Chapter 7

Poems by Two Friends. 1860. (With John J. Piatt.) Life of Abraham Lincoln. 1860. Venetian Life. 1866. Italian Journeys. 1867. No Love Lost: A Romance of Travel. 1869. (Poems.) Suburban Sketches. 1871. Their Wedding Journey. 1871. Poems. 1873. A Chance Acquaintance. 1873. A Foregone Conclusion. 1875. The Parlor Car. 1876. (Farce.) A Day's Pleasure. 1876. Out of the Question. 1877. (Comedy.) A Counterfeit Presentment. 1877. (Comedy.) *The Lady of the Aroostook. 1879. The Undiscovered Country. 1880. A Fearful Responsibility, and Other Stories. 1881. A Day's Pleasure, and Other Sketches. 1881. Dr. Breen's Practice. 1881. *A Modern Instance. 1882. The Sleeping-Car. 1883. (Farce.) A Woman's Reason. 1883. Three Villages. 1884. The Register. 1884. (Farce.) *The Rise of Silas Lapham. 1884. The Elevator. 1885. (Farce.) Five O'Clock Tea. 1885. (Farce.) Indian Summer. 1885. The Garroters. 1886. (Farce.) Tuscan Cities. 1886. Poems. 1886. The Minister's Charge. 1887. (=The Apprenticeship of Lemuel Barker.) Modern Italian Poets. 1887. *April Hopes. 1888. A Sea-Change or Love's Stowaway. 1888. (Farce.) Annie Kilburn. 1889. *A Hazard of New Fortunes. 1889. The Mouse Trap, and Other Farces. 1889. The Shadow of a Dream. 1890. A Boy's Town. 1890. (Autobiographical.) The Albany Depot. 1891. (Play.) Criticism and Fiction. 1891. An Imperative Duty. 1892. *The Quality of Mercy. 1892. A Letter of Introduction. 1892. (Farce.) A Little Swiss Sojourn. 1892. Christmas Every Day, and Other Stories for Children. 1893. My Year in a Log Cabin. 1893. (Autobiographical.) The Unexpected Guests. 1893. (Farce.) The World of Chance. 1890. Evening Dress. 1893. (Farce.) The Coast of Bohemia. 1893. A Likely Story, 1894. (Farce.) A Traveler from Altruria. 1894. (Romance.) My Literary Passions. 1895. (Autobiographical.) Stops of Various Quills. 1895. (Poems.) The Day of Their Wedding. 1896. A Parting and a Meeting. 1896. Impressions and Experiences. 1896. Idyls in Drab. 1896. The Landlord at Lion's Head. 1897. A Previous Engagement. 1897. (Comedy.) An Open-Eyed Conspiracy. 1897. Stories of Ohio. 1897. The Story of a Play. 1898. The Ragged Lady. 1899. Their Silver Wedding Journey. 1899. An Indian Giver. 1900. (Comedy.) Room Forty-five. 1900. (Farce.) The Smoking Car. 1900. (Farce.) Bride Roses. A Scene. 1900. Literary Friends and Acquaintances. 1900. A Personal Retrospect of American Authorship. 1900. Doorstep Acquaintance and Other Sketches. 1900. A Pair of Patient Lovers. 1901. (5 stories.) Poems. 1901. Heroines of Fiction. 1901. The Kentons. 1902. Literature and Life. 1902. The Flight of Pony Baker. A Boy's Town Story. 1902. Minor Dramas. 1902. (19 Farces.) Letters Home. 1903. Questionable Shapes. 1903. (3 stories.) The Son of Royal Langbrith. 1904. Miss Bellard's Inspiration. 1905. London Films. 1905. Certain Delightful English Towns. 1906. Between the Dark and the Daylight. 1907. (7 stories.) Through the Eye of the Needle. 1907. (Romance.) Mulberries in Pay's Garden. 1907. Roman Holidays and Others. 1908. Fennel and Rue. 1908. The Mother and the Father. Dramatic Passages. 1909. Seven English Cities. 1909. Imaginary Interviews. 1910. My Mark Twain. 1910. Parting Friends. 1911. (Farce.) New Leaf Mills. 1913. Familiar Spanish Travels. 1913. The Seen and the Unseen at Stratford-on-Avon. A Fantasy. 1914. Years of my Youth. 1916. (Autobiographical.) Buying a Horse. 1916. The Leatherwood God. 1916. The Daughter of the Storage and Other Things in Prose and Verse. 1916. The Vacation of the Kelwyns. 1920. Mrs. Farrell. 1921.

