Programme . tside our purpose. . Milton had noneed to borrow from Vondel or any other poet, however eminent, andthe stern uprightness of his character forbids us to place an evil con-struction upon his tendency to plagiarise. He undoubtedly inter-preted in the widest manner the liberty accorded to every great writerof building in for the embellishment of his work the materials providedto his hand from well-known and recognized sources, and, consciousof pre-eminence, never scrupled to extend to his own appropriationsfrom others the qualification contained in his own definition,—To ELIZABETH GMA
Programme . tside our purpose. . Milton had noneed to borrow from Vondel or any other poet, however eminent, andthe stern uprightness of his character forbids us to place an evil con-struction upon his tendency to plagiarise. He undoubtedly inter-preted in the widest manner the liberty accorded to every great writerof building in for the embellishment of his work the materials providedto his hand from well-known and recognized sources, and, consciousof pre-eminence, never scrupled to extend to his own appropriationsfrom others the qualification contained in his own definition,—To ELIZABETH GMANT 12 WEST STREET (Over Bigelow Kennards) HATS! HATS!! HATS!!! Hats to ride in, to run in, to walk in; Hats of braids, of ribbons, of laces, Hats to sing in, to dance in, to talk in; Hats to suit all kinds of faces, Hats to sit in, to stand in, to call in; All of them different in color and shape, nd some to do nothing at all in. Of flowers, of foliage, of velvet and crepe. (Prices, six dollars and up). LISZT TWO LECTURE RECITALS L With Liszt in Weimar Piano Compositions by LisztWith personal reminiscences A Program of Piano Compositions by Mozart,1 Schumann, Chopin, and Liszt, with interpretative analyses JOHN ORTH Concert Pianist and Teacher of PianoSTEINERT HALL 1234 borrow, and better in the borrowing, is no plagiarie. But borrow-ing is a sin which grows by the using. And the very large use whichMilton has made, without acknowledgment of the ideas and languageof a distinguished contemporary, from works but recently published,and written in a tongue unknown to the vast majority of Englishreaders, cannot be altogether excused or defended. At the sametime, it must be conceded that the seventeenth century permittedmuch greater license in these matters than would be countenanced bythe stricter literary morality of our own days. Vondel himself wrote:Knowledge of foreign tongues is no slight advantage and the trans-lating of celebrated poets helps the coming poet, just as the co
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