tions of the play are written in verse—verse that runs with almost Elizabethan fire and impetuosity.
FAIRY QUACKENBOSE. By Arthur K. Stern. A Fairy Tale with Modern Improvements, Illustrated by Iredell. A book for sheer joy and enjoyment is this tale of modern Fairyland. Its whimsicalities, its nonsense, its jingling rhymes will amuse children of all ages, if they be six or sixty, and its simple, direct and appealing language make it particularly pleasant reading. A fairy tale no parent or teacher can afford to be without. Boards. Net, 75 cents. By Mail, 84 cents.
PLAYS AND SONNETS. By Ernest Lacy, 2 volumes, printed on hand made paper and illustrated with 7 etchings, bound in Vellum de Luxe cloth, gilt top, deckle edge. Price per volume, $1.75. Sold separately or together. Volume I: THE BARD OF MARY REDCLIFFE, a play in 5 Acts. xix + 205 pp. Volume II: RINALDO, THE DOCTOR OF FLORENCE, a play in 5 Acts. CHATTERTON, a one-Act play. SONNETS, vii + 237 pp. These three plays and sixty odd sonnets are written with lucidity and emotion. A human heart throbs through them. The plays have won the approbation of the greatest living authority and historian of the English drama, Prof. A. W. Ward, of Cambridge. The Sonnets have evoked a fine critical eulogy from that greatest student of the Eliabethan sonnets (including Shakespeare's)—Sir Sidney Lee. Enthusiastic critics have pronounced both "The Bard of Mary Redcliffe" and "Rinaldo" as the greatest plays ever written in America.
EPHEMERA. Greek Prose Poems. By Mitchell S. Buck. Printed throughout on Japan Vellum paper from eight point Old Style Caslon type, and bound in half vellum, Fabriano sides, paper label on the back in two colors; gilt top, deckle edge. Edition limited to 750 copies. Price, $2.25 net. The two series of antique sketches contained in this volume show the art of rhythmic prose, so successfully used in French by such writers as Baudelaire and Pierre Louys, presented directly in the English language. The medium selected is handled freely and delicately, securing its effects without obvious effort or strain. And the fifty "pastels" form a collection heretofore unknown to American poetry. The impressions one receives are not only delightful, but also not unfaithful to the fascinating age they limn. A keep perception of beauty has not distorted a necessary faithfulness to subject-matter; and those
