ng a pleasant variety of prose, verses, and puzzles. "King
of the Nursery Realm," by Margaret Mahon, is a smooth and musical piece
of juvenile verse which excels in correctness of form rather than in
novelty of thought.

"Bards and Minstrels, and The Augustan Age," by Beryl Mappin, is the
second of a series of articles on English literature and its classical
foundations. The erudition and enthusiasm displayed in this essay speak
well for the future of the authoress, though certain faults of style and
construction demand correction. Careful grammatical study would
eliminate from Miss Mappin's style such solecisms as the use of =like=
for =as=, whilst greater attention to the precepts of rhetoric would
prevent the construction of such awkward sentences as the following:
"The same if one is reading an interesting book, can one not see all
that is happening there as clearly with one's inner eyes as if it was
all taking place before one, and viewed with one's outer ones?" This
passage is not only wanting in coherence and correctness of syntax, but
is exceedingly clumsy through redundancy of statement, and repetition of
the word =one=. This word, though essential to colloquial diction,
becomes very tiresome when used to excess; and should be avoided in many
cases through judicious transpositions of the text. The following is a
revised version of the sentence quoted above: "Thus, in reading an
interesting book, can one not see with the inner eyes all that is
happening there, as clearly as if it were taking place in reality before
the outer eyes?" Other parts of the essay require similar revision.
Concerning the development of the whole, we must needs question the
unity of the topics. Whilst the connecting thread is rather evident
after a second or third perusal, the cursory reader is apt to become
puzzled over the skips from the Graeco-Roman world to the early Saxon
kingdoms, and thence to the dawn of our language amongst the
Anglo-Normans. What Miss Mappin evidently wishes to bring out, is that
the sources of English literature are twofold; being on the one hand the
polished classics of antiquity, inspired by Greece, amplified and
diffused by Rome, preserved by France, and brought to England by the
Normans; and on the other hand the crude but virile products of our
Saxon ancestors, brought from the uncivilized forests of the continent
or written after the settlement in Britain. From this union of
Graeco-Roman classicism with