rise to all possible iniquities. Vestiges of ancient fierceness linger within us; the human animal licks its chops as it watches the gladiatorial combats. We veil these cannibal appetites under highsounding names, speaking of Right and of Liberty. The last hope of our day lies in youth. Let youth claim for the future the individual's prerogative to judge good and evil for himself, to be the arbiter of his own conduct. Side by side with these serious words, a large place, in the combat of thought, is given to humour, that bright and beauteous weapon. Charles Scott Wood writes amusing Voltairian dialogues. Here we see Billy Sunday in heaven, filling the place with clamour. He preaches a sermon full of Billingsgate, a sermon addressed to God, represented as an old gentleman with suave and distinguished manners, a little tired, speaking softly. St. Peter is instructed to enforce a new divine ordinance, for God, weary of the insipid company of simple souls, has decided that only persons of intelligence are to be admitted to paradise in future. Consequently no one killed in the war will pass the gate, except the Poles, who claim no merit for being sacrificed, but say they were sacrificed against their will. Louis Untermeyer contributes poems. A number of excellent book reviews and several columns of theatrical criticism deal with questions of the hour. Among the works referred to, I may mention two of great originality: a book filled with bold paradox by Thorstein Veblen, entitled _Peace? An Inquiry into the Nature of Peace_; a Russian play in four acts by Artsibashev, _War_, depicting the cycle of the war in a family and the wastage of souls which it involves. Finally we have vigorous drawings, the work of satirists of the pencil. R. Kempf, Boardman Robinson, and George Bellows, enliven the magazine with their pungent visions and their cutting words. Kempf shows us War crushing in his embrace France, England, and Germany, crying out: "Come on in, America, the blood's fine!" The four linked figures are dancing on a sea of blood in which corpses are floating.--A few pages further on, Boardman Robinson shows Liberty in the background weeping. In front stands Uncle Sam, wearing handcuffs (censorship) and leg-irons, the cannon-ball of conscription drags at the chain. He is described as being "All ready to fight for Liberty."--George Bellows' design depicts a chained Christ in prison. He is "incarcerated for the use of language calculated to dissuade citizens from entering the United States armies."--Finally, upon a heap of dead, the two sole survivors are seen savagely cutting one another to pieces. They are Turkey and Japan. The legend runs: "1920: still fighting for civilisation." This design is by H. R. Chamberlain. * * * * *