le is of conventional pattern, containing a sound though
not strikingly original moral. The language is generally good, except in
one sentence where the author speaks of "the vehicles in the street and
buildings about him". Surely he does not mean that the vehicles were in
the buildings as well as in the street. The use of the definite article
before the word "buildings" would do much toward dispelling the
ambiguous effect.

"The Haunted Forest", a poem by J. H. Fowler, is almost Poe-like in its
grimly fantastic quality. We can excuse rather indefinite metre when we
consider the admirably created atmosphere, the weird harmony of the
lines, the judicious use of alliteration, and the apt selection of
words. "Bird-shunned", as applied to the thickets of the forest, is a
particularly graphic epithet. Mr. Fowler is to be congratulated upon his
glowing imagination and poetical powers.

"A Bit o' Purple Heather", by Edna von der Heide, is a delightful piece
of verse in modified Scottish dialect, which well justifies the
dedication of the magazine to this poetess.

Mr. Stokes' editorial, headed "Ships that Pass", sustains the nautical
atmosphere of his periodical. We wish he had given his thoughts a larger
space for expression.

THE PIPER for December comes as a surprise to those who have known
Rheinhart Kleiner only as a master of metre, for he is here displayed as
the possessor of a pure and vigorous prose style as well. In this, the
opening number of his individual journal, Mr. Kleiner provides us with a
pleasing variety of literary matter; two serious poems, two rhymes of
lighter character, an essay on the inevitable topic of Consolidation,
and a brilliant collection of short editorials and criticisms.

"A Carnation", which begins the issue, is an exquisite piece of
sentiment couched in faultless verse. The odd measure of the poem is one
peculiarly suited to the author's delicate type of genius; an iambic
line of only three feet. The other lyric, "Heart, Do Not Wake", is
likewise of excellent quality, though the succession of "again" and
"pain" in the first line might suggest to some ears an unnecessary
internal rhyme.

"The Rhyme of the Hapless Poet" is very clever, and can be truly
appreciated by every author of printed matter. Perhaps the misfortune of
which the poet complains is the cause of the extra syllable in the first
line of the second stanza; we hope that the following is what Mr.
Kleiner intended: