At the same time I DO think that the Government makes a mistake in taxing the profits of the poor book writers under the absurd name of INCOME. But let that go. The Kaiser would probably treat us worse.

I.-Some Startling Side Effects of the War

"There is no doubt," said Mr. Taft recently, "that the war is destined to effect the most profound uplift and changes, not only in our political outlook, but upon our culture, our thought and, most of all, upon our literature."

I am not absolutely certain that Mr. Taft really said this. He may not have said "uplift." But I seem to have heard something about uplift, somewhere. At any rate, there is no doubt of the fact that our literature has moved-up or down. Yes, the war is not only destined to affect our literature, but it has already done so. The change in outlook, in literary style, in mode of expression, even in the words themselves is already here.

Anybody can see it for himself by turning over the pages of our fashionable novels or by looking at the columns of our great American and English newspapers and periodicals.

But stop,-let me show what I mean by examples. I have them here in front of me. Take, for example, the London Spectator. Everybody recognised in it a model of literary dignity and decorum. Even those who read it least, admitted this most willingly; in fact, perhaps all the more so. In its pages to-day one finds an equal dignity of thought, yet, somehow, the wording seems to have undergone an alteration. One cannot say just where the change comes in. It is what the French call a je ne sais quoi, a something insaisissable, a sort of nuance, not amounting of course to a lueur, but still,-how shall one put it,-SOMETHING.

The example that is given below was taken almost word for word (indeed some of the words actually were so) from the very latest copy of The Spectator.

EDITORIAL FROM THE LONDON "SPECTATOR"

Showing the Stimulating Effect of the War on Its Literary Style "There is no doubt that our boys, and the Americans, are going some on the western front. We have no hesitation in saying that last week"s sc.r.a.p was a cinch for the boys. It is credibly reported by our correspondent at The Hague that the German Emperor, the Crown Prince and a number of other guys were eye witnesses of the fight. If so, they got the surprise of their young lives. While we should not wish to show anything less than the chivalrous consideration for a beaten enemy which has been a tradition of our nation, we feel it is but just to say that for once the dirty pups got what was coming to them. We are glad to learn from official quarters that His Majesty King George has been graciously pleased to telegraph to General Pershing, "Soak it to "em-and THEN some."

"Meantime the situation from the point of view both of terrain and of tactics remains altogether in our favour. The deep salient driven into the German lines near Soissons threatens to break up their communications and force a withdrawal on a wide front. We cannot make the position clearer to our English readers than by saying that our new lines occupy, as it were, the form of a baseball diamond, with Soissons at second base and with our headquarters at the home plate and our artillery support at third. Our readers will at once grasp the fact that, with our advance pivoted on the pitcher"s box and with adequate cover at short, the thing is a lead-pipe cinch, -in fact, we have them lashed to the mast.

"Meantime the mood of the hour should be one, not of undue confidence or boastfulness, but of quiet resolution and deep thankfulness. As the Archbishop of Canterbury so feelingly put it in his sermon in Westminster Abbey last Sunday, "Now that we have them by the neck let us go on, in deep and steadfast purpose, till we have twisted the gizzard out of them."

"The Archbishop"s n.o.ble words should, and will, re-echo in every English home."

Critical people may be inclined to doubt the propriety, or even the propinquity, of some of the literary changes due to the war. But there can be no doubt of the excellent effect of one of them, namely, the increasing knowledge and use among us of the pleasant language of France. It is no exaggeration to say that, before the war, few people in the United States, even among the colored population, spoke French with ease. In fact, in some cases the discomfort was so obvious as to be almost painful. This is now entirely altered. Thanks to our military guide-books, and to the general feeling of the day, our citizens are setting themselves to acquire the language of our gallant ally. And the signs are that they will do it. One hears every day in metropolitan society such remarks as, "Have you read, "Soo le foo?"" "Oh, you mean that book by Haingri Barbooze? No, I have not read it yet, but I have read "Mong Swa.s.sant Quinz" you know, by that other man."

This is hopeful indeed. Nor need we wonder that our best magazines are reflecting the same tendency.

Here for instance are the opening sentences of a very typical serial now running in one of our best periodicals: for all I know the rest of the sentences may be like them. At any rate, any magazine reader will recognize them at once:

BONNE MERE PITOU

A Conte of Old Normandy

Bonne Mere Pitou sat spinning beside the porte of the humble chaumiere in which she dwelt. From time to time her eyes looked up and down the gran" route that pa.s.sed her door.

