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This is literary honesty. It may be remarked that it does not differ very greatly from the ideal honesty of the respectable majority, from the honesty of law-givers, of warriors, of kings, of bricklayers, of all those who express their fundamental sentiment in the ordinary course of their activities, by the work of their hands.

The work of Maupassant's hands is honest. He thinks sufficiently to concrete his fearless conclusions in illuminative instances. He renders them with that exact knowledge of the means and that absolute devotion to the aim of creating a true effect--which is art. He is the most accomplished of narrators.

It is evident that Maupassant looked upon his mankind in another spirit than those writers who make haste to submerge the difficulties of our holding-place in the universe under a flood of false and sentimental assumptions. Maupassant was a true and dutiful lover of our earth. He says himself in one of his descriptive passages: "Nous autres que seduit la terre . . ." It was true. The earth had for him a compelling charm. He looks upon her august and furrowed face with the fierce insight of real passion. His is the power of detecting the one immutable quality that matters in the changing aspects of nature and under the ever-shifting surface of life. To say that he could not embrace in his glance all its magnificence and all its misery is only to say that he was human. He lays claim to nothing that his matchless vision has not made his own. This creative artist has the true imagination; he never condescends to invent anything; he sets up no empty pretences. And he stoops to no littleness in his art--least of all to the miserable vanity of a catching phrase.

ANATOLE FRANCE--1904

The latest volume of M. Anatole France purports, by the declaration of its title-page, to contain several profitable narratives. The story of Crainquebille's encounter with human justice stands at the head of them; a tale of a well-bestowed charity closes the book with the touch of playful irony characteristic of the writer on whom the most distinguished amongst his literary countrymen have conferred the rank of Prince of Prose.

It is a good choice. First, because it is just, and next, because it is safe. The dignity will suffer no diminution in M. Anatole France's hands. He is worthy of a great tradition, learned in the lessons of the past, concerned with the present, and as earnest as to the future as a good prince should be in his public action. It is a Republican dignity. And M. Anatole France, with his sceptical insight into an forms of government, is a good Republican. He is indulgent to the weaknesses of the people, and perceives that political institutions, whether contrived by the wisdom of the few or the ignorance of the many, are incapable of securing the happiness of mankind. He perceives this truth in the serenity of his soul and in the elevation of his mind. He expresses his convictions with measure, restraint and harmony, which are indeed princely qualities. He is a great analyst of illusions. He searches and probes their innermost recesses as if they were realities made of an eternal substance. And therein consists his humanity; this is the expression of his profound and unalterable compassion. He will flatter no tribe no section in the forum or in the market-place. His lucid thought is not beguiled into false pity or into the common weakness of affection. He feels that men born in ignorance as in the house of an enemy, and condemned to struggle with error and passions through endless centuries, should be spared the supreme cruelty of a hope for ever deferred. He knows that our best hopes are irrealisable; that it is the almost incredible misfortune of mankind, but also its highest privilege, to aspire towards the impossible; that men have never failed to defeat their highest aims by the very strength of their humanity which can conceive the most gigantic tasks but leaves them disarmed before their irremediable littleness. He knows this well because he is an artist and a master; but he knows, too, that only in the continuity of effort there is a refuge from despair for minds less clear-seeing and philosophic than his own. Therefore he wishes us to believe and to hope, preserving in our activity the consoling illusion of power and intelligent purpose. He is a good and politic prince.

"The majesty of justice is contained entire in each sentence pronounced by the judge in the name of the sovereign people. Jerome Crainquebille, hawker of vegetables, became aware of the august aspect of the law as he stood indicted before the tribunal of the higher Police Court on a charge of insulting a constable of the force." With this exposition begins the first tale of M. Anatole France's latest volume.

The bust of the Republic and the image of the Crucified Christ appear side by side above the bench occupied by the President Bourriche and his two Assessors; all the laws divine and human are suspended over the head of Crainquebille.

