# The Yellow Book/Volume 2

Contents
Literature
| I. | The Gospel of Content By | Frederick Greenwood Page | 11 |
| II. | Poor Cousin Louis | Ella D'Arcy | 34 |
| III. | The Composer of "Carmen" | Charles Willeby | 63 |
| IV. | Thirty Bob a Week | John Davidson | 99 |
| V. | A Responsibility | Henry Harland | 103 |
| VI. | A Song | Dollie Radford | 116 |
| VII. | Passed | Charlotte M. Mew | 121 |
| VIII. | Sat est Scripsisse | Austin Dobson | 142 |
| IX. | Three Stories | V., O., C.S. | 144 |
| X. | In a Gallery | Katharine de Mattos | 177 |
| XI. | The Yellow Book, criticised | Philip Gilbert Hamerton, LL.D. | 179 |
| XII. | Dreams | Ronald Campbell Macfie | 195 |
| XIII. | Madame Réjane | Dauphin Meunier | 197 |
| XIV. | The Roman Road | Kenneth Grahame | 211 |
| XV. | Betrothed | Norman Gale | 227 |
| XVI. | Thy Heart's Desire | Netta Syrett | 228 |
| XVII. | Reticence in Literature | Hubert Crackanthorpe | 259 |
| XVIII. | My Study | Alfred Hayes | 275 |
| XIX. | A Letter to the Editor | Max Beerbohm | 281 |
| XX. | An Epigram | William Watson | 289 |
| XXI. | The Coxon Fund | Henry James | 290 |
Art
| I. | The Renaissance of Venus By | Walter Crane Page | 7 |
| II. | The Lamplighter | A. S. Hartrick | 60 |
| III. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$The Comedy-Ballet of Marionettes | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| IV. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$The Comedy-Ballet of Marionettes | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| V. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$The Comedy-Ballet of Marionettes | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| VI. | Garçons de Café | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| VII. | The Slippers of Cinderella | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| VIII. | Portrait of Madame Rejane | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \\\ \\\ \\\ \ \end{matrix}}\right\}\,$Aubrey Beardsley | 85 |
| IX. | A Landscape | Alfred Thornton | 117 |
| X. | Portrait of Himself; | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$P. Wilson Steer | 171 |
| XI. | A Lady | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$P. Wilson Steer | 171 |
| XII. | A Gentleman | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$P. Wilson Steer | 171 |
| XIII. | Portrait of Henry James | John S. Sargent, A.R.A. | 191 |
| XIV. | A Girl Resting | Sydney Adamson | 207 |
| XV. | The Old Bedford Music Hall | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$Walter Sickert | 220 |
| XVI. | Portrait of Aubrey Beardsley | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$Walter Sickert | 220 |
| XVII. | Ada Lundberg | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$Walter Sickert | 220 |
| XVIII. | An Idyll | W. Brown Mac Dougal | 256 |
| XIX. | The Old Man's Garden | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$E. J. Sullivan | 270 |
| XX. | The Quick and the Dead | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$E. J. Sullivan | 270 |
| XXI. | A Reminiscence of "The Transgressor" | Francis Forster | 278 |
| XXII. | A Study | Bernhard Sickert | 285 |
| XXIII. | For the Backs of Playing Cards | By Aymer Vallance | 361 |
The Yellow Book
Volume II July, 1894
The Editor of The Yellow Book can in no case hold himself responsible for rejected manuscripts; when, however, they are accompanied by stamped addressed envelopes, every effort will be made to secure their prompt return.
The Yellow Book
An Illustrated Quarterly
Volume II July, 1894
London: Elkin Mathews & John Lane
Boston: Copeland & Day
Agents for the Colonies : Robt. A. Thompson & Co.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1958, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 65 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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