The Philistine
Date: 2022-06-21T00:00:00+00:00
Keywords: American literature -- Periodicals; American periodicals; Society of the Philistines (East Aurora; N.Y.) -- Periodicals

The Project Gutenberg eBook of The Philistine

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Philistine
a periodical of protest (Vol. I, No. 1, June 1895)

Author: Various

Editor: Harry Persons Taber

Release date: June 21, 2022 [eBook #68370]
Most recently updated: October 18, 2024

Language: English

Original publication: United States: The Society of the Philistines, 1895

Credits: hekula03 and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)

*** START OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE ***

The Philistine
A Periodical of Protest.

“Those Philistines who engender animosity, stir up trouble and then smile.”—John Calvin.

Printed Every Little While for The Society of The Philistines and Published by Them Monthly. Subscription, One Dollar Yearly

Single Copies, 10 Cents.

June, 1895.

THE PHILISTINE.

Contents for June.

1. Quatrains,
E. R. White.
2. Philistines Ancient and Modern,
William McIntosh.
3. The Sanity of Genius,
Rowland B. Mahany.
4. English Monuments,
Elbert Hubbard.
5. Ballade des Écrivains du Temps Jadis,
G. F. Warren.
6. Philistinism in General,
Mark S. Hubbell.
7. Side Talks,
The East Aurora School of Philosophy.

COPYRIGHT 1895

THE PHILISTINE.

NO. 1. June, 1895. VOL. 1.

QUATRAINS.

If one could hear aright the murmurings
Of some shore-stranded sea-shell as it sings,
It might be then that he would come to know
An inkling of the Planner’s purposings.

The weary shuttle can no more divine
Of how its thread looks, in the whole design,
Than we poor shuttles, in the hand of Fate
Can fathom of the Plan a single line.

E. R. White.

PHILISTINES ANCIENT AND MODERN.

“The Ancient Philistines.—The enemies of the children of light.”—International Cyclopedia.

“Philistine.—A term of contempt applied by prigs to the rest of their species.”—Leslie Stephen.

A tiny spot on the map is the Philistia of Old Testament days—a way station on the path of commerce between alphabet-building Phœnicia to the north, and Canaan and predatory Arabia on the south. But long before those hardy neighbors plagued Israel and made a hostage of the Ark of the Covenant there were Philistines in the world, influencing its destinies.

Tradition has been unkind to Philistinism as to many other good things. The Serpent in the Garden is the earliest embodiment of the genius of protest, unless we follow John Milton farther back to the rebellion in the Court of Heaven, organized by the Sons of the Morning. Omnipotence that founded order set in motion change also. The unrest that is the electro-motor of progress is in nature as in man, and evolution is its perpetual law.

Human society was ripe for Philistines when Noah launched his ocean palace inland. Scarce a century later the egotism of man sought to scale high heaven from a tower of brick and asphalt. Matter was deified with the usual result, and a discordant medley of alien labor was all the product of the giant enterprise.

Down through the patriarchal ages the conservative men who builded cities and the sons of progress who balked established order and moved on kept up the alternation of forces. Jacob wrung from an angel his divine endowment and won his brother’s primogeniture when Esau, the conservative, gave all the future for the good things near by. Joseph, the dreamer, peddled like old clothes to a rag man, showed his thrifty brothers a bunco trick worth learning when he had come, a stranger of a despised race, to be all but a Pharaoh in the capital of civilization. The trumpet blasts that felled Jericho, the vanquishing shouts of Gideon, the sling of the shepherd stripling that freed a nation, tell of seemingly inadequate means out of the conservative order that changed history. Moses, prophet and lawgiver and priest, killed his man and was a fugitive a generation before he abandoned his princely rank in Egypt to lead a nation of slaves into the evolution of independence and mastery of the world’s spiritual thought.

The ancient monarchies went to wreck when the social order had become stationary—encrusted with custom and caste. But a few Philistines, destroyers of arbitrary ranks, recreated the world in the democracy of Chivalry, and that in turn went down when its vital purpose had been achieved and its orders had become set and stifled progress.

It was a Philistine, a despised player and holder of horses, who gave the modern world its literature. It was a heretic monk who threw ink-stands, not only at Satan, but at embodied and enthroned religion, who gave the modern world its impetus to freedom. The imaginative authors who most strongly sway mankind today are Philistines. Thackeray smilingly lifted the mask from aristocracy and exposed its sordid servility. Dickens threw down the idols of pretentious respectability. Hugo taught the democracy of virtue. Tolstoi dethroned convention in religion. Ibsen divorced morality from law.

