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 two. And then, never oblivious of his darker vision, he turned to the task of fashioning, on the verge of the abyss, a dance and a music as heartening as the sound of bagpipes.

The grimmer members of the modern school say, in effect: "We are going to exclude from the audience of significant modern art the following classes: children, nice young girls and boys, old maids, old fogies, the entire ruck of the bourgeoisie, and all people who insanely insist that they are happy and contented. We shall address only stern, unblinking adults, such as are at least theoretically pessimists and we intend to give them their first full realizing sense of the abyss."

To that I reply, "Bring on your abyss!" That is one perfectly legitimate object of letters. I like to think of myself as an "unblinking adult"—not dizzy at precipices. I am ready to hear whatever honest report the moderns may bring in concerning their soundings in the abyss. But, surely, for an adequate literary movement, the exclusions of "the modern school," as Mr. Swinnerton describes it, are too wide, its remorseless intention is too narrow. Ultimately it will be forced to expand and make room for the dancing and music of children and for all the other folk to whom Stevenson showed, with so much grace and charm in the showing, how to be happy in "playing the game."

The game of which we are speaking is not optional—is not so regarded by my crowd. It must be played. Therefore, it is not a whit more the business of a realistic personal philosophy to acknowledge where it ends than to devise good ways of playing it with some spirit and with some style to the end. But I definitely exclude here discussion of Stevenson's great rôle as in-