If any doubt of this is in your mind, turn to the critical articles in the newspapers and literary weeklies; you will encounter enough proofs in a month's explorations to convince you forever. A novel or a play is judged among us, not by its dignity of conception, its artistic honesty, its perfection of workmanship, but almost entirely by its orthodoxy of doctrine, its platitudinousness, its usefulness as a moral tract. A digest of the reviews of such a book as David Graham Phillips' "Susan Lenox" or of such a play as Ibsen's "Hedda Gabler" would make astounding reading for a Continental European. Not only the childish incompetents who write for the daily press, but also most of our critics of experience and reputation, seem quite unable to estimate a piece of writing as a piece of writing, a work of art as a work of art; they almost inevitably drag in irrelevant gabble as to whether this or that personage in it is respectable, or this or that situation in accordance with the national notions of what is edifying and nice. Fully nine-tenths of the reviews of Dreiser's "The Titan," without question the best American novel of its year, were devoted chiefly to indignant denunciations of the morals of Frank Cowperwood, its central character. That the man was superbly imagined and magnificently depicted, that he stood out from the book in all the flashing vigour of life, that his creation was an artistic achievement of a very high and difficult order--these facts seem to have made no impression upon the reviewers whatever. They were Puritans writing for Puritans, and all they could see in Cowperwood was an anti-Puritan, and in his creator another. It will remain for Europeans, I daresay, to discover the true stature of "The Titan," as it remained for Europeans to discover the true stature of "Sister Carrie."