The note of protest resounds throughout history. Every age seeks in material gratifications the realization of its destiny. Everywhere genius becomes conservative and sterile; art grows self-conscious and measures achievement by technical difficulties; ceremonial binds social life; law protects artificial privilege; religion is refined into theology or materialized into idolatry; hospitality becomes an exchange, and the humanities are buried alive under their own machinery. They who protest, who exalt purpose and measure achievement thereby, are called Philistines.

They realize the finiteness of all created things. They see evolution in all, and hold naught that is finite to be final.

Philistinism is the world’s perpetual crusade. It reveres tradition, but it despises commonplace in purple.

William McIntosh.

THE SANITY OF GENIUS.

I talked with one who made a life “success”

Along convention’s smooth and hedge-trimmed road,

Type of that class who bear but their own load,

And “shrewdly” shun the fiery storm and stress,

When hearts and souls unselfish forward press
To mitigate oppression’s stinging goad;
Reformers he called geniuses, but showed
That genius is “a kind of foolishness.”

Well, when I thought how soon he would be cold,

How soon forgotten, and in how few years

His idiot heirs would spend his hoardings vain,

While “the eccentrics” would in ways untold
Make ever less the sum of human tears,
It seemed to me—genius alone is sane!

Rowland B. Mahany.

Legation of the United States, Quito, 1893.

ENGLISH MONUMENTS.

England relegates her poets to a “Corner.” The earth and the fullness thereof belongs to the men who can kill; on this rock have her State and Church been built.

As the tourist approaches the city of London for the first time there are four monuments that probably will attract his attention. They lift themselves out of the fog and smoke and soot, and seem to struggle toward the blue.

One of these monuments is to commemorate a calamity—the conflagration of 1666—and the others are in honor of deeds of war.

The finest memorial in St. Paul’s is to a certain Irishman, Albert Wellesley, Duke of Wellington. The mines and quarries of earth have been called on for the richest contributions; and talent and skill have given their all to produce this enduring work of beauty that tells posterity of the mighty acts of this mighty man. The rare richness and lavish beauty of the Wellington mausoleum is only surpassed by that of a certain tomb in France.

As an exploiter the Corsican overdid the thing a bit—so the world arose and put him down; but safely dead his shade can boast a grave so sumptuous that Englishmen in Paris refuse to look upon it.

But England need not be ashamed. Her land is spiked with glittering monuments to greatness gone. And on these monuments you often get the epitomized life of the man whose dust lies below.

On the carved marble to Lord Cornwallis I read that “He defeated the Americans with great slaughter.” And so, wherever in England I see a beautiful monument I know that probably the inscription will tell how “he defeated” somebody. And one grows to the belief that, while woman’s glory is her hair, man’s glory is to defeat someone. And if he can “defeat with great slaughter” his monument is twice as high as if he had only visited on his brother man a plain defeat. In truth I am told by a friend who has a bias for statistics, that all monuments above fifty feet high in England, are to men who have defeated other men “with great slaughter.” The only exceptions to this rule are the Albert Memorial, which is a tribute of wifely affection rather than a public testimonial, so therefore need not be considered here, and a monument to a worthy brewer who died and left three hundred thousand pound to charity. I mentioned this fact to my friend, but he unhorsed me by declaring that modesty forbade carving truth on the monument, yet it was a fact that the brewer, too, had brought defeat to vast numbers and had, like Saul, slaughtered his thousands.

When I visited the site of the Globe Theater and found thereon a brewery whose shares are warranted to make the owner rich beyond the dream of avarice, I was depressed. In my boyhood I had supposed that if ever I should reach this spot where Shakespeare’s plays were first produced I should see a beautiful park and a splendid monument; while some white-haired old patriarch would greet me and give a little lecture to the assembled pilgrims on the great man whose footsteps had made sacred the soil beneath our feet.

But there is no park, no monument and no white-haired old poet to give you welcome—only a brewery.

“Aye, mon, but ain’t ut a big ’un?” protested an Englishman who heard my murmurs.

Yes, yes, we must be truthful. It is a big brewery, and there are four big bulldogs in the court way; and there are big vats; and big workmen in big aprons. And each of these workmen is allowed to drink six quarts of beer each day without charge, which proves that the true Christian spirit is not dead. Then there are big horses that draw the big wagons and on the corner is a big tap room where the thirsty are served with big glasses.

