your children's sake. Sim told me to tell you he was to blame. If you will only see that you are both to blame and yet neither to blame, then you can rise above it. Try, dear!' The wife pulled herself together, rose silently, and started toward the house. Her face was rigid but no longer sullen. Lily followed her slowly, wonderingly.

As she neared the kitchen door, she saw Sim still sitting at the table; his face was unusually grave and soft. She saw him start and shove back his chair,- saw Lucretia go to the stove and lift the tea-pot, and heard her say, as she took her seat beside the baby,

"Want some more tea?"

She had become a wife and mother again, but in what spirit the puzzled girl could not say.

AN EPOCHMARKING DRAMA.

EDITORIAL NOTES.

A movement destined, I think, to be in a degree epochmarking in the dramatic annals of the American stage, was inaugurated by Mr. James A. Herne, on the fourth of May, in Boston, in the production of his remarkable realistic drama," Margaret Fleming," at Chickering Hall. The play is a bold innovation, so much so that no theatre in the city would produce it, although the various managers who examined it declared it to be as strong as and no less powerful than any American drama yet written. The character of the audience was as striking as the play was brave and original. It was, indeed, a strange sight to see such well-known and thoughtful men and women as Mr. William Dean Howells, Rev. Minot J. Savage, Rabbi Solomon Schindler, Rev. Edward A. Horton, Mrs. Louise Chandler Moulton, Hamlin Garland, and a score or more of persons almost as well known in literary, religious, and thoughtful circles, assembled on the first night of a dramatic production. Nor was the character of the audience less remarkable during the fortnight it was played. Men and women who are rarely seen at theatres at

tended two, three, and even four performances. The superb acting of Mr. and Mrs. Herne contributed much to the success of the play; curiosity also doubtless attracted many, yet beyond and above this was the deep appreciation of a thoughtful and intelligent constituency, who saw in this drama the marvellous possibilities of the stage for improvement as well as entertainment. They also saw real life depicted. absence drama was Of empty lines and stilted phrases so common in conventional refreshing and interesting to those who believe that the drama has a mission other than merely to amuse. "Margaret Fleming"

The

is nothing if not artistic from the standpoint of the realist. Its fidelity to life as we find it-to existing conditions and types of society,-is won

derful.

above

Its dramatic strength is none the less marked. But aside from and all this, for me it has a far greater merit-utility. I have no sympathy with the flippant, effeminate, and senile cry, "Art for art's sake"; that is the echo of a decaying civilization, the voice of Greece and Rome in their decline. It is the shibboleth of a people drunken with pleasure;

of a

ness

popular conscience anæsthetized; the cry of sensualism and selfishPopular with shallow minds and bloodless hearts; the incarnation

of that fatal effeminacy that springs from a union of wealth and superficial intellectuality; the voice of a human automaton without a soul. Victor Hugo has made no utterances more grandly true than when

he

pleads for the beautiful being made the servant of progress as voiced in the following sentiment:

"Be of some service. Do not be fastidious when so much depends upon being efficient and good. Art for art's sake may be very fine, but

