Archbishop Hughes Memorial High School - Spires Yearbook (New York, NY)

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only for the unusual theme of the story but also as a masterpiece of fictional art. Galsworthy's nomination to the Order of Merit in succession to Thomas Hardy in 1929 gave authoritative recognition of his supremacy among the men of letters of our times. Almost inseparably linked with Galsworthy is Arnold Bennett. It was only after years of apprenticeship that Bennett emerged, a novelist of distinction. As a background for his works, he immortalized the Five Towns in which he lived, and proceded to recount the lives of the inhabitants with an unsparing realism which reminds one of the realists of France. The monotony of such an environment is artistically relieved by the representation of characters of real worth. Bennett combines both realism and romance in a most unusual and lifelike man' ner. The Old Wives' Tales published in 1908 is an example of this. By tracing the careers of two sisters of different aspirations and temperament, he succeeds in his purpose. In the Clayhanger trilogy he again associates two characters of opposite tendencies, the faithful realist, Edwin, and the romanticist, Hilda. Bennett, however, attained the peak of success when he wrote Buried Alive, a skit that he has never excelled. This is a story of the almost supernatural experf ience of a man surviving himself, attending his own funeral and enjoying his post' humous fame. His strange experience, nevertheless, is brought on by the most natural means and does not detract from the author's realisitc structure. Now, quite naturally, we come to Miss Sheila KayefSmith who owes much to the example of Galsworthy and Bennett, in their interpretation of character by all possible means. In the main, Miss Smith has confined herself to the realms of Sussexg indeed, she is the spokesman of those simple, hardfworking folk whose lives are the embodif ment of simplicity and nobility. It was she who first focused the attention of the outside world on Sussex, on those who live close to the soil and are a part of it. Miss Smith's ability to discern beauty in the rudest of Nature's creations, has elevated her above the usual position of novelist. Her books constitute a world of reality and give us a sketch of true romance-the rugged romance of the soil. The most significant of her works are The Tramping Methodist, Starbrace, Green Apple Harvest and Sussex Gorge. The latter, an epic of the land, published in 1916, was readily granted the place of honor among the novels of its time. In the language of realism, itis the power of a tiny plot of earth over the ceaseless strivings of one man. Despite her genius for portraying persons and scenes as they really are, Sheila KayefSmith did not produce her greatest novel until 1922. Joanna Godden' is a masterpiece of literary creation and portrayal. No character in art or literature could ever equal this one. Traits of both weakness and steadfastness are combined in the heroine. It is the tale of a girl who, in behalf of her sister's interests, attempts to banish true love from her heart only to find that love cannot be swerved by or' dinary mortals. Miss Smith has indeed well deserved the diadem of honor that is hers, for her works, like those of Galsworthy and Hardy, have been most significant in ushering in this new reign in literature-the reign of realism. MARY A. OQCONNOR One Hundred Thirty seven

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REALISM Throughout the history of literature there has never been a more marked ten' dency toward a democratic style than at the present. The influence of popular educaf tion has led to a striking and fundamental change in contemporary literature which distinguishes it from the historical type. The modern trend shows diversification. The reading public is now too large to interest itself in one dominant phase, and so there has developed a literary movef ment in the last decade of the nineteenth century which has catered to the wishes of the populace and failed to display any decisive direction. However, just as roman' ticism characterized the early nineteenth century and classicism the early eighteenth, so now in the present confusion of literature there may be discerned one tendency which, if developed, may prove to be the distinguishing impulse of the twentieth century. This tendency is realism. The interest of the vast reading public in realities, facts, has determined this new trend. Whereas formerly a man of letters achieved success by leaving something so written to aftertimes that they should not willingly let it die QMiltonj-today, the greatness of a writer depends upon his ability to retain the attention of the masses for a few years instead of a fit audience though few for generations. Accordingly, the introduction of realism in contemporary writ' ings has broken down the stately conventions of literary minds of the past. The modern novel, for instance, mirrors life more intimately than ever before. It symbolizes realities without camouflage. In modern English literature the term suggests without dispute Galsworthy, Arnold Bennett and Sheila KayefSmith. Galsworthy is a realist in every sense of the word. A humanitarian by temper' ament and a lawyer by training, all his work is done with a definite social purpose in View of which his skill and technique serve as a means. His satire is unconcealed as, also is his sympathy. Class distinction, he recognizes as the cardinal fact in society. Hence his novels deal chiefly with class opposition. He is, however, even more successful than others in preventing the didactic element in his novel from over- powering its quality. Every grouping of life and character has its inherent moral, he says, and according to his own views, it is the artist's business 'iso to pose the group as to bring the moral poignantly to the light of day. Galsworthy was slow in reaching the heights of artisitc greatness and the first recognition of his genius did not come till 1906, at the publication of The Man of Property which really was the Erst of a series of novels, that, taken together, com' pose a unique volume The Forsyte Saga proper, beginning with The Man of Property and ending with To Let, traces the varying fortunes of the Forsytes from 1886 to 1920. The later series beginning with The White Monkey begins its action in 1922 and continues the tale of the younger generation up to the death of Soames Forsyte in 1926. This complete set may now be found under the title, A Modern Comedy. It only remains to be seen that so skilled a novelist cannot help but give evidence of that adeptness in his writings, and indeed, in recognition of his abilities, it seems more than probable that generations to come will accept The Forsyte Saga not On Hundred Thirtyfsix

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MIDfTOWN NEW YORK Architecture is frozen music -Schelling New York is truly a city of extremes. She has justly earned this appellation by her blending of contrasts in the formation of one mighty metropolis, the most unique in the world. This may be readily seen by an observation of the architecture around us. Of all the modern municipal structures, the skyscraper, by preeminence, is the famous Empire State, called the Smith Building in honor of its president, our internationally known exfgovernor Alfred E. Smith. Opened officially on the first of May of this year, it received its just recognition as the highest building in the world. It represents the work of skilled architects, engineers, scientists, mechanics and workmen, and stands, majestic in its entirety, a monument to the achievements of our generation. Reaching twelve hundred feet into the air, its white brick and aluminum reflecting the light, its panes glittering in the sun, it furnishes an ideal setting for modern business. From the completeness of its rocky foundation to the mooring mast on its tower, it more than satisfies the exacting demands of the present age. Within walking distance of the Empire State, we find Saint Patrick's Cathedral, whose cornerstone was laid by our illustrious Archbishop john Hughes on August 15, 1858,'but whose splendid structure was only completed and dedicated in 1879. The edifice is done in the inimitable Gothic style, and with its grey granite walls, intricate, pointed arches and magniicent stainedfglass windows, it is the cynosure of neighboring eyes. The twin spires whose silent fingers point to heaven, are sharply outlined against the sky in beautiful immobility, exhorting us to look up,-up to God. The interior is sublime in its solemnityg the long, shaded aisles, mysterious recesses and vaulted ceiling are typical of the old French Cathedrals. Everything about the sacred precincts seems so foreign to bustling New York. The fitful gleam of the sanctuary lamp, the stillness and sense of security make this house of God a world apart. Not only do these two buildings differ in architecture and atmosphere, but also in purpose. The Empire State was erected as a memorial to commercialism, Saint Patrick's Cathedral as a shrine consecrated to the worship of God. Yet there is an indefinable connection between the two that a contemplative soul cannot fail to grasp. Both these artistic conceptions were realized because of the guidance and inspiration of the Great Creator. These masterpieces of beauty also exemplify that the material and spiritual life of man are so closely interwoven, that it is by the power and superiority of the spiritual that the material may triumph. ANN M. MCCLUSKEY. One Hundred Thirtyfeight