The founder of this brewery became very rich; and if my statistical friend is right, the owners of these mighty vats have defeated mankind “with great slaughter.”

We have seen that although Napoleon, the defeated, has a more gorgeous tomb than Wellington, who defeated him, yet there is consolation in the thought that although England has no monument to Shakespeare, he now has the freedom of Elysium; while the present address of the British worthies, who have battened and fattened on poor humanity’s thirst for strong drink since Samuel Johnson was executor of Thrale’s estate, is unknown.

We have this on the authority of a Spirit Medium, who says: “The virtues essential and peculiar to the exalted station of the British worthy debars the unfortunate possessor from entering Paradise. There is not a Lord Chancellor, or Lord Mayor, or Lord of the Chamber, or Master of the Hounds, or Beefeater in Ordinary, or any sort of British bigwig out of the whole of British Beadledom, upon which the sun never sets, in Elysium. This is the only dignity beyond their reach.”

This Mejum is an honorable person, and I am sure he would not make this assertion if he did not have proof of the facts. So for the present we will allow him to go on his own recognizance, believing that he will adduce his documents at the proper time.

But still should not England have a fitting monument to Shakespeare? He is her one universal citizen. His name is honored in every school or college of earth where books are prized. There is no scholar in any clime who is not his debtor.

He was born in England, he was never out of England, his ashes rest in England.

But England’s Budget has never been ballasted with a single pound to help preserve inviolate the memory of her one son to whom the world uncovers.

Victor Hugo has said something on this subject about like this:

Why a monument to Shakespeare? He is his own monument and England is its pedestal. Shakespeare has no need of a pyramid; he has his work.

What can bronze or marble do for him? Malachite and alabaster are of no avail. Jasper, serpentine, basalt, porphyry, granite; stones from Paros and marble from Carrara—they are all a waste of pains; genius can do without them.

What is as indestructible as these: The Tempest, The Winter’s Tale, Julius Cæsar, Coriolanus? What monument sublimer than Lear, sterner than The Merchant of Venice, more dazzling than Romeo and Juliet, more amazing than Richard III?

What moon could shed about the pile a light more mystic than that of A Midsummer Night’s Dream? What capital, were it even in London, could rumble around it as tumultuously as Macbeth’s perturbed soul? What framework of cedar or oak will last as long as Othello? What bronze can equal the bronze of Hamlet?

No construction of lime, of rock, of iron and of cement is worth the deep breath of genius, which is the respiration of God through man. What edifice can equal thought? Babel is less lofty than Isaiah; Cheops is smaller than Homer; the Colosseum is inferior to Juvenal; the Giralda at Seville is dwarfed by the side of Cervantes; St. Peter’s at Rome does not reach to the ankle of Dante.

What architect has the skill to build a tower so high as the name of Shakespeare? Add anything if you can to mind! Then why a monument to Shakespeare?

I answer, Not for the glory of Shakespeare, but for the honor of England!

Elbert Hubbard.

BALLADE DES ÉCRIVAINS DU TEMPS JADIS.

PUBLISHED IN CHICAGO circa A. D. 1930, AND PRINTED BY THE PHILISTINE FROM ADVANCE SHEETS.

In what Limbo, or Paradis,
Hides the bulge of his brainful brow
Ponderous Howells, W. D.?
Where vade Warner and Aldrich now,
Boyesen, knowful of why and how,
Skandine skald of the soulful sneer—
Light his pen as a sub-soil plow—?
But where is the froth of yestreen’s beer?

Where now drivels the droolful Bok?

Whither doth Harding Davis fare?

And Riley, best of the rhyming flock?

Where is the georgic Garland, where

Harte, tamed cub of the grizzly bear?

Ben Hur Wallace, whose style was queer?

Quipful Clemens, that jester rare?

But where is the froth of yestreen’s beer?

Where hies Hawthorne, last of the name?

Gamesome Stockton, where gambols he,

With lass and tiger, his fee to fame?

And Bunner, airful of Arcadie?

Whither doth Brander Matthews flee?

Slim, sad Gilder, sweet sonneteer,

Darling and pride of his Century?

But where is the froth of yestreen’s beer?

