drives Saki forth from his tent. She broods over her wrongs until madness overwhelms her. In the fulness of her hate she stampedes a herd of wild horses and drives them like a hurricane through the village, over the wigwam of the man she had once loved and the woman she hates with a consuming hatred: race. Ha! Ha! it is joy for the hearts that we crush as we thunder! Rides the wild hate of Saki, the mad snake-woman! In addition to the serious ethical purpose of this book, there runs through it a new and significant vein—a stirring note of imperialism. The poet sings the unity of the British. This patriotic strain first finds expression in the jubilee ode, "Victoria," and is continued through the succeeding poems, England," "Sebastian Cabot," and "The World-Mother," reaching its most significant note in “The Lazarus of Empire." 66 In "Victoria" the poet says: And we, thy loyal subjects far away, In these new lands that own thy scepter's sway, Across the thunder of the western foam, O good gray Queen, our hearts go home, go home, We are thine own while empires rise and wane. We are thine own for blessing or for bane, Not that we hate our brothers to the south, To Britain, Britain, Britain, till the world doth die. And thus he addresses "England:" Not yours alone the glory of old, Of the splendid thousand years, Of Britain's might and Britain's right And the brunt of British spears. Not yours alone, for the great world round, Ready to dare and do, Scot and Celt and Norman and Dane, With the Northman's sinew and heart and brain, And the Northman's courage for blessing or bane Are England's heroes too. In "Sebastian Cabot" he typifies the British spirit of col onization: This old Venetian, Briton-born, Westward! westward! westward! The "World-Mother" is Scotland: Yea, there by crag and moor she stands, Here is the heart unity that draws the colonies to the mother land. And, lastly, in "The Lazarus of Empire," we have the corner stone of imperial unity-the representation of the colonies in the councils of the empire. The lesson is forced home by the biting words of the conclusion: It is souls that make nations, not numbers, As our forefathers proved in the past, Let us take up the burden of empire, Or nail our own flag to the mast. Doth she care for us, value us, want us, Or are we but pawns in the game; Where lowest and last, with our areas vast, We feed on the crumbs of her fame? In "Phaethon" the old mythological tale is put into dra matic verse. mit him to Phaethon persuades his divine father to per Chase the rosy hours from dawn to dusk, Guiding his fleeting steeds o'er heaven's floors. Being mortal, he comes to grief, having aimed too high. The old story is of course familiar to every one. 66 I had marked a number of other suggestive passages in Beyond the Hills of Dream," but have already gone far beyond the limits laid down, and must leave fuller treatment of the book to other hands. Before concluding, it may be mentioned that Mr. Campbell's work, lyrical and dramatic, has received very wide. notice both in England and in America. It has been praised by such authoritative journals as Literature, the Athenæum, and the Westminster Gazette, in London, and by the Atlantic, Harper's, Literary World, Bookman, Critic, Nation, New York Post, and Overland Monthly, on this side the Atlantic. Mr. William Dean Howells, Col. Higginson, Mr. Stedman, and other critical writers have spoken of it in terms of the highest praise. Selections from Mr. Campbell's work have also been included in such modern anthologies as those of Stedman, Lighthall, Wetherell, Rand, and Roberts. It is giving Mr. Campbell nothing more than his due to say that, especially in his latest book, he has produced verses of very high merit, both as to substance and construction. His work contains the qualities that go to make up genuine poetry-that is to say, sincerity, originality, strength, and refinement. LAWRENCE J. Burpee. THACKERAY. MR. LEWIS MELVILLE has given the literary world what may be called a variorum edition of the "Life of Thackeray.' His purpose seems to have been to get up two volumes of a size that would decently represent Thackeray's place in our literature. He has succeeded in padding the two volumes to an adequate size, but the new matter might have been compressed into a volume one-third the size of either of these. To the lover of Thackeray, however, this is of small import; for Mr. Melville has read diligently in magazine literature and contemporary biography, and culled therefrom much that is of interest and information concerning Thackeray. He has also collected from the novels a number of quotations that throw light on the novelist's methods, thoughts, and personal experiences, all of which only convinces us more thoroughly of what is said in another part of the present article-namely, that the best biography of Thackeray is his autobiography as found in his various works. The present biography is a fairly good reference book, although a large part of its usefulness as such is impaired by the omission of an index. But after all of an adverse nature is said, the numerous sketches and drawings, the facsimile representations of several of the letters of Thackeray, and of the original cover designs of the "Book of Snobs," 66 Vanity Fair," "Pendennis," "The Newcomes," and "The Virginians (the three last named being given in the original yellow of the monthly parts), the suppressed picture of the Marquis of Steyne, and other interesting Thackerayesque illustrations, together with a text admirable in its mechanical perfection and arrangement, with as complete a bibliography as possible of all the volumes, contributions to *The Life of William Makepeace Thackeray, by Lewis Melville. In two volumes, $10. Herbert S. Stone & Co., Chicago. periodicals, drawings, miscellanea, and volumes containing biographical material-all go to make the book a very valuable one. More than this, it is bound to be the standard reference life of Thackeray, at least until either Mrs. Ritchie sees fit to consolidate and enlarge her "Chapters from Some Unwritten Memoirs," and the "Biographical Introductions," or Mr. Leslie Stephen should undertake to extend his article on Thackeray in the "Dictionary of National Biography," and fuse the whole into such a work of art as he knows how to produce in his special field of endeavor. There are a number of anecdotes in this "Life," though no new one, as far as I can see, is added. The inevitable letter that the little William wrote from England to his "mamma" in Calcutta, in the year 1818, when he was barely seven years old, his birth having occurred in that faroff city July 18, 1811; the story of the large head, and the alarmed Aunt Ritchie consulting a physician only to be told that the head was large but there was much in it; the unhappy school days at Chiswick and Charterhouse (though Mr. Melville thinks the unhappiness during the Charterhouse days has been unduly exaggerated); the talent for drawing, especially burlesque representations and caricatures; the fight with George Venables, resulting in a broken nose for Thackeray; the faculty for making verses, chiefly parodies, with a parallel copy of his first effort in print, a parody and its original, the subject being "Violets, dark blue Violets," rendered by the youthful parodist, "Cabbages, bright green Cabbages; " the practical joke played on Dr. Senior who, as a boy, sat next to Thackeray at Charterhouse, and was prompted by him to give some absurd answer when Dr. Russell put a question which was not heard; the story, as related in a roundabout paper on "Tunbridge Joys," of the hungry boy with no money of his own, but with five-and-twenty shillings of his parents' money in his pocket; the subsequent visits to Charterhouse with the speech made to the boys, and the decision to call up one of the codds to sit for Colonel Newcome, who was himself to |