Nothing new is to be found in the latest volume of Paul Elmer More’s Shelburne Essays. The learned author, undismayed by the winds of anarchic doctrine that blow down his Princeton stovepipe, continues to hold fast to the notions of his earliest devotion. He is still the gallant champion sent against the Romantic Movement by the forces of discipline and decorum. He is still the eloquent fugleman of the Puritan ethic and æsthetic. In so massive a certainty, so resolute an immovability there is something almost magnificent. These are somewhat sad days for the exponents of that ancient correctness. The Goths and the Huns are at the gate, and as they batter wildly they throw dead cats, perfumed lingerie, tracts against predestination, and the bound files of the _Nation_, the _Freeman_ and the _New Republic_ over the fence. But the din does not flabbergast Dr. More. High above the blood-bathed battlements there is a tower, of ivory within and solid ferro-concrete without, and in its austere upper chamber he sits undaunted, solemnly composing an elegy upon Jonathan Edwards, “the greatest theologian and philosopher yet produced in this country.” Magnificent, indeed—and somehow charming. On days when I have no nobler business I sometimes join the barbarians and help them to launch their abominable bombs against the embattled blue-noses. It is, in the main, fighting that is too easy, too Anglo-Saxon to be amusing. Think of the decayed professors assembled by Dr. Franklin for the _Profiteers’ Review;_ who could get any genuine thrill out of dropping _them?_ They come out on crutches, and are as much afraid of what is behind them as they are of what is in front of them. Facing all the horrible artillery of Nineveh and Tyre, they arm themselves with nothing worse than the pedagogical birch. The janissaries of Adolph Ochs, the Anglo-Saxon supreme archon, are even easier. One has but to blow a _shofar_, and down they go. Even Prof. Dr. Stuart P. Sherman is no antagonist to delight a hard-boiled heretic. Sherman is at least honestly American, of course, but the trouble with him is that he is _too_ American. The Iowa hayseed remains in his hair; he can’t get rid of the smell of the chautauqua; one inevitably sees in him a sort of _reductio ad absurdum_ of his fundamental theory—to wit, the theory that the test of an artist is whether he hated the Kaiser in 1917, and plays his honorable part in Christian Endeavor, and prefers Coca-Cola to Scharlachberger 1911, and has taken to heart the great lessons of sex hygiene. Sherman is game, but he doesn’t offer sport in the grand manner. Moreover, he has been showing sad signs of late of a despairing heart: he tries to be ingratiating, and begins to hug in the clinches.