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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, May 21, 1910, Image 8

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Literary J^et&)s and Criticism
The Enchantments of Digging in
the Soil of Antiquity.
LIFE. By I>. O. Hogarth. With forty
illustrations from photographs taken
by the author and his companions.
Svo, pp. x. 175. The Macaiillan Com
Mr. Hogarth baa a record of splendid
achievements in archaeological research,
but he writes with a winning modesty.
E« writes also with the enkindling ardor
of a. man whose twenty-odd years of
professional experience cannot discount
the romantic appeal mafic by tbe soil of
antiquity. In a. charming introductory
essay, wherein he offers what he calls
the apology of an apprentice, he tells
how he was better known at Oxford for
a gamester in a small way than for
anything else, and he relates much of
his success In digging to the gambler's
instinct. At any rate, your true archaeol
ogist Is, In the very nature of things.
a votary of chance.
He plods through week? and months
of appalling drudgery, but always he
Is sustained by the hope that the next
thrust of the spade may turn over an
Incomparable prize. Speaking of his
laboirs among Egyptian tombs, Mr. Ho
garth has this vivid passage:
I have dug for twenty years and ret next,
foot after th© sexton's in very many an
cient sepulchres; but I still feel, as at first,
the flutter of poignant hope that the tr.mb :
may be virgin, and an indescribable thrill ;
■at th* sight of grave furniture undisturbed
tince thousands Sf years. There lie the
<s*ad mafi's bow and arrows In their place
on hi* coffin lid. Firing snapped and plumes
In dun and there Ms stout stalt ana his
boomerang: the little Kile boats are
.propped fully manned by his side: the ,
Wooden servants who answer his call In
th* underworld are at their several busl-
Besses; and hi* eSlry, with hi* wife's, stands
at hi* head. I knew well that, in Epypt at
least, ens hardly ever opens a perfectly
virgin sepulchre. Some on© robbed It on
the night of the burial, ere the door was
Foaled. Some malijm Intruder has rumpled ;
trio** £T&v*» clothes down to th© waist in
truest cf the jewels on neck and iivast.
tna has trampled or overturned In his
atul'ty haste the furniture beside the coffin.
ffut since *ie withdrew with his accom
r,lle«B end denied the. door, ail has "been si
•r. -" nnd fine rain of d-Jtt from the roof
vnttl, after Tour thousand rears, yon come.
You 'may talk of Fdence and think of loot. ;
while th« chattering dippers are ■worlcine
like Sends to lift the last of the filling
from the shaft; but the first look into the
dimness of the sepulchre itself will silence
them., hardened robbers though they be.
and will ellcnee you. Science and your ;
c-srn glery and the lust of loot are all for
rotton in the awe which Tails as m IMry
tftleo en adventure in underground enam
r^rs where kingf of old time pit aeleep.
Yet next day. or maybe the W after.
wben tMi reffln Tins bern packed with
t-wentv other* in the n-ae»i«'.n». you Trill
pl&r cards r»T f>n •veriinp on Its hfao, If it
nappens to be r.^nfiy
la there not excitement in Mr. Ho
garth's pursuit? Even in thcee quite
Informal chapters, which touch but
lightly on a few of the Fallent episodes
IB Hi career, he Is a* Interesting as any
novelist. The fact Is traceable in pert
to th* character of his life work and In
part to his temperament. Evidently he
Is a born wanderer, and. Into the bar
gain, a connoisseur of the beauty of
nature. The book is full cf brief. fleet
ing sketches of lovely scenes, sketches
•which take us Into the very heart of the
classical scene.
Of deep interest, too. are his note? on
native men and women, always intro
duced with a delicate feeling for the
background nsralnst which the latter
•^•»re observed. He found the finest
types among the modern Hellenes at
Caetellorlzo. in L.yc.ia. "There you will
find Praxltelean heads In the flesh," he
says, "find th«» oval face, with brows
spread broad and low beneath clustering
hazel hair. Gray-brown almond eyes lie
wide, deep, long and liquid; noses stand
forth straight and faultless"; upper lips
end chins are *hort, and mouths mobile
and fine." They showed him . one of
their schools, occupied by fifty maidens,
"each fit to bear Athena's peplus." but
with Incoherent thanks he and his com
rades miserably fled. "Who were we,'.'