For complete bibliography, see _Cambridge_, III (IV), 663.

STUDIES AND REVIEWS

Boynton. Cambridge, III, 77. Clemens, S.L. What is Man? and Other Essays. 1917. Follett. Halsey. Harkins. Harvey, A. William Dean Howells. 1917. Macy. Phelps. (Modern Novelists.) Robertson, J.M. Essays toward a Critical Method. 1889. Underwood. Van Doren, Carl.

Ath. 1920, 1: 634. Atlan. 91 ('03): 77; 119 ('17): 362. Bookm. 21 ('05): 566; 25 ('07): 2 (portrait), 67; 45 ('17): 1 (Hamlin Garland); 49 ('19): 549; 51 ('20): 385. Bookm. (Lond.) 23 ('03): 214; 52 ('17): 88 (portrait). Cath. World, 111 ('20): 445. Cent. 100 ('20): 674 (portrait). Critic, 38 ('01): 165. Cur. Lit. 52 ('12): 461. Cur. Op. 54 ('13): 411; 60 ('16): 352 (portrait); 62 ('17): 278, 357 (portrait); 63 ('17): 270; 69 ('20): 93 (portrait). Fortn. 115 ('21): 154. Forum, 32 ('02): 629; 49 ('13): 217. Harp. 113 ('06): 221 (Mark Twain)=Cur. Lit. 41 ('06): 48 (condensed); 134 ('17): 903; 141 ('20): 265 (portrait), 346. Harp. W. 46 ('02): 929 (portrait), 947; 56 ('12): Mar. 9, pp. 5, 27 (portrait). Ind. 72 ('12): 533 (portrait). J. Educ. 65 ('07): 311. Lit. Digest, 44 ('12): 485; 65 ('20): My. 29, p. 34, Je. 12, p. 53 (portrait), Je. 19, pp. 37, 56. Liv. Age, 294 ('17): 173; 306 ('20): 98; 308 ('21): 304; 312 ('21): 304. Lond. Mer., 2 ('20): 133. Lond. Times, Dec. 7, 1916: 585. Nation, 31 ('80): 49 (W.C. Brownell); 104 ('17): 261; 110 ('20): 673. New Repub. 10 ('17): supp. p. 3; 22 ('20): 393; 26 ('21): 192. New Statesman, 15 ('20): 195. No. Am. 176 ('03): 336; 195 ('12): 432 (portrait), 550; 196 ('12): 339; 212 ('20): 1 (portrait), 17. Outlook, 69 ('01): 712 (portrait); 111 ('15): 786, 798 (portrait); 129 ('21): 187 (portrait). R. of Rs. 61 ('20): 562 (portrait), 644. Sat. Rev. 91 ('01): 806. Spec. 98 ('07): 450; 117 ('16): 834. Westm. R. 178 ('12): 597. World's Work, 18 ('09): 11547. (Van Wyck Brooks.) Yale Rev. n.s. 10 ('20): 99. Cf. also _Cambridge_, III (IV), 665.

+James Gibbons Huneker+--critic.

Born at Philadelphia, 1860. Graduate of Roth's Military Academy, Philadelphia, 1873. Studied law five years at the Law Academy, Philadelphia. Studied piano in Paris and was for ten years associated with Rafael Joseffy, as teacher of piano at the National Conservatory, New York. Musical and dramatic critic of the _New York Recorder_, 1891-5; of the _Morning Advertiser_, 1895-7; also musical, dramatic, and art critic of the _New York Sun_. Died in 1921.

For an understanding of Mr. Huneker's criticisms, it is well to begin with his autobiography (_Steeplejack_).

BIBLIOGRAPHY

Mezzotints in Modern Music. 1899. Melomaniacs. 1902. Overtones. 1904. Iconoclasts--A Book of Dramatists. 1905. Visionaries. 1905. Egoists--A Book of Supermen. 1909. Promenades of an Impressionist. 1910. The Pathos of Distance. 1913. Ivory Apes and Peacocks. 1915. New Cosmopolis. 1915. Unicorns. 1917. Steeplejack. 1919. Painted Veils. 1920. Bedouins. 1920. Variations. 1921.

