Both drawings and text of the third number of the Lampoon reflect the present momentary interests of Harvard life, as interpreted by the College jester. The humor is as it should be, distinctively undergraduate humor. Timeliness is the mark and the merit of most of the contributions. These are divided about equally between the two great facts of undergraduate life during the first term, the advent of the Freshman class with its attendant complications, and "The Game." The space assigned to the hour examinations is relative to their importance--as interpreted by the jester. Of the three numbers that have thus far appeared, the last issue has perhaps the fewest jokes that are not worth the time demanded of both writer and reader.

The drawings are less successful than the reading matter. The centre-page illustration is certainly striking; but it does not make good. There are excellent details; much character is expressed in the energetic drawing of the figures crowding through the doorways. But the picture does not compose as a whole: the blacks and the whites are badly massed; as a total composition it is not pleasing. Moreover the drawing does no more than illustrate the text; it does not of itself add to the humor. The sketch on the opening page is appropriately "impressionistic." Perhaps the cleverest bit of drawing in the number is the illustration at the top of page 53, a joke made new by interpretation. These figures are alive; here are expressed energy, character, action, and humor. In a small space the draughtsman has said much and said it well.

The editorial article in two efforts is less happy than usual; it is neither serious nor funny. The "Freshman Reception" does not quite come off. Successful caricature should result in characterization; it should remain essentially true, for its exaggeration is only for the sake of emphasis. But the sketch, though only a farce, is nevertheless amusing. In the present number the Freshmen have overshadowed the Faculty. The lines entitled, "Thou Victim of Insomnia," are more clever than kindly.

Distinctly the best contribution is the poem on the opening page, "We are '07." Some metrical skill is employed in the service of an ingenious parody, re-enforced by a clever turn at the end; and the whole has what characterizes the best humor, an underdrift of criticism.