he asks, "that we should patronize a
choir of goddesses?" He adds, however,
that there are signs in the formation of
the L#vci?.n skull, as in other physical
traits, of racial deterioration, and some
■f the best. because most illuminating,
Of his Cretan pages are those in which
he characterizes the decadent children
cf a once supreme civilization. Mr. Ho
garth's curiously searching sympathy
for humankind, aided by his scientific
knowledge, gives peculiar authority to
Observations of his like the following:
Th* peasant Greek Is neither brute- nor
butterfly: but this be is — a man who is es
sentially Inert, a man born physically out
r.orn. The whole race, as it seems to me.
5» E'-ffcrir.g from overwearinsss. It lived
fa*t In the forefront of mankind very long
a.*ro and now is far gone In years; and in
It* home you feel that you have passed
Into th« Fhafiotr of what has been, into an
air In which men would rather be than do.
. . . Simple though the Zakriotes were.
they rhoTi-ed often in their talk that they
knew themselves well enough to be pre
occupied with thiF very question of their
racial decay. Why. they were forever
asictnjr me, had the Greeks fallen out of
that front rank In which the schoolmaster
told them they once marched? How came
th* Barbarians of Europe to be now. na
tion for nation and man for man, bo su
perior to the once Chosen Race?
He does not labor these matters, and,
lcdeeS, they crop out only in the most
casual fashion, but they do a good deal
to heighten the general interest of his
book. He tells us also something about
Turkish life, and in his Lycian chapter
paints a touching picture of the little
■village of Dembr*. once known as Myra.
On a day that harmless little place got
itself "measured." by order of the Porte.
That meant that a commission of three
officials set about measuring the village,
•with a view to r«vid justing Its contribu
tion to the Imperial Exchequer, and. un
til their report was accepted and the final
notification of assessment was ordered,
no buildings or lands could be touched.
Two years passed and nothing was done.
"The village was frozen as by a spell"
and it practically ceased to exist.
There are other incidents of a kindred
sort which it would be Interesting to
<jucte. but the author's archaeological
transactions must not be forgotten,
though they arc in a measure subordi
nated to the miscellaneous notes •>"
travel embodied in this book. It was
during the military disturbances : :.
Crete a dozen years ago that he visited
Cnossn«j for tha firM time and developed
his dream of digging some day in the
Palace of MfWOS. I:; a fascinating chanter
he relates his adventures, long after
ward, when be went to Ihe Island with
Arthur Evans, and st last came to close
quarters with a site of tremendous po
tentialities. Hin account of the explora
tion of th« cave supposed to be the birth
place of the Father God of Crete is too
long to be produced here and too thrill-
Ing to be spoiled by fragmentary cita
tion. It was a discovery of extraordt
rnry significance. Innumerable objects
were found. On one occasion, for about
four hours, the diggers came upon at
least on* object a minute. Mr. Hogarth
has two other fascinating explorations
to describe, one of the great Artem:«.ium
a* Ephesus and one among the tombs
behind Bfait in Egypt- He Is unmlstak
£»>ly the scholar, on both occasions, bat.
aa we have indicated, he writes through
out this volume out of sheer joy In a
vocation having its dramatic tide, and
it is not by any means the antiquarian
alone who will value his delightful nar
ratives. It is the iayman. and the lay
man of Imajjinatior. to whom he also
addresses himself- The book is full of
good UlUßtratiors, some of which, like
the photographs of th« great theatre of
Aspendus. the b?st preserved of all
Roman structures of the kind, are of
quite oxopptional interest. But even
without his pictures Mr. Hogarth would
make us see the land of antiquity and
feel its winds asrainst our faces.
Two Novelists on the Modern
Marriage Problem.
TONYS WIFE. By George Gibbs. Illus
trated by the author. 12mo. pp. 311. D.
Appleton Si Co.
8 YSinSe.. smo. pp. 31S. Mitchell K«n
In these advanced days of the mar
riape problem novel Mr. Gibbs's "Tony's
Wife" may well be called conservative.
Xone of the characters takes himself or
herself too seriously— which is the first
symptom of the "Higher Law'— and
their sound principles are not attributed
to them by the author for the sake of
being bowled over as narrow prejudices.
