No More Learning

applause breaking out, he would stop and
rather in favour of the younger generation.
raise his eyes to heaven" as if asking his
The sequence of colour is more firmly held by
audience to transfer their praises to the
Mr. Shannon, and all his personages being
Master of All. ” These are the very oratorical
women, and the subject belonging to some
tricks, says M. de Labriolle, which Herr
unemancipated past, their sentimentality is
Fine Art Gossip.
Heikel finds fault with in the Discourse.
less oppressive than with Mr. Waterhouse.
THE third exhibition of the Society of
DR. HOPE MOULTON'S Hibbert Lecture:
There are probably few things more difficult Graver-Printers at Messrs. Goupil's Gallery of Tuesday last dealt with Zoroastrian
to keep in touch with for a long term of years shows the Society as hovering between two Eschatology, and drew a curious parallel
than the public estimate of what is romantic, policies. Mr. Theodore Roussel, the Presi. between the Avestic ideas of the punishment
here also, Mr. Shannon's picture (247) dent, most patient of artists, may carry his after death of sinful souls, and the traditions
being probably the only one in the Academy designs to a high pitch of elaboration, yet of the Teutonic, and especially the Scandi-
which will impose itself upon popular they are always craftsmanlike, and remain navian, race. The lecturer thought that the
imagination from this point of view, unless pure colour-prints. L'Agonie des Fleurs conception of a hell, one of whose torments
we include Mr. Lavery's Pavlova (415), but (second state, uncatalogued) and Dawn (13) was that of cold, could only have been formed
here the invention
of pose and lighting belongs an oddly artificial but charming composition, in a cold country, and mentioned both the
to the danseuse ; the painter has rather stamp him as the best of all the exhibitors. rainbow and the Milky Way as the possible
Mr. E. L. Lawrenson's West Bay Harbour origin of that of the bridge * Chinvat. ” He
weakened them than otherwise.
Mr. Moira's Bathers (294) shows a moro
(16)-in the tradition of lithography of the also remarked, although without insisting
also
sound early school—is
attractive colour-scheme for decorative
à capable much upon either point, that the Pahlavi
:
poses than any other in the Academy, and design in terms of his material, while there documents known as the later Avesta might
are other exhibitors with the ambition, at have been framed upon Gâthas which have:
it is to be regretted that the form is not a
little more significant.
The drawing of the least, of clear planning and clean printing. been otherwise lost, and that the worship of
There
child with the net is odd as coming from a
some works, however Mr. Mithras preserved some of the features of
Professor of Art at South Kensington.
Mackie's Incoming Tide is the most attractive Iranian religion before Zoroaster.
It
is, perhaps, also to the aspiration after of them which show a tendency to drop
MR. HAMILTON JACKSON is one of the first
decorative brilliance that we are to trace has ruined the movement in France, and Europe, and a good deal of interest will be
into the loose and picturesque manner which authorities on the Gothic architecture of
the stridency of Mr. Strang's Bank Holiday made it a device for the manufacture of aroused in archæological circles by his new
(712). Here the surface of almost every cheap imitations of painting. We trust book 'Rambles in the Pyrenees, which Mr.
object in the picture shines in competitive that Mr. Roussel will be able to keep his Murray is about to publish. Amongst
the
glossiness, and the artist seems to trust to
team together in the difficult, but direct districts also visited by Mr. Jackson were
time to tone the right ones down.
path of deliberate design.
Gascony, Pays de Foix, and Rousillon. Not
A CHARTER has been granted, under the only has he studied the architecture, but he
THE AUDLEY HARVEY PICTURES.
Great Seal of Ireland, to the Royal Society has also much to say on the people, their cos-
of Antiquaries of that country.
tumes, and the historical incidents which
MESSRS. CHRISTIE sold on Friday, the 3rd inst. ,
have occurred in that extremely interesting
the important collection of modern pictures
MR. SHIRLEY Fox writes :-
part of France. The work is illustrated by
belonging to Capt. John Audley Harvey. The In the report last week of the British Numis-
following were the chief prices :-
matic Society's meeting I am credited with
many drawings by the author.
