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diff --git a/42383-8.txt b/42383-8.txt deleted file mode 100644 index 2c91a9d..0000000 --- a/42383-8.txt +++ /dev/null @@ -1,1886 +0,0 @@ - HUGH WALPOLE: AN APPRECIATION - - - - -This eBook is for the use of anyone anywhere at no cost and with almost -no restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at http://www.gutenberg.org/license. - - - -Title: Hugh Walpole: An Appreciation -Author: Joseph Hergesheimer -Release Date: March 20, 2013 [EBook #42383] -Language: English -Character set encoding: ISO-8859-1 - - -*** START OF THIS PROJECT GUTENBERG EBOOK HUGH WALPOLE: AN APPRECIATION -*** - - - - -Produced by Al Haines. - - - - -[Illustration: Cover] - - - - -[Illustration: HUGH WALPOLE] - - - - - HUGH WALPOLE - - _An Appreciation_ - - - _by_ - JOSEPH HERGESHEIMER - - - Author of "Three Black Pennys" - "Java Head", etc. - - - _Together with Notes - and Comments on the Novels of - Hugh Walpole_ - - - - NEW YORK - GEORGE H. DORAN COMPANY - - - - - Copyright, 1919 - GEORGE H. DORAN COMPANY - - - - -BOOKS BY HUGH WALPOLE - -NOVELS THE WOODEN HORSE - MR. PERRIN AND MR. TRAILL - THE GREEN MIRROR - THE DARK FOREST - THE SECRET CITY - -ROMANCES - THE PRELUDE TO ADVENTURE - FORTITUDE - THE DUCHESS OF WREXE - MARADICK AT FORTY - -BOOKS ABOUT CHILDREN - THE GOLDEN SCARECROW - JEREMY - -BELLES-LETTRES - JOSEPH CONRAD: A CRITICAL STUDY - - - - - HUGH WALPOLE - - _An Appreciation_ - - JOSEPH HERGESHEIMER - - I - - -It is with an uncommon feeling of gratification that I am able to begin -a paper on Hugh Walpole with the words, in their completest sense, an -appreciation. But this rises from no greater fact than a personal -difficulty in agreeing with the world at large about the most desirable -elements for a novel. Here it is possible to say that Mr. Walpole -possesses almost entirely the qualities which seem to me the base, the -absolute foundation, of a beauty without which creative writing is -empty. In him, to become as specific as possible, there is splendidly -joined the consciousness of both the inner and outer worlds. - -And, for a particular purpose, I shall put my conviction about his -novels into an arbitrary arrangement with no reference to the actual -order of appearance of his dignified row of volumes. Such a choice -opens with a consideration of what is purely a story of inner pressures, -it continues to embrace books devoted principally to the visible world, -to London, and ends with a mingling of the seen and unseen in Russia. - -Yet, to deny at once all pedantic pretense, it must be made clear that -my real concern is with the pleasure, the glow and sense of recognition, -to be had from his pages. The evoked emotions, which belong to the -heart rather than the head, are the great, the final, mark of the true -novelist. And they may be, perhaps, expressed in the single word, -magic. Anyone who is susceptible to this quality needs no explanation of -its power and importance, while it is almost impossible of description -to those upon whom it has no effect. It is quite enough to repeat it -... magic. At once a train of images, of memories of fine books, will -be set in motion. Among them the father of Peter Westcott will appear--a -grim evil in a decaying house heavy with the odor of rotten apples; and, -accompanying them, the mind will be flooded with the charmed moments of -Mr. Walpole's descriptions: Russian nights with frozen stars, rooms -swimming placid and strange in old mirrors, golden ballrooms and London -dusks, the pale quiver of spring, of vernal fragrance, under the high -sooty glass dome of a railroad station. - -In this, at once, the remarkable delicacy of his perceptions is made -apparent: it is impossible, in thinking of these books, to separate what -occurs in the sphere of reality from the vivid pressures, the dim -forces, that, lying back of conscious existence, are always gathering -like portentous storms behind Mr. Walpole's stories. To have stated so -calmly his passionate belief in just these influences was, at the time -most of his books were written, an act of that courage he has so -persistently extolled. Yet the details of his fortitude belong properly -to the examination of individual novels. - -Time, however, has altogether justified his spiritual preoccupations: -the literature of the surface of things, the sting of onions in a -glittering tin bowl, æsthetic boys--still the wistful ghost of Wilde, -the flaneur--dragged through the pages of Freud, unlimited sentences in -sociology hardly humanized by a tagging of proper names and mechanical -desires, have been swept into the dust-bin for temporary reactions and -fevers. Nothing can be gained by speculation about the future, it is -enough to realize that, in imaginative letters, the school of arrogant -materialism has been discredited; and that Mr. Walpole, because of his -steadiness in the face of skeptical and mocking devils, has