Sought ye, gentles, a year and day
Tidings of these, ye still must hear
The doleful burden of this poor lay,
But where is the froth of yestreen’s beer?

G. F. W.

PHILISTINISM IN GENERAL.

I doff my hat to The Philistine and hail it “Brother well met.”

In the name of all who have hated shams, in the name of all brave knights whose lances have shivered against the dead walls of human stupidity, ignorance, malice and convention; in the name of every stifled and unuttered song that should have mounted like a meadow lark’s to heaven; in the name of every pilloried hope and dead ambition killed in the long battle with the Mediocrities and the Banalities greet thee, Knight Errant from Philistia, and bid thee God speed.

And having,“hailed,” and “bade,” and “greeted,” let me say that though the world is wide and shams are many, and the race, to the swift usually, and the fight to the strong almost always, and though the God of battle, is according to Napoleon, whom it is fashionable to quote “on the side of the big battalions,” yet strong blows for truth are cumulative and The Philistine’s bright blade must be dyed often with the blood of Error ere it be sheathed and every lie sooner or later driven to its sure end of bankruptcy.

I will not hail you Reformer, for that old and honorable name like that older and still more honorable one of “gentleman” has fallen recently into disrepute and at last reports was still falling; besides reformers are often failures, and too often after a brief career are found taking tea with the Mammon of Unrighteousness, having assumed their discarded role originally rather for “what there was in it,” than from exalted or high-minded motives or to improve the condition of their respective healths.

A young man called once on the great Voltaire, and besought his encouragement in projects he had conceived for a reorganized and better scheme of human society, The philosopher leaned his head upon his hand and thought a minute, then rising, led the way to an inner room, where, against the velvet-hung wall, was an ivory figure of the Redeemer on the cross; he pointed to it with warning forefinger. “Young man,” he said, “behold the fate of a reformer.”

When I see the little things many men strive and cavil over and the great ones they disregard or ignore I know that the kingdom of Liliput was not a figment of the imagination of the genial Swift but a lesson from real life. And when I consider how they swarm like water-bugs and quarrel over the pronunciation of words and bicker with their neighbor to make him or her use the sharp “a” in “squalor” so as to make it “squaylor,” I think sensible people might be excused for weeping or even swearing.

Little people these, say I, and I would wager a dollar to nothing that William Dean Howells is their prophet and that they all venerate his works.

The mere fact that Howells is, is a proof that there are those who want Howells besides himself, and while not entirely subscribing to the saying that “whatever is is best,” it must be recognized that it has its raison d’être, and we all know Howells has his readers or he would not have his publishers.

One can almost tell what a man’s opinions will be by knowing what he reads or has read, just as I once heard it said of a tuft-hunting editor that it could be predicated with absolute certainty what position he would take on a public question by learning with whom he walked down town in the morning or with what wealthy parvenu he passed the previous evening. This is but a modern application of the old saw, “a man is known by the company he keeps,” and mentally he may be known by the books he reads or the magazines he skims through. I shudder for Richard Watson Gilder, John Brisben Walker, E. Bok, and others of the Mutual Admiration Society style of periodical makers if they are to be believed to keep the company or read the lucubrations of the contributors to the dreary masses of illustrated inanities they edit, publications which have claims to interest, based alone upon the merit of their illustrations and the perfection of their typographical beauty.

But to recur to the line of romance and digress from the magazines which need so much attention, and from “Bartley” and the other counter jumping namby-pamby, goody-goodies of the Howells stripe, including his own weary history of himself, and the “Books Which Most Influence Him,” the baleful effects of which are legitimately and plainly perceptible in his works. There are shams in literature more dreadful than Mr. Howells, who is a turgid fact and no sham. For instance;

I know of one evanescently popular young creature who chronically contributes to the magazines, whose mother it is said, writes his tales which, she being a clever woman and he an uncommonly stupid man, appears credible to say the least; and there is another “man” I am told of whose sister is said to write his poems and modestly efface herself, and as the stories are good and the poems fairly readable, it should be the part of The Philistine to disclose to the world the real authors and chastise these and other shams, for shams are the hardest hurdles in the steeplechase which Truth has to make in this world, since they substitute the false for the real and crown the fool with the laurels of the genius.