They are average people all, sane and
likable, who stumble unwittingly into a
muddle which no amount of foresight or
worldly wisdom could probably have
fcTerted in the beginning. Environment,
which, after all. is beginning to be one
of disintegrating conditions and theories,
shapes their lives, as it does that of all
of us, and youth can but follow the im
petus given. Tony's wife was not the
■*vif> for him; neither was he the right
hueband for her. As a matter of fact,
both were too young, unprepared for
marriage. But the boy gave up his nec
essary years of study in Europe to take
up illustrating, and the girl, fond of
pleasure, got tired of the monotony of
their existence. Hence her imprudent
but Innocent philandering with another
man. She lacked as yet the sense of
her husband"* dignity in her keeping, or
of her own, and friends had the ques
tionable wisdom of talking to him about
her doings. Thus, the evil was brought
about by meddling, and the author's only
way out is an improving deathbed scene.
The characters are well drawn, there 1b
life and movement in the setting, in both/
country and city; one reads with pleas
ure and interest to the end.
Th*> inevitable thing to say about Mrs.
LOlildfi'si "Studies in Wives," the thing
Which hag very likely already been said,
and is certain to be said again, is that
they might as well be called "Studies in
Husbands." In most of them, in fact,
the wife is suggested by and reflected in
the husband, a clever technical proceed
ing whose difficulties the author masters
with signal success. More curious still
is the fact that the best story of the six.
•Mr Jarvice's Wife," Introduces neither
her nor her husband in propria persona,
yet ever keeps them, and her mo6t of
all, in the centre, from the point of view
of the third angle of a familiar and de
plorable aveometrlco-matrirnonial figure
complicated by a crime. "According to
Meredith" — an allusion to ten-year mar
riage contracts — ia, rather. "According
to Ibsen" in its cutting of the knot by
Vfoleflt death, and in its feminine psy
chology, for whose purpose. BO doubt, it
is a Scandinavian woman who is the
herein* 5 , the only foreigner in the book,
unless we choose to consider the Irish
ndr^?s cf "Shameful Behavior" a for
tifutt, ton. as. no doubt, she is in the
matter of temperament amoftg all these
English pfr.plp Unlike a general cup
tf-m. the book does not open with the
best of v-hat it contains. The husband of
"ftllli— "n Opportunity" is a sorry cad,
v.ho marries a young, unformed woman
for her money, and then humiliates her
before his bei«t friend. Mrs. Lowndes
glimpses the limits which children im
pose upon the "rights of the individual,"
and in this her fiction is a wholesome
reaction. She is. however, a realist, who
has no moral to teach, merely tendencies
of life to pMnt out.
Some Adventures in the Air and
Other Perilous Places.
erick Palmer. Illustrated. 12010, pp.
, M. Charles Scrifcner's Sons.
THE SKYMAN. By Henry Kitchen Web
ster. lUußtrated by Dan Smith. I2mo.
pp. 844. The Century Company.
Gray. Eight illustrations by Under
wood, Douglas, Crawford, Blinks, Wat
son. Llnson and WenzelL I6mo, pp. 215.
The Century Company.
\Te are still in the experimental stage
of aerial fiction, with the solution of the
question whether our latest conquest
will add a new, a truly original, realm
to romance still in the future. The mo
tor car has proved a disappointment in
this respect, and so has the motor boat,
both of these means of speedy locomo
tion having: suggested to our novelists
nothing beyond a highwayman In an
automobile instead of on a horse, a pirate
with a dynamo instead of squared yards,
and a new variety of travel fiction. Even
wireless has failed thus far to Inspire
romanticism worthily: the first great
romance of C Q D was written by real
life. It may well be that the aeroplane,
now that it is a reality, will prove no
more fertile In suggestion than the other
ultra-modern methods of communica
tion have been; perhaps the real thrill
of aerial travel lay in its Improbability
in the days of Jules Verne and the latter
day writers of Utopias. Kipling made
the most of the subject In the days, still
so recent, when it was in its infancy.
