Majjhima Nikāya I (Further Dialogues of the Buddha, vol. I: suttas 1-76)

17. The truth is, just as a man with a mere bone frame is disagreeable, but a man with flesh, and blood is agreeable, to look at ; the songs which form the 'flesh and blood’ of music are agreeable to hear, but not the swaras as forming the mere boneframe thereof. The on-looker may be satisfied with the sight of the flesh and blood ; but the possessor thereof must take care of his boneframe as well. For, the stronger the boneframe, the healthier the flesh and blood. How can ypu have a strong boneframe without attend¬ ing to its growth and development? And how can you attend to its growth and development without knowing the component parts thereof and the laws of their growth? In Indian music, the component parts of the boneframe are saralis, alankaras, githas, varnas and other "idioms’’ of swaras. A learner therefore cannot with im¬ punity dispense with them. V hoever observes “There is no need at all to practise Jantaswaras and other gymnastic exercises,” may as well say that there is no need at all to practise, under the modem system of education, gymnastics and other physical exercises. I would however agree with him, if he should say that the teacher must not make too much of swaras and mistake the means for the c-nd itself. Be it remembered that swara teaching has been, from the time of God Parameswara, the right royal method of music¬ teaching in India, inasmuch as Narada said and Thiagaraja repeated in his famous Krithi, “Swararagasudharasa” — that the secrets of .‘vscardrnavam had been first taught by God Parameswara to Goddess Parvathi. I need hardly tell you that “Swararnavam” was a musi¬ cal treatise presented by Narada to Thiagaraga. The word Swararnavam literally means ‘Ocean of Swaras.’ Evidently the book related, as the name indicates, to the illimitable permutations and combinations of Swaras.

18. I believe you will have, by this time, been convinced of the truth of two important points, viz., (1) The System of Notation, most suitable to Indian Music, is Sargam and nothing else ; and (2) the teaching of Sargam Notation should be preceded by the teaching of Swaras and ThMas. 19. I shall now proceed to the Notation itself. 20. Each of the 35 main ThMas of South India and of the 25 main ThMas (according to Abhinavalhdlamanjari) of North India — has, on ultimate analysis, three essential parts, viz., clapping, fingering and waving. Note that, when you clap, you see the outer part of your hand and, when you wave, you see the inner part or palm of it. Is not the palm or inner part of a hand whiter than its outer part? And is not ‘the outer part’ blacker than the palm itself. Hence the clapping may be represented by a black-sign or New-Moon sign, viz., • and the Waving by a white sign or Full-Moon sign, viz., o . The Finger looks like a rod and hence the fingering may be represented by a rod-like sign, viz., | 21. Now the most popular South Indian ThiUa is Adi. It has 3 clappings, 3 fingerings and 2 wavings — in all 8 beats, which may be represented thus : —

40 I 1 I • O • o For every song in the Adi Thala, the follow¬ ing heading is desirable and may, with advant¬ age, be adopted: — The letters n w (pronounced Tha-ka) in the heading above denote the mathras or Kalais, the slowness or quickness whereof depends on whether the KAla or time is vilambitha (slow), madhyama (middling) or drutha (quick). “ n " denotes one m&thra and “ * ’’ denotes again one mfithra. So one column or bar, consisting of “ ’• denotes two mAthras which come to one beat. The letters if.m may be written n-m or It is for convenience of pronunciation that I have given two different letters fr-wr But, be it remembered, that each of the two letters denotes one mAthra and both together represent one beat. Again, the lines of the bar are drawn for convenience sake and have no significance of their own, except the last perpendicular double line which denotes the end of an Avartha. 22. The same principles may be applied to other tli Alas as well. Take, for instance, Chathusra Roopaka. It consists of 2 clappings, which may be represented thus:— I — 2 — 3 — 4 — 5 — 6

Take again a North Indian ThAla, Chowthal. It consists of 4 clappings, 6 fingerings, and 2 waving — in all 12 beats, which may be represented thus: — — 5 — 6 — 7 — 8 — 23. As the student learns each new TliAla, he may easily get it analysed into clappings, finger ngs and wavings and have such analysis recorded in the manner indicated above. The old notation of | to denote Laghu and o to denote Drutha has a deal of ambiguity and confusion about it, especially to a beginner. For instance, the Laghu-sign I stands for one clapping and any number of fingerings ranging from 2 to 8. I have therefore eschewed the old notation and given you my own. So much for the Notation of ThAla. 24. As for the Notation of songs, the Sapthaswaras, viz., Sa-Ri-Ga-Ma-Pa-Dha-Ni, shall invariably form its fundamental basis. But with a view to nationalise the Indian (or Sargam) Notation from Mount to Cape, those Saptbaswaras shall invariably be written in Nagari characters. The Sahithyam or wording of songs may be written in the language of those songs or in any other language ; but the Sargam Notation of those songs must he uniformly written in Nagari, throughout the length and breadth of India. The music students need not fear that they have to learn, for this purpose, Sanskrit Language. I assure them that it is enough for them to learn seven letters — not more nor less

