D' SAMUEL ADAMS DRAKE'S BEAUTIFUL NEW BOOK: THE PINE TREE COAST. ESCRIBING and illustrating the peerless scenery, quaint old seaports, and romantic story of the more than two thousand miles of Maine coast. An equally delightful outdoor or fireside companion, a valuable souvenir of travel, or a complete storehouse of information. It tells how to see and how to enjoy the most interesting localities as has never been done before, and it has all the flavor and freshness of the sea it describes. Believing that the Maine Coast is to be the future sanitarium of the nation, the author has devoted himself, heart and hand, to the portrayal of its attractions. Mr. Drake, omitting nothing likely to interest the intelligent traveller, gives his readers the variety that is the legitimate charm of such a work as this. It is not a guide-book, though it will serve that purpose admirably; it is not a history, though the reader who has finished it will find himself master of more interesting facts than he has gathered, perhaps, from all other sources combined; neither is it a collection of traditions, legends, and anecdotes, though each of these receives a goodly share of attention. But it is all of these, in fact, and more. Combining thus the qualities of being instructive in the highest degree, and written in a manner that is at once entertaining, it is a volume that, aside from its more than two hundred and fifty illustrations, should be in the hand of every lover of historical narrative literature. ESTES & LAURIAT, Publishers, Boston, Mass. WEBSTER'S UNABRIDGED DICTIONARY The Best Investment for the Family, the School, the Professional or Private Library. The latest edition has 3,000 more Words in its Vocabulary than are found in any other American Dictionary, and nearly 2,000 more Engravings. Besides many other valuable features, this work contains A DICTIONARY OF THE ENGLISH LANGUAGE, A DICTIONARY OF BIOGRAPHY, A DICTIONARY OF GEOGRAPHY, A DICTIONARY OF FICTION, ALL IN ONE BOOK. Webster excels in SYNONYMS, which are appropriately found in the body of the work. Webster is Standard Authority in the Government Printing Office, and with the United States Supreme Court. It is recommended by State Superintendents of Schools of Thirty-eight States, and by leading College Presidents of the United States and Canada. Nearly all the Leading Series of School Books published in this country are based upon Webster, the acknowledged Standard of the English Language. FOR SALE BY ALL BOOKSELLERS. prepaid, upon application. Illustrated Pamphlet of specimen pages, testimonials, etc., will be sent, PUBLISHED BY G. & C. MERRIAM & CO., SPRINGFIELD, MASS. MACMILLAN'S English ClaSSICS. A Series of Selections from Great English Classics, with Introductions and Notes. 16mo. "The beauty, convenience, and cheapness of the editions fit them for use anywhere in Schools or private Libraries."-Sunday School Times. "Speaking generally of MACMILLAN's Series, we may say that they approach more nearly than any other edition we know to the ideal.”—Guardian. "The get-up' of this Series is a model of what such books should be."-School Guardian. THE LAY OF THE LAST MINSTREL, CANTOS I.-III. By the same Editor. 40 cents. "The Notes are particularly good-full where fulness is needed, yet terse wherever possible."-School Journal. MARMION. Edited by MICHAEL MACMILLAN, B.A. 60 cents. His Introduction is admirable alike for point and brevity, and if this edition of Marmion' sends more youthful readers to one of the healthiest and manliest of poets, the editor's labor will not have been thrown away.". Spectator. ROKEBY. By the same Editor. 60 cents. "The Introduction is excellent, and the Notes show much care and research."-Guardian. BURKE. REFLECTIONS ON THE FRENCH REVOLUTION. Edited, with Notes, etc., by F. G. SELBY, M.A. 60 cents. SHAKESPEARE. THE TEMPEST. Edited by K. DEIGHTON. 40 cents. "Speaking generally of Macmillan's Series, we may say that they approach more nearly than any other edition we know to the ideal school Shakespeare. The introductory remarks are not too much burdened with controversial matter; the Notes are abundant and to the point, scarcely any difficulty being passed over without some explanation, either by a paraphrase or by etymological and grammatical notes."-Guardian. MUCH ADO ABOUT NOTHING. By the same Editor. 40 cents. THE MERCHANT OF VENICE. By the same. 40c. TWELFTH NIGHT. By the same. 40 cents. "An excellent edition of a good play."-Educational News. THE WINTER'S TALE. By the same. 40 cents. "The Introduction gives a good historical and critical account of the play, and the Notes are abundantly full."-Literary World. HENRY V. By the same. 40 cents. "Mr. Deighton's Notes abound in illustration rather than explanation. Attention is also called to the derivation of words and whatever throws light upon the plays."-Athenæum. RICHARD III. Edited by C. H. TAWNEY, M.A. 40c. "Of Mr. Tawney's work as an annotator we can speak in terms of commendation. His Notes are full and always to the point."-School Guardian. JULIUS CÆSAR. Edited by K. DEIGHTON. 40 cents. 40 cents. 40 cents. 