STUDIES AND REVIEWS

Mencken, H.L. Prefaces.

Bookm. 11 ('00): 501 (portrait); 21 ('05): 79 (portrait), 564, 565 (portrait); 29 ('09): 236 (portrait); 31 ('14): 241 (portrait); 37 ('13): 598 (portrait); 41 ('15): 246 (portrait); 53 ('21): 124. Cent. 102 ('21): 191. Critic, 36 ('00): 487 (portrait). Cur. Lit. 39 ('05): 75 (portrait); 42 ('07): 167; 47 ('09): 57 (portrait). Cur. Op. 65 ('18): 392; 70 ('21): 534. (Portraits.) Forum, 41 ('09): 600. Lit. Digest, 68 ('21): Mar. 5, p. 28 (portrait). Liv. Age, 309 ('21): 426. New Repub. 25 ('21): 357. No. Am. 213 ('21): 556. Outlook, 126 ('20): 469 (portrait); 127 ('21): 286. Sat. Rev. 97 ('04): 551. Spec. 115 ('15): 879.

+Fannie Hurst+ (Missouri, 1889)--short-story writer, novelist.

Has studied especially the lives of working girls. For bibliography, see _Who's Who in America_.

+Wallace Irwin+ (New York, 1875)--short-story writer.

Most characteristic material life in California and the Japanese there. For bibliography, see _Who's Who in America_.

+Henry James+--novelist.

Born in New York City, 1843. Younger brother of William James, the psychologist. Educated largely in France and Switzerland. Studied at the Harvard Law School. After 1869, lived for the most part abroad, chiefly in England. Spent much time at Lamb House, Rye, a beautiful eighteenth century English house which he purchased in order to live in retirement. Just before his death, to show his sympathy for the part played by England in the War and his criticism of what he considered our backwardness, he became naturalized as a British citizen. In 1916, received the Order of Merit (O.M.), the highest honor for literary men conferred in England. His death in 1916 was attributed to overstrain caused by the War and his efforts to help the sufferers.

SUGGESTIONS FOR READING

1. A good approach to the work of Henry James is through the three articles from the _Quarterly Review_ listed below. Mr. Fullerton sums up the material scattered through the prefaces to the definitive edition of 1909. Mr. Percy Lubbock writes as the editor of the _Letters_. Mrs. Wharton adds to criticism of the _Letters_ illuminating personal reminiscences.

2. One of the important _Prefaces_ on James's theory of the novel and his method of work is that to the _Portrait of a Lady_, from which the extract below is taken. In speaking of Turgenev's attitude toward his characters, James says:

He saw them, in that fashion, as disponible, saw them subject to the chances, the complications of existence, and saw them vividly but then had to find for them the right relations, those that would most bring them out; to imagine, to invent and select and piece together the situations most useful and favourable to the sense of the creatures themselves, the complications they would be most likely to produce and to feel.

"To arrive at these things is to arrive at my 'story,' he said, "and that's the way I look for it. The result is that I'm often accused of not having 'story' enough...."

So this beautiful genius, and I recall with comfort the gratitude I drew from his reference to the intensity of suggestion that may reside in the stray figure, the unattached character, the image _en disponible_. It gave me higher warrant than I seemed then to have met for just that blest habit of one's own imagination, the trick of investing some conceived or encountered individual, some brace or group of individuals, with the germinal property and authority. I was myself so much more antecedently conscious of my figures than of their setting--a too preliminary, a preferential interest in which struck me as in general such a putting of the cart before the horse. I might envy, though I couldn't emulate, the imaginative writer so constituted as to see his fable first and to make out his agents afterwards: I could think so little of any situation that didn't depend for its interest on the nature of the persons situated, and thereby on their way of taking it....

The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs. The quality and capacity of that soil, its ability to "grow" with due freshness and straightness any vision of life, represents, strongly or weakly, the projected morality. That element is but another name for the more or less close connexion of the subject with some mark made on the intelligence, with some sincere experience.

On one thing I was determined; that, though I should clearly have to pile brick upon brick for the creation of an interest, I would leave no pretext for saying that anything is out of line, scale or perspective. I would build large--in fine embossed vaults and painted arches, as who should say, and yet never let it appear that the chequered pavement, the ground under the reader's feet, fails to stretch at every point to the base of the walls....

