when he wrote his book, definitely explains its purport and its purpose, it may be worth some consideration. It may serve to differentiate "The Human Slaughter-House" from the itch of mere literary sensationalism and enable the foreigner to understand the light in which the Commission for Instruction, Education, etc., of the nineteenth Universal Peace Congress at Geneva regarded it when last year it wrote officially to congratulate its author on having placed "a weapon of the greatest importance" in the hands of the pacificists.

At all times and at all places, Lamszus points out, patriotism has been of two kinds. The one sort takes its stand on the public market-place, with its hand on its manly chest, to advertise the public spirit that inflates it. In season and out of season, it never fails to invite the public gaze to dwell on the integrity of its patriotic sentiments. Its main strength lies in the spectacular and oratorical. As such it not infrequently deteriorates into the idle sound and fury of Junkerdom, Chauvinism and Jingoism.

There is that other type of patriotism that, no less loyal to its own country, believes in the dignity and worth of humanity, that believes in the patriotism of quiet, unadvertised, productive work and in the virtue of a sense of moral responsibility. It is sanguine enough to believe that it may yet be the destiny of a great nation to serve the cause of humanity by eliminating the hideous necessity for war. It finds its highest representative in the patriot of the type of the late Emperor Frederick the Noble, who, himself a soldier proven on the stricken field, found the courage to say, "I hate the business of blood. You have never seen war. If you had ever seen it you would not speak the word unmoved. I have seen it, and I tell you it is a man's highest duty to avoid war if by any means it can be avoided."

The issue Lamszus raises at the bar of public opinion of the civilized world is whether the patriot of this type must necessarily be either a "neuropath" or a "landless alien," as compared with him of the other sort; whether he be necessarily lacking in civic spirit, virility, and even soldierly virtues.

If the matter be of any concern, I gather that the author himself, so far from being physically a weakling, is a trained gymnast (of the type that our representatives will have to take into account at the next Olympic games) given to athletic exercises. He has also had sufficient medical training to have passed through a school of comparative anatomy. There are, therefore, no grounds for assuming offhand that he is of the nerveless type that faints at the first sight of blood; yet he writes of war with a shudder that the reader can feel in every line.

Yet—a contradiction his critics have not been slow to underline—this same man, who abhors the very thought of war, has written to the praise and glorification of war "like a professional panegyrist." While he was writing "The Human Slaughter-House," he was also engaged in etching some literary silhouettes, embodying the Dutch folk-songs, of the revolt of the Netherlands. The contrast is so striking that one or two of these "prose poems" may be worth quoting.

I

A reign of terror has dawned on the Netherlands. The Netherlands, ever proud of their freedom, are henceforward to be Spanish provinces. But the Netherlander has no mind for the honor. He cleaves obstinately to his chartered rights and to his nationality.

Then the Duke of Alva has come into the country in the Emperor's stead. He has brought in his train an army of Spanish soldiers, the gallows, and the executioner's axe. He has turned the country into a cemetery. A graveyard stillness reigns over it. For where three men foregather in the streets they smell out conspiracy in their midst. An ill-considered word, and the gallows, lowering in the background, silences the foolish mouth.

Setting their teeth, the Netherlander have to suffer it. The Spanish sword reaches the remotest village. Only in secret do they dare clench their fists. For the hangman's rack has a way of smoothing out clenched fists.

Terror lies on its chain like a wild beast. Only when it believes itself to be unobserved does it rise and sees the people lying on their knees, and hears a tortured country crying up to Heaven.

II

A star has risen against the sky of despair. The saviour of the Fatherland has been found. Egmont and Hoorn, the darlings of the people, have walked into the trap and have been beheaded in the market-place. But Orange has escaped. He has taken flight to Germany.

Orange, a clever brain! More clever than Spanish guile.

Orange, a brave heart! Braver than Spanish death and swords.

How calm was his countenance! How confident his speech! He is not the man to rush anything, to spoil anything. He will return in his own time. They are already whispering it stealthily in one another's ear. The whisper is already passing from ear to ear, increasing to joyous certainty:

He is already in our midst. As yet he is in hiding. But on the morrow his call will ring out, and his confidence glow through every man's heart.

William of Orange!

III

The call has come. They are flocking in on every road. Groups of peasants and artisans. Masters, and apprentices among them. And the greybeards have taken their old weapons from the wall.

Halberds flash in the sunlight. Old-fashioned furniture of war. But still more ardently do their eyes flash. All are of one mind. All driven on irresistibly by one single impulse.

So they pass singing along the highroads. They had almost forgotten how to sing. But now it breaks out the more joyously in the sunlight—the solemn chant.

Dumfounded, the Spanish outpost, under cover of a hedge, gapes after them. Let them run, the spies. The spell is broken. Let them hear of it till their ears ring again.

The morning sun is shining. But we are marching to death and singing:

"Happy is he who knows how to die for God and his dear Fatherland."

IV

A pleasant farm hidden away in a garden. It is springtide. The garden is a blaze of white. Apple-trees in blossom. Beneath their boughs a man and a girl are standing close intertwined.

Beyond, on the other side of the hedge, they are passing along the village street. Their friends of the village. Their hour has come.

The girl's head is resting heavily on his breast, and her arm trembling round his neck. "Stay with me, only stay one day more. The wedding was to have been tomorrow. You will never come back! And we are so young—so very young. Look, how the blossom is falling. You, too, will lie on the ground like that, so dead and white. And I shall waste away and fade."

Then he looks into her eyes—sad unto death and fearful. "So you wish me to stay behind, and the others to go and die for us?"

She shakes her head without a word, and looks up at him with a smile amid her tears. Then he kisses her, and clasps her hand in farewell.

V

The groups have assembled. They have grown from day to day, and drawn nearer and nearer to the enemy.

And now the two armies are arrayed against each other—eye to eye. On the plain yonder you can see them—the Spanish troops flashing in steel—so close that you can distinguish their yellow faces in the sunlight.

What is their quest here on foreign soil? They are selling their blood for a hireling's wage, and turning themselves into hangmen to lay a free people in chains.

A distant glow is still glowering to the heavens. The last villages through which the Spanish dogs passed. They have left smoke and ruin behind them. Mangled corpses, the wailing of children. What do the strangers care? They have come into the country for loot.

There they stand, the destroyers! Splendidly harnessed, practised in war, and used to victory. Callously, as if at their handicraft, without much shouting, or much running about and movement, the array over there falls into line. A dangerous foe in its uncanny