art for progress is finer still. Ah! you must think? Then think of making man better. Courage! Let us consecrate ourselves. Let us devote ourselves to the good, to the true, to the just; it is well for us to do so. Some pure lovers of art, moved by a solicitude which is not without its dignity, discard the formula, Art for Progress,' the Beautiful Useful, fearing lest the useful should deform the beautiful. They tremble to see the drudge's hand attached to the muse's arm. According to them, the ideal may become perverted by too much contact with reality. They are solicitous for the sublime, if it descends as far as to humanity. They are in error. The useful, far from circumscribing the sublime, enlarges it. But critics protest: To undertake the cure of social evils; to amend the codes; to impeach law in the court of right to utter those hideous words, ' penitentiary,' 'convict-keeper,' 'galley-slave,' 'girl of the town'; to inspect the police registers; to contract the business of dispensaries; to study the questions of wages and want of work; to taste the black bread of the poor; to seek labor for the working-woman; to confront fashionable idleness with ragged sloth; to throw down the partition of ignorance; to open schools; to teach little children how to read; to attack shame, infamy, error, vice, crime, want of conscience; to preach the multiplication of spellingbooks; to improve the food of intellects and of hearts; to give meat and drink; to demand solutions for problems and shoes for naked feet,these things they declare are not the business of the azure. Art is the azure. Yes, art is the azure; but the azure from above, whence falls the ray which swells the wheat, yellows the maize, rounds the apple, gilds the orange, sweetens the grape. Again I say, a further service is an added beauty. At all events, where is the diminution? To ripen the beet-root, to water the potato, to increase the yield of lucern, of clover, or of hay; to be a fellow-workman with the ploughman, the vinedresser, and the gardener,- this does not deprive the heavens of one star. Immensity does not despise utility,-and what does it lose by it? Does the vast vital fluid that we call magnetic or electric flash through the cloud-masses with less splendor because it consents to perform the office of pilot to a bark, and to keep constant to the north the little needle intrusted to it, the gigantic guide? Yet the critics insist that to compose social poetry, human poetry, popular poetry; to grumble against the evil and laud the good, to be the spokesman of public wrath, to insult despots, to make knaves despair, to emancipate man before he is of age, to push souls forward and darkness backward, to know that there are thieves and tyrants, to clean penal cells, to flush the sewer of public uncleanness,-is not the function of art! Why not? Homer was the geographer and historian of his time, Moses the legislator of his, Juvenal the judge of his, Dante the theologian of his, Shakespeare the moralist of his, Voltaire the philosopher of his. No region, in speculation or in fact, is shut to the mind. Here a horizon, there wings; freedom for all to soar. To sing the ideal, to love humanity, to believe in progress, to pray toward the infinite. To be the servant of God in the task of progress, and the apostle of God to the people,- such is the law which regulates growth. All power is duty. Should this power enter into repose in our age? Should duty shut its eyes? And is the moment come for art to disarm? Less than ever. Thanks to 1789, the human caravan has reached a high plateau; and, the horizon being vaster, art has more to do. This is all. To every widening of the horizon, an enlargement of conscience corresponds. We have not reached the goal. Concord condensed into felicity, civilization summed up in harmony,- that is yet far off. The theatre is a crucible of civilization. It is a place of human communion. All its phases need to be studied. It is in the theatre that the public soul is formed."

The theatre may be made the most potent engine for progress and reform. We are living in the midst of the most splendid age which has dawned since humanity first fronted the morning, dimly conscious of its innate power and the possibilities that lay imbedded in its being; an era of life, growth, warfare. On the one hand are ancient thought and prejudice, on the other the inspiration of greater liberty and a nobler manhood. On the one hand selfishness, sensuality, vulgar ostentation, avarice, luxury, and moral effeminacy crying, "Art for art's sake," demanding amusements that will aid in dissipating any moral strength or deep thought that still lingers in the mind, and literature that shall enable one to kill time without the slightest suspicion of intellectual exertion; physical, mental, and moral ennui, with an assumed lofty contempt for utility. On the other hand we have the gathering forces of the dawn, demanding "art for progress," declaring that beauty must be the handmaid of duty; that art must wait on justice, liberty, fraternity, nobility, morality, and intellectual honesty,—in a word the forces in league with light must compel the beautiful to make radiant the pathway of the future. In the union of art and utility lies the supreme excellence of "Margaret Fleming," it deals with one of the most pressing problems of our present civilization; it is the most powerful plea for an equal standard of morals for men and women that I have ever heard. This thought, it is true, like the entire drama, is anything but conventional; it breathes the spirit of the coming day. The subtile bondage and servility of woman, a vestige of the barbarous past, still taints our civilization. Far more is demanded by society of her than of man, and when heretofore she has raised her voice against this inequity she has been silenced by unworthy imputations. It is the shame of our age that woman is not accorded a higher meed of justice. She has a right to demand that the man who marries her be every whit as pure and moral as herself, and until she makes this demand, and holds herself from the contamination of moral lepers, no substantial progress for higher morals and purer life will be made. Unless woman checks the increasing degradation of manhood, man will sooner or later drag her to his deplorable level. "Margaret Fleming" shows this truth and points to the woman of to-day her stern and inexorable duty.