than seven letter — of the seven notes of the scale. They are as follows: — Same Letters but Conjunct 25. With the sapthaswaras written in Nagari characters, we have yet to learn some special signs to denote pitch, time-vaulc, commence¬ ment, end, repetition, grouping, rest, and so forth. Let us study them one by one. 26. The signs of Pitch may be as follows : — Lower or Mandra Sthayi N.B. — Whatever applies to q applies equally to each of the other six swaras. 27. The signs of Time- Value may be as follows: — A Single Horizontal Line A Double Horizontal Line N.B. — Whatever applies to q applies eqnally to Dcinisemiquaver correspond respectively to Rkomathn, each of the other six swam*, ltc it noted here that Ardhamattra, Chathurthnmnttra and Ashtamamattro the linropean signs. Crotchet, Quaver, Semiquaver and Prolongation of the previous Vowel sound. Suddha Gandhara Shadsruthi Rishabha ... Sudha Nishada Shadsruthi Dhaivatba Anuswara This will occur only in Sahitya and not in No¬ tation. So is the case with each 2Q. At the commencement of a song, the V — K — 't — fa as well. Remember again that the Mela, the Rftga, the Thfda, the K&la, the Gathi, theory of flat and sharp notes applies only to the Arohana and the Avarflhana should be clearly fa — * — ** — * — fa and never to *f — v Remember given. The flat or sharp notes should also be also that i and s, indicating flat and sharp notes pointed out. If flat, write, for example, fai ; respectively, will be tacked on to any of the if sharp, write fas -, and so on with each of former but not to either of the latter.

What is poetry? It is defined as “sub¬ limated imagination" a definition as good as any other. There should be imagination and imagination to be poetic should be of a refined and exalted nature. Mr. Walter de la Mare’s poetry undoubtedly satisfies this test. Who will not take genuine delight in the exquisite lyric : “I met at eve the Prince of sleep, His was a still and lovely face, He wandered through a valley steep, Lovely in a lonely place.” We feel here that the poet has achieved a delicacy of touch and a pleasing sequence of ideas and words. The lyric is undoubtedly great and deserves a permanent and high place in English anthologies. But high as this achievement is we can not really ignore the extreme limitedness of Mr. Walter de la Mare’s jx>etry. He surveys a narrow field but with almost a divine vision. He has confined himself to few subjects but he has achieved a masterly excellence in what he has done. He is Par excellence the poet of childhood and no one has delineated the moods and instincts of children with more exquisite beauty and picturesqueness. It has been said that few children read and enjoy his verses. We think it is not a correct state¬ ment as indeed Mr. Mf-groz explains in his bopk. The i«sycliology of childhood is a very serious psychology ; the child when lie plays the dragon or the cavalier is extremely serious about it ;

Yeats is the dream poet of the first rank, as were Blake and Coleridge, but a com¬ parative assay of their work does not leave a common residue in the shape of a balanced inspiration. The phrase is a contradiction in terms. Dream and reality can not be weighed in the same scale. Mr. Megroz’s chapters how¬ ever are very interesting ami suggestive. Perhaps we will not go so far with the critic as to say that Walter de la Marc is of the same rank as Shelley and Yeats ; but it is to be admitted that whereas Keats, Shelley and Yeats W’rotc poetry of very unequal merits, Walter de la Mare has been continuously brilliant. His fame rests upon work pf continued and sustained excellence.

Mr. Howard Peacey has built his story of The Fifth of November round the personality of Roberts Catcsby and Father Garnett acts as the villain of the piece. The author has almost ignored Guy Fawkes who is popularly connected with the Gunpowder Plot. The romantic interest in the drama is preserved by the keen analysis the play-wright has made of the thoughts and feelings which impulsed the conspirators and their women. Mr. Peacey has no doubt seized the historical incident and carefully kept to the essential details of the plot; but he has not been content with mere dramatisation. It seems that he himself set out on a dangerous adventure with a desperate company and wrote the chronicle of their exploits out of deep personal experience. The story as unfolded in the drama is 9 creative triumph for the author. The characters arc well drawn and remain human; the language is lucid and simple and the final scene well conceived and finely written. Whimsical is possibly the aptest description of Mr. 1 Icrmon Ould's The Dance of Life. A young man of twenty three bora of idle and prosperous parents finds life boring and living too dull for him ; his quest after the whys and wherefores of life embitters him. The honest intentions of his parents for his career carrv no meaning to him. Olga Heath, erstwhile a lady’s maid, in love with this young man provides the balance and later the justification for his existence. Young Bcrcsford’s search for the human light does not provide enough dramatic interest for the playwright. Neither do the intervention of dream-scenes improve the arti¬ ficial make-up of the play. And yet the problem is an age-old one and Mr. Ould's treatment if not entirely original is at any rate novel anil full of surprising twists and turns.