British School. —Edgar Bundy, Antonio Stradi- having exhibited a 'groat, half-groat, penny, THE Annual General Meeting of the
vari, the violin-maker standing in his workshop and farthing of Henry V. The last-named piece members of the Society for the Promotion
2041. G. , Clausen, Propping the Rick : a Stormy the first of the particular issue which has been of Roman Studies will be held in the apart-
Day, 3671. ; Sons of the Soil, three men and two noted. The farthing is quite unknown. ”
ments of the Society of Antiquaries, Bur-
boys hoeing in a field, 1991. 108. ; Twilight,
October, a peasant digging, potatoes, cahyoung of Orientalists, held last month at Athens, 4. 30 in the afternoon.
The Egyptological Section of the Congress lington House, on Tuesday, May 14th, at.
Flowery May, the Downs overlooking the sea, seems to have been a very small one, and PROF. AURIGEMMA has rediscovered
2621. Cecil G. Lawson, Sunset, a peasant driving met only once. Dr. Naville was the Presi. tomb at Gargaresh near Tripolis which had
a herd of cattle towards a pool in the foreground, dent, and among the papers read was one by been covered up again after its original
on the Slaney River, Cionigal, co. Carlow, 2947. Prof. Burrows (of Manchester), dealing with discovery nine years ago, and which presents
W. Orpen, The Colleen, a girl,' with auburn hair, the Twelfth Dynasty, in which he sought several remarkable features. Its interior is
wearing a black dress of Japanese material, and to prove that the chronology put forward covered with frescoes and inscriptions.
large green hat with cock's feather, 6301. E: by Prof. Eduard Meyer (of Berlin) was in according to the latter, it would seem to be
Stott, Washing Day, 3671. ; Flamingoes, 2731. ;
“Where the dark earth sleeping lies”: a Cloi-
the main correct. Among other evidence, the tomb of a married couple : the husband
sonné Sky, cattle returning across a common
he adduced that of a broken Minoan a native of the place, the wife of Semitic
towards a mill in the distance, moonrise, 2101. vase found by Prof. Garstang in the same origin. Both were worshippers of Mithras.
J. M. Swan, The Polar Bears, 1,6271. ; Tigers at tomb with a Twelfth Dynasty cylinder-seal ;
Dawn, 5881, ; The Goatherd, a boy seated near
THE death is announced of Mr. James
and he would have nothing to do with the Barbour, architect, Dumfries, one of those
some ruins overlooking the sea, behind him his
flock, 5461.
calculations as to the date of the heliacal
Continental Schools. -E. Boudin, Le Port rising of Sirius at one of the supposed Sothic who, from his interest in archæological
a rough road winding round a green bank on the office, and published in M. Maspero's Society of Antiquaries of Scotland. He
d'Anvers, 2311, in: C. Cazin, La Route : la Nuit, periods made at the Nautical Almanac research, stimulated the excavation of
Roman sites in Scotland, through the
right, a new moon appearing above the clouds, Recueil de Travaux 'some three years ago.
3991. ; La Route : le Soir, a view looking along
supervised the excavations of the camp at
a road, with cottages on either side, 3361. ; La IN a recent volume of Prof. Harnack's Birrens, Dumfriesshire, and recorded them
Ferme, a barvest-field in the foreground, with
farm buildings and hayricks beyond, 2411. ; 'La "Texte und Untersuchungen” Herr Ivar A. in plans and drawings; and did the same
Chaumière, two peasants on a rough road by the Heikel, who has before published a critical for other excavations in the South-West of
side of some cottages, moonrise, 3041. ; Levé de l edition of the works of Eusebius of Cæsarea, ! Scotland.
are
a


## p. 542 (#412) ############################################

542
THE ATHENÆ UM
No. 4411, May 11, 1912
66
II.