How much more might be said of the tasks you have to accomplish, brave Philistine with your brawny arm and your good naked sword! So much that the very thought of it fatigues one and that, hailing you as the latest and best contestant in the tourney of Knighthood and yet, considering you as a publication in an embryonic stage, I am compelled to quote these lovely lines of Longfellow:

“Oh, little feet that such long years
Must wander through this vale of tears,
I, nearer to the wayside inn
Where travail ends and rest begins,
Grow weary thinking of your road.”

Mark S. Hubbell.

SIDE TALKS WITH THE PHILISTINES: BEING SUNDRY BITS OF WISDOM WHICH HAVE BEEN HERETOFORE SECRETED, AND ARE NOW SET FORTH IN PRINT.

It is a land of free speech, Philistia, and if one of us chooses to make remarks concerning the work of the others no sense of modesty keeps us quiet. It is because we cannot say what we would in the periodicals which are now issued in a dignified, manner in various places, that we have made this book. In the afore-mentioned periodicals divers men chatter with great fluency, startling regularity and “damnable complacency,” each through his individual bonnet. Edward W. Bok, evidently assisted by Mrs. Lydia Pinkham and W. L. Douglas, of Brocton, Massachusetts, prints the innermost secrets of dead women told by their living male relatives for six dollars a column. Thereby the authors are furnished with the price of a week’s board, and those of us who may have left some little sense of decency, wonder what manner of man it may be who sells his wife’s heart to the readers of Bok. But the “unspeakable Bok” is “successful.” His magazine flourishes like a green bay tree. Many readers write him upon subjects of deportment and other matters in which he is accomplished. So, the gods give us joy! Let him drive on, and may his Home Journal have five million readers before the year is out—God help them!

Mr. Gilder dishes up monthly beautifully printed articles which nobody cares about, but which everybody buys, because The Century looks well on the library table.

Mr. Howells maunders weekly in a column called “Life and Letters” in Harper’s journal of civilization. This “Life and Letters” reminds me of the Peterkin’s famous picnic at Strawberry Nook. “There weren’t any strawberries and there wasn’t any nook, but there was a good place to tie the horses.”

So it goes through the whole list. There are people, however, who believe that Romance is not dead, and that there is literature to be made which is neither inane nor yet smells of the kitchen sink. This is a great big merry world, says Mr. Dana, and there’s much good to be got out of it, so toward those who believe as we do—we of Philistia—this paper starts upon its great and perilous voyage at one dollar a year.

It was Balzac, or some one else, who used to tell of a flea that lived on a mangy lion and boasted to all the rank outside fleas that he met: I have in me the blood of the King of Beasts.

It is a comforting thought that somewhere, at some time, every good thing on earth is brought to an accounting of itself. Thereby are the children of men saved from much tyranny. For the good things of earth are your true oppressors.

For such an accounting are Philistines born in every age. By their audit are men perpetually set free from trammels self-woven.

Earnest men have marvelled in all times that convention has imputed to husks and symbols the potency of the things they outwardly stand for. Many also have protested, and these, in reproach, have been called Philistines. And yet they have done no more than show forth that in all things the vital purpose is more than the form that shrines it. The inspirations of to-day are the shams of to-morrow—for the purpose has departed and only the dead form of custom remains. “Is not the body more than raiment”—and is not life more than the formulæ that hedge it in?

Wherefore men who do their own thinking, and eke women betimes, take honor rather than disparagement in the name which is meant to typify remorseless commonplace. They hesitate not to question custom, whether there be reason in it. They ask “Why?” when one makes proclamation:

“Lo! Columbus discovered America four hundred years ago! Let us give a dance.” There have been teachers who sought to persuade mankind that use alone is beauty—and these too have done violence to the fitness of things. On such ideals is the civilization of Cathay founded. Neither in the grossness of material things nor in the false refinements that “divorce the feeling from its mate the deed” is the core and essence of living.

It is the business of the true Philistine to rescue from the environment of custom and ostentation the beauty and the goodness cribbed therein. And so the Philistines of these days, whose prime type is the Knight of La Mancha, go tilting at windmills and other fortresses—often on sorry nags and with shaky lances, and yet on heroic errand bent. And to such merry joust and fielding all lovers of chivalry are bidden: to look on—perhaps to laugh, it may be to grieve at a woeful belittling of lofty enterprise. Come, such of you as have patience with such warriors. It is Sancho Panza who invites you.

The Chip-Munk has a bright reference in the issue of May 15 to Coventry, Patmore, Pater and Meredith. These are four great men, as The Chip-Munk boldly states.

