ot crowd upon him with boorish
impudence, but strew his stony path with flowers, and receive him with
joyous but modest sincerity. When the Russian prince made his landing in
America the determined staring of a bevy of accomplished American women
nearly swept the young man off the deck of the vessel. One cannot but
respect that tremulous sensitiveness which caused the maiden lady to
shrink from staring at the moon when she heard there was a man in it.

The materialistic drift of this age--that is, its devotion to material
development--is frequently deplored. I suppose it is like all other ages
in that respect, but there appears to be a more determined demand for
change of condition than ever before, and a deeper movement for
equalization. Here in America this is, in great part, a movement for
merely physical or material equalization. The idea seems to be well-nigh
universal that the millennium is to come by a great deal less work and a
great deal more pay. It seems to me that the millennium is to come by an
infusion into all society of a truer culture, which is neither of poverty
nor of wealth, but is the beautiful fruit of the development of the
higher part of man's nature.

And the thought I wish to leave with you, as scholars and men who can
command the best culture, is that it is all needed to shape and control
the strong growth of material development here, to guide the blind
instincts of the mass of men who are struggling for a freer place and a
breath of fresh air; that you cannot stand aloof in a class isolation;
that your power is in a personal sympathy with the humanity which is
ignorant but discontented; and that the question which the man with the
spade asks about the use of your culture to him is a menace.

MODERN FICTION

By Charles Dudley Warner

One of the worst characteristics of modern fiction is its so-called truth
to nature. For fiction is an art, as painting is, as sculpture is, as
acting is. A photograph of a natural object is not art; nor is the
plaster cast of a man's face, nor is the bare setting on the stage of an
actual occurrence. Art requires an idealization of nature. The amateur,
though she may be a lady, who attempts to represent upon the stage the
lady of the drawing-room, usually fails to convey to the spectators the
impression of a lady. She lacks the art by which the trained actress, who
may not be a lady, succeeds. The actual transfer to the stage of the
drawing-room and i