:,
manner.
van
are
masses
Galuppi, however, was no busybody At this stage of his argument, and judged
propounding problems for which he had by this poem alone, it would not be
MUSIC
no solution :
unnatural to regard Browning as availing
So, an octave struck the answer. Oh, they praised himself of a poet's licence”
to over-
you, I dare say!
estimate the fickleness of Religion's
“Brave Galuppi ! that was music! good alike at
Handmaid. ”
grave and gay! ”
BROWNING AS THE POET
The only musical poem in which Brown-
For music, while in its harmonic aspect
OF MUSIC.
ing makes no allusion to this thought is the youngest, is melodically the oldest of
' Flute-music, with an Accompaniment, the arts. Leastways, it is the first men-
unless The Pied Piper of Hamelin' be tioned in the Hebrew Scriptures. Fragments
The last stanza of Abt Vogler' has been included among the musical poems. of song are extant, which are said by
the subject of considerable questioning. But in the last, longest, and, musically, the Nile boatmen who sing them to be as
From a common chord-evidently a major most technical of Browning's poems, old as the Rameses, and prior to or
a
Parleyings with Charles Avison, the contemporaneous with the oldest known
minor key: as he does this “sliding by theme is treated in a wholly different attempts at painting—Egyptian frescoes.
semitones,” it cannot be the tonic
Music is the primary subject : 1 To this day the Hindoos use melodies in
minor, and the “ relative” minor was
philosophy is only brought in when neces- their worship the origin of which is ascribed
evidently that in the poet's mind. If the sary to illustrate or explain its phenomena. to the gods; the Jews use one or two
bass of the relative minor chord be Browning speaks of the march which temple-songs believed to date from the
“ blunted ”—that is, lowered—one degree,
recalled #vison to his mind as a “ thinnish time of the Exodus ; and the Plainsong
the upper notes remaining, the result will air,” with “no lure of novel modulation,”
no lure of novel modulation," chants used throughout Christendom are
be the interval of a ninth; if the upper
and
of much earlier origin than John
Three crotchets to a bar: no change, I grant,
Eyck (b. 1390), the generally accredited
notes rise one degree, the bass being
Except from Tonic down to Dominant.
founder of oil painting. The same is
“blunted” only a semitone, the result
For this
will (according to many theorists) be a
probably true of thousands of folk-tunes
still sung and danced to all over the world.
chord, though not interval, of the ninth. Bold stepping march, foot stept to ere my hand
Could stretch an octave, I o'erlooked the band To come to modern times, if Handel's
Both, if reached sliding by semitones, are
Of majesties familiar.
operas are dead, his oratorios are not.
* alien" to the original major chord,
Such an air, popular in its own day, but If Galuppi's harpsichord toccatas
and therefore a vantage-ground from
which the player could recall his previous long since forgotten, suited his theme known only to
the antiquary, his
or suggested it—as a more enduring work
are still occasionally sung-or
more extreme modulations (changes of
would not have done.
were in Browning's own day.
key). The return to the original major
chord would follow easily. In the abstract
His contention in the poem is that the
It is only in its notation that music is
function of Art is to represent
there is nothing more natural about o
the junior of other arts. Hence it is a
major than any other key. But as it How we feel, hard and fast as what we know ; moot point whether harmony is a modern
needs no flats or sharps-on a keyboard to
development or not. Had the staff been
Make as manifest
no black notes—it has come to be regarded
invented at the time letters were, poly-
Soul's work as Mind's work ;
as the “ natural” key. Here it obviously and that of all arts Music “ the most comprehensible to us moderns as is the
phonic music might still be extant as
means that after intense elevation of
attains thereto, yet fails of touching. ”
feeling Vogler returns to plain, prosaic, Notwithstanding this, the fabric of music
· Iliad' or 'Odyssey. '
everyday life. It may be remarked in is more transient and changing than that It is, however, only in regard to its
passing that Browning seems partial of other arts. Thus, on the one hand, garniture that Charles Avison's ad-
to relative minors. See Charles
The Painter's Eve, the Poet's Helena,
monitor seems to under-estimate the
Avison,' stanza ix. , last lines.