The Chip-Munk further announces that the Only Original Lynx-Eyed Proof Reader has not gone on a journey. Really, I supposed of course he had been gone these many moons!

I wonder if Carman is still upon a diet of Mellin’s Food that he imagines people do not know that this poem

LITTLE LYRICS OF JOY—V.

Lord of the vasty tent of Heaven,
Who hast to thy saints and sages given
A thousand nights with their thousand stars,
And the star of faith for a thousand years.

Grant me, only a foolish rover,
All thy beautiful wide world over,
A thousand loves in a thousand days,
And one great love for a thousand years.

—Bliss Carman in The Chap Book, May, 1895.

was written years and years ago as follows:

The night has a thousand eyes,
And the day but one;
Yet the light of the bright world dies
With the dying sun.

The mind has a thousand eyes,
And the heart but one;
Yet the light of a whole life dies
When love is done.

—Francis W. Bourdillon.

I desire to swipe him after this manner:

LITTLE DELIRICS OF BLISS.

MDCCCXCIV.

Lord of the wires that tangle Heaven,
Who hast to thy brake-persuaders given,
The longest of days to ring and grind,
And no least screen from the winter’s wind.

Grant me, only, a summer lover,
Sunshiny days the long year over,
A thousand whirls and a thousand fares,
And one long whirl of a thousand hours.

Joy Trolleyman.

IV-XI-XLIV.

White and rose are the colors of strife,
What care I for the crimson and blue?
Greater than football the battle of life
And tragic as aught the gods may view,
The clutch and the gripe of inward ills;
Pallid the People and Pink the Pills.

Joy Cartman.

Mark Twain says he is writing “Joan of Arc” anonymously in Harper’s because he is convinced if he signed it the people would insist the stuff was funny. Mr. Twain is worried unnecessarily. It has been a long time since any one insisted the matter he turns out so voluminously was or is funny.

The amusing William Dean Howells writes that he is so bothered by autograph seekers that he will hereafter refuse to send his signature “with a sentiment” unless the applicant for his favor produces satisfactory evidence he has read all of his works, “now some thirty or forty in number.” When this proof has been sent if Mr. Howells does not return his autograph on the bottom of a check for a large amount, he deserves to be arrested for cruelty to his fellows.

There is no doubt that a teacher once committed to a certain line of thought will cling to that line long after all others have deserted it. In trying to persuade others he convinces himself. This is especially so if he is opposed. Opposition evolves in his mind a maternal affection for the product of his brain and he defends it blindly to the death. Thus we see why institutions are so conservative. Like the coral insect they secrete osseous matter; and when a preacher preaches he himself always goes forward to the mourners’ bench and accepts all of the dogmas that have just been so ably stated.

Literature is the noblest of all the arts. Music dies on the air, or at best exists only as a memory; oratory ceases with the effort; the painter’s colors fade and the canvas rots; the marble is dragged from its pedestal and is broken into fragments; but the Index Expurgatorius is as naught, and the books burned by the fires of the auto da fe still live. Literature is reproduced ten thousand times ten thousand and lodges its appeal with posterity. It dedicates itself to Time.

The action of various theatrical managers in cutting from their programmes the name of the author of the plays running at their houses and the similar action of numerous librarians in withdrawing his books from their shelves is simply another proof of the marvellous powers of stultification possessed by the humans of the present time. These managers, having the scattering wits of birds, do not seem to appreciate that, whatever the character of the author, the plays he has written were as bad before they were produced as they are now that he has been so effectually extinguished; and these librarians cannot comprehend, evidently, that his books were fully as immoral as they are now when they were first put on the shelves. Would it not be a refreshing thing to find a theatrical manager who managed a theater because he had an honest purpose of elevating, perpetuating, purifying and strengthening the drama, instead of speculating in it as a Jew speculates in old clothes? And would it not be a marvel to discover librarian who knew something about books?

Buffalo, New York, is getting to be very classic in some things. It tolerated the nude with great equanimity in the recent Art Exhibition and exhibits the female embodiment of everything ideal, from the German muse of song to the still more German muse of barley products, at the great variety of fests, more or less related to beer, that follow in swift succession in that town. But the classic climax was reached on Good Friday of this year, when the Venus of Milo, mounted on a Bock beer pedestal, was the center piece of an Easter symbol picture in a Hebrew clothing advertisement. The limit of Buffalo congruity seems to have been reached.

