THE CENTURION

THE Editor has said, “Recognizing that

this is, in a real and vital sense, the very age of fiction, we plan that each number, beginning with the November CENTURY, shall contain, in addition to a leading article on modern conditions, an exceptional fiction feature." He also announced that about half of each number would be devoted to fiction. In a magazine of THE CENTURY'S size (this January number is the largest issue of The Century ever printed and probably the largest of any standard-size magazine) there is ample room for other matter, political, humorous, poetical, historical and artistic. As the Centurion has a strong liking for fiction of CENTURY quality, he takes special pleasure in announcing that the February CENTURY will be a "Mid-Winter Fiction Number." Among the other stories that give the number its name is a charming tale by Lawrence Perry, entitled "Mother." It will touch the heart of every one who cares for children.

An undergraduate at one of our eastern seats of learning once remarked "Prof. 's is a good course, but it makes you think." "The Last War in the World," in the February CENTURY, is a good story, but it makes you think. It is the second part of H. G. Wells's prophetic trilogy which begins in this number of THE CENTURY. "The Last War in the World" is fiction in its most inspiring form and will delight not only the omnivorous devourer of fiction but also the reader who thinks that he has outgrown his love of stories.

A short story, which appeared in THE CENTURY in 1898, has since been published in various forms, was expanded into a gorgeous play, and finally became a lovely opera. This was "Madame Butterfly" by John Luther Long. Perhaps "The Temple of the Countless Gods," in the February CENTURY, will bloom likewise, for it is by the same skilled teller of tales and is a story of Japan and of love.

"Creole Beauties and Some Passionate Pilgrims" is the name of a "travel article" so graphic and entertaining that it might well be classed under "fiction" or at least "romance." The author, Julius Muller, says that "What the Spanish-American beauty cannot do with

her eyes, is not worth mentioning. In the brief moment of passing she can say: 'Don Manuel, I love you. Beware of my señora aunt, who is watching me like a tiger. Don Manuel, you are the handsomest man I ever saw. Do you behold how jealous is the fat Don Marco, who is sitting with my so beloved and respected father? For the fat Don Marco I have the great disgust. Shall you be passing our casa to-morrow at the usual hour of night? Behold, I shall be looking forth, Don Manuel. I would fall into your arms!' The señorita says it all with her eyes."

The paper on "Romeo and Juliet" by William Winter, critic and Shaksperian scholar, in the current CENTURY recalls the delightful series, "Shakspere on the Stage," recently published in THE CENTURY, by the same author. The series is alluded to by the late Dr. Horace Howard Furness in a letter, now in the possession of Jefferson Winter, and herewith printed by courteous permission of Horace Howard Furness, Jr.:

"Never before has there been, within the same compass, so much truth and wisdom uttered concerning the acting and the interpretation of Shakspere. How wise and sane is all you say about foreign actors! And your every word about the distinction between the literary and the dramatic quality of a play is gospel truth, and your page should be the star to the wandering bark of every playwright.

"Please, please live to complete the series whereof you here hold out the promise. Such a series will prove one of the very greatest of contributions to the Shaksperian Stage and will float down the tide of time until this earth becomes an old burnt-out cinder, like the moon."