There are so many things that I admire in the first issue of THE LITTLE REVIEW that I find it difficult to decide just where to begin. It was like taking up a copy of the Preludes of Debussy for the first time; after playing them over and over again I found it difficult to know whether it was what he said or the way he said it which held the greater charm for me. I congratulate you most sincerely on the distinct personal quality which is so evident in your magazine and you may count upon me to rejoice with you if it meets with anything like the great success which it so distinctly merits. F. L. R. Chicago. Your new publication has just fallen into my hands. The vital thing! I cannot begin to tell you what its pulsating, teeming import means to me. I know nothing today in magazine form that will mean so much to busy, thinking people. NANNIE C. LOVE. Indianapolis. Please let me offer my sincerest congratulations and my warmest wishes for the continued success of THE LITTLE REVIEW. There are numerous points in the first issue that I should like to discuss with you; I must warn you that you are tempting your readers and must not be surprised if you are overwhelmed with letters, questioning, approving, and criticising. The foreword strikes such a splendid note! I hope no criticism will influence you to change it. You agree, evidently, with the point that _The Dark Flower_ suggests a Greek classic; so do I. But, conceding that, how could you have been surprised that countless people care nothing for it? Don't you know that the majority of people in the world do not really "possess" the Greek classics? Without the background of the world's thought, ages ago, and its progress--unless we agree with Alfred Russell Wallace that we have made no progress--can't you see that _The Dark Flower_ could genuinely startle many people? So I beg for less sharpness toward those who do not feel the wonder of it. The tragedy is in their lives. For just the same reason _Jean Christophe_ belongs to a few, comparatively. If you had never before felt the power of a great epic, could you really grasp this one? Modern as we claim to be--and independent--must there not be some foundation? Oh dear!--I do want to tell you why I think _Vanity Fair_ is greater than _Succession_ and why Ysaye's music is inspired--when I listen, at least. But one can't go on forever. Since the "Critics' Critic" expressed a doubt about that quotation from Euripides and since you insisted that it sounded like a Gilbert Murray translation, you may be glad to know that it is both. But you quoted it wrong. It is from _Aeolus_, a lost play, and this is the correct version: