duced above has been recently acquired by E. C. Berhek, Esq., of Boston, who is to be congratulated upon the possession of so masterly a work from the studio of this distinguished Boston artist.

Mr. Monks' chosen field is one inviting either the most laborious study or -slovenliness! To gain a fairly adequate knowledge of the form and habits of an individual species and vary its presentation in pastoral composition might be thought quite sufficient by men of no mean quality. But it is not in this way that Mr. Monks has attained his masterful strength. He is never done with the study of his sheep. He lives among them, and when the accidental interest arises in the great play of out-of-doors, he is there to chronicle it with interpreting insight of his long training. Mr. Monks' sheep are, in the first place, real sheep, capable of moving about on the legs he gives them and cropping grass with their strong teeth and lips. In the second place, they are individuals, each with his personal equation, and in the third place, they are doing something that sheep do in the way that sheep do it. But this is not all. Nor is it sufficient to add that Mr. Monks has been a close student of light and successfully transfers to his canvas an infinite play of color.

Over and above all this, which is the firm foundation upon which his art builds, is a pastoral quality drawn from the human heart. His impressionistic realism is set to work doing something more than transcribing objective actuality-to which, nevertheless, it is never false. In all his paintings is that ineffable touch that makes all the world kin.

The picture before us is of sheep conscious of the shepherd's care. About them is no fear, no anxiety. They are the sheep of the Twenty-third Psalmthe sheep that are known each by its name. In the background is a hint of abundance, of shelter, and of house. Trust, contentment, peace-these are its message, over and above its splen did drawing and masterful transcription of light and shade.

Mr. Monks is an industrious workman. From his field workshops and from his studio, at No. 296 Boylston street, new pictures are constantly appearing, each with its distinctive quality-sometimes leaning toward broad, poetic landscape, sometimes toward almost literal portraiture of the flock or some strong leader or meek-eyed ewe. In this fruitfulness as well is that master shown which ranks him among the men who in our day are making the city of Boston known as an art center to be seriously reckoned with.

As was forecasted in our September number, the opening of the theatrical season in Boston was unusually brilliant. At the Tremont Theatre Mr. Louis Mann's strong acting relieved the tameness of a not very strong play. It was followed by "The Candy Shop," a musical comedy cast along popular lines. At the Majestic also musical comedy holds the boards. "Havana," fresh from a six months' run at the Casino in New York, with Edith Decker as prima donna, will be very likely to repeat its success in Boston. At the Hollis Street Theatre Robert Edeson, in the "Noble Spaniard," was well received, the houses being unusually large for so early in the season. "On the Eve," which followed it, with the German actress, Hedwig Reicher, a woman of great beauty, as well as dramatic genius, in the leading part, is as strong a play as is likely to be seen in New England this sea

son.

It is interesting to note that in the unusually strong cast of this piece Miss Stella Hammerstein, whose dramatic career opens most auspiciously, will appear. At the Park Theatre, "A Gentleman from Mississippi," a laughing comedy that is part of the fun of the day, is the attraction. Every one will want to see it. "Senator Langdon" is a character to be

remembered and Bud Haines, the young reporter, and Randolph Langdon and the "Bouquet of Buds from Mississippi" are all memories to lighten many a day with good-humored chuckle. Not to see "A Man from Mississippi" is to be as much out of line with the times as to miss Rose Stahl in a "Chorus Lady" at the Colonial. For that is another of the allround shows for everybody that is entertaining the Boston public.

"The Candy Shop," which is the new

attraction at the Tremont, is enjoying, says the Transcript, the good fortune of a musical play that discovers new talents in familiar players, and gives unfamiliar players their opportunity. "The Candy Shop" is really an assemblage of opportunities for an able company. Few of them go unimproved.

William Collier and his laughable farce, "The Patriot," follows "On the Eve" at the Hollis. He is surrounded by an admirable company. More and more in recent years Mr. Collier has

written his own plays and while the skeleton of "The Patriot" is the work of Hartley Manners, the actor himself has oftenest clothed it with the dialogue.

BOKS

道

THE PRINCIPLES AND PRACTICE OF BOOKKEEPING. Single and double entry. By Calvin G. Hutchinson, accountant, and Walter S. Parker, assistant superintendent of schools, Boston.

This valuable book has lately come under our notice and we are inclined to call attention to it because there is now much discussion of what are called modern methods of accounting. It begins with a narrative diary of business transactions and explains why these records need to be stated in regular and recognized forms.

The principles of bookkeeping are as old as those of arithmetic and are so stated as to be understood by any one. The relation of debit and credit is clearly explained, and the several forms of accounts are stated under several heads as follows, viz.:

Ordinary Accounts-Accounts current, cash, notes receivable, notes payable, inventory and valuation.

Subordinate Accounts-Outlay and income, proprietors' capital, or stock ac

count.

These are so exemplified as to show what classes of facts belong on either side of the several forms, and many sets of books and examples for the pupil to write out are given.

Beyond the proper field of school study there is much general information not elsewhere published, comprising bank statements, the clearing house, analysis of financial reports, comparisons of the United States National Bank and Bank of England systems, and a great variety of relative.

matter.

The book is highly commended by high officials of the United States Treasury, the chief cashier of the Bank of England, and eminent teachers.

It is of the utmost value for selfinstruction and is issued in two editions. For common schools, elementary principles, and single entry, 88 pp., 50 cents; for high schools and self-instruction, single and double entry, 240 pp., $1.00. The publisher is now C. G. Hutchinson, 14 Wales street, Dorchester, Mass.

