The "Harvard Monthly."

The "Harvard Monthly" for March is full of good work, and surely equals, if indeed it does not surpass, any of this year's issues.

Professor Dyer's "Iphigeneia Martyr" is an interesting study of one of the figures of tragedy that have a lasting influence to this day. His treatment of the subject is scholarly, as every one expected it to be, coming from him, and is marked by a broadness that is an encouraging sign of the work we may expect from him when he devotes himself entirely to belles lettres. It is to be regretted, however, that the interesting thesis of the title, "Iphigeneia Martyr," is not more consistently carried, and this, perhaps, mars the balance of an otherwise delightful essay. The quotations are all chosen with a keen appreciation of their value in illustrating the subject. The essay is clearly a labor of love.

It is an encouraging evidence of the "Monthly's" literary rank that its columns have become the means of publishing an exchange of ideas by two such men as Col. T. W. Higginson and Mr. Hamerton. Mr. Hamerton's reply to Col. Higginson's rather pointed criticism of a statement of his, is interesting and well written. However, the reader is made to feel through this reply now insignificant the whole question at issue is. It seems, to use Col. Higginson's own words, that "a mere obiter dictum is taken up" and made too much of. On the whole the fair-minded reader must acknowledge that Mr. Hamerton has not gotten the upper hand in the discussion. In fact, it is astonishing that he does not employ more strict logic in refuting the charges brought against him. No American can hesitate to uphold Col. Higginson's side of the question.

Mr. Bruce's "Firdousi" is remarkably smooth, and conveys in delight fully poetic language this pathetic incident connected with the Persian poet's life. The choice of words is in many instances made with exceptional insight, as when he speaks of "jewels which had drunk of fire," or of the "dusty caravan," or again, "an old man, on whose brow the knots of pain were loosened now." No small charm is lent the rhythmic flow of the lines by the melodious oriental names used here and there. The poem is a very welcome departure from the abstruse and would-be metaphysical lines that fill the columns of college magazines. Mr. Bruce's success in this narrative style ought to encourage others to follow on this path which is bordered by flowers quite as delicate, if not as gorgeous, as those that hedge in the would-be metaphysics.

Mr. Droppers' essay on "Robert Louis Stevenson" presents a mature and careful criticism of the works of that gifted writer. The style, a little involved at first, becomes clearer and more forcible as the essay progresses, and is marred by but a very few inelegancies. The light in which Stevenson's works are regarded is eminently just; and though the admiration bestowed on them admits of many qualifications, their inspiring cheerfulness and whole someness cannot be denied.

"Ghazel." by Mr. Berenson, hides a thought that might have been mad much of, under the cover of heavy language. The contrast between "numbing thought" and the "blithe heart" ought to be indicated by some change in the flow of the words. Instead of this a rather strained alliteration, "on shiny shallows of shoreless sorrow," so obtrudes itself upon the reader that the blitheness of temperament is quite forgotten. We cannot but regret that Mr. Berenson fails to find smoother expression for much of the vigor and beauty of his thought.

"A Victim of Conscience" by Mr. Barry, as far as we know, a new contributor to the "Monthly," is a powerful story, drawn in strong lines. Devoid of all false sentimentality that is too apt to impair the value of such a story as this, the straightforward narrative cannot fail to impress the reader. The story is well conceived and well told.

A happy note rings through "In April," a poem graceful in form as it is charming in thought. It reminds one of Horace's Solvitur acris hiems, regenerate with the intensity and the subjective spirit of modern poetry.

A book notice on Scollard's "With Reed and Lyre" closes this admirable number.