MR. COPELAND'S LECTURE.

All the seats in Sever 11 were again taken on the occasion of Mr. Copeland's lecture last evening on Stevenson, Mr. Barrie, Mr. Crocket, and "Ian Maclaren." The lecture began with a brief comparison of the contemporary Scottish renaissance, with past triumphs,- much greater past triumphs,- of the northern kingdom over the English public.

Stevenson, said Mr. Copeland, was indirectly one of the chief motive forces of the brother Scots who have followed him in writing; and directly the inspiration of the longer romances of Mr. Barrie and Mr. Crockett. In spite of the many brilliant merits of "The Little Minister," it is seriously faulty as a work of art, because the sweet and pungent realism of the Little Minister part of the book is mingled but not blended with the psendo-romance of Babby the Egyptian and her wonderful pranks. As "The Little Minister" is sadly inferior to the homogeneous perfection of "The Adventures of David Balfour" ("Kidnapped" included), so "The Raiders" and "The Men of the Moss Hags" are quite as sadly inferior in style, in unifying principle, and in suggestion of the past. Stevenson, a little romantic, but a perfect little romantic, has not equaled himself with the great romantics, Scott and Dumas, in trying to paint upon his canvas any famous figure of history. Mr. Crockett, an imperfect little romantic, has dared Sir Watter and "Old Mortality" by placing Grahame of Claver-house in his scene. Stevenson, a perfect little romantic, has given us, notably in "The Master of Ballantrae," marvels of last-century English, shrewdly touched with lowland Scotch; Mr. Crockett, an imperfect little romantic, has garnished what purports to be, in "The Raiders," a plain narrative of eighteenth century prose, with such words as "spontaneity" and "crescendo," such phrases as "a happy inspiration." In spite of their faults and crudities, however, and in spite of their lack of fine workmanship, "The Raiders" and "The Men of the Moss Hags" are always spirited and frequently picturesque.

But it is by their farm or neighborhood sketches and stories that Mr. Barrie, Mr. Crocket, and "Ian Maclaren" may be most independently and most fairly judged. "The Stickit Minister," Mr. Crocket's best achievement in this kind, has a good deal of humor, pathos, and homespun truth; but the author forces the pathetic note and often disfigures his best opportunities with the written equivalents for "make-up," graduated foot-lights and slow music. The other two writers are more simply faithful to human nature. Mr. Barrie's humor is richer than Maclaren's and poor Jess's window in "A Window in Thrums" is a focussing element which adds immensely to the effect of Mr. Barrie's best book. "Ian Maclaren" does not force the pathetic note, but he repeats it too often perhaps within the compass of one volume; and "Beside the Bonny Briar Bush" would have added to its indubitably strong effect with a more frequent contrast of the comic and some such centering principle as that of "A Window in Thrums." Maclaren's pathos on the other hand is indescribably quick, poignant, and as the French say-saisissant. And if all his two volumes were on the same level with "Doninie," "Drumsheugh's Love Story," and "A Doctor of the Old School," here would be work that would surpass Mr. Barrie's best. As it is, these three sketches-said Mr. Copeland-and "A Window in Thrums" far exceed any imaginative prose writing in Lowland Scotch since the author of Meg Dods, Edie Ochiltree, and Jeanie Deans, laid down his swift and tired pen.

The next lecture and the last before February, will be given on Wednesday evening, December 18. The subject announced is "Emerson and Carlisle."