When Mr. Miles Mnlleson chose the motif of his play entitled The Fanatics he must have given tremendous thought to the manner and method of treatment. The fanatic is one who "lives by what he believes, which is difficult," but then "you have got to have something of a fanatic in yon to do anything worth while these days. The thing is to keep one's fanaticism and to keep one’s humanity.” Fine idealism this but possibly too deep for the average mortal. We will appreciate better the essential truth in this state¬ ment if we ponder for a while on the social and indivi¬ dual problems which face mankind to-day. It is ac¬ cordingly a double welcome we extend to Mr. Malleson’s clever exposition of the sex problem. He has tackled the most insistent social question of the day in a manner atonce bold and courageous, defiant of conven¬ tional standards and unaffected by social small-talk If the dramatist preaches trial marriage and ante¬ nuptial intercourse lie does so with a profound convic¬ tion that the church-made marriages of the day have resulted in the present possible mess of sex warfare and disintegration of family life. Love to n maid is an untried experience and happiness in love is the only test for tying up two people in wedlock for life. Mr Mnlleson has not become the preacher at the expense of the dramatist; his play preserves the essential unitv

AyuU is a delicate phantasy of beautiful imagery. Mr. Laurence Binyon, a poet of rare charm, has not attempted to dramatise one sensational incident, as is the usual practice with playwrights. This explains the charge of a lack of harmony in his interesting little tale. Ayuli, the l«dovcd of the Son of Heaven, is the embodiment of all that is noble and pure in Beauty. Love is her joy, as it turned out to be her cross. A traitorous conspiracy raises its head against Ayuli and the King who is charged with having forgotten “the merchant’s welfare in a woman.” Ayuli learns of the rebels’ ilcmand of her head nnd wonders: "Oh, why, why ? Because 1 loved so much, and had such Joy? Is sorrow part of the world, as wonderful As Joy was? . ** Mr. Binyon has expressed Love’s sacrifice in exquisite language clothed with beauty and charm. It U mistaken to find fault with the idealism of the King; he is not the central figure of the play, but only a proud follower of Beauty, who reckons no cost and learns no obstacle in his pursuit of Joy. In The Prince Miss Gwen John has attempted to sketch in eight sliort scenes the many-sided facets of Queen Elizabeth’s personality. The interpretation does not quite succeed for although the play gives us knowledge of what Queen Bess thought on occasions, we donot come any nearer the woman and the queen. Miss John feels she has contribute! toward unfolding the mystery which enshrouded the Queen's relations with the Earl of Essex. The controversy is by no means settled and Miss John’s elucidation docs not help in understanding the conflict of passions which determined Queen Elizabeth's attitude towards her courtiers. Perhaps the form adopted by Miss Johu has licen unfortunate, for we certainly expect better workmanship and dramatic skill from Miss John.

Mr. Turner’s The Ulies of the Field is one of the brightest and merriest comedies we have read for some time. The gaiety and fun which bubble over almost every line arc skilfully interwoven with serious com¬ ment on modern manners. Mr. Turner’s art is here seen at its highest and most accomplished stage. More deft hands have wTitten gayer comedies; moreimaginative brains have evolved cunning motifs; but we have seldom come across such a bright instance of a typically apt modern comedy. There is fun in plenty, there is humour, there is wit and brilliance. The crej>c-de-chenc delicacy of touch enlightens and vivifies the characters. If Betty in a crinoline, despite being a anachronism, successfully outwits her twin cinderulliT-likc sister, the vicar in the supreme self confidence of a happy nonentity presents a delightful comedy in conjugal manners. We congratulate Mr. Turner on his excellent dramatic work and will look forward to his future publications. It is gratifying to note that the Ulies of the Field lias had a success¬ ful run at the Ambassador’s theatre in London. The Monument by E. H. W. Mcyerstcin (Basil Blackwell, Oxford, 1924) as. 6 d. This is a tragic verse-stndy in swindling. The widow and daughter of an artist, reduced to penury, suggest the scheme of a monument to be raised to the memory of the dead genius. The game is obvious from the beginning. Mr. Mcyerstcin has not introduced any entre-seenes to lighten the hypocrisy of the act. The 14

