Obrázky stránek
PDF
ePub

“And you

fourth we have published, and others will author's family; but it helps him keep away follow it. He started out with some good from what seems to me disastrous, hasty, advice given him by Louis Evan Shipman, and inevitably unworthy work.” of Life, who, he says, leaned across the big table in the building at Madison Avenue

Phelpsian Etiquette and Fifty-seventh Street and listened to his

It appears that Professor William Lyon plans for some stories as yet unwritten. Mr. Phelps teaches the students of Yale UniHuston remarked that he had written a cer

versity more than English. While the retain type of story. Mr. Shipman struck the cent onslaught of women students began to table with his fist and challenged him with play havoc with the Yale undergraduate's the statement: “There is only one type of story for you to write and that is a Mc- peace of mind and sense of the fitness of

things, and while the faculty deliberated on Cready Huston story!”

can't

what should or should not be done, Proadd anything to that,” explains the author. fessor Phelps proceeded with his usual “It represents the beginning and the end of geniality to instruct them in the appropriate theories for creative workers.”

attitude. According to a man in one of his * * *

classes, which boasts seven girl students, it But then, of course, comes the real diffi- is his habit to rise and bow profoundly culty: how shall the author be himself, whenever the ladies enter or submit papers. and write his own individuality into his Undergraduate etiquette may have to work? Mr. Huston solves it by letting the undergo revision. Phelps, being the rare things write themselves. He says he would sort of critic who can write in a monthly rather write one story that he could not with all the verve of a colyumnist, wins from help doing than manufacture a hundred. the Lewisburg (Ky.) Leader the comment He does not reproduce characters and that he has “possibly the widest audience of places photographically; he is more inter- any critic in America." This must ease his ested in the processes of people who act, in mind of all sense of responsibility, even if spite of what he can do, as they please. Percy Hammond's vision should be fault

less. Mr. Hammond remarks in his column “Not Poppy_"" had an unusual origin; in the New York Tribune: I can picture it was compelled by a desire to do justice to the drama-loving Yale men, setting out from an impression. The author explains: “Lines New Haven for a week-end's communion from Shakespeare bother me a lot; it takes with the New York theatre, studying as the form of being unable to keep from re- they do so their preceptor's recommendapeating passages like 'To-morrow and to- tions of Broadway's worth-while things” morrow and to-morrow' from Macbeth’and and then “despite the professor's helpful *Trifles light as air' from 'Othello,' when, guide-posts to ‘Sun-Up' and 'Cyrano'" losoverheard, I might lay myself liable to a ing their way and arriving punctually at commission in lunacy. After having the the Music Box or the Winter Garden." title I could do nothing until I had the name for the leading man. I never have been able Apropos of his discussion of modern art to realize a story with the leading character in “The Field of Art” is a paragraph from named unsatisfactorily and have never Royal Cortissoz's latest book, “American failed to realize one when his name was, to Artists”: “In art there is, spiritually speakme, everything it should be. After he was ing, no such thing as the past. Chronology put down in the right picture, he found his is largely a matter of conversational conown set of circumstances and met them in venience. The masterpieces of antiquity his own way. I'm afraid I had very little to are preserved, immobile, in the rooms of a do with it.

museum, with dates over the door, but it is One obstacle in the way, however, is the a mistake to think of them as held, in time, matter of words. To me it seems that in a kind of atrophy, within airless, watermere words are likely to clutter and obscure tight compartments.” Because Cortissoz a story. The hard part is to keep from applies the philosophy of this paragraph to writing, to avoid the danger of beginning to criticism, he remains, after over twenty approach a situation before one is ready. years at it, the most vital of the art critics Trying to follow that rule reduces one's out- of to-day.

*

*

*

PRESENTS PERTINENT CRITICISMS
PUNCTURES PREVAILING MYTHS
PUBLISHES POPULAR FICTION

A Contemporary Ancestor Erases America's Alaskan Complex “Seward's Ice Box" is likely to turn out to be America's refrigerator. What with polar expeditions and projects to annex the North Pole, Alaska is coming out of cold storage and is shown to be not the land that God forgot, where polar bears roar in the streets chiefly inhabited by ice foes and igloos. It is in reality God's Pocket”- -a strange country with its head in its tail and its corner-stone composed of fish. At least that's what Mary Lee Davis says, and she is one of our contemporary ancestors in this Territory, which is as old, colonially speaking, as New England was in 1765.