From the first visual impression of the accused and of the court the author passes by a characteristic and natural turn to the historical and moral significance of those two emblems of State and Religion whose accord is only possible to the confused reasoning of an average man. But the reasoning of M. Anatole France is never confused. His reasoning is clear and informed by a profound erudition. Such is not the case of Crainquebille, a street hawker, charged with insulting the constituted power of society in the person of a policeman. The charge is not true, nothing was further from his thoughts; but, amazed by the novelty of his position, he does not reflect that the Cross on the wall perpetuates the memory of a sentence which for nineteen hundred years all the Christian peoples have looked upon as a grave miscarriage of justice. He might well have challenged the President to pronounce any sort of sentence, if it were merely to forty-eight hours of simple imprisonment, in the name of the Crucified Redeemer.

He might have done so. But Crainquebille, who has lived pushing every day for half a century his hand-barrow loaded with vegetables through the streets of Paris, has not a philosophic mind. Truth to say he has nothing. He is one of the disinherited. Properly speaking, he has no existence at all, or, to be strictly truthful, he had no existence till M. Anatole France's philosophic mind and human sympathy have called him up from his nothingness for our pleasure, and, as the title-page of the book has it, no doubt for our profit also.

Therefore we behold him in the dock, a stranger to all historical, political or social considerations which can be brought to bear upon his case. He remains lost in astonishment. Penetrated with respect, overwhelmed with awe, he is ready to trust the judge upon the question of his transgression. In his conscience he does not think himself culpable; but M. Anatole France's philosophical mind discovers for us that he feels all the insignificance of such a thing as the conscience of a mere street- hawker in the face of the symbols of the law and before the ministers of social repression. Crainquebille is innocent; but already the young advocate, his defender, has half persuaded him of his guilt.

On this phrase practically ends the introductory chapter of the story which, as the author's dedication states, has inspired an admirable draughtsman and a skilful dramatist, each in his art, to a vision of tragic grandeur. And this opening chapter without a name--consisting of two and a half pages, some four hundred words at most--is a masterpiece of insight and simplicity, resumed in M. Anatole France's distinction of thought and in his princely command of words.

He does not move. Crainquebille, in a feeble and hesitating voice, repeats once more the insulting words. But this policeman is full of philosophic superiority, disdain, and indulgence. He refuses to take in charge the old and miserable vagabond who stands before him shivering and ragged in the drizzle. And the ruined Crainquebille, victim of a ridiculous miscarriage of justice, appalled at this magnanimity, passes on hopelessly down the street full of shadows where the lamps gleam each in a ruddy halo of falling mist.

M. Anatole France can speak for the people. This prince of the Senate is invested with the tribunitian power. M. Anatole France is something of a Socialist; and in that respect he seems to depart from his sceptical philosophy. But as an illustrious statesman, now no more, a great prince too, with an ironic mind and a literary gift, has sarcastically remarked in one of his public speeches: "We are all Socialists now." And in the sense in which it may be said that we all in Europe are Christians that is true enough. To many of us Socialism is merely an emotion. An emotion is much and is also less than nothing. It is the initial impulse. The real Socialism of to-day is a religion. It has its dogmas. The value of the dogma does not consist in its truthfulness, and M. Anatole France, who loves truth, does not love dogma. Only, unlike religion, the cohesive strength of Socialism lies not in its dogmas but in its ideal. It is perhaps a too materialistic ideal, and the mind of M. Anatole France may not find in it either comfort or consolation. It is not to be doubted that he suspects this himself; but there is something reposeful in the finality of popular conceptions. M. Anatole France, a good prince and a good Republican, will succeed no doubt in being a good Socialist. He will disregard the stupidity of the dogma and the unlovely form of the ideal. His art will find its own beauty in the imaginative presentation of wrongs, of errors, and miseries that call aloud for redress. M. Anatole France is humane. He is also human. He may be able to discard his philosophy; to forget that the evils are many and the remedies are few, that there is no universal panacea, that fatality is invincible, that there is an implacable menace of death in the triumph of the humanitarian idea. He may forget all that because love is stronger than truth.

