mous was attributed toan actress. It bore a strong
religious note, an ecstatic sense, and it was at once
recognized as genuine poetry. Now it has come
forth again, retitled ‘Hail Mary,’ and signed
Aleister Crowley. We hope it will be widely read,
and serveas an introduction tosomeof Mr. Crowley’s
other works of poetry. Particularly we hope the
Church will look at it. They will find a religious
sense that will astonish some of them. The real
trouble about Mr. Crowley is this: he is a true
poet—he cannot compromise. The persecution of
silly and unkind men has wounded him. It is for
literary men now to come forward and stand by
him. Hear this:
‘Wein the world of woe who stray
Lift up our hearts to Thee and pray:
Turn all our pain to virgin might,
And all our sorrow into light!’
May his enemies learn from these words to ‘lift up’
their hearts with him.”—Euzglish Review.
‘**“ Mortadello’ is a drama of old Venice. It dis-
plays a similar fearlessness of treatment. The theme
is bitterly cynical, yet there prevails against the
cynicism a just appreciation or poetic values. Mr.
Crowley has not shirked the ugliness of his theme.
He had no temptation to do so. For he holds life
cheap as against ideals, even the basest of whichis
sacredin his eyes. Let Monica be a raving wanton,
so she love Venice and subserve her wantonness to
that first object. The use of the Alexandrineis a
pleasant innovation, and one fully justified by re-
sults.” —Literary World.
***Mortadello’ is a much more ambitious experi-
ment. Dubbed a comedy, it certainly contains
dramatic stuff underlying the not very pleasant
externals. Itis chock-full of incident, but one half-
suspects that Mr. Crowley was mainly interested
in his bold experiments with the Alexandrine.
Mr. Crowleyis always clever, and some of these
experiments are extraordinarily so.”—MJanchester
Guardian.
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