T By Robert Haven Schauffler HE illness of Heberlein's wife had induced that worthy 'cellist to give up his place in the Chicago Orchestra to fill a sudden vacancy in a New York organization. The The doctor had insisted on a change of climate, and the prescription had succeeded so well that Heberlein was able to begin the new season in his old haunts. In the dim spaces behind the concert stage of the Auditorium became audible the first tentative blast of the tuba, the first quack of the French horn, the imperfect fifth of tuning-strings-heralds of the first rehearsal. By twos and threes, pipe-dottels and cherished cigarette-stubs found their way to the heap in the alley outside the stage door. With the tempered reluctance of school-boys the musicians entered the place eloquent to them of their austerest and of their happiest hours. Above the babel of greeting and reminiscence a sudden shout was heard. "You Heb-old Heberlein's back!" Instantly the prodigal son of the orchestra was surrounded by a throng of eager and cordial questioners. "What brought you back?" rehearsal," announced the old kettledrummer; "proceed, mein Alter." Shyly protesting, the plump 'cellist was hoisted upon a couple of double-bass boxes and exhorted to hold forth. 66 Well," he began, seeing no escape, "I went to the first rehearsal. No one had for me one word or look. When I took my seat, I said to my partner at the same stand, 'How do you? My name is Fritz Heberlein,' and held out my hand. I tell you that man looked at me all over with an eye like a hard-boiled egg. "You don't say ' It was all that he uttered. He took no notice of my hand, but turned to his neighbor and laughed very hard. I was not angry at my partner, but I was sorry that he was not a gentleman. "Presently the Herr Concertmeister entered. Of course I stood up and made him my bow. He smiled at me and bowed in return, but there arose rough cries from all parts of the orchestra: "Sit down, Dutchy l' “Who bow you to?' "That chap's no better than us.' "Some 'cellist behind me pulled me by the coat-tails down. Alas! I sprang again immediately up. A tack had been Going to play in your old place placed upon my chair.'" again ?" "Liked you New York?" "Du Allmächtiger !" cried Heberlein. "Have I the tongues of men and of angels ?" "At any rate, old boy," called an American second violinist, "you've become better acquainted with your stepmother tongue." "Ja, it is all I brought back from that unholy place," he answered-"the English language. Our compatriots in New York have turned from good Germans into bad Americans. Thank the dear Heaven that my wife has got so well again that I can return to my brothers !" "Speech! speech!" called the Ameri can. The cry was taken up. A loud murmur of indignation ran through the crowd. "But listen," said Heberlein, "to yet worse matters. Then came Herr Ludwig, the conductor. You all have heard what for a good musician is he—what for a courteous gentleman. Well, not one except myself arose to greet him, but a scattered groaning was heard from here and there, and some one snored into a trombone. "Very friendly he came straight to me and shook hands, saying in German that he was delighted to welcome me and hoped I would be content. But I could feel his hand tremble a little, and as he rapped his baton he looked very pale. It was the 'Oberon' overture. Now, can you believe, at every soft place some one would get behind his instrument and make a noise like to a cock or dog or other beast. Behind me there occurred a fight of cats. me on the shoulder, declaring it was a Thomas concert. When I asked him if he feared not the conductor, he roared aloud as if I had made a joke. 'Why,' he said, "Ludy" (he called that great conductor Ludy !) 'is much more afraid of us than we are of him. I have a big oil painting of him cutting up rough with us' (those are the words he used). 'Why, we would strike in a minute !' Then some one tapped 666 By the way,' he added, ' are you a member of the union?' "Ludwig grew whiter and whiter, and I could see that it was not from fear but passion; but he never said a word. The faking in the back of the orchestra was fearful; but Ludwig did not dare to make the men play a passage one by one. They would have struck. I tell you that in certain passages my hairs pointed straight to the lieber Himmel." "Schweinerei !" growled the kettledrummer. "We were playing," continued Heberlein, "a Beethoven scherzo-the divine one in the Seventh Symphony. All at once my stand-partner stopped, hung his bow on his stand under Ludwig's very eyes, pulled out his watch, and then went on playing. Three minutes later, in the midst of that ravishing