THE ETHICS OF PROGRESS

To found ethical conceptions upon a generalization which will hold for an age that no longer leans on authority for its ethical standards, and that will at the same time afford an illuminating point of view from which to discuss moral questions now sharply at issue, is the professed purpose of a very serious discussion by the Rev. Charles F. Dole, who has already contributed to the subject such essays as "The Golden Rule in Business," "The Problem of Duty," etc.

The ethics of progress is distinctly idealistic and theistic without being theological in the usual sense of the word, or bound by tradition. The discussions are fresh, thought-provoking, and vital. If he has not altogether escaped the temptation to overwork a phrase as the perfect key to the solution of all ethical complications, he has at least taken pains to define his catchword of "good-will" on clean and simple language. We still detect, however, a trace of the old New England spirit in Mr. Dole's "man of good-will," and would very much dislike to be at his mercy. The long upper-lipped variety of saint might find a very comfortable standing-ground well within the borders of this phrase on which to pose, and this is the trouble with all catchwords. New England life, the New England character, has been So blighted by just that kind of thing that it will require more than one generation more to eliminate it.

But Mr. Dole's ethical discussions are far more human than is usual to moral essays.

If we find in it a disappointing retention of this old flavor, we also miss one strange element that belonged to the elder ethical discussions.

Mr. Dole's theory of the nature of sin seems to us inadequate rather thin, to put it plainly, and, as a necessary consequence, his discussion of forgiveness becomes correspondingly unsatisfying. To say that "your blame ceases as soon as the occasion ceases. This is the essence of forgiveness" (page 259), is to forget the very soul of forgiveness as the great initiative of moral regeneration. Forgiveness that sits down and waits for the other fellow to turn over the new leaf and make everything right is not forgiveness at all-it is merely a good-natured setting aside of a grudge. Forgiveness as selfinitiated, outgoing, regenerating activity is the greatest of all ethical facts or forces. Mr. Dole's definition smacks again of New England coldness and doctrinairism and is the most unsatisfactory phase of the book. Turning from these things to the body of the discussion we find much insight and breadth, a true humanity and honesty. that is quickening and refreshing. While we would criticise the book rather sharply in sane particulars, we would wish it a wide reading and rejoice in its appearance. It is published by Thomas Y. Crowell & Co., in a handsome one dollar and a half octavo volume.

THE NEW HUDSON SHAKESPEARE The classic of classics has gradually wrought out for itself in the world of books a typographical form which few publishers would have the tenacity to radically alter. Between the ponderous folios of old, and the dainty little hand-books which the public has come to associate with the publication of a Shakespeare play is to be found about every style of book-making known to the art. But they have simmered down to a pretty well-established type,

within the lines of which there is still abundant room for individuality.

"The New Hudson Shakespeare," as issued in a school edition by Ginn & Company, is a handsome series of volumes, bound in red cloth and clearly printed with numerous annotations and illustrations.

A comparison with the old Hudson Shakespeare shows the notes to be entirely rewritten as well as condensed and reduced to a more logical form. More attention is paid to sources and to historical and contemporary influences and the notes are indexed. The text is conservative.

The student who purchases the New Hudson Shakespeare comes into possession of a handsome little volume not unfitted for a place in his permanent library.

The notes are not as obtrusive as might be supposed from the fact that they are printed on the same page as the text, and in that, as in other respects, convenience has been carried to the very highest point. Details, such as the printing of act and scene numbers at the head of each page and the use of a heavier faced type in the notes to indicate the words and phrases commented upon, detract nothing from the appearance, while they greatly facilitate rapid reference.

The book does not seek to exploit its extraneous material above its great original, and its modest dignity in this respect reflects all the more credit upon its editors. Its popularity is assured.

OLD WHALING DAYS

To any one who has loved the traditions of New Bedford or gray Nantucket town, the very title of Howland Tripp's new book "In Whaling Days" seems a talisman. It will unlock, perhaps, the secrets of those grim old barks in the historical paintings sailing serenely against a background of hard yellow sky and oily green sea. The square-rigged ships, indeed, have almost disappeared from the wharves of New Bedford to-day, but in all the whaling towns, the dignified and ample

houses still attest to the success of the olden enterprise.

The actual life of the whaler on the high sea has been given in many a novel, from the little known "Moby Dick; or the White Whale" to the "Cruise of the Cachalot." It is the second phase of whaling life that Mr. Tripp has chosen to describe, the retired merchants in their white-pillared houses or in their loafing place at the Mercantile Insurance Company. It is extremely desirable that these traditions should be preserved and the series of character sketches that Mr. Tripp has presented show the requisite knowledge of the past, together with a deep interest in the subject. His diligent and careful workmanship is undeniable in the studied development of situation. and the detailed description of the old captains. Some of the climaxes, though a little measured, are very telling. There is the homely philosophy of the ship-owner, who never hired a man from captain to foremast hand without knowing who his mother was, and

there is the admirable retort made by the soft-tongued Quaker to an overshrewd competitor.

"I try to be a gentleman," the latter had said in tentative apology.

"I am a gentleman," said the Quaker, as he left the office.

Out of the very precision and diligence of the work, however, rises a selfconsciousness that tends to make it a malted extract of the old salty flavor. Some ingredient there is that is lacking in the composition. The atmosphere should be as thickset with romance as a fog from the southeast, but it is as rarefied as mountain air. The tang of the salt is not here, and without it any tale of New Bedford must lose its savor. If Mr. Tripp had lived, he would doubtless have merged in complete harmony his power of narrative with an appreciation of environment. As it is the collection of tales must remain an earnest only of what maturer powers might have accomplished, yet a book creditable in itself and valuable to New Bedford.