The White

Monkey
The Galsworthy Serial

Modern Life's Tragic Fault-Lack of Style It is of course obvious that style exists in other things besides clothes and literature. But W. C. Brownell sees little of it in the present-day attitude toward life. This essay is one of the most valid and intelligent criticisms of the younger generation that have yet been voiced. It is based upon a sound premise and, while not marred by vituperation, yet is singularly pointed, and will be a hard one for the young ones to

The White Monkey
appears on the scene
and “the only sports-
man of the lot” passes
off, and Michael con-
siders whether he real-
ly has a right to hold
Fleur. An ancient
problem of modern
life becomes acute in
this, the third, part of
Galsworthy's story of
to-day.

Dr. Leighton Parks Scores a Palpable Hit In the form of a conversation between Mr. Slade, who is the typical American business man, and two cosmopolitans, the distinguished modernist jars current conceptions of “progress” and makes a plea for internationalism set up by business men and vitalized by “the unorganized spirit of righteousness in the world.” The churches as at present organized are useless, he says, for every one of them is “hypnotized by the visible-dogma or discipline."

answer.

The Vanished Race

They were a crafty and clever lot—the old longhorns. But the only

survivors are in the movies or the zoo, and the objects of the cowboy's chief excitement and his heartiest curses have gone from the happy hunting-grounds. But by the skill of his pen with sketch and word Will James makes these outlaws of the range rove and graze again over the printed page. Harriet Welles's Latest Story,“ Progress"

Mrs. Welles pictures the clash

between the old and the new. She records the wanderings of one imbued with a mellow love for the natural and the old. The manner in which the dreaded progress finally caught up with him is the high point in one of Mrs. Welles's best stories. Ghosts? Mysteries? Robbers ? — And Unusual?

Yes, we know it

sounds like old stuff. But readers of these stories will agree that even if these things do appear, they perform entirely new tricks.

“The Second Francis the First” is a real mystifier with a legendary and historical background, involving the famous King of France and an ancient château. George Marion, Jr., has "achieved the seemingly impossible feat of writing a new ghost story.”

“The Faithful Image” is a clever plot story in which a philosophical burglar encounters a check to his cynicism in a face in the moonlight. Among the other Contributors STRUTHERS Burt, “Threnody in Major and Minor."

FREDERICK POLLEY, "Sketches of Boston.”
Departments

As I Like It, by William Lyon Phelps.—THE FIELD OF ART, by Royal Cortissoz.
THE FINANCIAL SITUATION, by Alexander Dana Noyes.

8

In writing to advertisers please mention SCRIBNER'S MAGAZINE

SCRIBNER'S

MAGAZINE

Illustrated
Contents for "JUNE 1924

.

COPLEY SQUARE

Frontispiece From a drawing by Frederick Polley, for

“Boston." THRENODY IN MAJOR AND MINOR. Poem Struthers Burt

579 THE WHITE MONKEY-Serial. Part I. Chapters X-XII

John Galsworthy

581 THE TRUST. Poem

Evelyn Hardy

593 BOSTON-A SERIES OF EIGHT DRAWINGS

Frederick Polley

594 THE SECOND FRANCIS THE FIRST A Story

George Marion, Jr. .

601 Illustrations by Henry Pitz. STYLE-II. -PRESENT-DAY USES SOCIAL AND PERSONAL .

W. C. Brownell

614 THE LONGHORNS

Will James

625 Illustrations by the author. THE ILLUMINATION OF MR. SLADE Leighton Parks

635 THE BLUE FLOWERS OF MARATHON. Poem

John Finley

640 PROGRESS--A Story

Harriet Welles

641 Illustrations by ). w. Schlaikjer. “ GOD'S POCKET". CONTEMPORARY CESTOR'S LETTER FROM ALASKA

Mary Lee Davis

653 Illustrations from photographs. MR. MANTON AT SEA--A Story

Edward C. Venable.

665 SANCTUARY. Poem

Amelia Josephine Burr

671 AS I LIKE IT

William Lyon Phelps

672 THE FIELD OF ART-Degas, Draftsman

and Painter --Notes Apropos of the Recent
Exhibition in Paris.