In this volume the trifle called "The Military Manoeuvres at Montil," apart from its far-reaching irony, embodies incidentally the very spirit of automobilism. Somehow or other, how you cannot tell, the flight over the country in a motor-car, its sensations, its fatigue, its vast topographical range, its incidents down to the bursting of a tyre, are brought home to you with all the force of high imaginative perception. It would be out of place to analyse here the means by which the true impression is conveyed so that the absurd rushing about of General Decuir, in a 30-horse-power car, in search of his cavalry brigade, becomes to you a more real experience than any day-and-night run you may ever have taken yourself. Suffice it to say that M. Anatole France had thought the thing worth doing and that it becomes, in virtue of his art, a distinct achievement. And there are other sketches in this book, more or less slight, but all worthy of regard--the childhood's recollections of Professor Bergeret and his sister Zoe; the dialogue of the two upright judges and the conversation of their horses; the dream of M. Jean Marteau, aimless, extravagant, apocalyptic, and of all the dreams one ever dreamt, the most essentially dreamlike. The vision of M. Anatole France, the Prince of Prose, ranges over all the extent of his realm, indulgent and penetrating, disillusioned and curious, finding treasures of truth and beauty concealed from less gifted magicians. Contemplating the exactness of his images and the justice of his judgment, the freedom of his fancy and the fidelity of his purpose, one becomes aware of the futility of literary watchwords and the vanity of all the schools of fiction. Not that M. Anatole France is a wild and untrammelled genius. He is not that. Issued legitimately from the past, he is mindful of his high descent. He has a critical temperament joined to creative power. He surveys his vast domain in a spirit of princely moderation that knows nothing of excesses but much of restraint.

I would not mislead a public whose confidence I court. The book is not a record of globe-trotting. I regret it. It would have been a joy to watch M. Anatole France pouring the clear elixir compounded of his Pyrrhonic philosophy, his Benedictine erudition, his gentle wit and most humane irony into such an unpromising and opaque vessel. He would have attempted it in a spirit of benevolence towards his fellow men and of compassion for that life of the earth which is but a vain and transitory illusion. M. Anatole France is a great magician, yet there seem to be tasks which he dare not face. For he is also a sage.

It is a book of ocean travel--not, however, as understood by Herr Ballin of Hamburg, the Machiavel of the Atlantic. It is a book of exploration and discovery--not, however, as conceived by an enterprising journal and a shrewdly philanthropic king of the nineteenth century. It is nothing so recent as that. It dates much further back; long, long before the dark age when Krupp of Essen wrought at his steel plates and a German Emperor condescendingly suggested the last improvements in ships' dining- tables. The best idea of the inconceivable antiquity of that enterprise I can give you is by stating the nature of the explorer's ship. It was a trough of stone, a vessel of hollowed granite.

The explorer was St. Mael, a saint of Armorica. I had never heard of him before, but I believe now in his arduous existence with a faith which is a tribute to M. Anatole France's pious earnestness and delicate irony. St. Mael existed. It is distinctly stated of him that his life was a progress in virtue. Thus it seems that there may be saints that are not progressively virtuous. St. Mael was not of that kind. He was industrious. He evangelised the heathen. He erected two hundred and eighteen chapels and seventy-four abbeys. Indefatigable navigator of the faith, he drifted casually in the miraculous trough of stone from coast to coast and from island to island along the northern seas. At the age of eighty-four his high stature was bowed by his long labours, but his sinewy arms preserved their vigour and his rude eloquence had lost nothing of its force.

A nautical devil tempting him by the worldly suggestion of fitting out his desultory, miraculous trough with mast, sail, and rudder for swifter progression , the simple old saint lent his ear to the subtle arguments of the progressive enemy of mankind.

The venerable St. Mael fell away from grace by not perceiving at once that a gift of heaven cannot be improved by the contrivances of human ingenuity. His punishment was adequate. A terrific tempest snatched the rigged ship of stone in its whirlwinds, and, to be brief, the dazed St. Mael was stranded violently on the Island of Penguins.

The saint wandered away from the shore. It was a flat, round island whence rose in the centre a conical mountain capped with clouds. The rain was falling incessantly--a gentle, soft rain which caused the simple saint to exclaim in great delight: "This is the island of tears, the island of contrition!"

