ich emphasizes the
homely horror of the theme. The phraseology, with its large proportion
of rural and archaic words and constructions, adds vastly to the general
effect and atmosphere. We believe that Mrs. Jordan analyses the
New-England rustic mind more keenly and accurately than any other
amateur writer; interpreting rural moods and sentiments, be they bright
or dark, with unvarnished simplicity and absolute verisimilitude,
notwithstanding the fact that most of her verse is of a much more
polished and classical character. In "Chores" we are brought vividly
face to face with the bleakest aspect of rusticity; the dull,
commonplace couple, dwelling so far from the rest of mankind that they
have become almost primitive in thought and feelings, losing all the
complex refinements and humanities of social existence. The poem
intensifies that feeling of hidden terror and tragedy which sometimes
strikes us on beholding a lonely farmer, enigmatical of face and sparing
of words, or on spying, through the twilight, some grey, unpainted,
ramshackle, cottage, perched upon a wind-swept hill or propped up
against the jutting boulders of some deserted slope, miles from the town
and remote from the nearest neighbour.

"Young Clare," by Edith Miniter, is a narrative poem of that power and
polish which might be expected of its celebrated author. The only
considerable objection which could possibly be brought against it is a
technical one, applying to the fourth line of the opening stanza:

"To work a cabaret show."

Here we must needs wonder at the use of =work= as a transitive verb when
the intransitive sense is so clearly demanded, and at the evident
accentuation of =cabaret=. We believe that the correct pronunciation of
=cabaret= is trisyllabic, with the accent on the final syllable, thus:
"=cab-a-ray=." We will not be quite so dogmatic about =artiste= in line
2 of the last stanza, though we think the best usage would demand the
accent on the final syllable.

"Gentle Gusts," the quaintly named editorial section, contains much
matter of merit, clothed in a pleasantly smooth style. The classical
name of the publication is here ingeniously explained, and its
dedication formally made. The tribute to Mr. Hoag is as well rendered as
it is merited. The editorial note on amateur criticism is sound and
kindly; the author voicing her protests in a manner which disarms them
of malice, and putting us in a receptive attitude. Personally,