The bricks, for the whole counting-over--putting for bricks little touches and inventions and enhancements by the way--affect me in truth as well-nigh innumerable and as ever so scrupulously fitted together and packed-in. It is an effect of detail, of the minutest; though, if one were in this connexion to say all, one would express the hope that the general, the ampler part of the modest monument still survives....

So early was to begin my tendency to _overtreat_, rather than undertreat (when there was choice or danger) my subject. (Many members of my craft, I gather, are far from agreeing with me, but I have always held overtreating the minor disservice.) ... There was the danger of the noted "thinness"--which was to be averted, tooth and nail, by cultivation of the lively.... And then there was another matter. I had, within the few preceding years, come to live in London, and the "international" light lay, in those days, to my sense, thick and rich upon the scene. It was the light in which so much of the picture hung. But that _is_ another matter. There is really too much to say.

3. Remember the following clues in reading James's, work: "His one preoccupation was the criticism, for his own purpose, of the art of life." The emphasis is on the word _art_. His _purpose_ is suggested by his own claim to have "that tender appreciation of actuality which makes even the application of a single coat of rose-color seem an act of violence."

4. There is suggestion of Mr. James's limitations in the facts that he was tone deaf and so could not appreciate music, and that he is said not to have written a line of verse, and also in the fact that although his method of presentation in the novels is dramatic throughout and he strongly desired to write plays, the eight plays that he wrote (three of which were presented) were failures.

5. Mr. James's place in the sequence of great European novelists is as a follower of Balzac, Flaubert, De Maupassant, and Turgenev, and as a predecessor of Conrad (whose study of him listed below should be read).

6. Early in the nineties, a great change in method came about in James's work (cf. _Cambridge_, III, 98, 103). Judge separately typical books written before this change and others written after; then read several books of the period of change and decide what happened and whether or not it enhanced the value of his work.

7. One of the remarkable facts about James's style is its influence upon the critics who write about him. A close analysis of its qualities--sentence length, the order and placing of the parts of the sentence, punctuation, vocabulary, etc., might bring a more definite understanding of the reasons for this influence.

8. A comparison of the work and qualities of Henry and William James might be made a valuable contribution to criticism.

9. For a student familiar with Europe, a study of the reasons for James's affinity with Europe and dislike for American life would make an interesting study.

10. What different types of reasons can you bring to show that Henry James is likely to be a permanent force in American literature?

BIBLIOGRAPHY

A Passionate Pilgrim, and Other Tales. 1875. Transatlantic Sketches. 1875. Roderick Hudson. 1876. *The American. 1877. Watch and Ward. 1878. French Poets and Novelists. 1878. The Europeans. A Sketch. 1878. *Daisy Miller. A Study. 1879. An International Episode. 1879. Daisy Miller: A Study. An International Episode. Four Meetings. 1879. The Madonna of the Future and Other Tales. 1879. Hawthorne. 1879. (English Men of Letters.) The Diary of a Man of Fifty and A Bundle of Letters. 1880. Confidence. 1880. Washington Square. 1881. Washington Square. The Pension Beaurepas. A Bundle of Letters. 1881. *The Portrait of a Lady. 1881. Daisy Miller: A Comedy. 1882. (Privately printed.) The Siege of London, The Pension Beaurepas, and The Point of View. 1883. Portraits of Places. 1883. Tales of Three Cities. 1884. A Little Tour in France. 1885. Stories Revived. 1885. (3 vols. of Short Stories.) The Bostonians. 1886. The Princess Casamassima. 1886. The Reverberator. 1888. The Aspern Papers. Louisa Pallant. The Modern Warning. 1888. Partial Portraits. 1888. A London Life. The Patagonia. The Liar. Mrs. Temperley. 1889. The Tragic Muse. 1892. The Lesson of the Master. The Marriages. The Pupil. Brooksmith. The Solution. Sir Edward Orme. 1892. The Real Thing and Other Tales. 1893. The Private Life. Lord Beaupré. The Visits. 1893. The Wheel of Time. Collaboration. Owen Wingrave. 1893. Picture and Text. 1893. Essays in London and Elsewhere. 1893. Theatricals. Two Comedies: Tenants. Disengaged. 1894. Theatricals. Second Series. The Album. The Reprobate. 1895. *Terminations. The Death of the Lion. The Coxon Fund. The Middle Years. The Altar of the Dead. 1895. Embarrassments. The Figure in the Carpet. Glasses. The Next Time. The Way It Came. 1896. The Other House. 1896. *The Spoils of Poynton. 1897. *What Maisie Knew. 1897. In the Cage. 1898. The Two Magics. The Turn of the Screw. Covering End. 1898. The Awkward Age. 1899. The Soft Side. 1900. The Sacred Fount. 1901. *The Wings of the Dove. 1902. The Better Sort. 1903. (Short stories.) *The Ambassadors. 1903. William Wetmore Story and His Friends. 1903. *The Golden Bowl. 1904. English Hours. 1905. The Question of Our Speech. The Lesson of Balzac: Two Lectures. 1905. The American Scene. 1907. Views and Reviews, Now First Collected. 1908. Italian Hours. 1909. *The Altar of the Dead. The Beast in the Jungle. The Birthplace, and Other Tales. 1909. The Finer Grain. 1910. (Short stories.) The Outcry. 1911. A Small Boy and Others. 1913. (Autobiography.) Notes of a Son and Brother. 1914. (Autobiography.) Notes on Novelists. With Some Other Notes. 1914. The Ivory Tower. 1917. The Sense of the Past. 1917. The Middle Years. 1917. (Autobiography.) Gabrielle de Bergerac. 1918. (_Atlantic_, 1860.) Travelling Companions. 1919. (7 stories originally published 1868-74.) A Landscape Painter. 1919. (4 stories originally published 1866-68.) Master Eustace. 1920. (5 stories originally published 1869-78.) The Letters of Henry James. 1920. (Selected and edited by Percy Lubbock.)

