Nietzsche—jealous, dyspeptic, wonderful—lives in these pages so vividly that the illusion of biography is attained. His dreams, his faults, his fears stand forth. Light is focussed upon the great thinker. Ludwig Wehlitz, as he is called in the novel, loves a young and beautiful girl from America—Persis Fenamy. He is rivalled in his love by two other Germans, disciples of his, but very different personally. Persis, who is a combination of loveliness and good sense, proves to be a difficult, even impossible, problem for the three philosophers. Their wooing is the basis of the work. Such a story achieves originality at one stroke; and it is fair to say that the author’s development of this dangerous theme is fully equal to her daring. She catches the high-lights upon the soul of this curious Titan; she constructs the man as he must actually have been, and places him in circumstances of her own arrangement. His imperative genius and his characteristic childishness work out consistently together. Pedants and long-winded scholars, who know not the poet in their god, will argue that the real Nietzsche neither could nor would have waxed passionate over a lovely woman ... the book is not for them. Anne Douglas Sedgewick sees deep and imagines clearly, and her findings are authentic. Her lesser people, notably Wehlitz’s untidy Italian friend, Eleanora, and the inscrutable Mrs. Fenamy, are created with the same splendid skill and vision. This writer’s realism is not the vaunted “crude and ruthless” variety; for, although it displays life in a plain and natural manner, there is in it an intense emotional quality which always evades the camera or the microscope. _The Encounter_ is altogether worthy. HERMAN SCHUCHERT. Joseph Campbell _Irishry, by Joseph Campbell._ [_Maunsel and Company, London_] Joseph Campbell holds an enviable position among the present-day Irish bards. His poems are big, vital themes, readable by every intelligent person. In his volume of lyrics—for he possesses to a remarkable degree the enchanted tongue—he takes you into every walk of life in Ireland. And what goes in regard to life and occupations in England and Ireland holds good in this country and elsewhere. He does not shun the pig-killer, the quarry-man, the mid-wife, the unfrocked, or disgraced priest, the blind man, the osier seller, or even the ragman. The characters are not put before you as repugnance personified; he makes you sympathize, admire, and even love them. You could call it a drama of characters; each one unfolded being a separate act. How beautiful is _The Shepherd_. You can see the stars, and clearly comprehend the beauty of the simile in which he compares the shepherd to the man of Chaldea. The picture of the pasture of eld looms forth like a marvelous mosaic or mural painting: THE SHEPHERD