Royal Cortissoz

680 THE FINANCIAL SITUATION—The New Turn in Europe and the Financial Market

"Dawes Committee's Plan" and Its Reception-Results of a Possible Reparations Settlement-Home Trade, Politics and Finance

Alexander Dana Noyes

689 BEHIND THE SCENES WITH SCRIBNER'S AUTHORS

FRONT ADVERTISING SECTION WHAT YOU THINK ABOUT IT.

BACK ADVERTISING SECTION THE FIFTH AVENUE SECTION

AN

[ocr errors]

.

[ocr errors]

FRONT ADVERTISING SECTION ROTOGRAVURE STYLE SECTION

BACK ADVERTISING SECTION

PUBLISHED MONTHLY. PRICE 35 CENTS A NUMBER; $4.00 A YEAR

FOREIGN, $5.00 A YEAR

CHARLES SCRIBNER'S SONS NEW YORK Publishers of SCRIBNER'S MAGAZINE and ARCHITECTURE

Cover Design by C. F. Peters

Copyrighted in 1924 In United States, Canada, and Great Britain by Charles Scribner's Sons. Printed in New York. All rights reserved. Entered as Second-Class Matter December 2, 1886, at the Post-Office at New York, N. Y., under the Act

of March 3, 1879. Entered as Second-Class Matter at the Post-Office Department, Ottawa, Canada.

[merged small][graphic]

THE EARLIER CHAPTERS OF “THE WHITE MONKEY" The force of the past which impels Soames rooms, she is still unable to face finality, and Forsyte to mount the steps of the Iseeum she escapes. That night when Michael tells Club and inquire for his cousin, George, at her that Wilfred has confessed his love for the opening of this, the third, instalment of her, she passes it off with a word, but adthe Galsworthy serial novel “The White mits that she does not know the end. Monkey,” has gained a momentary victory Neither does Michael. in his daughter Fleur, after a struggle which The conduct of Michael toward his wife has been going on since the story began. is in striking contrast to that of Soames

Forced by relentless circumstance to give toward Irene in Galsworthy's earlier work up the man she loved, she married Michael “The Man of Property.” The difference Mont, a young publisher, and now after two marks the gulf between the two eras. years still attempts to fill her life with ac- Soames wanted beauty and love, but he tion to the elimination of thought, to seek could not but regard his wife as his property sensations with sentiment overruled. Find- -her thoughts, her feelings, everything ing the young poet, Wilfred Desert, in love should be his. Michael, on the other hand, with her, she is brought face to face with the wonders whether he has a right to hold Fleur. necessity for a decision. She is unwilling to Coming out of the war with illusions adopt the modern attitude entirely, yet shattered and the attitude that "feeling is when Wilfred threatens to go East, she is tosh and pity is tripe,” Michael betrays reluctant to lose him. “You will be a fool both by interceding unavailingly for Bicket, to go. Wait!” is her injunction.

an employee of his firm who stole books to Even though she does later go to Wilfred's nourish his wife.

A POET'S METHOD Struthers Burt's long poems, from the iambics; and the present poem, largely in first one, “When I Grew Up to Middle iambic pentameter, departs in places from Age," down to his latest, “Threnody in its strict form, but always with the deliberMajor and Minor," have caused considera- ate intent of the poet. It is always rhymed, ble discussion. The originality of his work but rhymed exactly as Burt happens to has made many people wonder how it is please. He never twists a line or strains a that he gets his effect.

phrase or indulges in an inversion for the When asked about technique, Burt begins sake of his rhyme-in fact, he never makes to talk of the tonal values of words, which use of poetic license. But his rhymes and he says he finds among the most delightful repetitions are consciously placed for their things in the world. Tone and actual sound, emotional effect, and the resulting ease and quite apart from meanings, fascinate him; smoothness is not the simple affair that it he would not for anything make of them appears, but rather the true ease of art. merely a medium for the expression of The excellence of Burt's prose, in which, thought. Rather they should fuse with as in his poetry, the sound strengthens and thought to embody the complete idea. enhances the sense, forms one of the less

It is this very tonal technique which dis- obvious reasons why his brilliant novel, tinguishes Burt's work. He uses what “The Interpreter's House,” stands on the might roughly be called a free ode form, in list of best-sellers.