40 cents. The poems contained in the volume are: "Recollections of the Arabian Nights," The Lady of Shalot," "Oenone," "The Lotus Eaters," A Dream of Fair Women, Morte d' Arthur," Dora," "Tithonus," Ulysses,' Sir Galahad," "The Lord of Burleigh,' Ode on the Death of the Duke of Wellington," and "The Revenge." ་་ The Notes give just the requisite amount of help for understanding Tennyson, explanations of the allusions with which his poems teem, and illustrations by means of parallel passages." Journal of Education. Correspondence from Professors and Teachers of the English Language regarding specimen copies and terms for introduc tion respectfully invited. Send address for Catalogue to MACMILLAN & CO., 112 FOURTH AVENUE, NEW YORK. "The minuteness of his observation, the keenness of his perception, give him a real originality, and his sketches have a delightful oddity, vivacity, and freshness."-The Nation. INDOOR STUDIES. $1.25. SIGNS AND SEASONS. $1.25. The Same. Riverside Aldine Series. $1.00. FOR SUMMER READING. THE SOUL OF PIERRE. By GEORGES OHNET, author of "The Master of the Forge," etc. Translated by MARY J. SERRANO, translator of "Marie Bashkirtseff: The Journal of a Young Artist," etc. With original illustrations by EMILE BAYARD. Paper, 50 cts.; extra cloth, $1.00. FINE EDITION With all the original Illustrations by EMILE BAYARD, the volume beautifully printed on extra paper made specially for this edition, and handsomely bound in extra cloth. Gilt top, in box, $2.00. AN ARTIST'S HONOR. Translated by E. P. ROBINS from the French of OcTAVE FEUILLET, author of "The Romance of a Poor Young Man," etc. Paper, 50 cts.; extra cloth, 75 cts. WRITTEN IN RED; OR, THE CONSPIRACY IN THE NORTH CASE. A Story of Boston. By CHARLES HOWARD MONTAGUE and C. W. DYAR. Paper, 50 cts.; extra cloth, 75 cts. BY THE AUTHOR OF "JACK GORDON," ETC. VIVIER. Of Vivier, Longman & Co., Bankers. By W. C. HUDSON (Barclay North), author of "Jack Gordon, Knight Errant, Gotham, 1883," "The Diamond Button," etc. Paper, 50 cts.; cloth, 75 cts. BY THE AUTHOR OF "AS IT WAS WRITTEN," ETC. TWO WOMEN OR ONE? (From the Manuscript of Dr. LEONARD BENALY.) By HENRY HARLAND (Sidney Luska), author of "As It Was Written," "Mrs. Peixada," "The Yoke of the Thora," "A Latin Quarter Courtship," "Grandison Mather," "Two Voices," etc. 1 vol., 32mo, artistic binding, cloth back, etc., 75 cts. STOLEN AMERICA. By ISOBEL HENDERSON FLOYD. 1 vol., with illustrations. Paper, 50 cts.; cloth, 75 cts. A ROMANCE OF THE HEAVENS. From the French of CAMILLE FLAMMARION. BY MARY A Novel. "A STORY OF REAL LIFE." By ALBION W. TOURGEE, author of "A Fool's Errand," "Figs and Thistles," etc. 1 vol., 12mo, new and unique binding, $1.00. SCOUTING FOR STANLEY IN EAST By THOMAS STEVENS, author of "A Tour Around the World on a Bicycle," etc. 1 vol., large 12mo. Extra cloth, gilt top, with portrait and numerous illustrations, $2.00. For Sale by all Booksellers. CASSELL PUBLISHING COMPANY, 104 & 106 Fourth Avenue, NEW YORK. Mr. George Bainton, who is, I believe, librarian of Trinity College, has hit upon an ingenious method of producing an original and interesting book without mental toil. Appealing by letter to a great number of authors for their experience and advice as to the best methods of learning how to write effectively, and receiving some nine-score of answers, Mr. Bainton has strung these answers together under proper headings. To the remarks of every author is prefixed a brief eulogy upon that author; and these eulogies, with few exceptions, would apply almost as well if they were shuffled. If Mr. Bainton is a librarian, he must be singularly impervious to the opinion of his fellows; otherwise he would hardly have printed one hundred and seventy-eight essays on style with no other key than a title-page, six chapter-headings, and an "index of contributing authors." Perhaps no more important addition to what the rhetorics offer on the subject of literary style has ever been given to the world at any one time; yet the collector has not deemed it worth indexing! In preparing to review the book I have made hundreds of cross-refer THE ART OF AUTHORSHIP. Literary Reminiscences, Methods of Work, and Advice to Young Beginners, Personally Contributed by Leading Authors of the Day. Compiled and Edited by George Bainton. New York: D. Appleton & Co. ences on the margin ; on page 17, for example, there are forty-three. That the man who calls himself compiler and editor of the book did not save me this labor, almost makes me forget the gratitude due him for what he has done. The best service the reviewer of this book can do is to make use of his cross-references, in order to give the reader a few of the piquant contrasts and interesting coincidences of opinion and experience in which the letters abound. It is interesting to note the substantial unanimity of opinion touching a few of the great principles which the best rhetoricians have always insisted upon as fundamental. Thus, Mr. Walter Pater thinks all rules reducible to “Truthfulness—truthfulness, I mean, to one's own inward view or impression." Herein, he thinks, lies the significance of Buffon's saying, "The style is the man himself." Almost everyone quotes or paraphrases or suggests this saying. Thus, Mr. T. T. Munger: "When you have got your man, you have got your style." Mr. J. B. O'Reilly expresses this thought with Celtic intensity, exclaiming, "Style is a vile study." The majority of these authors make statements substantially identical with the following by Mr. O'Reilly: "I gave myself no special training in youth to form a style; I never thought of it." Similarly Mr. Froude: "I have never thought