Meantime the inhabitants had flocked in their tens of thousands to an amphitheatre of rocks; they were penguins; but the holy man, rendered deaf and purblind by his years, mistook excusably the multitude of silly, erect, and self-important birds for a human crowd. At once he began to preach to them the doctrine of salvation. Having finished his discourse he lost no time in administering to his interesting congregation the sacrament of baptism.

If you are at all a theologian you will see that it was no mean adventure to happen to a well-meaning and zealous saint. Pray reflect on the magnitude of the issues! It is easy to believe what M. Anatole France says, that, when the baptism of the Penguins became known in Paradise, it caused there neither joy nor sorrow, but a profound sensation.

M. Anatole France is no mean theologian himself. He reports with great casuistical erudition the debates in the saintly council assembled in Heaven for the consideration of an event so disturbing to the economy of religious mysteries. Ultimately the baptised Penguins had to be turned into human beings; and together with the privilege of sublime hopes these innocent birds received the curse of original sin, with the labours, the miseries, the passions, and the weaknesses attached to the fallen condition of humanity.

At this point M. Anatole France is again an historian. From being the Hakluyt of a saintly adventurer he turns into the Gibbon of Imperial Penguins. Tracing the development of their civilisation, the absurdity of their desires, the pathos of their folly and the ridiculous littleness of their quarrels, his golden pen lightens by relevant but unpuritanical anecdotes the austerity of a work devoted to a subject so grave as the Polity of Penguins. It is a very admirable treatment, and I hasten to congratulate all men of receptive mind on the feast of wisdom which is theirs for the mere plucking of a book from a shelf.

TURGENEV --1917

Dear Edward,

I am glad to hear that you are about to publish a study of Turgenev, that fortunate artist who has found so much in life for us and no doubt for himself, with the exception of bare justice. Perhaps that will come to him, too, in time. Your study may help the consummation. For his luck persists after his death. What greater luck an artist like Turgenev could wish for than to find in the English-speaking world a translator who has missed none of the most delicate, most simple beauties of his work, and a critic who has known how to analyse and point out its high qualities with perfect sympathy and insight.

After twenty odd years of friendship I may well permit myself to make that statement, while thinking of your wonderful Prefaces as they appeared from time to time in the volumes of Turgenev's complete edition, the last of which came into the light of public indifference in the ninety-ninth year of the nineteenth century.

Those will never grow old. Fashions in monsters do change, but the truth of humanity goes on for ever, unchangeable and inexhaustible in the variety of its disclosures. Whether Turgenev's art, which has captured it with such mastery and such gentleness, is for "all time" it is hard to say. Since, as you say yourself, he brings all his problems and characters to the test of love, we may hope that it will endure at least till the infinite emotions of love are replaced by the exact simplicity of perfected Eugenics. But even by then, I think, women would not have changed much; and the women of Turgenev who understood them so tenderly, so reverently and so passionately--they, at least, are certainly for all time.

Women are, one may say, the foundation of his art. They are Russian of course. Never was a writer so profoundly, so whole-souledly national. But for non-Russian readers, Turgenev's Russia is but a canvas on which the incomparable artist of humanity lays his colours and his forms in the great light and the free air of the world. Had he invented them all and also every stick and stone, brook and hill and field in which they move, his personages would have been just as true and as poignant in their perplexed lives. They are his own and also universal. Any one can accept them with no more question than one accepts the Italians of Shakespeare.

In the larger, non-Russian view, what should make Turgenev sympathetic and welcome to the English-speaking world, is his essential humanity. All his creations, fortunate and unfortunate, oppressed and oppressors, are human beings, not strange beasts in a menagerie or damned souls knocking themselves to pieces in the stuffy darkness of mystical contradictions. They are human beings, fit to live, fit to suffer, fit to struggle, fit to win, fit to lose, in the endless and inspiring game of pursuing from day to day the ever-receding future.

I began by calling him lucky, and he was, in a sense. But one ends by having some doubts. To be so great without the slightest parade and so fine without any tricks of "cleverness" must be fatal to any man's influence with his contemporaries.