part for the horns, he sprang to his feet and hastened toward the door, shouting, ' All over l' "That was the first day, and it grew ever more horrible. Most of the musicians have become ashamed of the Fatherland. They want to be natives; so it has come about that they have lost the warm heart of Germany without gaining the honor, the nobility of America. They are nothings. "But," here the speaker spread his hands wide in a deprecating gesture, "it is not all their fault. The system is bad. They play not as we do, under a contract to give all their time to the orchestra. They are paid so little that most of them have jobs in a theater. This they call their business,' and they must often hasten from a symphony concert to play all night at a dance or to strain their lips on the streets in a brass band. You know how well one can play after that." Heberlein ceased, but there arose instant cries of "Weiter !" "Go on !" "That union," he resumed, "is a fearful thing. There are ten poor musicians in New York to every good one. So the bandman and the music-hall fiddler have control, and make rules for the great conductors. The idea that all men are equal has finished the business. What think you when a second violinist can talk as I told you to Conductor Ludwig? Gott sei Lob und Dank that we have here no such foolishness. are brothers in the service of Art, and over us is a baton of iron.” We The appearance of America's musical Columbus alone kept latent three cheers for the prodigal, and three times three for the Thomas Orchestra. But after the rehearsal Heberlein was borne away in glory to the " Bismarck," there to feast on Wiener Schnitzel from a fatted calf. T HE publication of the complete works of Mr. Charles Dudley Warner in a uniform edition is a boon to American readers, for until the appearance of this very handsome set of books it has been impossible to put the work of this charming writer on the shelf in a library with any uniformity. It is five years since Mr. Warner laid aside his pen, but in that brief time many new interests have interposed between readers and the written record of his occupations, his humor, his view of life, and his characterization of society. It is an age when men of the quiet spirit, writers whose charm lies in their sanity, poise, and harmony of thought and style, are likely to be overlooked if not forgotten. Mr. Warner attached his friends to him by so many ties that the flight of time only brings into clearer relief the dignity of his life, the charm of his personality, and the interest of his mind; but it is well that his work in its entirety should be presented in a substantial form in order that new generations of readers may feel its charm and its educational influence. For Mr. Warner's ethical impulses were so definite and his ethical standards so high that, without ever giving a hint of sermonizing, or a suggestion of the manner of the pulpit, he was a teacher from first to last. A Puritan by descent and by tradition, he was pre-eminently a man of culture; whose keen moral insight and deep moral feeling did not make him onesided; who avoided the hardness and the limitation of Puritanism by wide interests, breadth of knowledge, and humor. Few Americans have known the world of our time better than this accomplished writer and indefatigable traveler, but the interest of his work does not have its root in his accomplishments or observation, but in his own nature. man of his position had less affectation; no man who cared so much for the dignity of literature and its purity was freer from any taint of professionalism. He No The Complete Writings of Charles Dudley Warner. Edited by Thomas R. Lounsbury, Backlog Edition. In 15 vols. The American Publishing Company, Hartford, Connecticut. wrote with refreshing simplicity and directness, and it is in his natural qualities, his alertness of observation, his keenness of social insight, his humor, his easy, well-bred style, that one finds the secret of his popularity; for, fortunately for the country, he was one of the most widely read of the high-class writers of his time. He came into literature by way of journalism, which meant practical training in the use of literary material, a keen sense of the value of contemporary events, and a knowledge of the reading habits and tastes of his contemporaries. The work which fills these fifteen substantial volumes began in a series of breezy out-of-door papers contributed to the Hartford "Courant," and full of the zest, suggestiveness, and playful humor of a man who lived a generous life outside his editorial office. My Summer in a Garden" marked the beginning of a long and fruitful career as