Still rapturously bend, afar still throw
durance of music. “That's truth,” he
Baldassare Galuppi, born in 1706 on
The wistful gaze! Thanks, Homer. Angelo ! declares, “which endures re-setting. ”
Could Music rescue thus from Soul's profound,
the island of Burano near Venice, was Give feeling immortality by sound,
And I take this stanza-xiv. -to concede
chiefly known as a composer of comic Then were she queenliest of Arts. Alas! that even Avison's simple diatonic march
As well expect the rainbow not to pass !
operas, of which he wrote fifty-four.
only needs "Sharps and flats, Lavish
Accordingly · A Toccata of Galuppi’s ’ is
On the other hand, Handel's 'Rada- at need," "ophicleide and bombardon's
Rinaldo,' of which contem-
mainly a reverie on the superficiality of minta' and
uproar,” to make it fit“ march music for
Venetian life of the period :-
poraries are supposed to have said that the Future. ”
* love attains therein to perfect utter-
Dust and ashes, dead and done with, Venice spent
what Venice earned.
ance,
As Hope,
are now useless as presentments of
Fear, Joy and Grief,-though ampler stretch and
The soul, doubtless, is immortal-where a soul can passion
be discerned.
Once all was perfume-now, the flower is dead.
They seek and find in novel rhythm, fresh phrase, --
Galuppi's music is not less“ dust and
Were equally existent in far days
than the life of which it was once Gluck, Haydn, Mozart. Nor was Handel
ashes
Handel is represented as superseded by of Music's dim beginning-even so,
Truth was at full within thee long ago!
a concomitant:-
Stanza xiii.
even supreme in his own day :-
“ Dust and ashes ! ” So you creak it.
By no means ! Buononcini's work is theme In ‘Fifine at the Fair,' stanza xcii. ,
in you come with your cold music till I creep Geminiani-of whom Avison was a pupil
For tit laudation of the impartial few.
speaking of Schumann's 'Carnival,' the
through every nerve.
poet says :-
But this barrenness to the modern ear --and Dr. Pepusch are also mentioned.
only emphasizes the recognition in stanzas Though the music of Avison's day is
The stuff that 's made
vü. and viii. that in its own day Galuppi's
“ all alive once more,
it is as
the
To furnish man with thought and feeling is
purveyed
“ plaintive and commiserating music
figured worthies of a wax-work show. "
Substantially the same from age to age with change
served a useful purpose. It arrested, As representing “to-day's music-manu- Of the outside only for successive feasters.
though perhaps but momentarily, the facture," the reader'is referred to
The forms, the themes one without its
frivolity of ball, mask, and carnival. It Brahms, Wagner, Dvorak, Liszt. ”
counterpart
not only told them something” which Browning, however, has only sarcasm
Ages ago.
raised the question “Must we die ? " but for those who, contemptuously recognizing
refused to desist till its warning was the transience of all other music, imagine Nor do these passages touch the limit
heeded. So I interpret the line already that the creations of their own idol will of his appreciation of music's permanence.
quoted :-
last for all time. So, anyway, I interpret Witness Don Juan apostrophizing Schu-
Hark, the dominant's persistence till it must be
the line
Fifine,' and
answered to!
>
:
scope
66
no
in stanza
Since fatal Wagner fixed it fast for us. declaring that his thought
mann
Xc. of


## p. 543 (#413) ############################################

No. 4411, May 11, 1912
THE ATHENÆUM
543
one-
instead
by delicate colouring and restrained realistic
Of words, sought sounds, and saved for ever, in the touches. The suite was originally written
Dramatic Gossip.
same,
in the form of a piano duet.
Truth that escapes prose,-nay, puts poetry to THE 'Ring' is to be performed in its Mr. Maurice Baring on having produced at
It is pleasant to be able to congratulate
shame.
entirety at the Bristol Festival, which will
last a really good play. Technically con-
(Italics mine. )
take place October 23rd-26th, and un-
sidered, The Double Game' is far and
satisfactory as this concert performance
Of music that conserves the assurance, thou as
well
may appear to those who have opportunities away the most satisfactory stage work he
Here is none of that
of hearing the work with stage action, it discursiveness or lack of decision which
Wast certain of the same! thou, master of the
will be without doubt welcome to many
spell,
marred his earlier experiments. This is a
Mad'st moonbeams marble, didst record what lovers of music in the West. Wagner carefully planned, well-made play, with a
other men
himself, already in 1852, gave portions of plot that marches boldly forward and never
Feel only to forget!
his early operas on a concert platform, and loses itself in side issues. Grimly undeviating
(Italics Browning's: they occur in a pre- Richter and Mottl followed the composer's is its story of the Russian girl revolutionary,
vious use of the word. )
and by such means they prepared the way herself from shame and despair; clear and
It would, of course, show a strange mis- for the later music-dramas.
intelligible stand out the personalities of
conception of the function of poetry to
WAGNER was a prolific letter. writer, and the devoted heroine, the traitor and his
estimate the service it renders to an art
among other signs that the centenary of suspicious rival.
by the number of implements mentioned, his birth is not far off, a complete uniform But Mr.
