tion." Sir Johnston Forbes-Robertson, who, I believe, posed for Rossetti's Dante, contributes a prefatory page to "The Duchess of Padua," which Wilde read to him from a lectern, over which he draped himself in the æsthetic attitudes immortalized by Gilbert and Sullivan in "Patience." William Butler Yeats, who gave the green carnation new life by transplanting it in Irish soil, introduces the fairy tales, and he speculates in his moon-stricken prose on the joy it would have given Wilde to know that his works are widely read in the land of jade and powdered lacquer and in Arabia: "In the midst of my meditation it was as though I heard him saying with that slow, precise, rhythmical elocution of his, 'I have a vast public in Samarkand.'" Coulson Kernahan expresses his pained distaste for "Dorian Gray," and Walter Pater's appreciative but suavely condemnatory review of it is also included.
One misses many minor figures whom one might expect to see in this procession. One misses the major figures of G. K. Chesterton and G. B. Shaw, who certainly learned from Wilde much about the uses of paradox as a form of wit and as an implement of intellectual exploration. One misses also the belligerent championship of Frank Harris. But all three of these warriors have defined their attitude toward Wilde and his movement elsewhere. The other contributors are Edgar Saltus, Richard Butler Glaenzer, A. B. Walkley, John Drinkwater, John Cowper Powys, Michael Monahan, W. F. Morse and Padraic Colum. Since Wilde in his glory regarded himself as peerless "king" of his world, he would have denied the possibility of a trial by his peers; but I think every one else will acknowledge that the publisher has