deception is preserved till the end when nemesis over¬ takes the two scheming women. A gruesome realistic story, rather diffuse and long-worded. Pundalik by llariiidranath Chattopadhyaya (The Sbama'a Publishing House, Madras, 192-1) Kc. 1/-. Mr. Chattopadhyaya continues in Pundalik the dramatisation of Hindu mythological legends. He tells us here how the sacred Panda rpur came to be founded as a place of pilgrimage. The sceptic Pundalik insults his old parents and sneers at God’s worship. A period of spiritual chaos follows, until the soul of Pundalik sees the light. The spiritual conflict is very beauti¬ fully rendered by the poet. Mr. Chattopadhyayo’s verse has gained strength and power and his muse remains as delicate and charmingly elusive as ever. The Famous Tragedy of the Queen of Cornwall by Thomas Hardy (Macmillan & Co., London, 1913) 6s. Thomas Hardy’s new play for mummers reveals the master in the fulness and maturity of his powers. Hardy is not accepted ns a true poet by many dis¬ criminating critics but few deny his genius for captur¬ ing the real dramatic iucidcnts. The present play has licen adapted for performance repairing no theatre or scenery. The triumph of the dramatist lies in success¬ fully presenting this old Cornish legend in an atmos¬ phere reminiscent of Love’s golden ngc. The great story of Tristram and Iscult has seldom been relate 1 in a more beautiful language— with a restrained simplicity and charm characteristic of Hardy’s best.

Plays and Controversies by W. B. Yeats (Macmillan & Co., London, 1913) tor. 6 d. In Ptays and Controversies Sir. Yeats has reprinted bis valuable notes on the Irish Dramatic Movement together with six of his plays. The essay is a construc¬ tive plea for the rcnaisancc of the Irish Drama and reveals the struggles of the great Irish poet in the cause of dramatic art. It will remain as much a historical document of great interest as a cogent plea for a National Theatre. The dramatic pieces represent Yeats in his cliaracteristic dreamland, charming an l elusive, mystifying the reader and the critic alike. At the end of the book appears an open letter to Lady Gregory, written in 1919, which sums up the history of the Irish Theatre and Mr. Yeats’ Itnpcs for it in the future. i TIIE HINDUSTAN REVIEW INDIAN PHILOSOPHY AND THEOLOGY. and Error; Perception; Inference and Comparison; Logical Errors; The Nature and Authority of Speech; Indian Logic and Atomism. By A. Bcrriedalc Keith dialectical Categories; Ontology; the Philosophy (Clarendon Press, Oxford) iyJ-1. Dr. Keith is a very versatile scholar. Among living Western Orientalists there is perhaps no one who has made such a thorough study of so many branches of Sanskrit literature. In his I'rdic Index; in his San khy a System ; in his Karma Mlmansa he had already shown his complete mastery over the intricate subjects with which he was dealing, and also a gift of lucid exposition which is all too rare in scholars whose days arc past amongst ponderous dusty tomes.

The above is a popular account of the Buddha's life and doctrine in its original purity, drawn from the oldest accessible documents. The author refutes certain errors and prejudices which exist almost uni¬ versally with regard to Buddhism and presents a clear, straightforward acconnt of Gautama's teaching and philosophy. The author has wisely chosen to go straight to the original authorities, the Pali Tipitaka. The work appeared originally in "the international language Ido” ; it has now been adopted from that into English. In five chapters of more or less interest — dealing with the Life of Bnddha, the Doctrine, the Ethics, the Brotherhood and a Defence of Buddhism — we have a popular, but nonetheless trustworthy exposition of a system which is both a religion and a philosophy, inasmuch as it satisfies both the heart and the mind of vast sections of humanity. The Teaching of the I'panishads. By Edward Carpenter (George Allen and Unwin, Ltd., 40 Museum Street, London) 1933. Mr. Carpenter is a keen student of Indian philo¬ sophy and we have in the present little pamphlet the substance of two erf his popular lectures on Rest and the Nature of the Self. He emphasises the impor¬ tance of the former by saying that to some, in the present whirlpool of life and affairs, it may seem almost an absurdity to talk about Rest. For long enough now- rest has seemed a thing far off and unattainable.