Baring's drama is something more
Yet a musician cannot but be interested edition of his letters, under the editorship of than a neat piece of mechanism. It handles
to observe that in a comparatively short Carl Fr. Glasenapp, is being published by unsensationally material which might seem
& Härtel. Seventeen | instinct with sensationalism. It is upon the
poem like ‘Charles Avison? Browning Messrs. Breitkopf
alludes to no fewer than five musical volumes are announced, but letters have still mental and emotional states of his trio of
“forms”-such as Sonata, Fugue, Suite-
to be collected from the Wahnfried archives, leading characters and their mutual re-
and others from various parts of the world ; actions that he fastens his and our attention,
nine instruments, and fifteen composers !
in the editing of these Paul Hans von not on the melodrama of their circumstances.
CLEMENT ANTROBUS HARRIS. Wolzogen will co-operate.
Similarly natural and unexaggerated is
The eight days?
festival which was to
his treatment of the background of his
take place at Salzburg has, for various tragedy. What strikes us, and what he
reasons, been postponed until next year.
means us to be struck with, is the unim-
passioned, almost apathetic mood in which
Musical Gossip.
VERDI's complete correspondence will the heroine's middle-class boarding-house
shortly be published. Madame Marla Car, associates receive news of revolutionary
events and discuss their consequences.
At the second of the series of concerts rara, his heir, has placed all the material
which Mr. Donald F. Tovey is giving Scherillo.
at the disposal of the editor, Signor Mr. Baring knows his modern Russia, and
at the Æolian Hall, the programme was
his contrast between the girl's enthusiasm
entirely devoted to his music. A
The report has been spread so often that and the calm acceptance of facts by the
composer programme is seldom successful. Arrigo Boito's ‘Nerone was about to be majority is obviously intentional.
Mr. Tovey is an accomplished musician, produced that one really began to wonder
Where the author still seems at fault is
and what he writes shows thorough ac.
whether it was
even written.
It is now in his reliance on rhetoric and in his in-
quaintance with the technique of his art. definitely stated that it will be given at ability to individualize his creations briefly
There were three works in his programme-
La Scala during the season 1912–13.
and economically. His men and women
a pianoforte trio, quartet, and quintet- In the current quarterly issue of The cannot explain themselves, except in long
but it was only in the last that he really Antiquary Mr. W. H. Grattan Flood gives speeches, and when, as in the case of his
created interest. In the first movement he an interesting account of Sebastian Westcott, subordinate figures, this resource is not
has bold and ably developed themes; in the an organist of St. Paul's who is not even available, he fails to differentiate them
second, though somewhat lengthy, are both named in so careful a compilation one from another, and a comment made
character and charm; while the Finale is J. E. West's Cathedral Organists'; yet, by one of them might just as well come
clever and spirited.
as Mr. Flood shows, he must have been a from any of half a dozen others. Still, in
MR. BALFOUR GARDINER gave his last person of prominenco in musical circles, and this new play the three protagonists emerge
as Master of the Children he is of real definitely enough, though at the expense of
concert at Queen's Hall on the 1st inst. importance in the early history of the drama. the rest, and it is to their representatives,
There many, interesting, numbers; The first known reference to him by name therefore, at the Kingsway that all the
but the most striking was Von Holst's
Oriental Suite, - Beni-Mora,' especially the
occurs in February, 1551/2, in the_House- opportunities of acting fall. Mr. Claude
Finale, in which realism plays a prominent hold Expenses of the Princess , Elizabeth King's
staccato manner suits the part of the
during her Residence in Hatfield. He pro- spy admirably ; Mr. Harcourt Williams's
part, yet as a means, not an end. The com-
poser furnished a brief outline of the pro-
bably died in 1584.
