hat, find at the end that the
happiness has somehow eluded them, that; in short, they have not
cultivated that in themselves that alone can bring happiness. More than
that, they have lost the power of the enjoyment of the essential
pleasures of life. I think that the woman in the Scriptures who out of
her poverty put her mite into the contribution-box got more happiness out
of that driblet of generosity and self-sacrifice than some men in our day
have experienced in founding a university.

And how fares it with the intellectual man? To be a selfish miner of
learning, for self-gratification only, is no nobler in reality than to be
a miser of money. And even when the scholar is lavish of his knowledge in
helping an ignorant world, he may find that if he has made his studies as
a pursuit of happiness he has missed his object. Much knowledge increases
the possibility of enjoyment, but also the possibility of sorrow. If
intellectual pursuits contribute to an enlightened and altogether
admirable character, then indeed has the student found the inner springs
of happiness. Otherwise one cannot say that the wise man is happier than
the ignorant man.

In fine, and in spite of the political injunction, we need to consider
that happiness is an inner condition, not to be raced after. And what an
advance in our situation it would be if we could get it into our heads
here in this land of inalienable rights that the world would turn round
just the same if we stood still and waited for the daily coming of our
Lord!

LITERATURE AND THE STAGE

Is the divorce of Literature and the Stage complete, or is it still only
partial? As the lawyers say, is it a 'vinculo', or only a 'mensa et
thoro?' And if this divorce is permanent, is it a good thing for
literature or the stage? Is the present condition of the stage a
degeneration, as some say, or is it a natural evolution of an art
independent of literature?

How long is it since a play has been written and accepted and played
which has in it any so-called literary quality or is an addition to
literature? And what is dramatic art as at present understood and
practiced by the purveyors of plays for the public? If any one can answer
these questions, he will contribute something to the discussion about the
tendency of the modern stage.

Every one recognizes in the "good old plays" which are occasionally
"revived" both a quality and an intention different from anything in most
contempor