ence of the two arts is favourable to excellence in both, besides making the business of the Editor much easier, and giving him more liberty of choice.
The literary contributions include poetry, fiction, short dramatic scenes, and one or two essays. The Editor evidently attaches much greater importance to creative than to critical literature, in which he is unquestionably right, provided only that the work which claims to be creative is inspired by a true genius for invention. The admission of poetry in more than usual quantity does not surprise us, when we reflect that The Yellow Book, is issued by a publishing house which has done more than any other for the encouragement of modern verse. It is the custom to profess contempt for minor poets, and all versifiers of our time except Tennyson and Swinburne are classed as minor poets by critics who shrink from the effort of reading metrical compositions. The truth is that poetry and painting are much more nearly on a level in this respect than people are willing to admit. Many a painter and many a poet has delicate perceptions and a cultivated taste without the gigantic creative force that is necessary to greatness in his art.
Mr. Le Gallienne's "Tree-Worship" is full of the sylvan sense, the delight in that forest life which we can scarcely help believing to be conscious. It contains some perfect stanzas and some magnificent verses. As a stanza nothing can be more perfect than the fourth on page 58, and the fourth on the preceding page begins with a rarely powerful line. The only weak points in the poem are a few places in which even poetic truth has not been perfectly observed. For example, in the first line on page 58, the heart of the tree is spoken of as being remarkable for its softness, a new and unexpected characteristic in heart of oak. On the following page the tree is described as a green and welcome