a writer. It was the disclosure of an American humorist who recalled Irving without in any way imitating him, and the quality of whose humor was at once kindly, sympathetic, and intelligent; sometimes whimsical, never malicious or biting. A glance at the titles of these fifteen volumes brings into clear relief the breadth of Mr. Warner's interests. He was a traveler of the higher class at a time when traveling had not become an occupation and a passion with Americans, and his reports of impressions on the Nile and in the Levant, of life in the South and the West, in Canada and nearer home, were full of keen observation, shrewd comment, playful humor, the genial interest of a man who is concerned with all sorts and conditions of men, and who looks at their life from their own point of view. "My Winter on the Nile" and "In the Levant "will probably take their places among the few American classics of travel. They are free from the literalness, the up-to-dateness, the bare report of facts which condemn most books of travel to-day to a brief reading. They are rich, on the other hand, in those impressions and com SANTA ROSA CAL Summer Rain ments on men and women, and of that atmosphere, which are the contribution of a distinct and interesting personality. Towards the end of his career Mr. Warner took up a new literary form, and in "Their Pilgrimage,' ""A Little Journey in the World," "The Golden House," and "That Fortune" contributed to the study of American society four delightfully written novels. He was not a writer of fiction by the necessity of his nature; he was drawn to it by the fullness of his observation, his keen interest in men and women, his knowledge of social conditions, and his thorough literary equipment. The historian of the future will find in these four stories a study of contemporary American life of extraordinary interest and accuracy. There have been more brilliant novels registering the disintegration of character and the unconscious lowering of ideals through the sudden acquirement of wealth; but in no stories has this decay of character, of which our life during the past twenty years has been so full, been more accurately and delicately recorded. It was, however, as an essayist that Mr. Warner was at his best. The essayform was exactly suited to him; it fitted, as it were, his temperament and his view of life. He was always at bottom a serious man, but his seriousness was always tinctured with humor, and he was keenly alive to the variety and signifi 441 cance of human interests. His occasional addresses, his essays which appeared in the magazines, even his speeches in behalf of the various societies in which he was interested, are all touched with the grace of a trained writer and with the charm of a man whose personality was never submerged or confined by the intensity of his interests. If his books are not finally ranged with those of the major writers, they give promise of finding their place beside the work of Irving, among those Americans who have loved literature for its own sake, pursued it with single-minded devotion, and brought to it qualities of nature distinctly and characteristically American. Everything has been done by the publishers of this edition to give Mr. Warner's work the dignity and refinement of form which it deserves. The volumes are of the right size, simply bound, the paper and the typography expressing the high quality of the work which this set of books preserves in permanent form. The edition has had, moreover, the editorial supervision of Professor Thomas R. Lounsbury, of Yale University, a lifelong friend of Mr. Warner, and a scholar and writer of exceptional accuracy of knowledge and soundness of taste. fessor Lounsbury contributes to the series a biography which is characteristically clear, vivacious, and illuminating, and prefaces each volume with a biographical note. Summer Rain By Dorothy Canfield All day the clouds had heavy hung and low; Pro Books of the Week This report of current literature is supplemented by fuller reviews of such books as in the judgment of the editors are of special importance to our readers. Any of these books will be sent by the publishers of The Outlook, postpaid, to any address on receipt of the published price, with postage added when the price is marked "net." Accountancy of Investment (The). By Charles Ezra Sprague, A.M., Ph.D., C.P.A. (Studies in Business: First Series, No. 3.) Pub lished for the New York University School of Commerce, Accounts, and Finance by the Business Publishing Co., New York. 53⁄4×9 in. 94 pages. A clear and comprehensive treatise on modern, scientific methods of accountancy, for the business man who wants to understand its principles and apply them in his business. Eschylus' Prometheus. Edited by Joseph Edward Harry. The American Book Co., New York. 44X71⁄2 in. 358 pages. Amulett (Das). By Conrad Ferdinand Meyer. Edited by C. C. Glascock. The American Book Co., New York. 5×74 in. 165 pages. Balloons, Airships, and Flying Machines. By Gertrude Bacon. Dodd, Mead & Co., New York. 44×7 in. 124 pages. 