easily, -securely, entirely, survived the most blasting and calamitous ordeal men -have had yet to meet. - -His books, from the first to the last, have not become antiquated; they -are as fresh to-day as they were at any time through the past ten or -twelve years; the people in them, true in costume and speech to their -various moments, are equally true to that which in man is changeless. -They, the novels, are at once provincial, as the best novels invariably -are, and universal as any deep penetration of humanity, any considerable -artistry, must be. Never merely cosmopolitan, never merely smart--even -in his knowledge of smart people--they are sincere without being stupid, -serious without a touch of hypocrisy; and on the other hand, light -without vapidity, entertaining with never a compromise nor the least -descent from the most dignified of engagements. - -All this, on the plane to which I am confined--the pleasure to be had -from accumulated words--is as rare as it is delightful. The world, -particularly the world of novel-writing, is choked with solemn -pretensions and sly lies; it, the latter, is the fertile field of all -the ignorances--the dogmatic, the degenerate, the hysterical, the venal. -And, unhappily, there seems to be very nearly a public for each; -unhappily the deeply bitten prejudices of men, the secretive hopes of -women, control to an amazing degree their opinions of the one -medium--the written story--that should be kept superior to all pettiness -as a resource solely of alleviation. Usually great creative -writers--gifted, together with pity, with clarity of vision--have dealt -in a mood of severity with life; they are largely barred, by their -covenant with truth, from the multitude; but Mr. Walpole, not lacking in -the final gesture of greatness, has yet the optimism that sees integrity -as the master of the terrors. Literature, different from painting and -music, serves beauty rather by the detestation of ugliness than in the -recording of lyrical felicities. But, again, Mr. Walpole has countless -passages of approval, of verbal loveliness, that must make him -acceptable not only to a few but to many. - -In reading, for example, The Secret City, there is the satisfaction of -realizing that the consequent enjoyment rises from an unquestionably -pure source. It is a preoccupation to be followed with utter -security--for once an admirable thing, a fine thing, is altogether -pleasurable. - - - - II - -Mr. Walpole's courage in the face of the widest skepticism is nowhere -more daring than in The Golden Scarecrow. The book itself, in both -conception and composition, presented extraordinary difficulties; one of -those themes clear enough in the creative mind, but so deep in -implication, so veiled in mystery, so elusive psychologically, that to -put it at all upon paper was an accomplishment of very high order. In -brief, it is founded on the implication that children born into this -faulty world retain, for varying short periods, memories of a serene -existence from which they were banished into human consciousness. This -remembrance is embodied in the appearance, in dim rooms, against the -sunset, in the mists of beginning sensations, of a kindly protecting -shape with a beard. The vision is all tenderness and gentle melancholy -wisdom ... Christ! - -The particular danger in such a narrative is the almost inescapable -shadow of mechanical sentimentality. The conjunction of Christ and -little children is perfectly safe to evoke of itself the tear of ready -sympathy; and miracles, from the beginning to the late Irish school and -later, have been the chosen medium for a useful and easy squeezing of -the heart. But, it should be said at once, The Golden Scarecrow is -remarkably free from the merely easy, or from cheaply borrowed pathos. -It is sustained not only by beautiful phrasing, delicate imagery, but -equally by an iron rod of truth. If the vision exists, clad in splendor -invisible to anything but innocence, so too does the world Mr. Walpole -clearly sees and correctly grasps. - -He knows that, while there may be a Saviour for purity in extra-mundane -spheres, in London there is no such security: there is always the ugly -possibility, no--probability, of accident, of the destruction--by -cruelty or envy or vice or sheer carelessness--of youth. In addition to -this The Golden Scarecrow gathers importance with the increasing -recognition of the extreme importance of the impressions of childhood. - -Addressing, with his surprising and justified confidence, the instincts -of the newly-born, he follows the human mind opening gradually to the -spectacle of living. The progress is established by a succession of -episodes, of stories really, bound into a whole by a return, at the -book's end, to its beginning statement and mood, and by a single -passionate conviction. It is this, certainly, which gives Mr. Walpole -his force and beauty--the ability