is signified by the fact that neither the Lady nor the Brothers are able to win the full victory alone? (7) Why are these children allowed to have this experience? What is tested by it? How does this story pay a compliment to the Earl of Bridgewater?

(8) Learn the memory gems scattered through the poem, especially those in lines 373-375; 453-456; 589; 593; 1018-1023.

(9) Milton himself said "Wherever I go, the sentiment of the last two lines of my 'Comus' is always my fixed belief."

"Caliban by the Yellow Sands," a Modern Mask.-In connection with its celebration of the Shakespeare Tercentenary, New York City produced the most elaborate mask of modern times, "Caliban by the Yellow Sands," in the Stadium of the College of the City of New York, May 23-27, 1916. Percy MacKaye was the author of this mask; Miss Mary Porter Beegle was the organizing chairman who originated the idea, and Josef Urban, the Viennese artist, designed the settings and arranged the elaborate system of lighting. The acting, music, dancing, costumes, and other features were in the hands of competent artists in each line.

In this mask the poor half-formed monster, Caliban, of Shakespeare's "Tempest," was put under the spell of the magician Prospero, and, in the presence of Miranda and the sprite Ariel, was shown a large number of scenes from Shakespeare, together with a series of interludes representing life in many different nations and periods of time. The great center ring of the Stadium was covered with yellow canvas to represent the sands, and here, around a large hour-glass, were presented dances and pageants representing dramatic art in Egypt, Greece, Rome, France, Germany, Spain, and Elizabethan England.

The following brief outline of the plot of "Caliban by the Yellow Sands" appeared in one of the New York papers:

The story of the mask begins with Ariel, a winged spirit typifying light and truth, imprisoned in the jaws of the idol of Setebos, god of primeval force and father of Caliban, the brutish primeval man. Caliban taunts Ariel. Lust, War, and Death, the priests of Setebos, perform a weird ritual before the idol. Miranda, a spirit, enters with her father, Prospero, who typifies the art of the theater. Prospero releases Ariel, commanding him to educate Caliban instead of seeking revenge.

Prospero, to help, reveals the pageant of the theater in three great

ages-Egyptian, Greek, and Roman. On the inner stage scenes from various Shakespeare plays are shown.

The second interlude is a merry festival of Elizabethan England, given to revive the drooping Miranda. Caliban woos Miranda, and calls upon War to dethrone Prospero. Prospero summons the spirit of Time to his aid, and Time calls his artists. The theaters of the world group themselves about him. The spirit of Shakespeare enters and speaks the lines from "The Tempest":

"We are such stuff as dreams are made on, and our little life is rounded with a sleep."

Caliban is profoundly imprest, and, kneeling with the assembled thousands around him, he pays homage to Shakespeare, symbolizing the regenerated man awakened to his higher destiny.

The Dramatic Monologue.-The greatest master of the dramatic monologue was Robert Browning, who did his best work in the last half of the nineteenth century. This type, as the name indicates, has but one speaker and is not adapted for regular stage presentation. It is, however, sometimes used for declamatory purposes.

Browning's monologues are all soul-studies. In each one of them he chooses a particular crisis in the life of the speaker, makes him lay bare the depths of his soul and unconsciously reveal all the hidden springs and motives for action. Thus from the one moment we can really understand the whole life-what it has been, as well as the direction toward which it is tending. Among the best of Browning's monologues are "My Last Duchess," "The Patriot," “Saul,” “Andrea del Sarto," "Cleon," "Mulèykeh," and "Abt Vogler." Most of these are rather difficult reading, but "My Last Duchess' is easy to understand and will best illustrate this type.

The scene of this monologue is laid in Italy during the Italian Renaissance. The speaker is a haughty duke, who, although he loves culture and works of art to a high degree, is hard and cruel. The duke has been making arrangements for his marriage with the daughter of a count. He and the count's agent are just about to descend the grand staircase in the ducal palace, when he stops and draws the curtain hanging over the picture of his last duchess. He wishes to signify to the agent certain characteristics that he does not want to find in the new duchess, but he in reality reveals his own selfish, sordid nature.

MY LAST DUCHESS 1

Robert Browning

That's my last Duchess painted on the wall,
Looking as if she were alive. I call

That piece a wonder, now: Fra Pandolf's hands
Worked busily a day, and there she stands.
Will it please you sit and look at her? I said
"Fra Pandolf" by design, for never read
Strangers like you that pictured countenance,
The depth and passion of its earnest glance,
But to myself they turned (since none puts by
The curtain I have drawn for you, but I)
And seemed as they would ask me, if they durst,
How such a glance came there; so, not the first
Are you to turn and ask thus. Sir, 't was not
Her husband's presence only, called that spot
Of joy into the Duchess' cheek: perhaps
Fra Pandolf chanced to say, "Her mantle laps
Over my lady's wrist too much," or "Paint
Must never hope to reproduce the faint

Half-flush that dies along her throat": such stuff
Was courtesy, she thought, and cause enough
For calling up that spot of joy. She had

A heart-how shall I say?-too soon made glad,
Too easily impressed: she liked whate'er

She looked on, and her looks went everywhere.
Sir, 't was all one! My favour at her breast,
The dropping of the daylight in the West,
The bough of cherries some officious fool

Broke in the orchard for her, the white mule

She rode with round the terrace-all and each

Would draw from her alike the approving speech,

Or blush, at least. She thanked men,-good! but thanked
Somehow I know not how-as if she ranked

My gift of a nine-hundred-years-old name

In speech (which I have not)—to make your will
Quite clear to such an one, and say, "Just this

Or that in you disgusts me; here you miss,
Or there exceed, the mark"-and if she let
Herself be lessoned so, nor plainly set

1 By permission of the Macmillan Company.