50c., net. Belgium and Holland, including the GrandDuchy of Luxembourg: Handbook for Travellers. By Karl Baedeker. (Fourteenth Edition, Revised and Augmented.) Charles Scribner's Sons, New York. 4×7% in. 474 pages. $1.80, net. A new edition brought up to date. Briefs on Public Questions, with Selected Lists of References. By Ralph Curtis Ringwalt, A.B., LL.B. Longmans, Green & Co., New York. 5x74 in. 229 pages. $1.20, net. Within its chosen field a valuable referencebook. Under three divisions (Politics, Economics, and Sociology) twenty-five individual topics are treated-all of large and usually of immediate importance. Thus, to give two illustrations from each division, we may name: Chinese Immigration, The Monroe Doctrine, Commercial Reciprocity, Trusts, Government Ownership of Railways, A Federal Divorce Law. The method is: first, to state a proposition, as, "The policy of the United States with respect to Chinese immigration should be continued ;" then to give a full list of general references to books, articles, Congressional reports, and special bibliographies; thirdly, to state the facts making the topic important, and the specific questions it involves; finally, to outline, with a special additional list of references, a brief for each side of the problem. The work has been done with much care and thoroughness, and the book is not by any means limited in its usefulness to those preparing for debates, although its peculiar adaptability to that purpose is evident. Child Vivian (The). By Charlotte J. Cipriani. Illustrated. The Rand, McNally Press, New York. 7x9 in. 180 pages. A rendering in acceptable English of an ancient French epic very little known among English readers, but comparable with the story of King Arthur as a mediæval romance of chivalry. As the translator points out, French" chansons de geste " not only pre sent the spirit and courtesy of chivalry and heroic deeds, but incidentally give a faithful picture of the time in which they were written, although not of the times to which they are supposed to relate. The book is intended for children, but would probably attract only those in their teens and of a naturally keen imaginative character. Christianity as Taught by Christ. By Henry Stiles Bradley, D.D. The Fleming H. Revell Co., New York. 5x8 in. 316 pages. $1.25, net. One may reasonably see in this volume of discourses at Atlanta upon the Sermon on the Mount a fresh illustration of the oftheard phrase, "The New South." It is thoroughly adapted to the modern world in form and spirit. It is an excellent presentation of the ethical religion that alone merits the name of Christianity. The theme is the central theme of Jesus-the kingdom of God and his righteousness. These sermons are plain and pointed; they have glow and warmth; they are well thought out and aptly illustrated; they create demand for more of the same. David Copperfield; Oliver Twist. Retold by Annie Douglas Severance. (The Child's Dickens.) The American Book Co., New York. 5×7% in. 160 pages. Doctrine of God (The). By Rev. Francis J. Hall, D.D. (Second Edition, Revised.) The Young Churchman Co., Milwaukee, Wis. 53⁄4×7% in. 166 pages. Economy in Education. By Ruric Nevel Roark, Ph.D. The American Book Co., New York. 5x71⁄2 in. 252 pages. Elder Brother (The). By Theodore D. Jervey. The Neale Publishing Co., New York. 5x71⁄2 in. 522 pages. $1.50. Essentials in American History (From the Discovery to the Present Day). By Albert Bushnell Hart, LL.D. (Essentials in History Series.) The American Book Co., New York. 54x84 in. 632 pages. $1.50. The These two volumes, together with that already printed relating to Ancient History, make up a series which is, we believe, unique. volumes are intended for use in secondary schools, and contain lists of references and topical questions, but apart from this pedagogic machinery they have little in common with the ordinary school-book. The authors have addressed themselves avowedly only to those things which have been vital and significant to the development of the civilizations treated respectively in the several works. While the historic narrative is necessarily compact and free from all attempts at rhetorical writing or dramatic presentation, the books are essentially selective in that they |