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OUR age is retrospective. It builds the sepulchres of the fathers. It writes biographies, histories, and criticism. The foregoing generations beheld God and nature face to face; we, through their eyes. Why should not we also enjoy an original relation to the universe? Why should not we have a poetry and philosophy of insight and not of tradition, and a religion by revelation to us, and not the history of theirs? Put the living generation into masquerade out of its faded wardrobe? The sun shines to-day also. There is more wool and flax in the fields. There are new lands, new men, new thoughts. Let us demand our own works and laws and worship.

This book is intended to place in the hands of the general reader an epitome of theosophical teachings, sufficiently plain to serve the elementary student, and sufficiently full to lay a sound foundation for further knowledge. It is hoped that it may serve as an introduction to the profounder works of H. P. Blavatsky, and be a convenient stepping-stone to their study.

That word drama has been somewhat discredited of late; it has been overworked and twisted to strange uses in these days of dolorous literature; but it must do service again here, not because this story is dramatic in the restricted sense of the word, but because some tears may perhaps be shed intra et extra muros before it is over.

Overwhelming proof was obtained that the sun-myths of the ancient Aryans were the origin of the religions in all of the countries which were peopled by the Aryans. The Saviours worshipped in these lands are personifications of the Sun, the chief god of the Aryans. That Pagan nations worshipped a crucified man, was admitted by the Fathers of the early Christian Church.

Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681.

The Theosophical teaching, that a man can be thus specially helped only when his past actions have been such as to deserve this assistance, and that even then the help will be given through those who are comparatively near his own level, is free from this serious objection ; and it furthermore brings back to us the older and far grander conception of an unbroken ladder of living beings extending down from the Logos Himself to the very dust beneath our feet.

Ever the same—the noiseless entry, the quietly spoken request for the lawyer. Martin repressed a flash of irritation; the little Japanese, with his uncanny soft-footedness and stereotyped address, got upon his nerves. However, his orders were explicit; Mr. Smatt would see Dr. Ichi without delay or preliminary, whenever Dr. Ichi favored the office with a visit. It was already the third visit that day, but orders were orders.

The Financier, a novel by Theodore Dreiser Published in 1912, is the first volume of the Trilogy of Desire, which includes The Titan (1914) and The Stoic (1947).

Goethe’s masterpiece and perhaps the greatest work in German literature, Faust has made the legendary German alchemist one of the central myths of the Western world. Here indeed is a monumental Faust, an audacious man boldly wagering with the devil, Mephistopheles, that no magic, sensuality, experience, or knowledge can lead him to a moment he would wish to last forever. Here, in Faust, Part I, the tremendous versatility of Goethe’s genius creates some of the most beautiful passages in literature. Here too we experience Goethe’s characteristic humor, the excitement and eroticism of the witches’ Walpurgis Night, and the moving emotion of Gretchen’s tragic fate.

IN the far-off days when Dante lived, those who wrote books wrote them in the Latin tongue. Dante himself wrote the first seven cantos of his great poem in Latin. But like many another poet, he was not satisfied with his first attempt. He flung the seven Latin cantos aside and seemingly forgot all about them, for when he was banished from Florence the poem he had begun was not among his treasures.