And now he suffers a little from other things. In truth it is not the convulsed terror-haunted Dostoievski but the serene Turgenev who is under a curse. For only think! Every gift has been heaped on his cradle: absolute sanity and the deepest sensibility, the clearest vision and the quickest responsiveness, penetrating insight and unfailing generosity of judgment, an exquisite perception of the visible world and an unerring instinct for the significant, for the essential in the life of men and women, the clearest mind, the warmest heart, the largest sympathy--and all that in perfect measure. There's enough there to ruin the prospects of any writer. For you know very well, my dear Edward, that if you had Antinous himself in a booth of the world's fair, and killed yourself in protesting that his soul was as perfect as his body, you wouldn't get one per cent. of the crowd struggling next door for a sight of the Double- headed Nightingale or of some weak-kneed giant grinning through a horse collar.

J. C.

STEPHEN CRANE--A NOTE WITHOUT DATES--1919

My acquaintance with Stephen Crane was brought about by Mr. Pawling, partner in the publishing firm of Mr. William Heinemann.

On my next visit to town we met at a lunch. I saw a young man of medium stature and slender build, with very steady, penetrating blue eyes, the eyes of a being who not only sees visions but can brood over them to some purpose.

He had indeed a wonderful power of vision, which he applied to the things of this earth and of our mortal humanity with a penetrating force that seemed to reach, within life's appearances and forms, the very spirit of life's truth. His ignorance of the world at large--he had seen very little of it--did not stand in the way of his imaginative grasp of facts, events, and picturesque men.

His manner was very quiet, his personality at first sight interesting, and he talked slowly with an intonation which on some people, mainly Americans, had, I believe, a jarring effect. But not on me. Whatever he said had a personal note, and he expressed himself with a graphic simplicity which was extremely engaging. He knew little of literature, either of his own country or of any other, but he was himself a wonderful artist in words whenever he took a pen into his hand. Then his gift came out--and it was seen then to be much more than mere felicity of language. His impressionism of phrase went really deeper than the surface. In his writing he was very sure of his effects. I don't think he was ever in doubt about what he could do. Yet it often seemed to me that he was but half aware of the exceptional quality of his achievement.

I saw Stephen Crane a few days after his arrival in London. I saw him for the last time on his last day in England. It was in Dover, in a big hotel, in a bedroom with a large window looking on to the sea. He had been very ill and Mrs. Crane was taking him to some place in Germany, but one glance at that wasted face was enough to tell me that it was the most forlorn of all hopes. The last words he breathed out to me were: "I am tired. Give my love to your wife and child." When I stopped at the door for another look I saw that he had turned his head on the pillow and was staring wistfully out of the window at the sails of a cutter yacht that glided slowly across the frame, like a dim shadow against the grey sky.

Those who have read his little tale, "Horses," and the story, "The Open Boat," in the volume of that name, know with what fine understanding he loved horses and the sea. And his passage on this earth was like that of a horseman riding swiftly in the dawn of a day fated to be short and without sunshine.

TALES OF THE SEA--1898

It is by his irresistible power to reach the adventurous side in the character, not only of his own, but of all nations, that Marryat is largely human. He is the enslaver of youth, not by the literary artifices of presentation, but by the natural glamour of his own temperament. To his young heroes the beginning of life is a splendid and warlike lark, ending at last in inheritance and marriage. His novels are not the outcome of his art, but of his character, like the deeds that make up his record of naval service. To the artist his work is interesting as a completely successful expression of an unartistic nature. It is absolutely amazing to us, as the disclosure of the spirit animating the stirring time when the nineteenth century was young. There is an air of fable about it. Its loss would be irreparable, like the curtailment of national story or the loss of an historical document. It is the beginning and the embodiment of an inspiring tradition.

To this writer of the sea the sea was not an element. It was a stage, where was displayed an exhibition of valour, and of such achievement as the world had never seen before. The greatness of that achievement cannot be pronounced imaginary, since its reality has affected the destinies of nations; nevertheless, in its grandeur it has all the remoteness of an ideal. History preserves the skeleton of facts and, here and there, a figure or a name; but it is in Marryat's novels that we find the mass of the nameless, that we see them in the flesh, that we obtain a glimpse of the everyday life and an insight into the spirit animating the crowd of obscure men who knew how to build for their country such a shining monument of memories.

