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It will be remembered from the British "White Book" that in November, 1912, a correspondence passed between Sir Edward Grey and the French Minister in London, in which it was stated that British and French military and naval experts had consulted together from time to time as to plans to be followed in case of war, and it was stated in this correspondence that in accordance with such prearranged plans the French fleet would stay in the Mediterranean to safeguard the joint interests there, whereas the British fleet would safeguard their interests in the north. Of this correspondence the members of the British Cabinet remained ignorant until the Cabinet meeting immediately preceding the written statement by Great Britain on Aug. 2 that in case a German fleet attacked the French coast or passed into the Channel, England would give all the assistance in her power, (British "White Papers," No. 148,) and it was also, of course, concealed from the British public until the speech of Sir Edward Grey on Aug. 3. It will be remembered that in consequence of this revelation the British Minister of Commerce, Mr. John Burns, and two other members, Lord Morley and Mr. Trevelyan, left the British Cabinet under protest; that the leader of the British Labor Party, Mr. Ramsey Macdonald, resigned from the leadership and that Mr. Arthur Ponsonby in his famous letter denounced Sir Edward Grey's practices.
Then too Walt Whitman claims to be the poet, not of the past or even only of the present, but the singer of the future. He says in The Backward Glance, which I have already quoted, and which must be carefully read by anyone who wishes to understand his work--at least in so far as he understood it himself,--"Isolated advantages in any rank or grace or fortune--the direct or indirect threads of all the poetry of the past--are in my opinion distasteful to the republican genius. . . . Established poems, I know, have the very great advantage of chanting the already performed, so full of glories, reminiscences dear to the minds of men." And he says too that, "The educated world seems to have been growing more and more ennuied for ages, leaving to our time the inheritance of it all." And he further says: "The ranges of heroism and loftiness with which Greek and feudal poets endow'd their godlike or lordly born characters, I was to endow the democratic averages of America. I was to show that we, here and to-day, are eligible to the grandest and the best--more eligible now than any times of old were."
In 1890 Mlle. Fould painted a portrait of her stepfather, and for a time devoted herself to portraits rather than to the subjects she had before studied with such success. In 1893 she painted a portrait of Rosa Bonheur, in her studio, while the latter paused from her work on a large picture of lions. This portrait presents the great animal painter in a calm, thoughtful mood, in the midst of her studio, surrounded by sketches and all the accessories of her work. In the opinion of many who knew the great artist most intimately this is the best portrait of her in existence.
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