The wide-spread interest aroused by the historical prize competition has been very gratifying. That part of the competition which seems to indicate a new departure in the shape of lighter veins of historical writing has been especially commended. The first contest of this character, that of the ballad and sonnet, closes within a month, on May 1, and contestants who have been preparing contributions in this class, and have not yet sent them in, have still a few weeks in which to give their efforts a little more polish.

A consideration of the work of our best known poets, as indeed of the entire range of American literature, discloses the fact that historical studies have seemed to inspire less in the shape of the ballad, and what may be designated as the historical sonnet, than they have in any other form of literature. Our most famous poet, Longfellow, is the one who is probably most indebted to American history for the themes of his poetry. And, indeed, the works which have established his reputation, Hiawatha, Evangeline, and Miles Standish, are in a remarkable degree merely what might be called poetical historical studies. This fact, from the standpoint of the historical student, might fairly seem to entitle Longfellow to the claim often made for him, that he is the most "American" of our poets.

And yet even Longfellow has done very little in the way of the balladfounded on American history, at least―

notwithstanding our national story is rich in episodes and events inviting this sort of treatment, and that this seems one of the forms of the muse easiest attainable. It is true that perhaps the best known American ballad is Longfellow's The Ride of Paul Revere; yet the poet never did anything else in the same line that was very remarkable.

The truth is, that almost the entire range of American history is a virgin field for the balladist, and if he cannot create something worthy, at least he cannot plead that every theme is hack-. neyed, and that there is no space left for the treatment of a fresh and original story. The ballad of Paul Revere seems rather too familiar for interesting discussion, yet it may be said that in form and method of treatment it conforms well to the traditional ballad style, of which Scott's Young Lochinvar is a fine example. None of Longfellow's poems are of so high and soul-stirring a spirit as the creations of many other poets, and in this respect perhaps, The Ride of Paul Revere is equally lacking.

Whittier furnishes us with another famous poem, which while not conforming to the traditional type so closely as Paul Revere, must yet be classed as a ballad. We refer to the story of Barbara Fritchie. This poem embalms an extremely interesting episode (which does not lose its interest, even though the story be apocryphal as regards its main facts), and is told with much spirit. And the modification of the ballad form

is perhaps a gain in this case, if it can be shown that this has helped the interest and spirit of the narrative. Another familiar and spirited American ballad, and one which also breaks away from the traditional form of the ancient examples, is Sheridan's Ride at Winchester. The martial spirit which pervades this creation is finely appropriate to the theme treated.

The historical sonnet requires but little specification. It is not uncommon in literature. There is many a figure in history, and many an event or principle personified, which the poet can only treat adequately in sonnet form.

No competitor should forget that the number of his contests in the different classes open to him will in no wise influence against him in the decision in any given case. All are cordially welcome to compete in every class in which they are interested. This, indeed, has been one of the main motives for fixing intervals as long as practicable between the times of closing the various classes of the contest.

As was said last month in this department, every manuscript must be received on or before the date, in the respective class in which it is entered. This rule is imperative, and authors should see that all manuscripts are forwarded in time to avoid the possibility of exclusion on these grounds.

It is also very desirable to accompany each article with a brief summary or catalogue of the various books, periodicals, or manuscripts that have been examined in the preparation of the article submitted in competition. It will be found that nothing is so potent an educative factor in making one skilled in historical work as this carefulness concerning authenticity.

In answer to various inquiries on the subject, the rule will be, that no article is eligible which has ever been in print or presented before any organization. It is imperative that any manuscript submitted must be prepared originally for this competition. We reserve remarks on the historical novel in this department until a later number.