to deliver himself of a high hatred -tempered by pity. In The Golden Scarecrow his resentment has for -incentive the fatalities brought by chance or design on beings endowed -with the finest possibilities. - -The arrangement of his novels places this among Studies in Place; and -the scene is principally March Square, not far from Hyde Park Corner. -There lingers about it the atmosphere of the days of St. Anne, a -tranquillity hardly disturbed by the din of London; and its bricks and -greenery, its fountain and statues, one commemorating a general of the -Indian Mutiny and the other a mid-Victorian figure, are the last to hold -the strains of mendicant street musicians. To these are added the cries -of children at their games, garlands of children on the smooth lawn and -under the overhanging trees, and, from around the corner, the bells of -St. Matthew's. - -Each part has for its central figure a child of one of the houses -surrounding the Square, from the three-months-old Henry Fitzgeorge, -Marquis of Strether, son of the Duchess of Crole, to young John -Scarlett, the offspring of a solid K.C., about to leave home for the -adventure of public school. But there is, in the range of the book, the -greatest possible diversity of children and houses: 'Enery, the -simple-witted son of Mrs. Slater, care-taker for Old Lady Cathcart at -No. 21; Nancy Ross, daughter of Munty, of potted shrimp fame, in danger -of being turned by an impossible mother into an impossible Dresden china -figure, but saved by her ugly black little father; Sarah Trefusis, -living in a smart little house with green doors and with a widowed -mother of the loveliest and most unscrupulous of eyes, Sarah possessed -of a sinister devil; Angelina, who would say "Wosy" when she meant Rose, -and infuriated her two neat aunts with rather yellow, squashed-looking -faces. - -It is, perhaps, to Angelina Braid, that the memory most persistently -returns; for in the direct story of Angelina and the rag doll she adored -above all others--Rachel and Lizzie, two Annies, a Mary, a May, a -Blackmoor, a Jap, a Sailor, and a Baby in a Bath--Mr. Walpole has -gathered all his art and fury. In it hard meanness, petty destructive -tempers, meagreness of heart, are exposed so utterly that it is -difficult to suppose anyone, reading it, could ever again support the -oppression of a child. The episode of Angelina Braid is told with the -utmost restraint, its means are simple, inevitable; but its conveying of -irrevocable harm, of the spirit fluttering away from the rigidity of -flesh, is matchless. - -As a whole The Golden Scarecrow is, considering its heart of mystery, -amazingly coherent and satisfactory. From the opening paragraphs, when -Hugh Seymour, a lonely imaginative boy, is mentally bullied by a stolid -school-master, to the last where, a man, he regains the voice of his -Friend, that Friend of before-birth, the book is a living entity. Of -the golden scarecrow: - -"To their left a dark brown field rose in an ascending wave to a ridge -that cut the sky.... The field was lit with the soft light of the -setting sun. On the ridge of the field something suspended, it seemed, -in mid-air, was shining like a golden fire. - -"'What's that,' said Mr. Pidgen again. It's hanging. What the devil!' - -"They stopped for a moment, then started across the field. When they -had gone a little way Mr. Pidgen paused again. - -"'It's like a man with a gold helmet. He's got legs, he's coming to us.' - -"They walked on again. Then Hugh cried, 'Why, it's only an old -scarecrow. We might have guessed.' - -"The sun, at that instant sank behind the hills and the world was grey." - -It was, visibly, but an old scarecrow, with waving tattered sleeves and -a tin can that held the light; but it had been, as well, a man in a -golden helmet. He had come toward them. That, in a sentence, expresses -Mr. Walpole's magic: we see the rags and the tin; and we see, too, the -heavenly shining; which is the reality he leaves, as he must, for our -determining. - - - - III - -In no other novel of Mr. Walpole's are the forces that--perhaps--lie -back of life so explicitly expressed as in The Golden Scarecrow, while, -of all his books, The Green Mirror is most frankly concerned with -terrestrial existence. It is the second in a plan of three called The -Rising City, not, he is careful to inform us, a trilogy. Indeed, English -society, in the broad sense, placed in London, is the subject of this -series; beyond the introduction in The Green Mirror of a few names made -familiar by The Duchess of Wrexe, the novels have no actual -intercommunication. - -They were, however, clearly led up to in other pages, notably Fortitude; -but there the dark shapes, like embodied evil passions, were always -gathering about the rim of consciousness. But The Green Mirror, except -in minor incidences, completely illustrates the spirit in flesh. This -it does delightfully with, and