So, unless an unexpected genius of the
asr arrives in our fiction, we shall prob
ably have to content ourselves with ab
ductions and elopements via the upper
regions, criminals skulking In the air
lanes, wrecks and rescues, trips to the
poles, and guidebook fiction, with the old
material In modified conditions. All this
is suggested by Mr. Palmer's stories of
"Danbury Jtodd," the master aviator.
They are capital stories, with plenty of
action In them, crisply told, employing
with" much Ingenuity the possibilities of
the flying machine, but the unexpected
is not a (salient part of their interest.
Perhaps it never can be after a specula
tion has turned into a reality. The real
Interest of the book is the human one,
for Danbury Rodd is a powerful fijrure,
the real coming conqueror of the air.
The flying apparatus of Mr. Webster's
"Skyman 1 i* only a cleverly employed
tr.inor lever in the complicated plot of a
Eton,' whose scene is the Arctlr> a.nd
whose leading characters are a young
m-in and a young woman learning to
depend upon each other and to love each
other nmid deprivation and danger in
the twilight of the north. An incident of
army service in the. Philippines, the
v wrecking of an Arctic expedition and an
Arctic whaler, a ledge of gold, wholesale
murder, and a yacht pecking the van
ithed explorer — these are the crowded
preliminaries of the main part of the
tale, which is only concerned with the
two In a hut, amid snow and ice and
darkness and unseen dangers from a
prowler, tho murderer of many, who, In
the moment of his success, is face to
face with failure, left behind when the
yacht is driven out to sea by a storm,
and cannot return through the gathering
Ice. The romance of isolation, of direct
confrontation with life in it 9 most prim
itive form, of the courage and ingenuity
it awakens, still holds Its delights. Mr.
"Webster has constructed his plot with
Infinite care Rnd ingenious attention to
detail; he makes provision long in ad
vance for every turn in the fortunes of
his characters, so that the hand of thn
deus ex machina never is disturbingly
visible, and the result is a most satisfac
tory romance of danger, fortitude and
Mr. Gray delighted a lerge number of
readers some ten years ago with his
clever, humorous bundles of tales of the
life, the manners and diversions of an
American hunting set, "Gallops" and
"Gallops 2." not a small part of the do
light being due to hie amusing apprecia
tion of the subtle influence which con
stant association with horseflesh has
upon the ethics and the point of view of
men and women, as well as upon their
dress and talk. "Mr. Carteret and
Others" contains six new tales by Mr.
Gray, collected from the pages of the
magazines in which they first appeared.
The first three are hunting stories, but
the scene Is laid in England, and— well,
they are not altogether up to the mark
of their American predecessors; it would
perhaps be juster to cay that their in
terest does not lie so directly in the
sport Itself. To take three American
Indians from Buffalo Bill's show to an
English rr.eet is not, however, a bad
idea; it suggests a contrast in which
the white American is made to stand
curiously closer to the aborigines in
understanding and sympathy than to the
English cousins. Of the remaining three
tales one deals with a divorce scandal
started in a club and nipped in the bud
by Mr. Carteret. who has some of tho
attributes of Van Bibber; the second is
an ingenious golf stofy, and the third
has its scene laid in a Japanese shrine,
where an American student hears the
call of his own people after ten years
of placid contemplation of Oriental
Defends the Bourgeois Against
The Arrogant Artist.
From The London Daily Chronicle.
I have recently bean listening to im
passioned painters on the subject [of the
Rckeby Venus]. I was talking to a
typical impassioned painter about it the
other day in the third greatest art city
of the world, Florence. (Let me inter
ject that I do not count London and
Paris as the first and second, but Rome
and Venice.) This excellent and serious
painter was a Hungarian. He spoke no
English, and his French was limited;
but he knew the National Gallery and
the discussed picture and the particulars
of the controversy. He held, like me,
that the picture was very disappointing
as a masterpiece. He did not care a
bilberry whether it was by Velasquez or
whether it wasn't. But he had a great
deal of energy for the scorning of the
public — of the bourgeois. His violence
did me good, by reminding me of ray
youth. To listen to him you -.would,
imagine that the bourgeois were a gang
of criminals, that the bourgeois had com
mitted a horrible offence in their attitude
toward art.
"The bourgeois." he eaid, "understood
nothing of art! Nothing! In no Country!
And never will!"
"Picture galleries," he said, "are abso
lutely wasted on the bourgeois!"
