be taken seriously until he descends from purple generalities to the particular naming of names.  If he has the courage of his opinions, if he genuinely is concerned for the future of this unfortunate island, he might name a dozen or so of the “myriad volumes which deride self-control, scoff at the God-like in man, deny the judgment, and by most potent illustration declare that death ends all.”  For myself, I am unacquainted with them, and nobody has ever solicited me to buy them.  At least he might state where one is solicited to buy these shockers.  I would go thither at once, just to see.  In the course of his article, Dr. Barry lets slip a phrase about “half-empty churches.”  Of course, these half-empty churches must be laid on the back of somebody, and the novelist’s back is always convenient.  Hence, no doubt, the article.  Dr. Barry seeks for information.  He asks:  “Will Christian fathers and mothers go on tolerating...,” etc. etc.  I can oblige him.  The answer is, “Yes.  They will.”

LOVE POETRY

[16 Sep. ’09]

In every number up to August, I think, the summary of the English Review began with “Modern Poetry,” a proper and necessary formal recognition of the supremacy of verse.  But in the current issue “Modern Poetry” is put after a “study” of the Chancellor of the Exchequer by Max Beerbohm.  A trifling change! editorially speaking, perhaps an unavoidable change!  And yet it is one of these nothings which are noticed by those who notice such nothings.  Among the poets, some of them fairly new discoveries, whom the English Review has printed is “J.  Marjoram.”  I do not know what individuality the name of J. Marjoram conceals, but it is certainly a pseudonym.  Some time ago J. Marjoram published a volume of verse entitled “Repose” (Alston Rivers), and now Duckworth has published his “New Poems.”  The volume is agreeable and provocative.  It contains a poem called “Afternoon Tea,” which readers of the English Review will remember.  I do not particularly care for “Afternoon Tea.”  I find the contrast between the outcry of a deep passion and the chatter of the tea merely melodramatic, instead of impressive.  And I object to the idiom in which the passion is expressed.  For example: 

    To prove I mean love, I’d burn in Hell.

Or: 

                    You touch the cup
    With one slim finger....  I’ll drink it up,
    Though it be blood.

We are all quite certain that the lover would not willingly burn in Hell to prove his love, and that if he drank blood he would be sick.  The idiom is outworn.  That J. Marjoram should employ it is a sign, among others, that he has not yet quite got over the “devout lover” stage in his mood towards women.  He makes a pin say:  “She dropped me, pity my despair!” which is in the worst tradition of Westminster Gazette