ness to the eyelids, so that the one looking at it almost yawns... Unlike the 'type' that resists the eye's easy understanding — for that one stirs the imagination... and in the stirring, and in understanding after labor, there is a supreme rapture!! Don't you see with me, Youssef, how this type is an attempt to go deep in thought? It is creation... and in creation there is a pleasure surpassing all pleasures!!"

Here I took up the talk, feeling that Gibran had said what he wished to say, and that it remained for me to give my own view of the matter. So I said: — "Yes... these are fine words, passed around by the art magazines and papers and repeated after them by every tongue in these days... But I am certain that beauty bears an eternal stamp, and that the artist who cares nothing for beauty or perfection, who relishes nothing but the deformed and the 'defiled' among forms, and who deviates from natural lines of absolute splendor and loveliness — that artist — permit me, Gibran, to tell you frankly — is not worthy of my admiration, and there will be no room in these halls, in the future, for his production... And then, are not works of art the artist's own impressions of the milieu in which he lives?! Here I am looking about me, in every Parisian setting that speaks of genuine beauty, and I see no trace of these flagrant 'hideousnesses' which the 'modern' artists race one another, without shame, to record in material form?! Am I blind, or what?

— "Perhaps these impressions are drawn in their minds, Youssef!" Gibran interrupted me, then added, raising his finger in my face: — "That is a curious subject, worthy of deep study... I shall think about it tonight..."

And I went back to finishing what I was saying to Gibran with the same fervor: "Look, I beg you, through this window at that open expanse above the Tuileries garden, where the river Seine flows... and at how the drowsy, dust-laden light slips off like a transparent veil over the face of Paris... I have long noticed that every great city in the world has its own atmosphere, its magical color, its own touch of beauty... exactly like the faces of maidens... each face has its own

shade of charm, or of purity, and the like..."

I was speaking while Gibran listened with all his senses, his dreamy eyes gazing into the distance, and when I had finished this comparison he said: — "Speaking of great cities... ah, how I long to see the face of Athens and to sit upon the ruins of the Acropolis!! I always feel that something will be lacking in me if I do not pray, one day, in the temple of 'Minerva'... and if my feet never tread the soil of Rome and Florence and Venice... Yes!... it will remain a regret in my heart!... How fortunate you are, Youssef — you have visited these cities and lived in them. How could we manage to visit them? Do you think that if we economized on our spending we could save enough for a journey of that kind? You understand the language, so we have already saved the guide's fee!" ... And we laughed together...

Then I said: "Travel to these cities would cost us a great deal of money... Isn't Susan right... the Malulu from China?!" ... Gibran shook his head and repeated his famous phrase, with which he always ended his talk whenever circumstances grew tight: "God curse money — how it stands as a stumbling block between a man and his desires!"

We came out of the Louvre Museum and walked along the banks of the Seine, looking at the old books and the art prints and rounding out our conversations.

The melancholy evening was casting its warm, enchanting colors over Paris... and Gibran seemed a part of the evening, restless and melancholy; then he turned to me and said:

— "Benjamin Franklin resolved, at the age of twenty-five, to attain the summit of knowledge and wisdom, and he achieved what he wanted... And here we are at twenty-seven, with great ambitions — what have we accomplished of them?... Tell me, for heaven's sake, Youssef, do you notice in me any shortcoming that I could set right?..."

And I would turn to him with the same innocence: "And I ask you the very same question!..."

Exactly so was our state of mind at that time — I remember it well, as if it had happened yesterday!!

Dr. Mai Saadeh's Affection for Her Departed Mother
Mai Saadeh
Last month Mrs. Malaka Mubarak Saadeh, mother of our friend Dr. Mai Saadeh, passed away following a cerebral paralysis that defeated all medicine. Her funeral was attended by the religious bodies and by the whole of the Koura, for the many good works the departed had done the region in the field of education, together with her late husband, the poet Alfred Hanna Saadeh. Into the following verses the Doctor breathed her feelings of daughterly love and longing:
Gently — why have you departed, O my angel?
After today, is it true I shall never see you?
Through you life knew a generous giving,
and sacrifice, and goodness from your harvest.
Through you life knew dew and gentleness,
and faith, and light from your radiance.
Through you my hopes knew jasmine
that your hands strung upon my neck.
Can I forget, mother dear — how can I forget,
when love of you kindles the fire of my heart?
I see a trace of your spirit in my life
and in my children; in my house, your fragrance.
You joined reason and piety and virtue;
in my eyes there is no one like you.
You held learning the finest adornment, and so
Mai's adornments, mother dear, came from yours.
You knew a love that gives without taking,
while others take before they give.
However long I live in this world,
I shall yearn all my life for meeting you again.
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