Unless woman assumes an aggressive stand and ostracizes the libertine, refusing his society, his attention, and most of all the proffer of his leprous love, the moral outlook for society will soon be as gloomy as was Rome's future when Epictetus was banished from her streets because he mercilessly assailed the moral degradation of his day.

THE PRESENT REVOLUTION IN THEOLOGICAL

The rapid spread of heresy throughout the churches is creating genuine dismay in many quarters. When such ripe scholars and representative thinkers as Rev. Heber Newton, Dr. C. A. Briggs, and Rev. Dr. Bridgman, representing three of the most powerful Protestant communions, freely preach doc

THOUGHT.

trines at variance with conventional orthodox views, and express a grander hope and broader faith than that cherished by conservative theologians, it is by no means strange that the current of old-time thought should be stirred. If, however, these scholarly minds stood alone in their convictions, there would be no warrant for such widespread apprehension as is manifest. The serious character of the present theological revolution, however, lies in the fact that the pulpit and the people are honey-combed with the peculiar heresy which rejects the verbal inspiration of the Bible and the dogma of eternal damnation.* The general uneasiness occasioned by the present epidemic of heresy, and the bitter strictures which it has called forth, are perfectly natural, while it is equally true that the present liberal attitude of so many of the foremost thinkers in the various orthodox churches is the legitimate outcome of numerous agencies which have been silently working for generations.

At various era-marking periods in the annals of history, the multitudes have been thus disturbed. They have felt that the old-time beliefs of their fathers, the tradition of ages, the oracles, which from early infancy they have learned to revere and hold most sacred, were being demolished. This naturally aroused bitter antagonism in their souls. They believed they were carrying out God's wishes when like Saul of Tarsus, they aided in slaying heretics. Thus when the great Nazarene taught a higher, sweeter, and nobler code of ethics than the ancient Jewish law-givers and teachers, he was persecuted and slain because the Jews believed he sought to overthrow their revered and sacred truths. In a like manner Paul and the early advocates of Christianity, when they proclaimed their religion in Gentile lands frequently aroused the bitterest antagonism. At a later date Galileo's demon

*The United Presbyterian in a recent issue says, "It appears that Dr. Briggs does not stand alone in the theological seminaries of the Presbyterian Church as a teacher of dangerous views of inspiration. Four of the professors of Lane Seminary have declared themselves as equally radical." The Interior says, "The paper of Prof. Smith, of Lane, published in a pamphlet with that of Prof. Evans, goes much beyond anything that has appeared on the subject from Presbyterian authorship in this country."

At the meeting of the Alumni of the Union Theological Seminary, on the eighteenth of May, the newly elected professor of systematic theology, the brilliant Rev. Henry J. Van Dyke, D. D. (since deceased) made the following bold remark while defending Dr. Briggs: If we cannot have orthodoxy and liberty, let orthodoxy go and let us have liberty. Liberty has always produced progress."

In his sermon on May the 24th, Rev. Thomas Dixon, one of the Baptist clergymen of New York City, said: The heresy trial is a record of barbarism, a relic of savagery. It belongs to the crudeness, and ignorance, and superstition of barbaric times. It smells of roasting flesh.

On the same Sunday the Rev. Dr. Charles H. Parkhurst, of the Madison Square Presbyterian Church, of New York, quoted the ringing words given above by Dr. Van Dyke, with his cordial indorsement. He continued to thus severely arraign the Orthodox brethren in the Presbyterian Church:

"This question of inerrancy is not new. Calvin, Luther, and many others did not believe in the Bible's inerrancy. If this is not according to the confession of faith-I don't know whether it is or not - we had better square the confession with the truth rather than the truth with the confession. Let those who would prove that there are no mistakes in the Bible produce a cud-chewing coney, and then we will consider the question of inerrancy.

If the Church is to go on in the way that some are trying to persuade us it ought to go, the sooner it gives up the ghost the better, to save the medical expense."