German valets of the type of Houston Chamberlain and Sven Hedin spread these stories; Pastor Conrad wrote a little book and sold it to the school children that they, too, might read about their fathers’ gouged-out eyes in Belgium. The result was certain when German soldiers found themselves with a free hand among unarmed women and their little ones; for Germany in Belgium and Poland, and Austria in Serbia, have not been content to destroy the manhood of weak nations: they have striven to stamp out their virginity and their childhood also. EDEN PHILLPOTTS. [Illustration] _The Entry Into Constantinople_ Nowhere has the caricaturist proved more effectively his command of caustic satire. It is characteristic of the Kaiser and his family to claim Christian sanction for all his sinister schemes. None of the many goals which the Kaiser confidently set out to win in this war has he yet secured. The triumphal progress through the capital city of Constantinople loomed large in his early programme. His vaulting ambition still seeks the hegemony of the Mahomedan world no less than of the Christian world. The Kaiser habitually appeals to religious authority. He garbles Scripture to serve his turn. Nothing that the world regards as sacred is safe from his profanation. His miscalculations are so colossal, his hopes are so tangled, that the blasphemous dream which the artist depicts may well have visited the imperial couch. The pious Mahomedan might possibly find some specious compensation for submission to the Prussian yoke were the Kaiser to enter the Turkish capital at the head of his barbarian hordes flaunting in triumph the banner of the crescent, while Christ rode on an ass at the imperial side, in bonds and wearing the crown of thorns. It is a revolting piece of pictorial imagery, but it is a legitimate interpretation of the imperial megalomania, which enlists blasphemy in the service of the imperial propaganda. SIDNEY LEE. [Illustration] _Come Away, My Dear!_