The Chip-Munk for May has a bit of folk-lore about a man who advised another to join a conspiracy of silence. This item appeared in 1893 and during 1894 was published by actual count in one hundred and forty-nine newspapers. The editors of The Chip-Munk are a bit slow in reading their exchanges.

The Two Orphans at the Kate Claxton Building, Chicago Stockyards, have a motto on their letter heads that reads, “We are the people and wisdom will die with us.”

The editor of The Baseburner, who claims to be a veritist, states that it is not true that the Garland stoves were named after Ham Garland of Chicago Stockyards; but the fact is Garland named himself after the stoves.

Current Literature recently had a long article on Louise Imogene Guinly. Doubtless the spelling of the name was a typographical error, as the editor probably refers to Miss Louisa Imogene Quinney, who is postmistress at Auburn, New York, and daughter of Richard Quinney, manufacturer of the famous Quinney Mineral Water.

Judge Robert Grant has in preparation a series of articles called “How to Live on a Million a Minute and Have Money to Burn.”

I hear the voice of the editors of The Chip-Munk complaining that Little Journeys, The Bibelot, Chips and other publications are base, would-be imitators of their own chaste periodical. Why, you sweet things, did you know that many hundred years ago a great printer made a book which was printed in black inside with a cover in red and black. I believe this is the thing which you claim is original with yourselves. So far as the rest of the periodicals are concerned I have no means of knowing whether they are imitations or not, but Little Journeys was in type and printed long before The Chip-Munk came out of its hole.

Messrs. Copeland & Day of Boston recently published for Mr. Stephen Crane a book which he called “The Black Riders.” I don’t know why; the riders might have as easily been green or yellow or baby-blue for all the book tells about them, and I think the title, “The Pink Rooters,” would have been better, but it doesn’t matter. My friend, The Onlooker, of Town Topics, quotes one of the verses and says this, which I heartily endorse:

I saw a man pursuing the horizon;

Round and round they sped.

I was disturbed at this;

I accosted the man.

“It is futile,” I said,

“You can never”——

“You lie,” he cried.

And ran on.

This was Mr. Howells proving that Ibsen is valuable and interesting. It is to be hoped that Mr. Crane will write another poem about him after his legs have been worn off.

I was moved to read Mr. Hermann Sudermann’s diverting novel, “The Wish,” upon observing an extended notice in the “Sub Rosa” column of the Buffalo Courier. The writer therein alleged that the novel taught a great moral lesson, and desiring to be taught a great moral lesson I bought the book. It treats of the wish of a girl for her sister’s death in order that she might marry the husband. I suppose the great moral truth is that one should not wish for such things, but I supposed that had been taught in one of the Commandments, which tells of coveting thy neighbor’s wife, and my Sunday School teacher used to tell me that it referred equally to husbands. I was evidently mistaken, and Hermann Sudermann is hereby hailed as a teacher of morals. I should think, from the style of the “Sub Rosa” article, that the writer is a woman. If she is, I’ll bet her feet are cold if she enjoys such things as this:

When Old Hellinger entered the gable room he saw a sight which froze the blood in his veins. His son’s body lay stretched on the ground. As he fell he must have clutched the supports of the bier on which the dead girl had been placed, and dragged down the whole erection with him; for on the top of him, between the broken planks, lay the corpse, in its long, white shroud, its motionless face upon his face, its bared arms thrown over his head. At this moment he regained consciousness, and started up. The dead girl’s head sank down from his and bumped on the floor.

This cheerful book is translated from the German by Lily Henkel and published by the Appletons. I commend it to Mr. Bliss Carman and his shroud washers.

Mr. Thomas B. Mosher, of Portland, Maine, deserves the thanks of the reading public for the issuing of The Bibelot. Each month this dainty periodical comes like a dash of salt water on a hot day, and is as refreshing. After reading the longings and the heartburnings of the various degenerates who inflict their stuff on us these days, Mr. Mosher’s “Sappho” comes and makes us really believe that there is a man up on the coast of Maine who has the salt of the sea and the breath of the pines in him, and is willing to think that there are other people who care for purity and sweetness, rather than such literature as “Vistas” and the plays of Maeterlinck.

When in five consecutive stories, printed in the same periodical, the hero or heroine has ended the narrative by shooting himself or herself, is it not about time to hire somebody to invent some other denouement?

Many a man’s reputation would not know his character if they met on the street.