"Il ne vient pas," she murmured (he does not come).

She rose wearily and went dedans. Presently she came out again, dehors. "Il ne vient toujours pas," she sighed (he still does not come).

About her in the tall trees of the allee the percherons twittered while the soft roucoulement of the bees murmured drowsily in the tall calice of the chou-fleur.

"Il n"est pas venu," she said (perfect tense, third singular, he is not, or has not, come).

Can we blame him if he didn"t? No doubt he was still studying his active verb before tackling Mere Pitou.

But there! Let it pa.s.s. In any case it is not only the magazines, but the novels themselves, that are being transformed by the war. Witness this:

BY ONE OF OUR MOST POPULAR NOVELISTS

"It was in the summer house, at the foot of the old garden, that the awaited declaration came. Edwin kneeled at Angelina"s feet. At last they were alone! The successful barrage of conversation which he had put up at breakfast had compelled her mother to remain in her trenches, and had driven her father to the shelter of his dug-out. Her younger brother he had camouflaged with the present of a new fishing rod, thus inducing him to retire to the river. The communications with the servants had been cut. Of the strict neutrality of the gardener he was already a.s.sured. Edwin felt that the moment had come for going over the top. Yet being an able strategist, he was anxious not to attempt to advance on too wide a front.

"Angelina!" he exclaimed, raising himself to one knee with his hands outstretched toward her. The girl started as at the sound of an air bomb; for a moment she elevated her eyes and looked him full in the tangent, then she lowered them again but continued to observe him through her mental periscope.

"Angelina," he repeated, "I have a declaration to make."

"As from what date?" she questioned quietly. Edwin drew his watch from his pocket.

"As from this morning, at ten-forty-six," he said. Then, emboldened by her pa.s.sive att.i.tude, he continued with rising pa.s.sion in his tone.

"Ever since I first met you I have felt that I could not live without you. I am a changed man. My calibre is altered. I feel ten centimeters wider in the mouth than I did six weeks ago. I feel that my path is altered. I have a new range and an angle of elevation such as I never experienced before. I have hidden my love as best I could till now. I have worn a moral gas-mask before your family. I can do so no longer. Angelina, will you be mine, forming with me a single unit, drawing our rations from the same field kitchen and occupying the same divisional headquarters?"

The girl seemed to hesitate. She raised her eyes to his.

"We know one another so little," she murmured.

Edwin felt that his offensive was failing. He therefore hastened to bring up his means of support.

"I have an ample income of my own," he pleaded.

Angelina raised her eyes again. It was evident that she was about to surrender. But at this moment her mother"s voice was heard calling, "Angelina, Angelina, my dear, where are you?"

The barrage had broken down.

"Quick," said the girl, "mobilize yourself. Pick up that tennis racket and let us hurry to the court and dig ourselves in."

"But my declaration," urged Edwin eagerly.

"Accepted," she said, "as from eleven-two this morning."

V.-Other Impossibilities

1.-The Art of Conversation

I-HOW TO INTRODUCE TWO PEOPLE TO ONE ANOTHER

Nothing is more important in introducing two people to each other than to employ a fitting form of words. The more usually recognized forms are easily learned and committed to memory and may be utilized as occasion requires. I pa.s.s over such rudimentary formulas as "Ed, shake hands with Jim Taylor," or, "Boys, this is Pete, the new hand; Pete, get hold of the end of that cant-hook." In fact, we are speaking only of polite society as graced by the fair s.e.x, the only kind that we need care about.

The Third Avenue Procedure

A very neat and convenient form is that in vogue in Third Avenue circles, New York, as, for instance, at a fifty-cents-a-head dance (ladies free) in the hall of the Royal Knights of Benevolence.

"Miss Summerside, meet Mr. O"Hara," after which Miss Summerside says very distinctly, "Mr. O"Hara," and Mr. O"Hara says with equal clearness "Miss Summerside." In this circle a mark of exquisite breeding is found in the request to have the name repeated. "I don"t quite catch the name!" says Mr. O"Hara critically; then he catches it and repeats it-"Miss Summerside."

"Catching the name" is a necessary part of this social encounter. If not caught the first time it must be put over again. The peculiar merit of this introduction is that it lets Miss Summerside understand clearly that Mr. O"Hara never heard of her before. That helps to keep her in her place.

In superior circles, however, introduction becomes more elaborate, more flattering, more unctuous. It reaches its acme in what everyone recognizes at once as

The Clerical Method