College shortly after her poem “The Trust" on Marathon and the sea. Dr. Finley, besees the light of print. She has lived all her sides being a noted walker and former star life in Philadelphia and New England, and on the Johns Hopkins football team, is a looks forward to study abroad soon after well-known educator, and since 1921 assograduation. She has no plans beyond that, ciate editor of the New York Times. since she admits to a recently acquired appreciation of the uncertainty of futures. Much has been loosely said about style in RECREATIONS OF A SCREEN-WRITER

literature and life, and a critic takes his porPeople are continually handing me back tion of the latter in his hand when he writes my manuscripts, shaking their heads, and on that moot question, for he thereby makes saying sadly, 'My boy, I knew your

himself a target for all critics who hold a father!”” writes George Marion, Jr., who different position. W. C. Brownell will inadmits himself still considerably in awe of cur the wrath of some of these for his sound that parent. Yet we cannot believe that the and illuminating statement of the case for actor-manager will have any very strong

abstract style in a series of three essays, of objections to his son's greatest ambition, which the one this month is the second. which has always been to write the book and There is no other critic writing to-day whose lyrics of a successful musical comedy. reasoned opinion has more value, or whose Apropos of his literary doings we are for- range of knowledge and experience better tunate in being able to print the following qualify him for his task. Last month Mr. “Outline of George Marion, Jr.,” just as we

Brownell discussed the definition of style. received it:

He follows up this month with a consideraAll too recently this Boston-born youth tion of the function of style in life. emerged, a demi-baked bean, from the La Villa

AN ARTIST IN NORTH SQUARE School, at Lausanne, Switzerland, where he was the worst member of the worst geometry class I would rather stand on the street corner and the best crew on that institution's records. and sketch than be President of the United Of Irish and Hungarian ancestry, and an actor's States.” The results of this preference of son, the young man had little trouble persuading himself that he ought to write. But an early Frederick Polley's have been our gain, for effort chanced to fall beneath the eyes of certain he has caught the personalities of many citprinces of the cinema, with the result that a film ies, including New York, Chicago, Pittsyclept "The Beautiful Liar,” featuring Katherine MacDonald, was projected on numerous screens. burgh, and Philadelphia, in his characterThereafter young Marion has journeyed along istic drawings, and now makes his fifth apfilmy ways—and he is even now engaged in pearance in the Magazine. adapting for the films the “Telephone Girl” Polley likes to sketch from the curb and stories of H. C. Witwer out of the Cosmopolitan.

Craving complete change from the sombre busi: only very rarely feels disturbed by crowds. ness of adapting these droll narratives, Marion Men sometimes murmur approval; little turns of an evening to the joyous pastime of com- boys prove a pest; women never trouble him posing gloomy stories. Since almost all his years at all. But he did encounter difficulties in were spent in Europe, he not unnaturally turns to that locale in his individual endeavors. “The Boston while making the sketch of the Paul Second Francis the First” was suggested and Revere House reproduced in this issue. He evolved while promenading daily through the tried for several days to get up courage to go sets erected for F. Marion Crawford's "In the into North Square, in the swarming Italian Palace of the King" at the Goldwyn Studios last summer.

district; and on a hot morning in August

chose the sunny side from which to work, Marathon to Athens makes a good after- thinking he'd be let alone. But a charity noon's hike, according to John Finley, who organization was giving an outing to five covered this famous twenty-six-mile stretch hundred children of the neighborhood, who in five hours last summer, and wrote his brought along their entire families and compoem, “The Blue Flowers of Marathon,” as pletely jammed the narrow street. They a result. The milestones were in disrepair climbed all over Polley, exhibiting the usual and the mound of Marathon overgrown small boys' curiosity. Then to add to his with flowers and shrubs, and Dr. Finley, discomfort the artist discovered he had who is president of the International Pedes- taken up a position near a ward hospital in trians' League, wishes the road and its which a patient had died, and the funeral markings might be kept up, so that others cortege was added to the general congestion. could enjoy as he did this historic and beau

(Continued on page 5)

« PředchozíPokračovat »