Being of a pacific disposition and
anxious to rise at 0 o'clock the next
morning. I basely pretended to agree
with him. ■ But I was far from agreeing
with him.
If I had had a defensive revolver in
my pocket and had been minded to sit
up all night I should have asked him to
define what he meant by the word
"bourgeois." And when he had defined
his bourgeois I should have offered to
bring forward some specimen of a hu
man being who. according to his defini
tion, was neither a bourgeois nor an
artist. For you cannot draw a line that
will divide the bourgeois from the artist.
Most artists will admit that they ar.e
bourgeois somewhere, but very few will
admit that the bourgeois is artistic
somewhere, which is illogical; it is more
than illogical, it is absurd. My friend's
axe-like posltiveness recalled some of
the statements of that singular bour
geois, John Ruskin. which in the 80s
used to be accepted with awe as the
grand utterances of eternal wisdom.
For instance, In his annoying remarks
on Florence. Ruskin chooses a email
fresco by Giotto, about four feet wide,
and. after describing it. says: "If you
can be pleased with this, you can see
Florence. But if not — by all means
amuse yourself there, if you find it
amusing, ..as long as you like; you can
never see it."
So there you are! If you don't thrill
to this particular fresco, you are, 90 far
as all Florence Is concerned, a hopeless
and crass bourgeois! Of course, this
kind of testing is merely fatuous. It
serves no purpose except to excite
healthy laughter in the breast of com
mon sense. Nevertheless, it is essen
tially fhe kind of test that artists are
continually applying to the non-creative
person in art.
Artists themselves would, and con
stantly do, fail to pass such tests ap
plied by each other. Thus my Hungarian
could easily have convicted me of being
a bourgeois toward paintings, as I could
by similar methods have convicted him
of b^lng a bourgeois toward literature.
But if he fancied that he was going to
rule me out of the Influence of the Na
tional Gallery he was mistaken.
And It would be useless for him to say
that an artist cannot be bourgeois, for
the reason that if you really understand
one art you understand all. The great
est nonsense that I have ever heard
about painting and about literature was
talked by musicians. I have known ad
mirable writers who loathed music. And
I have known painters, and plenty of
them, who could live quite happily amid
atrocious wall papers that would have
made William Morris take to his bed.
When It comes to tho appreciation of
art, either everybody la bourgeois, or no
body is. Let artists take their choice of
the alternatives. In one sense Whistler
was right when he said that in no age
had there been an artistic public. But
Wagner was much more right when he
said to the man who confessed his tech
nical Ignorance of music, "My dear fel
low, you're the very person I write- my
operas for."
Wagiier stated a profound truth of
By Rene Bazin $1.00
The nor'l of the. day in Enclanrt and Franco.
Jl\ WRITB ME: can get you any book «v«
published on any subject. The most expert
book finder extant. When In England call and
«cc my ftOO.OOO rare books. BAKERS GREAT
BOOK SHOP. John Bright «U BlrmlPSham, *
[ universal application in art. As a fact,
! if the artist does not appeal to common
1 mm. to whom does he appeal? Are ar
| tists to live, artistically, by taking in
I each other's washing? If the aim of the
artist is not to reveal beauty to some
body who is incapable of seeing beauty
for himself, what Is his aim? These
questions answer themselves, end their
answers richly demonstrate that the ar
tist's disdain of the- public is ri'l!culou3
in its arrogance. If, indeed, there is an
absolute wall between the artist and th*
public, then the artist Is engaged in the
most futile vocation that the idle wit of
man ever Invented.
If a sincere artist-held truly that the
public has no comprehension of art, ..no
would be ashamed and alarmed when he
found himself becoming popular. Where
us the notorious fact is that even the
most sincere artists are delighted by
popularity. Absolute proofs that their
disdain is simple boyish petulance! The
Other day I met a sincere artist (a paint
er) whom I had not eeSn for several
years. In the interval ho had become
popular; be was painting as well as
ever. Previously he had formed one of
a little group of public . disdainers in
Paris. He Inquired about the group. "I
suppose," he said, with magnificent
condescension. "I suppose they're still
busily engaged in being failures." Not
much disdain of the public here! Toy
may call this human nature. It is.
