Calderon.

Travel

AUSTRALASIAN WANDER YEAR, AN. By H. M. Vaughan. EGYPTIAN AESTHETICS. By Rene Francis. FOUNTAINS IN THE SAND. By Norman Douglas. NOOKS AND CORNERS OF OLD ENGLAND. By Allan Fea. OLD CALABRIA. By Norman Douglas. OLD ENGLISH HOUSES. By Allan Fea. PERFUMES OF ARABY. By Harold Jacob.

Martin Secker's Series of Critical Studies

ROBERT BRIDGES. By F. E. Brett Young. SAMUEL BUTLER. By Gilbert Cannan. G. K. CHESTERTON. By Julius West. FEODOR DOSTOEVSKY. By J. Middleton Murry. GEORGE GISSING. By Frank Swinnerton. THOMAS HARDY. By Lascelles Abercrombie. HENRIK IBSEN. By R. Ellis Roberts. HENRY JAMES. By Ford Madox Hueffer. RUDYARD KIPLING. By Cyril Falls. MAURICE MAETERLINCK. By Una Taylor. GEORGE MEREDITH. By Orlo Williams. WILLIAM MORRIS. By John Drinkwater. WALTER PATER. By Edward Thomas. D. G. ROSSETTI. By John Drinkwater. BERNARD SHAW. By P. P. Howe. R. L. STEVENSON. By Frank Swinnerton. A. C. SWINBURNE. By Edward Thomas. J. M. SYNGE. By P. P. Howe. LEO TOLSTOI. By R. Ellis Roberts. WALT WHITMAN. By Basil de Selincourt. W. B. YEATS. By Forrest Reid.

The Art and Craft of Letters

BALLAD, THE. By Frank Sidgwick. COMEDY. By John Palmer. CRITICISM. By P. P. Howe. EPIC, THE. By Lascelles Abercrombie. ESSAY, THE. By Orlo Williams. HISTORY. By R. H. Gretton. LYRIC, THE. By John Drinkwater. PARODY. By Christopher Stone. PUNCTUATION. By Filson Young. SATIRE. By Gilbert Cannan. SHORT STORY, THE. By Barry Pain.

Fiction

ALTAR OF THE DEAD, THE. By Henry James. ASPERN PAPERS, THE. By Henry James. BANKRUPT, THE. By Horace Horsnell. BANNER OF THE BULL, THE. By Rafael Sabatini. BATTLES OF LIFE. By Austin Philips. BEAST IN THE JUNGLE, THE. By Henry James. BREAKING-POINT. By Michael Artzibashef. BURNT HOUSE, THE. By Christopher Stone. CARNIVAL. By Compton Mackenzie. CASUALS OF THE SEA. By William McFee. COLLECTED TALES: Vol. I. By Barry Pain. COLLECTED TALES: Vol. II. By Barry Pain. COLUMBINE. By Viola Meynell. COMMON CHORD, THE. By Phyllis Bottome. COXON FUND, THE. By Henry James. CREATED LEGEND, THE. By Feodor Sologub. DAISY MILLER. By Henry James. DARK TOWER, THE. By E. Brett Young. DEATH OF THE LION, THE. By Henry James. DEBIT ACCOUNT, THE. By Oliver Onions. DEEP SEA. By F. Brett Young. DUCHESS OF WREXE, THE. By Hugh Walpole. FIGURE IN THE CARPET, THE. By Henry James. FOOL'S TRAGEDY, THE. By A. Scott Craven. FORTITUDE. By Hugh Walpole. GLASSES. By Henry James. GOLIGHTLYS, THE. By Laurence North. GUY AND PAULINE. By Compton Mackenzie. IMPATIENT GRISELDA. By Laurence North. IMPERFECT BRANCH, THE. By Richard Lluellyn. IN ACCORDANCE WITH THE EVIDENCE. By O. Onions. IRON AGE, THE. By F. Brett Young. KING'S MEN, THE. By John Palmer. L.S.D. By Bohun Lynch. LESSON OF THE MASTER, THE. By Henry James. LITTLE DEMON, THE. By Feodor Sologub. LOT BARROW. By Viola Meynell. MARRIAGE OF QUIXOTE, THE. By Donald Armstrong. MAKING MONEY. By Owen Johnson. MELEAGER. By H. M. Vaughan. MILLIONAIRE, THE. By Michael Artzibashef. MODERN LOVERS. By Viola Meynell. NARCISSUS. By Viola Meynell. OLD MOLE. By Gilbert Cannan. OLD HOUSE, THE. By Feodor Sologub. ONE KIND AND ANOTHER. By Barry Pain. OUTWARD APPEARANCE, THE. By Stanley V. Makower. PASSIONATE ELOPEMENT, THE. By Compton Mackenzie. PETER PARAGON. By John Palmer. PUPIL, THE. By Henry James. QUESTING BEAST, THE. By Ivy Low. RECORD OF A SILENT LIFE, THE. By Anna Preston. REVERBERATOR, THE. By Henry James. ROUND THE CORNER. By Gilbert Cannan. SALAMANDER, THE. By Owen Johnson. SANINE. By Michael Artzibashef. SEA HAWK, THE. By Rafael Sabatini. SECURITY. By Ivor Brown. SINISTER STREET. I. By Compton Mackenzie. SINISTER STREET. II. By Compton Mackenzie. STORY OF LOUIE, THE. By Oliver Onions. TALES OF THE REVOLUTION. By M. Artzibashef. TELLING THE TRUTH. By William Hewlett. TRUE DIMENSION, THE. By Warrington Dawson. TURN OF THE SCREW, THE. By Henry James. UNCLE'S ADVICE. By William Hewlett. UNDERGROWTH. By F. & E. Brett Young. UNDERMAN, THE. By Joseph Clayton. UNOFFICIAL. By Bohun Lynch. WIDDERSHINS. By Oliver Onions. YEARS OF PLENTY. By Ivor Brown. YOUNG EARNEST. By Gilbert Cannan.

BALLANTYNE PRESS: LONDON AND EDINBURGH

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Transcriber's Note:

Page 150, a period was changed to a comma. (as regards the amateur,)

THE END