With the posts knocking at our doors ten or twelve times a day, with telegrams arriving every hour, and the telephone bell constantly ringing; with motors rushing wildly aliout the streets, and aeroplanes whizzing overhtad, with work speeded up in every direction, and the drive in the workshops becoming more intolerable every day; with the pace of the walkers and the pace of the talkers from hour to hour insanely increasing — what room, it may well I* asked, is there for Rest ? lie insists with much force that modern nations must learn to rest even in the very midst of the hurry and scurry. This seems to him to be the teaching of some of the Upanishads —the value of rest, c<r repose, which latter is pro¬ bably' an aptvr word. On the nature of the self, Mr. Carpenter is rather disappointing in his conclu¬ sion that while we can and do become even more vividly conscious of our true self, the mental state¬ ment of it always docs and probably always will lie beyond us. None the less his views arc alike interest¬ ing and instructive. .

of his bountiful translations. Wc hope he will add to them in a second edition of the book. The Wisdom of the Aryans by Allan Bennett (Ananda >1) (Kenan 1’aul, Trench, Trubner & Co., Ltd., London, 1923) 2 J. 6 d. This little volume is of interest chiefly because it is written by an English Buddhist who spent 14 years in a Buddhist monastry and imbibed the divine teachings at the fountain-source, so to say. Air. Bennett does not subscribe to the doctrines for which Buddha lived and died without critical appreciation, but he is fully convinced that the salvation of the riddle of egotism in extremis as at present confronts the West lies in "the direction of that conquest of individualism which constitutes the central feature of the Bnddlta's teaching.” Perhaps the author is too bold in claiming that Buddhism alone is competent to bring about the cure of the present malaise. But he has undoubtedly put in a strong plea for the recogni¬ tion of the essential values in the supreme ethical code of Buddha. The seven lectures included in this volume traverse the important principles of Buddhistic teachings and their statement is clearly and lucidly put. Mr. Bennett Is very interesting in his exposition • the doctrines of Nirvana und Re-birth. Very instructive and informative the book is well worth a perusal.

Buddhism in the Modern World by K J. Saunders (Society for Promoting Christian Knowledge, London, 1923) 2*- Mr. Saunders' book is different in conception and design to the volume noticed immediately above. The Christian Missionary in the zeal of his crusade omits to estimate the forces which bind the unchristian to forms of belief which appear, in his opinion, devoid of cognate reasoning. Mr. Saunders is an enthusiastic Christian hut he is large-hearted. He believes that the triumph of Christian principles can be secured only through understanding the other man's point of view. He spent over ten years in the Buddhistic world and has collected his impressions in this little fiook. He saw the pagodas and the monks, a Buddhist festival or a funeral — and the theme pro¬ vided him to construct the moral influences which consciously or unconsciously moulded the conduct. The result is a lively sketch-book, and if the exposi¬ tion of modern Buddhism is not quite complete or correct or even on few occasions not just, it is full of interesting reading. 1. The Life of Sbivaji Maharaj. By N. S. Taka- khav. (Manoranjan Press, Bombay!. 2. Siva Chhatrapati. By Surendranath Sen 3. Sivaji. By S. V. Kaddi (Vadhavhar's Hanglow, Tirana).

“Kafir jahannum ba raft" was, it is said, the excla¬ mation of An rang/el) when the news w as communicated to him that the ‘little mountain rat' that had for so many years plagued him was at last dead. He had borne, it seemed, a charmed life. Accidents, that would have been fatal, left him unscathed; disaster and misfortune only made him more resolute and determined. The Mughal Emperor might have had in him a powerful ally; but in his unwisdom he preferred to let him remain a dangerous foe, who gave him no rest and allowed him no peace while he lived. A longsuffering community, groaning under the yoke of a foreign tyranny, hailed him as the saviour of Hindu India, and for a while it appeared as though the dream of a Hindu Empire was at last to be realised. Ifut, as so frequently happens, Sbivaji had weak, nerveless successors, bent more on the pleasures of the senses than on the duties of administration, and the dynasty that promised so fair withered and remains now but a name. But the memory of Shivaji and his deeds of glory serves still as an inspiration, and it is in the fitness of things that the modern Indian Renaissance should witness a revival in his honour, and we have now before us three biographies of him, which resemble each other only distantly.

Last Essays. By (the late) Maurice Hewlett (William Heiueinann Ltd., London) 1924. A melancholy interest attaches to the almve volume, as it has Itcen published since the premature death of Mr. Hewlett. It is not necessary here to say anything of the high standard of his essays; among contemporary writers his place is high; whether the whirlgig of time will preserve that place for him is a question to which for obvious reasons no answer can be given yet. But there Is so much of freshness both in Mr. Hewlett’s style, and in his treatment of his themes that it will be long before his essays arc forgotten. The variety of his interests will be apparent at a glance over some of the titles of his essays selected at random— The Solitary Reaper, The Curtains, Suicide of the Novel, The Iberian’s House, Mcrrie England, Couleur dc Rose, Mr. Pepys his Apple-Cart, One of Mr. Lamb's Creditors. It may truthfully be said that whatever his theme Mr. Hewlett wrote with great skill and charm. There is humour too, plenty of it; but not of the forced, boisterous variety with which we are daily iunundated. The last essay concludes with these sentences perhaps the last written by the author, noble in their simplicity and recalling the restraint of the Greeks : ‘‘How often has the good soul whose end I am awaiting now stood at her cottage door to mark the lingering of the light ? May her passing lie as gentle as this day’s has been I” Noble words, nobly written are they.

