Morgan," with Arthur Davison
Ficke, q.v.)
Grenstone Poems. 1917.
A Canticle of Praise. 1919.
The Beloved Stranger. 1919.
A Canticle of Pan and Other Poems. 1920.
Pins for Wings. 1920. (Under pseudonym "Emanuel Morgan.")

STUDIES AND REVIEWS

Boynton
Untermeyer.

Acad. 86 ('14): 687.
Bookm. 47 ('18): 394.
Dial, 67 ('19): 302.
Forum, 55 ('16): 675.
Freeman, 1 ('20): 476.
Mentor, 7 ('19): supp. (portrait).
Nation, 109 ('19): 440.
New Repub. 9 ('16): supp. p. 13. (Review of _Spectra_, Bynner.)
Poetry, 7 ('15): 147; 12 ('18): 169; 15 ('20): 281.
See also _Book Review Digest_, 1914, 1920, 1921.

+James Branch Cabell+--novelist, critic.

Born at Richmond, Virginia, 1879, of an old Southern family. A.B.,
William and Mary College, 1898, where he taught French and Greek, 1896-7.
Newspaper work from 1899-1901. Since then he has devoted his time almost
entirely to the study and writing of literature. His study of genealogy
and history has an important bearing upon his creative work.

SUGGESTIONS FOR READING

1. Before reading Mr. Cabell's stories, read his _Beyond Life_, which
explains his theory of romance. He maintains that art should be based on
the dream of life as it should be, not as it is; that enduring
literature is not "reportorial work"; that there is vital falsity in
being true to life because "facts out of relation to the rest of life
become lies," and that art therefore "must become more or less an
allegory."

2. Mr. Cabell's fiction falls into two divisions:

(1) Romances of the middle ages.
(2) Comedies of present-day Virginia.

Both elements are found in _The Cream of the Jest_ (cf. with Du Maurier's
_Peter Ibbetson_). The romances illustrate different aspects of his
theory of chivalry; the modern comedies, his theory of gallantry (cf.
_Beyond Life_).

3. In his romances he has created an imaginary province of France, the
people of which bear names and use idioms drawn from widely diverse and
incongruous sources. His effort to create mediaeval atmosphere by the use
of archaisms does not preclude modern idiom and slang. Through all this
work, elaborate pretense of non-existent sources of the tales and
frequent allusions to fictitious authors are a part of the method. After
reading some of these stories, consider the following criticism from the
_London Times_ quoted by Mr. Cabell himself at the end of _Beyond Life_:
"It require