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der Heide, is a delightful piece of verse in modified Scottish dialect, which well justifies the dedication of the magazine to this poetess.

      Mr. Stokes' editorial, headed "Ships that Pass", sustains the nautical atmosphere of his periodical. We wish he had given his thoughts a larger space for expression.

      THE PIPER for December comes as a surprise to those who have known Rheinhart Kleiner only as a master of metre, for he is here displayed as the possessor of a pure and vigorous prose style as well. In this, the opening number of his individual journal, Mr. Kleiner provides us with a pleasing variety of literary matter; two serious poems, two rhymes of lighter character, an essay on the inevitable topic of Consolidation, and a brilliant collection of short editorials and criticisms.

      "A Carnation", which begins the issue, is an exquisite piece of sentiment couched in faultless verse. The odd measure of the poem is one peculiarly suited to the author's delicate type of genius; an iambic line of only three feet. The other lyric, "Heart, Do Not Wake", is likewise of excellent quality, though the succession of "again" and "pain" in the first line might suggest to some ears an unnecessary internal rhyme.

      "The Rhyme of the Hapless Poet" is very clever, and can be truly appreciated by every author of printed matter. Perhaps the misfortune of which the poet complains is the cause of the extra syllable in the first line of the second stanza; we hope that the following is what Mr. Kleiner intended:

      "I wrote a poem, 'twas a prize".

      Otherwise we are forced to believe that he pronounces "poem" as a monosyllable, "pome". "My Favorite Amateur" is a good specimen of light, imitative verse.

      The article on Consolidation is cynical in tone, but eminently sensible. It is only too true that our greatest intellectual stimulus is found in controversy and antagonism; we are really quite bellicose in our instincts, despite the utterances of the peace advocates.

      Mr. Kleiner concludes his journal with a sparkling epigram on a rather obvious though regrettable tendency in amateur circles.

      The Piper is in general a paper of satisfying merit, to whose future issues we shall look forward with eagerness.

      THE RECRUITING FEMININE for 1914–1915 is a publication of unusual worth. "The Rose Supreme," by Coralie Austin, is a delicate little poem in which we regret the presence of one inexcusably bad rhyme. To rhyme the words "rose" and "unclosed" is to exceed the utmost limits of poetic license. It is true that considerable variations in vowel sounds have been permitted; "come" makes, or at least used to make, an allowable rhyme with "home", "clock" with "look", or "grass" with "place"; but a final consonant attached to one of two otherwise rhyming syllables positively destroys the rhyme.

      Mrs. Myra Cole's essay on "The Little Things of Life" is well written and instructive.

      "The Dirge of the Great Atlantic", by Anne Vyne Tillery Renshaw, is a grim and moving bit of verse, cast in the same primitively stirring metre which this author used in her professionally published poem, "The Chant of Iron". Mrs. Renshaw possesses an enviable power to reach the emotions through the medium of written words.

      "Two Octobers—A Contrast", by Eloise N. Griffith, is a meritorious sketch ending with the usual appeal for the cessation of the European war. We fear that the author cannot quite realize the ambitious passions, essential ingredients of human nature, which render necessary a final decision.

      Miss Edna von der Heide, in an able article, rallies to the defense of Mr. W. E. Griffin's now famous "Favorite Pastime". The Modern Lothario is fortunate in having so competent and experienced a champion. However, we cannot wholly endorse the sentiments of these excellent writers. The statement that "all amateur journalists are flirts, more or less", is a base and unwarranted libel which we are prepared completely to refute.

      "The Audience", by Mrs. Florence Shepphird, is a masterly defense of those inactive amateurs whom we are all too prone to consider as delinquent. It is indeed true that authors would be useless were it not for some sort of a reading public.

      TOLEDO AMATEUR for December is a wholesome juvenile product. The typography still leaves something to be desired, but the evidences of care are everywhere visible, and we may reasonably expect to see it improve from month to month, into one of the leading amateur papers. Credentials form the keynote of the current issue, and a very promising assortment of recruits are here introduced to the members of the United. Miss Sandborn, who is fortunate enough to be one of Mr. Moe's pupils at Appleton, contributes an interesting school anecdote, narrated in simple fashion. Miss Thie gives information concerning the "Campfire Girls". Some new members of adult years are also represented in this number. Mr. Jenkins shows an admirable command of light prose, and will undoubtedly prove one of the United's most entertaining writers. Misses Kline and McGeoch both exhibit marked poetical tendencies in prose, the latter writer having something of Mr. Fritter's facility in the use of metaphor. Mr. Porter's editorials are refreshingly naive and unaffected. His grammar is generally good, except in the one sentence where he speaks of the Toledo Times. He should say, "the newspaper which has given me much experience, and to whose publishers I owe a great deal of experience gained."

      THE UNITED OFFICIAL QUARTERLY for November marks the beginning of a laudable enterprise on the part of the official board. The magazine is of artistic appearance in cover, paper, and typography alike, while the contents show considerable care in preparation.

      Ira A. Cole's essay on "The Gods of Our Fathers" is the leading feature and, though not of perfect perspicuity nor faultless unity, is none the less noteworthy as a sincere expression of Pantheism. Mr. Cole keenly feels the incongruity of our devotion to Semitic theological ideals, when as a matter of fact we are descended from Aryan polytheists, and his personification of the Grecian deities in the men of today is a pleasing and ingenious conception. We are inclined to wonder whether the author or the printer is to blame for rendering the poet Hesiod's name as "Hesoid".

      The metric art is represented by three contributions. Paul J. Campbell's lines on "The Heritage of Life" are smooth in construction and proper in sentiment, though they are far from showing their author at his best. Mr. Campbell is a supreme master of the philosophical essay and of pointed, satirical prose, being a very "Junius" in bold, biting invective; but is placed at something of a disadvantage in the domain of conventional poetry. Rheinhart Kleiner and ourselves revel in heroic couplets of widely differing nature. Our own masterpiece is in full Queen Anne style with carefully balanced lines and strictly measured quantities. We have succeeded in producing eighteen lines without a single original sentiment or truly poetical image. Rev. Mr. Pyke, the object of the verses, deserves a better encomiast. Mr. Kleiner, on the other hand, uses an heroic metre of that softened type which was evolved at the close of the eighteenth century from the disruption of the more formal style. In this sort of verse the stiff, classic expressions are discarded, and the sense frequently overflows from couplet to couplet, giving the romantic poet a greater latitude for expression than was possible in the old models. "Vacation" is not distinguished by any strikingly novel idea, but is in general a very clever piece of light work. The only substantial defect is in the eighth line, where the word "resort" is so placed, that the accent must fall wrongfully upon the first syllable.

      Leo Fritter's article on criticism is timely and sensible. As he justly contends, some authorized amateur critics deal far too roughly with the half-formed products of the young author, while most unofficial and inexperienced reviewers fairly run mad with promiscuous condemnation. The fancied brilliancy of the critic is always greatest when he censures most, so that the temptations of the tribe are many. We are at best but literary parasites, and need now and then just such a restraining word as our counter-critic gives us. Mr. Fritter's style is here, as usual, highly ornamented with metaphor. One slight defect strikes the fastidious eye, but since split infinitives are becoming so common in these days, we shall attend the author's plea for gentleness, and remain silent.

      H. P. LOVECRAFT,

       Chairman, Department of Public Criticism.

THE UNITED AMATEUR MARCH 1915

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