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N no other way can we characterize the excitement over the film (miscalled, it is true), "The Birth of a Nation." When historical accuracy becomes a requisite of theatrical production, we must throw out practically every historic drama now on the stage including, to a certainty, all of Shakespeare's "Histories.' And, after all, who is to be final arbiter of the accuracy of historical statements? Up in Canada it is commonly taught that the United States was thoroughly whipped in the war of 1812, and paid an indemnity to Great Britain, out of which indemnity the Rideau Canal was built. We teach the war of 1812 as a great triumph of American arms. The history of the Reconstruction period is as difficult to write with justice as the history of non-conformity in Scotland. Such evil passions ruled vast majorities on both sides, that worthy ends are clouded by unwarrantable means, and the purest instrumentalities degraded to the unworthiest uses. In such a situation it is all a matter of standpoint as to whether we emphasize the good of this or that party. "The Birth of a Nation" is a

strongly partisan presentation of the case for the upper class of Southern whites, in their organization of illsavored Ku-Klux Clan. History SO unfalteringly condemns that movement, that there is all the less harm in a presentation of what is, or was, good in it. For, especially in its beginning, there was much that was good and much that was wise and well directed. It is only fair to recognize the fact; it is only just to the South to allow that side of the case to be presented. If the film was "immoral," why then the newspaper accounts condemning it were trebly so. They grossly and indecently exaggerated its worst insinuationsand, on the same page, in one instance, printed a private scandal, the printing of which was an act more outrageous and detestable than anything in that film, a thousand times.

If the whole excitement should issue in a strengthening of the already disgraced, and utterly unAmerican idea of a meddlesome Censorship, the evil of the whole silly excitement will have been consummated in an injury to our civilization, a degradation of the purity of our laws.

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OME time ago a voluntary committee of distinguished Bostonians was organized to further the project of erecting a monument to Anne Hutchinson, the Puritan religious independent, whose picturesque and singular history adds a touch of romance and liveliness to the sombre nals of Colonial life. Whether or not she actually contributed much of importance to the development of freedom in America, is still, unfortunately, something of a partisan issue. If such a monument could murmur a requiescat in pace over the restless shades of this antique controversy, it might, on that account alone, be well worth placing.

I confess that I am only interested in the idea as a contribution to our artistic treasure. The work of designing a model was committed to Cyrus Dallin, the Boston sculptor, so well known by his interesting Indian figures, including The Appeal to the Great Spirit, that stands before the Boston Art Museum. Illustrations of these, and others of Mr. Dallin's work appeared in the New England Magazine some time ago. If the plan of placing the statue in the vestibule of the Boston Public Library, in the space facing the well-known statue of Sir Harry Vane, by Macmonnies, is carried out, the meaning would be that the library was primarily dedicated to intellectual freedom. That is a pretty sentiment, and will appeal to a dozen or more persons, out of the tens of thousands who pass in and out. Almost all, however, will appreciate the appeal of the statue itself, its beauty, and the fine and true type of womanhood for which it stands.



I am glad that Mr. Dallin has introduced the mother touch in his composition. I am glad to have a monument expressive of the sentiment of motherhood and womanly intellectuality stand in so prominent a place in the Boston Public Library. I hope that the committee will find their work of raising funds

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