Marryat is really a writer of the Service. What sets him apart is his fidelity. His pen serves his country as well as did his professional skill and his renowned courage. His figures move about between water and sky, and the water and the sky are there only to frame the deeds of the Service. His novels, like amphibious creatures, live on the sea and frequent the shore, where they flounder deplorably. The loves and the hates of his boys are as primitive as their virtues and their vices. His women, from the beautiful Agnes to the witch-like mother of Lieutenant Vanslyperken, are, with the exception of the sailors' wives, like the shadows of what has never been. His Silvas, his Ribieras, his Shriftens, his Delmars remind us of people we have heard of somewhere, many times, without ever believing in their existence. His morality is honourable and conventional. There is cruelty in his fun and he can invent puns in the midst of carnage. His naiveties are perpetrated in a lurid light. There is an endless variety of types, all surface, with hard edges, with memorable eccentricities of outline, with a childish and heroic effect in the drawing. They do not belong to life; they belong exclusively to the Service. And yet they live; there is a truth in them, the truth of their time; a headlong, reckless audacity, an intimacy with violence, an unthinking fearlessness, and an exuberance of vitality which only years of war and victories can give. His adventures are enthralling; the rapidity of his action fascinates; his method is crude, his sentimentality, obviously incidental, is often factitious. His greatness is undeniable.

It is undeniable. To a multitude of readers the navy of to-day is Marryat's navy still. He has created a priceless legend. If he be not immortal, yet he will last long enough for the highest ambition, because he has dealt manfully with an inspiring phase in the history of that Service on which the life of his country depends. The tradition of the great past he has fixed in his pages will be cherished for ever as the guarantee of the future. He loved his country first, the Service next, the sea perhaps not at all. But the sea loved him without reserve. It gave him his professional distinction and his author's fame--a fame such as not often falls to the lot of a true artist.

At the same time, on the other side of the Atlantic, another man wrote of the sea with true artistic instinct. He is not invincibly young and heroic; he is mature and human, though for him also the stress of adventure and endeavour must end fatally in inheritance and marriage. For James Fenimore Cooper nature was not the frame-work, it was an essential part of existence. He could hear its voice, he could understand its silence, and he could interpret both for us in his prose with all that felicity and sureness of effect that belong to a poetical conception alone. His fame, as wide but less brilliant than that of his contemporary, rests mostly on a novel which is not of the sea. But he loved the sea and looked at it with consummate understanding. In his sea tales the sea inter-penetrates with life; it is in a subtle way a factor in the problem of existence, and, for all its greatness, it is always in touch with the men, who, bound on errands of war or gain, traverse its immense solitudes. His descriptions have the magistral ampleness of a gesture indicating the sweep of a vast horizon. They embrace the colours of sunset, the peace of starlight, the aspects of calm and storm, the great loneliness of the waters, the stillness of watchful coasts, and the alert readiness which marks men who live face to face with the promise and the menace of the sea.

He wrote before the great American language was born, and he wrote as well as any novelist of his time. If he pitches upon episodes redounding to the glory of the young republic, surely England has glory enough to forgive him, for the sake of his excellence, the patriotic bias at her expense. The interest of his tales is convincing and unflagging; and there runs through his work a steady vein of friendliness for the old country which the succeeding generations of his compatriots have replaced by a less definite sentiment.

Perhaps no two authors of fiction influenced so many lives and gave to so many the initial impulse towards a glorious or a useful career. Through the distances of space and time those two men of another race have shaped also the life of the writer of this appreciation. Life is life, and art is art--and truth is hard to find in either. Yet in testimony to the achievement of both these authors it may be said that, in the case of the writer at least, the youthful glamour, the headlong vitality of the one and the profound sympathy, the artistic insight of the other--to which he had surrendered--have withstood the brutal shock of facts and the wear of laborious years. He has never regretted his surrender.

AN OBSERVER IN MALAYA --1898

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