Essays. Ily W. It. Yeats (Macmillan and Co., Ltd., St. Martin’s Street, London) 1924. When the Nobel Prize for Literature was awarded last year to \\ illiam Butler Yeats, many people asked what he had written, and it is true that he is not in any sense a popular poet, as Kipling or Masefield or 1 hotnas Hardy or even .V. or some others arc. But to the real lover of English poetry, Mr. Yeats’ name has long l*en known and his poems have lingered in the memory for many a day. In his Dedication of this volume of essays he says to Mr. Lennox Robinson: — "My friends and I loved symbol*, popular belief* and old scraps of verse that made Ireland romantic to herself." The same remarks apply to his essays which w ill not win popularity. Nor need that be regretted ; it is at best but a doubtful gain. This collection brings Mr. Yeats' essays down to 1917 and contains also those already published in book form under the titles I he Culling of an Agate and Per Arnica Sllentia Lunae. All the pieces bear the impress of original thinking; they arc not like gramophone records; they are “the Master's Voice" itself. Here is a passage from the essay on “Art and Ideas": “We are becoming interested in expression in its first phase of energy, when all the arts play like children about the one chimney and turbulent innocence can vet amuse those brisk and active men who have paid us so little attention of recent years.

Shall we be rid of the pride of intellect, of sedentary meditation, of emotion that leaves us when the book is closed or the picture seen no more ; and live amid the thoughts that can go with us by steam-boat and railway as once upon horse-back or camel-back, rediscovering, by our re-integration of the mind, our more profound PreRaphnelitism, the old abounding, nonchalant reverie ?’* The book is full of stirring, powerful pieces such as this, and to all that look to literature for more than ephemeral excitement or momentary delight, the Essays are bound to make a strong appeal. Yeats is not yet widely-read in India. His Essays should help to make bus mote known.

“Aud the desire of the Japanese bride for a last look at her husbatyj’s face, that she might carry a p.-rfcct memory of him into the world of shadows, is surely beautiful as the old Greek Iipitaph in which the Ireloved dead is her ought not to quaff the waters of Lethe, lest she forget her love. These little Japanese verses are like new thoughts spoken aloud at long intervals, breaking a happy and dreamful silence between friends— Uttcrances unfinished yet perfect— words which unlock secret chambers of feeling,— tendernesses half evolved, only that they may be in turn dreamfully fondled to fullest development by the fancy which they caressing¬ ly create." We wish we had more passages like this, but alas, they arc all too few, and the general impression of the Iwok is one of disappointment.

Literary Portraits. By Charles Whiblcy (Macmillan & Co., Ltd., London) 1913. Political Portraits. By Charles Whiblcy (Macmillan & Co., Ltd., London) 1913. The volume entitled Literary Portraits appeared first in I9<xj and has now been reprinted with some changes. The subjects dealt with arc of varied interest, including as they do Rabelais, Montaigne, the Library of an Old Scholar, Robert Burton, Casanova. These arc all subjects at the very mention of which students of literature will smack their lips in anticipa¬ tion of delicious fare, and they will not be dis¬ appointed, for Mr. Whiblcy wields an exceedingly facile pen, and he possesses also the supreme skill of going straight to the root of the subject. In the Political Portraits, the figure of Disraeli h suits large, occupying no fewer than 120 pages of the book. Here Mr. Whiblcy has "let himself go,” and his partisanship has at places got the better of his judgment. He has not one grudging good word to pnt in for Gladstone. But it tnnst be admitted that there is a subtle charm in his style, which Is vivid and picturesque and lucid. Bolingbrokc, Castlcreagh. Rousseau, Napoleon are the subjects of some of the other sketches. Mr. Whibley has presented to the reader a fine gallery of political portraits, in which the faces arc not always attractive, the expression on a few of them being actually repelling, but in all of which there is strength and brilliance and fixity of IS

The Ottoman Empire and its successors 1801-1922. By William Miller, M.A. (Cambridge University Press, 1923) 12s. 6 d. We welcome the second edition of this well-known ""tk on Turkey. The text 1ms been considerably enlarged and revised and the chronicle carried forward to the year 192.2, thus including a survey of the fateful years of the Armegeddon which have meant so much to New Turkey and its long line of Othman rulers. The history of the eclipse of the old Empire and the rise of Young Turkey is still to be impartially written Mr. Miller's sketch is short and superficial. He is naturally jubilant over the end of the Turkev-in-Europe but he may be pardoned his bias in view of the concise and admirable history he has written of the Ottoman Empire during the 19th century. The Study of American History. By (the late' Viscount Bryce, O. M. (Cambridge University Press, Better Lane, London) 1923. By common consent, Lord Bryce was acknowledged to be the moat cncyclopicdic of contemporary scholars. In the modern age of specialisation, a claim such as Bacon's "I take all knowledge as my province'* is of course impossible; but within inevitable limits, Lord Bryce may be said to have known most things worth knowing. It was Mr. A. G. Gardiner who once said that, if cast on a desert island, the one companion of his choice would be Lord Bryce, foe he would supply both the bread and the butter of conversation.

