ited States should
establish a protectorate over Central America. Senator Green danced for
the affirmative and Senator Hammond danced for the negative. Both
gentlemen had an international reputation. Senator Green's war-dance in
the Senate on the Standard Oil Company is still spoken of in Washington
as the most striking rough-and-tumble exhibition of recent years.
Senator Hammond is an exponent of a style which lays greater stress on
finesse than on vigour. In a single session of the Senate he is said to
have sidestepped nearly a dozen troublesome roll-calls without arousing
any appreciable dissatisfaction among his constituents. Before a popular
jury, however, Senator Green's Cossack methods were likely to carry
greater conviction. And that is what happened in the great debate we
have referred to. Senator Hammond appeared on the platform in a filmy
costume made up of alternate strips of the Constitution of the United
States and the Monroe Doctrine. Wit, sarcasm, irony followed one another
in quick succession over his mobile features and fairly oozed from his
fingers and toes. Yet it was evident that while he could appeal to the
minds of the spectators he had no power to sway their emotions. It was
different with Senator Green. A thunderous volume of applause went up
the moment he appeared on the stage, booted and spurred and heavily
swathed in American flags. His triumph was a foregone conclusion. The
scene that ensued when Senator Green concluded his argument by leaping
right over the table and pouring himself out a glass of ice-water on the
way, simply beggars description.

No one to-day can possibly foresee [wrote the critic of the _Weekly
Review_] to what heights the dance, as the expression of all life, will
be carried. We can only call attention to the plans recently formulated
by one of our leading publishers for a library of the world's best
thought, to be issued at a price that will bring it within the reach of
people of very moderate means. The library will consist of bound volumes
of photographs showing the world's greatest dancers in their
interpretation of famous authors. Twenty young women from the Paris and
St. Petersburg conservatories of dancing have already been engaged.
Among other works they will dance the Psalms and Ecclesiastes, the
second book of the Iliad, "Oedipus the King," the fifth Canto of
Dante's "Inferno," Spinoza's "Ethics," "Hamlet," Rousseau's
"Confessions," "Mother Goose," Tennyson's