trick of explosiveness is telling in the
jealous rival's tirades; and Miss Ernita
gramme to which he worked; but even
Lascelles as the heroine shows nervous
without that help, one could feel atmosphere,
intensity without ever being betrayed into
colour, and skill in the music. A second Special Concert, 3. 30, Royal Albert Hall.
violence that is inartistic.
series of these interesting concerts is
announced to take place in the spring of
* THE NEW SIN,' Mr. Macdonald Hastings's
next year.
clever play which has fired the popular
imagination, has been put into the evening
MADAME CARREÑO gave
a pianoforte Mina Rode and Fred Helwig's Violin and Vocal Recital, 8. 15,
bill at the Criterion, and gives every sign of
recital at Queen's Hall on Tuesday afternoon. Meta Diestel's Song Recital, 8. 30, Steinway Hall.
justifying its promotion. Dialogue so witty
Her rendering of Beethoven's Waldstein'
and thoughtful, scenes and characters so
Sonata was tame; of brio in the first move-
Ernst von Lengyel's Pianoforte Recital, 3, Bechstein Hall. unconventional as are to be found in this
ment there was virtually no trace; while
piece, deserved a wider recognition than
in Chopin's Nocturne, Op. 48, and Fantaisie- Vivian Goswell's Vocal Recital, 8. 15, Bechstein Hall.
Tamini's Vocal Recital, 8. 18, Queen's Hall.
could be secured at matinée performances,
Polonaise, Op. 61, the playing, if technically
and
the enthusiasm of last Monday
fine, was almost soulless-a curious absence
night's Criterion audience suggests that such
of qualities which have won for the pianist
Mr. and Mrs. Dennis Drew's Vocal Kecital, 9. 30, Bechstein
acknowledgment will be fully accorded. The
so high and well-deserved a reputation.
Donald Tovey's Chopin Recital, 8. 30, Æolian Hall.
cast is virtually the same as that which was
SEÑOR CASALS gave an orchestral concert
engaged at the Royalty, except that Mr.
Grainger
Kerr's Vocal Recital, 8. 15, Æolian Hall.
Of his fine
Hallard now takes the hero's part. This is
at Queen's Hall last Saturday.
playing of Bach's 'Cello Suite in c, the only
as much as to say that the play is brilliantly
Adila, Hortense, and Jelly von Aráoyi's Chamber Concert, 3,
acted.
criticism we offer is that
of the
soft passages are not heard_to the best
WHEN a new author makes a success in
advantage in so large a hall. But there was
the theatre, commissions are apt to rain
May Mukle's 'Cello Recital, 8. Bechstein Hall.
a novelty in the programme an orchestral
upon him and the playwright becomes in
suite, 'Ma Mère l'Oie,' by Maurice Ravel.
as
were
PERFORMANCES NEXT WEEK.
Bus.
National Sunday League Concert, 7, Queen's Hall.
Mon. -Bar. Royal Opera, Covent Garden.
Mox. -SAT. London Opera House, Kingaway.
Mon. Auriol Jones's Pianoforte Recital, 3. 15, Eolian Hall.
Grace Thynne's Violin Recital, 3. 15, Bridgewater House.
William Murdoch's Pianoforte Recital, 3. 30, Bechstein Hall,
Bessie Mark's Vocal Recital, 8. 15, Bechstein Hall.
Æolian Hall.
Handel Society, 8. 30, Queen's Hall.
TUES. Titanic Disaster Fund, Matinée, Royal Opera, Covent Garden.
Gregory Hart's Concert, 3, Queen's Hall.
Nathan Fryer's Pianoforte Recital, 3 15, Æolian Hall,
Evelyn Dawkin's Pianoforte Recital, 8, Polinn Hall.
WED. F. S. Kelly's Orchestral concert. 3, Queen's Hall.
Vera Bianca's Vocal Recital, 8. 15, Æolian Hall.
Smallwood Metcalfe's Choir, 8. 10, Queen's Hall.
Hall.
111115
some
THURS. Twelve o'clock Chamber Concert, Æolian Hall.
Pablo Casals's Recital, 3, Queen's Hall.
Yvonne Astruc'. Violin Recital, 3. 15, Bechstein Hall
Armida Sepatra's Violin Recital, 8. 15, Bechstein Hall.