For further bibliographical references, see _Cambridge_, III (IV), 671.

STUDIES AND REVIEWS

Beach, J.W. The Method of Henry James. 1918. Brownell. Cambridge. Cary, Elizabeth Luther. The Novels of Henry James. 1905. Elton, Oliver. Modern Studies. 1907. Follett. Freeman, John. The Moderns. 1917. Hacket, Francis. Horizons. 1918. Harkins. Hueffer, Ford Madox. Henry James: a Critical Study. 1913. Macy. Perry, Bliss. The American Spirit in Literature. 1918. Phelps. Sherman, Stuart P. On Contemporary Literature. 1917. Underwood. Van Doren, Carl. West, Rebecca. Henry James. 1916.

Acad. 75 ('08): 609; 86 ('14): 359; 87 ('14): 509; 89 ('15): 67. Ath. 1919, 1: 518. Atlan. 95 ('05): 496; 100 ('07): 458; 117 ('16): 801. Bookm. 15 ('02): 396; 21 ('05): 23 (portrait), 71, 464; 26 ('07): 357; 30 ('09): 138 (portrait); 36 ('12): 176; 37 ('13): 595; 43 ('16): 219; 51 ('20): 364, 389. Bookm. (Lond.) 43 ('13): 299 (portraits); 45 ('14): 302; 53 ('17): 107; 53 ('18): 163. Contemp. 101 ('12): 69=Liv. Age, 272 ('12): 287. Critic, 42 ('03): 31, 107 (portrait), 204, 393 (portrait); 44 ('04): 146; 46 ('05): 98 (portrait), 146. Cur. Lit. 27 ('00): 21; 29 ('00): 148. Cur. Op. 54 ('13): 489 (portrait); 56 ('14): 457; 60 ('16): 280 (portrait); 63 ('17): 118, 247, 407 (portrait). Dial, 44 ('08): 174; 54 ('13): 372; 60 ('16): 259, 313, 316; 63 ('17): 260. Egoist, 5 ('18): 1 (T.S. Eliot), 2 (Ezra Pound), 3, 4. Eng. R. 22 ('16): 317. Fortn. 105 ('16): 620=Liv. Age, 290 ('16): 281; 107 ('17): 995=Liv. Age, 294 ('17): 346=Bookm, 45 ('18): 571; 113 ('20): 864. Forum, 55 ('16): 551. Harp. W. 47 ('03): 273, 532, 552 (portrait); 48 ('04): 1375 (portrait), 1548 (portrait); 57 ('13): May 3, p. 18 (portrait); 62 ('16): March 25: 291. (Canby.) Lamp, 28 ('04): 47. (Herbert Croly.) Little Review, 5 ('18): August number. Liv. Age, 236 ('03): 577; 240 ('04): 1; 262 ('09): 691; 289 ('16): 122, 229, 568; 306 ('20): 55; 310 ('21): 267. Lond. Merc. 1 ('20): 673; 2 ('20): 29. (Edmund Gosse.) Lond. Times, Apr. 10, 1913: 150; Mar. 9, 1916: 109; Oct. 19, 1917: 497; Dec. 27, 1918: 655; Mar. 28, 1919: 163. Nation, 85 ('07): 343; 102 ('16): 244; 104 ('17): 393; 110 ('20): 690; 111 ('20): 441. New Repub. 6 ('16): 152, 191; 7 ('16): 171; 13 ('17): 119, 254; 16 ('18): 172; 20 ('19): 113; 23 ('20): 63. New Statesman, 6 ('16): 518; 9 ('17): 375; 15 ('20): 162. 19th Cent. 80 ('16): 141=Liv. Age, 290 ('16): 505. No. Am. 176 ('03): 125; 180 ('05): 102 (Joseph Conrad); 185 ('07): 214; 203 ('16): 572 (Howells), 585 (Conrad), 592; 207 ('18): 130; 211 ('20): 682; 213 ('21): 211. Outlook, 79 ('05): 838; 125 ('20): 167. (Portraits.) Quar. 212 ('10): 393=Liv. Age, 265 ('10): 643; 226 ('16): 60=Liv. Age, 290 ('16): 733; 234 ('20): 188. Sat. Rev. 95 ('03): 79; 107 ('09): 266; 121 ('16): 226; 123 ('17): 201; 129 ('20): 537. Scrib. M. 36 ('04): 394; 67 ('20): 422, 548; 68 ('20): 89. Sewanee Rev. 27 ('19): 1. Spec. 98 ('07): 334; 116 ('16): 312. Yale R. n.s. 5 ('16): 783; n.s. 10 ('20): 143. Cf. also _Cambridge_, III (IV), 674.

