e 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 shou