I have never been able to sit quiet
and hear the innocent and good-natured
public vituperated. And I never will. I
admit that to stand in the National Gal
lery, for instance, and listen to the re
marks of the public is an affrighting
experience for an arti3t unskilled in the
ways of the public mind. That is his
Own fault. He ought to learn that the
public expresses itself as a rule badly,
and that (like artists) it does not in
stantly chatter about that which it feel 3
most deeply. He ought to learn that the
influence of art is seldom immediate, and
is never to, be measured by any yet de
vised method .Of calculation. He ought
to learn not to expect too much for his
pains. He is only one man. If he thrills
one other man for one minute, that Is
something. v
I do not believe that any individual
ever went Into a gallery of fine pictures
and really looked at them— and came out
again the same individual. Such a belief
would be grossly unscientific. Therefore,
when I see a crowd of people gazing for
initials in a corner. I «ay, "It is well!"
Consciously or unconsciously they will
acquire something beyond Initials.
Current Talk of Things Present
and to Come.
Byron loved a bit of mischievous mys
tification, and an amusing illustration
of this fact is to he found In the new
Instalment of Lord Broughton's me
moirs. The poet's friend Klnhaird re
ceived, when all was over at Misso
lcnghi, a letter from Mr. Barry, an ex
cellent but not particularly brilliant
banker at Genoa. "You will excuse me,"
wrote this good man. "for mentioning to
you rather a singular request that Lord ;
Byron made me when he was on the
point of galling. The eccentricities of
a man of genius may, I hope, be men
tioned to a friend, Valued by him as you j
were, without giving offence or appear
ing childish or impertinent. He had
kept for a long time three common
geese, for which he told me he had a
sort of affection, and particularly de- ;
sired that I would take care of them, a3
it was his wish to have them at some
future time, it being his Intention to
keep them as long as he or they lived. I
will send them to England, if you
please." The after life of the geesa is not
revealed to us. "Now here," says Lord
Broughton. in recording the story, "is a
plain case of mystification which suc
ceeded with the worthy Barry."
There is a glimpse of the contradic
tory nature of this man of genius in
Broughton's note • on ' the arrival of
Byron's body at Gravesend. "I re
mained on board," he says, "and con
tinued leaning on the coffin, which I
had now covered with a lid and the ship
flag. I felt an inclination to take a last
look at my friend, but I could not, and
I walked away and then I came back ]
again and rested on the coffin. Lord
Byron's large Newfoundland dog was
lying at my feet. I wished I was as un
conscious of % my loss as he was. At in
tervals Fletcher talked to me of his
master. He told me that he had said
he loved me better than any man on
earth, and yet had never passed twenty
four hours without quarrelling with me."
"Dogs and Men" is the title of a book
on the character of doge which that
clever essayist, Mr. Henry C. Merwin, I
has written and which the Houghton j
Mifflin Company is about to bring out. j
It is described as the result of close ob
servation for many years and as paying
tribute to the sense of humor of dogs,
their courtesy, their knowledge of right
and wrong, their love for men and other
Interesting traits.
The sub-committee appointed by the
British Society of Authors to Inquire
into the question of the price of novels
has reported in flavor of adhering to the
cix shilling novel. This it has done
mainly on the ground that the lowering
of the price to two or three shillings
does net lead to any substantial increase
In circulation. The committee believes
that if novelists reduce the prices of
their books the royalties will be reduced
in proportion. The booksellers, it is
said, do not agree with this view of the
"The Forum," it is announced, will ba
published hereafter by Mr. Mitchell Ken
nerley, beginning with the July number.
The comical "Dead Letters" by Mr.
H Hypnotism | Nervous States: 9
£ and Treatment by Suggestion Their Nature and Causes . I
SB By J. Slilne Bramwcll, M.8., CM. Pre- By Paul Dntois,M.D., author of " Psychic I
3r| pared especially for practising physicians Treatment of Nervous Dlsorflers," etc. M
M who would utilize " treatment by eußges- Dr. Dnbois points oat that neurasthenia, Hfi
SI tion." Contents: Historical-surgical Caws contrary to general Impression, la not a new H
M — Medical Cases — Telepathy — Clalrvoy- disease created entirely by the conditions KB •
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