+Orrick Johns+--poet.

Born at St. Louis, Missouri, 1887. Trained as an advertising copy writer. Won the prize of the _Lyric Year_, 1912, for his _Second Avenue_.

BIBLIOGRAPHY

Asphalt and Other Poems. 1917. Black Branches. 1920. Also in: Others, 1916, 1917, 1919.

STUDIES AND REVIEWS

Untermeyer. Dial, 62 ('17): 476. Poetry, 11 ('17): 44; 16 ('20): 162. Bookm. 46 ('18): 578.

+Owen McMahon Johnson+ (New York City, 1878)--novelist short-story writer.

Best known for studies in college life and in the psychology of the young woman (_The Salamander_, 1913). For bibliography, see _Who's Who in America_.

+Robert Underwood Johnson+--poet.

Born at Washington, D.C., 1853. B.S., Earlham College, 1871. Has many honorary higher degrees and decorations. Joined the staff of the _Century_, 1873; associate editor, 1881-1909; editor, 1909-13. Father of Owen McMahon Johnson (q.v.).

Ambassador to Italy, 1920-1.

For Mr. Johnson's many activities outside his work as poet and as editor, see _Who's Who in America_.

BIBLIOGRAPHY

Collected Poems. 1919.

STUDIES AND REVIEWS

Bookm. 47 ('18): 547. (Phelps.) Critic, 42 ('03): 231 (portrait). Lit. Digest, 64 ('20): Mar. 6, p. 32 (portrait). R. of Rs. 49 ('14): 759 (portrait).

+Mary Johnston+ (Virginia, 1870)--novelist.

Historical material, especially colonial Virginia. For bibliography, see _Who's Who in America_.

+Charles Rann Kennedy+--dramatist.

Born at Derby, England, 1871. Largely self-educated. Office boy and clerk, thirteen to sixteen. Lecturer and writer to twenty-six. Actor, press-agent, and miscellaneous writer and theatrical business manager to thirty-four. His play, _The Servant in the House_, established his reputation.

BIBLIOGRAPHY

*The Servant in the House. 1908. The Winterfeast. 1908. The Terrible Meek. 1911. The Necessary Evil. 1913. The Idol-Breaker. 1914. The Rib of the Man. 1917. The Army With Banners; A Divine Comedy of this Very Day. 1917. The Fool from the Hills. 1919.

STUDIES AND REVIEWS