The Holy Roman Empire, the American Commonwealth, and Modem Democracies, will remain abiding monu¬ ments of an intellect of rare richness and depth, of a political acumen seldom at fault, and of a scholarship that was versatile without being shallow, and attrac¬ tive without being pedantic. The volume before us contains the full text of the inaugural lecture which Viscount Bryce delivered at the Mansion House with the Earl Balfour in the chair. The Watson Chair was founded by a gift of £30,000 from Sir W. George Watson, to the Anglo-American Society, on the occasion of the return of the Prince of Wales from his American tour. Lord Balfour in introducing Lord Bryce to the audience well remarked that Lord Bryce approached questions dealing with America with the special advantage that he knew the subject not merely from books, not merely from the sources which historians ordinarily drew upon in order to complete their picture of the past : he had in addition to that qualification, which he possessed in the fullest measure, the practical experience which residence in the United States had given him. Of the lecture itself it need only l>c said that it was worthy of the subject and worthy of the lecturer. It is closely packed with the results of Lord Bryce’s keen observation and vast and varied experience; it is a valuable introduction to the study of American history. We commend it alike to students and scholars.

Beccaria, Bentham and Romilly. These three names represent the greatest law reformers of modern times, in their assault on the folly, injustice and cruelty of the then existing criminal jurispru¬ dence, in their trenchant criticism of outworn codes, obscurantist traditions, blind superstitions, dogmatic technicalities, oppressive fictions, and useless relics of the past, in their proposal of rational substitutes, in their pointing the way to the light they were intimately united. The epoch dealt with represents in many respects a turning-point in European history, and is of the utmost importance in the development of modern civilization. There is no need to explain the method of arrangement and of exposition adopted in this book. A reference to the analytical contents and a glance at the book itself, will perhaps indicate it satisfactorily. It may, however, be said that the author has brought to bear upon the subject a rich and rare scholarship and a spirit of fairness which are alike praiseworthy. Beccaria’s famous work (in Italian) called the Del Delittl e delle Pene, issued in 1764, Benlham’s numerous works, and Romilly 's Speeches in rarliament, are all handled in a masterly way and their effect on modern civilization analysed. The book is thus a notable contribution to the literature of criminal jurisprudence and merits attention.

Silbcrtnann. By Jacques de Lacrctcllc (Ernest Beun Limited, London, 1923) 6s. An English version of the famous book which won the Prix Femlna-Vie Iteurcuse, translated by Brian Lunn. M. Lacrctcllc has suddenly leaped into welldeserved fame by his first well-known lax*. It is a powerful psychological study in racial conflict. Three little school boys, a Jew, a Catholic and a Protestant, each one highly sensitive and intellectual, determine in their scltool life the course of Die bigger racial question. It is essentially a drama of conscience, as the publishers rlaim, and the drama is very powerfully unfolded. The haired of the Jews forms the daily psychology of the average Christian in the West, and this much maligned race lias developed an almost uncanny sensitiveness. M. Lacrctelle deserves congra¬ tulations (or this highly penetrative study, without heat or anger, unprejudiced atjd impartial, and yet making a powerful appeal for toleration which is an attribute of the gods. Ueirdrc. By James Stephens (Macmillan & Co., Ltd., London, 1933) 7 s. 6 d. In this beautiful talc Mr. Stephens lias presented to us an episode of an old Irish talc of Kings. Dicrdre, the Troubler, was bom in a night of destiny. The King Conachur told of the prophetic evil which the young babe was to bring in the world sought to keep her closely watched until she grew up. Lust overcame discretion and passion and sons of I'isncac wrought the destruction of the great kingdom. Irishmen will love the old Irish atmosphere which the author has successfully preserved in his narrative. The conflict of primal passions is finely expressed in Mr. Stephens’ best style. It is a very readable talc and Irish legendary heroism sustains interest in the narrative.

