The dramatic lyric took new force and naturalness in the hands of Rose Terry Cooke, and turned fiery in those of Mrs. Stoddard; whose contemplative poems also have an eminent sad dignity of style. The fine-spun subjective verse of Mrs. Piatt flashes at times with felicities as a web with dew-drops. Many names appear upon the honorable roll: Mrs. Fields, Mrs. Spofford,—whose rich nature reveals itself in verse as in the novel,—Mrs. Margaret J. Preston, Mrs. Mary Ashley Townsend; Elizabeth Akers Allen, Julia C. R. Dorr, Mrs. Stowe, Mrs. Whitney, Mrs. Dodge, Mrs. Moulton; Mrs. Thaxter, the sea’s true lover, who has devoted herself to the faithful expression of a single phase of natural beauty; Mrs. Mary E. Bradley, Kate Putnam Osgood, Nora Perry, Mary N. Prescott, and Harriet McEwen Kimball; Mary Clemmer Hudson, Margaret Sangster, Miss Bushnell, “Susan Coolidge,” “Howard Glyndon,” “Stuart Sterne,” Charlotte Fiske Bates, May Riley Smith, Ella Dietz, Mary Ainge De Vere, Edna Dean Proctor, the Goodale sisters, Miss Coolbrith, Miss Shinn, “Owen Innsley,” Elizabeth Stuart Phelps, and Alice Wellington Rollins. There is a kind of white fire in the best of the subtle verses of “H. H.”—a diamond light, enhanced by careful cutting. Generally impersonal, the author’s individuality yet lives in them to an unusual degree. We may recognize, also, in the Jewish poems of Emma Lazarus, especially in “By the Waters of Babylon” and the powerful fourteenth-century tragedy, “The Dance to Death,” “the precious life-blood of a master spirit, embalmed and treasured up on purpose to a life beyond life.” The poems of Edith M. Thomas, with their exquisite workmanship, mark the high attainment of woman in the mastery of poetic forms, and exhale some breath of that fragrance which clings to the work of the young Keats. Miss Hutchinson’s “Songs and Lyrics” have also rare quality. The graceful verse of Mrs. Deland has been quick to win the ear of the public. Louise Imogen Guiney, sometimes straining the voice, has nevertheless contributed to the general chorus notes of unusual fullness and strength. In other branches of literature, to which comparatively few women have chosen to devote themselves, an increasing thoroughness is apparent, a growing tendency to specialism. The irresponsible feminine free-lance, with her gay dash at all subjects, and her alliterative pen-name dancing in every melée like a brilliant pennon, has gone over into the more appropriate field of journalism. The calmly adequate literary matron-of-all-work is an admirable type of the past, no longer developed by the new conditions. The articles of Lucy M. Mitchell on sculpture and of Mrs. Schuyler van Renssalaer on art and architecture; the historical work of Martha J. Lamb and of Mary L. Booth, the latter also an indefatigable translator; the studies of Helen Campbell in social science; the translations of Harriet Waters Preston—these few examples, given at random, are typical of the