And if the paroxysts seek for power—for power that overcomes and subdues, that smites suddenly or conquers slowly, and recreates again the same—let them look aside from their banging machinery, from all materialistic illusion—from “the poetry contained in modern cities, locomotives, aeroplanes, dreadnoughts and submarines; in a stock exchange, a Wall street or a wheat pit—and behold the power and the marvel, beyond all “scientific marvels,” of Nature, singing slow or fast as suits her business, chanting her inevitable rhythms through the ages, taking back into her patient bosom all the marring excrescence that man for a little while has reared thereon. What is New York or Pittsburg but an itching pimple on the face of the earth? There is much outside incorporate limits, and beyond the sound of mill-whistles and the scream of trains. The earth is scarce disturbed as yet. “My love is like a red, red rose”—the same song that sang the enraptured Solomon, or whoever it was that indited the Canticle—will, I believe, outlast any paroxysm which records a “cinematographic vision of modern life.” This is possibly the idea of the paroxysts themselves, they to sing anew as the occasion demands, and keep their product, like that of the movies, down-to-now. But though the words of the love-song perish, some man will sing it again, for joy at sight of his beloved, when springtime urges on the rose. Sappho sang of love, and men search the sea-floor for her fragments. However, if the paroxysts wish to see their notions expressed in proper relation to all things else, let them read Walt Whitman, who had room for everything, as he lustily proclaimed, in his sturdy chants. The New Beauty: is there any such thing? Why the adjective? SCRIBNER PLAYS Robert Frank BY SIGURD IBSEN A drama, which William Archer, the distinguished English critic, considers convincing proof that he possesses “dramatic faculty in abundance.” Mr. Archer defines it as “a powerful and interesting play which claims attention on its own merits, eminently a play of to-day, or, rather, perhaps of to-morrow.” The truth of this last comment is sufficiently evinced in the fact that its motive is the attempt of a young statesman to end, once and for all, the struggle between capital and labor by dramatically heroic measures. _$1.25 net; postage extra_ Plays by Björnstjerne Björnson Translated from the Norwegian, with Introductions, by EDWIN BJÖRKMAN. Each with frontispiece SECOND SERIES “Love and Geography,” “Beyond Human Might,” “Laboremus.” FIRST SERIES “The New System,” “The Gauntlet,” “Beyond Our Power.” _Each, $1.50 net; postage extra_ Plays by August Strindberg