The Rescue. By Joseph Conrad (J. M. Dent & Sons, Ltd., London, 1934) is. This fine old romance of the Southern seas by that master of the craft, Joseph Conrad, whose loss tile literary world mounts Uwlny, has been printed in the popular “Wayfarers Library”. This tale of the sea will carry now its indelible charm and its inscrutable message to thousands of households and boys who love the sea will feel eternally grateful to Conrad for having depicted in Capt. Lingard the man after their own heart. The old sea dog, Jorgenson, is a characteristic picture. The Rescue deserves to be w idely read for its bold action, hs love of the deep seas, its powerful appeal and heroic exploits. Now that it is available in a cheap edition we hope more people will get ac¬ quainted with Conrad, and The Rescue will not be a bad introduction. ► Never the Twain shall meet. By Peter B. Kync (Iloddcr & Stoughton Ltd., London, 1934) 71. 6d. Mr. Kync has skilfully planned the contents o! this tale of the Polvnesean Seas. European traders have for centuries traded in these islands and human passion* have proved too overwhelming for racial insularity. Half breeds are usually looked down upon with contumely, but titer have no control over their births, nor over the choice of parents, h appeared but un¬ reasonable that the sins of the fathers should be visited

upon the children. Yet such fate was in store for iamca, the fairest flower that grew in Riva. Her fault was her birth. When Love was given to her she possessed not the power to retain her hold: the racial differences count for more than love or passion— this is the burden of Mr. Kvue’s tale. We remain un¬ convinced, for the author has failed to advance any cogent reasons for incompatibility. However the plot is well conceived and neatly executed. The narrative has charm and certain dignity about it, and despite its tragic ending the story is not depressing. Last and West : The Confessions of a Princess. *>’■ - • Jarrolds Publishers, Ltd., 1934) 7 s. 6d. This is supposed to represent the history of the Irish girl who married a Burmese Prince. Point is given to the talc by the evident desire to paint the moral, vet we arc uul quite sure if it has the desired effect Mindoou, the Prince from Burma, has no illusions about him; he is frankly oriental in hia habits and ideas. He makes no secret of his belief in the right of man to love more tliau one woman at a time. The Irish girl on the other hand is brought up to observe the gospel of monogamy, and yet breaks her conjugal vows at the first temptation. Where docs the blame rest ? And the cruel part of it was the confession made by the princess’s mother that Mindoon was her lover before he became her daughter’s husband I Perhaps the nasty feeling left behind such revelation* should not blind us to the motif of the story, which is well told am! with a purpose.

Ltd., London, 1923) 55. A collection of short stories from the pen of two famous French authors. The stories sparkle with bright wit and humour and are touched by that delightful .remy which is the soul of short stories. The French have undoubtedly perfected the art of short stoo writing and in Fischers wc find a clever and skilful representation. The cryptic statement of expenses headed ’’Estelle” is eloquent, and sums np the plots of over 90% of the modern works of fiction hstclle forms a pleasant reading. c, , , , . • ,-anc v»rey (iloddcr & Stoughton I.td., London, 1934) 7s. . f" "? GrcV h9S *chiwd »" almost uncanny success with his novels of the pioneer country. If it Ls not Anrona, ,t is some corner of the wfld Ytesi where the scene of his absorbing tale is usually laid. In the Call of the Canyon the scene shifts a little, but the pioneer¬ ing and the wild, piercing breeze is still there. His plots arc cleverly designed and in this the latest story the author has put in his best work. The tale grips you from the first and keeps von enthralled until the very last page. Carlcy Burch is a very loveable personality, with all her human weaknesses and her struggles to win through to perfect love.

Slater, Gilbert, The Dravldlan Element in Indian Culture ... ... ... ... 118 Spaull, Hebe, The Women Peace-Makers 129 Stephen.', Janie. s, Dierdre ... ... 125 Stevens, C. L. McClttre. Famous Crimes and Criminals ... ... ... ... 120 Srauss, C. T., liuddlia and his Doctrine ... 107 Takakhav, N. S., Life of Sivaji Maharaj ... 109 Taki, R. S., Amourism ... ... ... 10S Tagore Rabiudianath, The Curse at Farewell ... 128 The House In Charles Street ... ... 126 Thotuas, E. J., T'edic Hymns ... ... 107 Thompson, Edward, Krishna Kumari *03—4 Thorndike, Ashley H., Literature in a Changing Age ... ... ... ... 113 Todhunter, John, Goethe's Faust ... ... 12S Tolstoy, Leo, Resurrection. Anna Karenina, War and Peace ... ... ... ... 127 Turner, J. blastings, The Lilies of the Field 104 — 5 Two Women ; Clare. Margaret ... ... 124 Underhill, M. M., Hindu Religious Year ... 108 Vcnkataraman, X., Sankracharya and his Successors in Kanchl ... ... ... no Vivekananda, Swami, Raja Yoga ... ... 107 Viziak, K. H., Milton Agonistes : A Metaphysi¬ cal Criticism ... ... ... 32 Warren, C. H., A Hook of Terse for boys ... 127 Wclby, T. Earle, A Popular History of English