about style at any time in my life." Likewise Coventry Patmore, Gerald Massey, J. S. Blackie, Thomas Hughes, G. W. Curtis, Miss Jewett, James Bryce, and a host of others. Mr. George Meredith goes so far as to say: "I have no style, though I suppose my work is distinctive. I am too experimental in phrases to be other than a misleading guide." Mr. Leslie Stephen remarks in the same strain: as M. Renan puts it, "To write well is to think well; there is no art of style distinct from the culture of the mind." This seems an odd view for a Frenchman to take; one would like to hear M. Renan's answer to the question whether there is any art, distinct from the culture of the mind. M. de Laveleye and M. Taine, at all events, believe that there is an art of writing, as there is an an art of painting. Says M. Taine: "The men of my time in France have all received a special training with a view to style." M. de Laveleye emphasizes two qualities of style: the first that of clearness, the second that of color," the employment of energetic and highly-colored word-pictures, which strike the imagination, awake the attention, and stamp the thought on the memory." Mr. W. D. Howells appears as ungrateful as M. Renan for the training that has made him what he is. "I admired, and I worked hard to get, a smooth, rich, classic style. The passion I afterward formed for Heine's prose forced me from this slavery, and taught me to aim at naturalness. And a little farther on : "I should advise any beginner to study the raciest, strongest, best spoken speech, and let the printed speech alone." This echoes the famous declaration of Montaigne that he would have his son study the language of the taverns; will Mr. Howells send his son to the saloons rather than to the Latin school and to Harvard? And why spoken rather than printed speech? Apparently Shakespeare and Swift and Bunyan and Defoe are not strong and racy enough for Mr. Howells; but he will surely admit that certain sides of the language are more safely and conveniently studied by Mr. Bainton's young beginner" from the pages even of realistic novelists, than from the lips of harlots 66 and criminals. Sir Edwin Arnold thinks that "no elevation or charm of style can be obtained without a constant artistic effort to lift language to its best expression." Mr. Hamerton asserts that "good writing is as much a fine art as painting or musical composition." How is this art to be learned? With few exceptions, all these writers advise the careful study of the great masters of thought and expression. "For precepts of style," says Professor Goldwin Smith, "you must go to the masters of style, and for lessons in the art of composition you must go to artists." Professor Huxley, indeed, has 'always turned a deaf ear to the common advice to study good models,' to give your days and nights to the study of Addison,' and so on." Mr. James Bryce, while believing in models such as Burke and Milton and Cardinal Newman, calls attention to the danger "that a student may become a mere imitator, and provoke the annoyance of his readers by reproducing mannerisms rather than merits." This is a danger which so courageous a man as Professor Huxley surely need not have feared! Mr. Lowell and many others advise us to face it, for the sake of the great compensations to him who escapes. "I am inclined to think," says Mr. Lowell, "that a man's style is born with him, and that a style modelled upon another's is apt to be none or worse." Nevertheless he concludes: "Cato's advice, Cum bonis ambula,' is all that one feels inclined to give." Sarah Tytler (Miss Henrietta Kidder) repeats one of the good things in Mr. Lowell's letter, and makes it her own: 66 "I believe that style is in a manner infectious, and that by habitually keeping good company in books we are as sure to catch the tone of their authors as we catch the tone of the best-that is, the most spiritually noble, agreeable, and intelligent-society." Messrs. T. W. Higginson, Francis Parkman, E. E. Hale, Monier Williams, J. A. Symonds, A. P. Peabody, O. W. Holmes, P. G. Hamerton, and Canon Westcott gratefully acknowledge the training in the art of writing received from early teachers of rhetoric. Dr. Holmes finds, however, that his special indebtedness to Professor Channing is for instructions “how not to write." Professor William Minto owes all his success in the way of logical and coherent composition to the instruction of Professor Bain. That this training has its drawbacks Mr. Minto hints in the following remarkable statement: "I must again say, however, that if entertainment is a writer's purpose, all the obvious rules of clear and coherent statement seem to me, although I cannot myself, owing to ingrained habit, get rid of them, to be a mistake." The poor Scotchman would so much like to be illogical and incoherent, at times, by way of variety, but he cannot attain unto it. Such is the melancholy issue of the instruction of Professor Bain! How Mr. Minto must long to be able to exchange places with Mr. George Moore, author of the "Confessions of a Young Man," who confesses himself as follows: "When I was five and twenty I could not distinguish between a verb and a noun, and until a few years ago I could not punctuate a sentence. This suggests idiocy; but I was never stupid, although I could not learn; I simply could not write consecutive sentences. For many |