Sonia Darbell's Vocal Recital, 8. 30, Æolian Hall,
FRI.
Æolian Hall.
Marian Jay's Orchestral Concert, 8, Queen's Hall.
St. Petersburg String Quartet, 3, Bechstein Hall.
Gwendolen Logan's song Recitals, 3. 30 and 8. 45, Steinway Hall.
Montague F. Phillips's Orchestral Concert, 8. 15, Queen's Hall.
Beatrice Dunn and Clive Carey's Folk Song Recital, 8. 30,
IIIIII
too much of a hurry to satisfy managerial
Each of the five movements is of short
impatience. We surmise this is what has
compass, and the quaint music is enhanced
happened in the case of 'Love and What
Rolian Hall.
Mary LAW and Norman Wilks's Violin and Pianoforte
Recital, 3. Bechstein Hall,
Mitnitzki's Violin Recital, 3, Æolian Hall.
Mozart Society, 3, Portman Rooms,
Sat.


## p. 544 (#414) ############################################

544
No. 4411, May 11, 1912
THE A THENÆUM
BELL'S
BOOKS.
>>
The very
NAPOLEON
>>
Then ? ' which Mr. Cyril Maude has staged slips quietly away. The piquancy of the
MESSRS.
at the Playhouse, or it may be an earlier play, apart from the beauty of much of its
effort than "The New Sin. It certainly | language, consists in the contrast between
has not the compactness of plot and the the fiery rhetoric of the opening scene and
compelling interest of story that are that the subdued tone of that which follows.
work's great recommendations.
A clergy-
Acted superbly by Miss Irene Rooke and
man's young wife, who wants to widen her Mr. Milton Rosmer in the two chief parts, To be completed in 6 vols, demy 8vo, 108. Bl. net oach.
experience and invites kisses from an officer
* Miles Dixon' thoroughly deserved its
Vol. IIL. JUST PUBLISHED.
sho cares nothing about, is the character for enthusiastic reception.
Vols. I. and II. previously Published.
whom attention is chiefly solicited ; while
a bishop of the “human and “broad.
· The Younger Generation' is of a much THE CORRESPONDENCE OF
minded" type, provides the comic relief. lighter texture, but this gay little comedy is
As its title would
JONATHAN SWIFT.
The talks between the bishop and the quite in the movement.
rebellious girl. wife are amusing, but the suggest, it deals with the topic which
Edited by F. ELRINGTON BALL, Litt. D.
business of osculation would have been many of our more thoughtful playwrights
better omitted. Mr. Maude proves the most
have found fascinating—the revolt of pre-
With an Introduction by the Right Rev. the BISHOP OF
OSSORY.
genial of bishops, and his daughter Margery ences of age. Mr. Houghton's manipulation edition to the whole correspondence, both to and from
genial of bishops, and his daughter Margery sent-day youth against the restraining influ.
“For the first time we have the beginning of a complete
plays the heroine with an agreeable lightness of this theme pictures three children of a
of touch.
well - meaning
Nonconformist protesting best texts, and annotated with extreme elaboration
A STAGE fairy-tale, constructed out of the against their father's narrow notions, and
Swift's letters have
been often, but never well, edited
before this. . . . We congratulate Mr. Ball on an arduous
fortunes, legendary or historical, of the insisting on shaping their lives to suit their task faithfully executed, with a sure mastery of its
Rothschild family, sounds odd at first. own wishes. The humours of the piece are
bewildering complexity. "--Times.
Such is the fare in Carl Rössler's comedy of sometimes almost farcical in their extrava-
- The Five Frankforters' which Mr. Basil gance, but the author has the knack of JUST PUBLISHED. Medium 8vo, 108. Bd. net.
Hood has adapted for the Lyric Theatre. individualizing every one of his characters,
Artifice is of the play's essence.
and in addition he has high spirits and
PITT
costumes--of 1822_would seem to have had manages to keep his theme constantly in
their quaintness exaggerated. The dis evidence. The interpretation was satis.
tinctions drawn between the four famous fying, Mr. Stanley Drewitt's performance AND
banker-sons who attend in procession to pay in the part of the harassed father perhaps
homage to their unpretending mother on standing out from the acting of the rest.