To be stupid when inclined and dull when you wish is a boon that only goes with high friendship.

Every man has moments when he doubts his ability. So does every woman at times doubt her wit and beauty and long to see them mirrored in a masculine eye. This is why flattery is acceptable. A woman will doubt everything you say except it be compliments to herself—here she believes you truthful and mentally admires you for your discernment.

STIGMATA.

“Behold the miracle!” he cried—
The sombre priest who stood beside
A figure on whose snowy breast
The outlines of a cross expressed
In ruddy life-drops ebbed and flowed;
“Behold th’ imprimatur of God!”

A kneeling woman raised her eyes;
Lo! At the sight, in swift surprise,
Ere awe-struck lips a prayer could speak
Love’s stigma glowed on brow and cheek;
And one in reverence bent his head—
“Behold the miracle?” he said.

William McIntosh.

THE MAGAZINES.

Kate Field’s Wash is dry.

The Arena has sand.

“Sub-Tragic” is the latest description of Vic. Woodhull’s Humanitarian.

McClure’s is getting a little weary with its living pictures.

Scribner’s has a thrilling article on “Books We Have Published.”

Godey’s is very gay in its second childhood.

Judge Tourgee’s Basis isn’t business. “It’s pretty, but it isn’t war.”

The Century, it is said, will insert a page or two of reading matter between the Italian art and the ads.

The Basis is out with prizes for poets and sermon writers. It was as certain as the law of nature makes the filling of every vacuum at some time, that somewhere and at some time these people would get their reward. It seems to be coming now. But where and when will be the reward of the people who read what they write? The thought of their fate is all shuddery.

Ginger used to be in evidence in magazines and pumpkin pies. Squash is a prominent ingredient now.

If Peterson’s wouldn’t mix ads. and reading matter in their books and on title pages the cause of current literature would be advanced.

Between Grant’s essays on the art of living and the mild satire of “The Point of View,” it really looks as if the Tattler had come again—a little disembodied for Dick Steele, but in character.

THE BOK BILLS OF NARCISSUS.

“Narcissus is the glory of his race,

For who does nothing with a better grace.”

Young—Love of Fame.

Narcissus: or, The Self-Lover.

James Shirley, 1646.

Philadelphia, June 1, 1895.

W. D. Howells:

To EDWARD W. BOK, Dr.

42 sq. inches in Boiler Plate. “Literary Letter,” on What I Know of Howells’s Modesty | $4 20
Mentioning Howells’s name, 730,000 times in same (up to date) | 7 30
Cussing Trilby (your suggestion) | 20
| $11 70

Less 2 per cent. for cash.

Please remit.

Die Heintzemannsche
Buchdruckerei

In Boston, Mass., empfiehlt sich zur geschmackvollen und preiswerten Herstellung von feinen Druckarbeiten aller Art, als: Schul- und Lehrbucher in allen Sprachen, Schul-Examinationspapiere, Diplome, Zirkulare, Preisverzeichnisse, Geschafts-Kataloge u. s. w. Herstellung von ganzen Werken mit oder ohne Illustrationen, von der einfachsten bis zur reichsten Ausfuhrung.

Carl H. Heintzemann,
234 Congress Street,   Boston, Mass.

WANTED—Books on the History and Mythology of Sweden, Denmark, Norway, Lapland, Finland, Greenland, Iceland, etc., in any language. Also maps, pamphlets, manuscripts, magazines and any work on Northern Subjects, works of General Literature, etc. Address, giving titles, dates, condition, etc., with price,

JOHN A. STERNE,
5247 Fifth Avenue,   Chicago, Ill.

All kinds of Old Books and Magazines bought.

*** END OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

Table of Contents

- THE PHILISTINE.

- Contents for June.

- THE PHILISTINE.

- QUATRAINS.

- PHILISTINES ANCIENT AND MODERN.

- THE SANITY OF GENIUS.

- ENGLISH MONUMENTS.

- BALLADE DES ÉCRIVAINS DU TEMPS JADIS.

- PHILISTINISM IN GENERAL.

- SIDE TALKS WITH THE PHILISTINES: BEING SUNDRY BITS OF WISDOM WHICH HAVE BEEN HERETOFORE SECRETED, AND ARE NOW SET FORTH IN PRINT.

- STIGMATA.

- THE MAGAZINES.

- THE BOK BILLS OF NARCISSUS.

- THE FULL PROJECT GUTENBERG LICENSE