this is surprising, a most entertaining -humor. Aunt Aggie is one of the old embittered women that Mr. Walpole -understands so thoroughly; but, in The Green Mirror, he is more lenient -with her than usual. He follows her mind, a mind like the thin scraping -jangle of a worn-out music-box, with an amazing flexibility and insight; -the latter, in his consideration of Aunt Aggie, predominates. -Understanding, of course, dissipates hatred: in the completed picture of -ancient maliciousness, positively wicked in intention, the reader is -continually cheered by perception of the true, the rare, Comic Spirit. - -But she, Aunt Aggie, is comparatively unimportant; the weight of The -Green Mirror is the imponderable weight of the Trenchard family. They -are not aristocrats, such as the late Duchess of Wrexe, or Roddy Seddon; -yet Mr. Walpole makes it clear that, essentially, they are more deeply -rooted in tradition, in precedent, than a higher and largely frivolous -class. - -Here, more than by George Trenchard, the head of this branch of the -family, they are represented by his wife, the mother of Henry and -Millicent and, above all else, of Katherine. They are shown in the -somber drawing-room of No. 5 Rundle Square, by Westminster in the heart -of London, passing and repassing in the aqueous depths of a -looking-glass above the mantle: - -Mrs. Trenchard, heavy and placid in exterior; the gangling Henry, -incurably disorderly and racked by the throes of green-sickness; Aunt -Aggie and Aunt Betty, sparrow-like, with little glints of cheerfulness; -Grandfather Trenchard, as fragile as glass in fastidious silver buckles; -and Katherine. - -The story itself is the relation of Katherine Trenchard's love for -Philip Mark, and how, in the end, it smashed the green mirror of her -family. While it is that in detail it is, by implication, the history -of the breaking of old English idols. This duality of being, the -specific and the symbolical is, certainly, almost the prime necessity -for creative literature; and in the published volumes of The Rising City -it is everywhere carried out. - -Philip Mark arrives, through a dense London fog, at the Trenchards' -during the celebration of Grandfather Trenchard's birthday--the day, -above all, inalterably fixed in their traditions. He is from -Russia--Hugh Walpole's land of supreme magic--and his coming is the -signal for small irritations, growing complexities, jealousy, that -finally set the individual above custom, the present over the past. - -Philip Mark, or rather the love of Katherine and Philip, is the cause of -so much; but the most impressive, the most important figure in the book, -is Katherine's mother. This is a familiar arrangement of Mr. Walpole's; -to erect a largely silent negative force, like an evil and sometimes -obscene carved god in the shadows, and oppose to it the tragic vivid -necessity of youth. In The Green Mirror it takes the shape of maternal -jealousy--hard for all its apparent softness of bosom; cruel in spite of -undeniable affection, cunning as against an apparent slowness of -mentality. - -The sweep of the novel is rich with acute observation and borne on by an -action rising--as it always must--from causes at once trivial, informal, -and inevitable. Philip Mark's past in Moscow, continually coming to the -surface by the utmost diversity of means and places; now threatening his -happiness, now a foundation for his maturity, furnishes the center of -movement, a fact taken up as a weapon or justification by nearly -everyone in turn. This, specially to the Trenchards, is of monumental -dimensions; but its operation, in Henry's undependable shirt-stud, Aunt -Aggie's agitated slap, has the authentic unheroic accent of reality. - -The richness of The Green Mirror, however, has its inception in Mr. -Walpole's extreme sensitiveness to the spirit of place and hour: all the -translations of his action, the changes from place to place, day to -night, are recorded with a beautiful and exact care. This is the result -of a pictorial sense at once strong and delicate. No one has had more -delight from the visible world than Mr. Walpole, and none has been able -to capture it better in words: - -"In Dean's Yard the snow, with blue evening shadows upon it, caught -light from the sheets of stars that tossed and twinkled, stirred and -were suddenly immovable. The Christmas bells were ringing; all the -lights of the houses in the Yard gathered about her and protected her. -What stars there were! What beauty! What silence!" - -This conveyance of a crystal mood, without exotic or intricate phrases, -without ornament, is the mastery of an art that must be at once brushed -with emotion and serene; in it lies the miracle of words, inanimate -fragments, brought warmly to life. Katherine, about whom they were -written, is sentient as well; a girl stronger in the end than even her -mother, a girl who bent being to her will. A lovely girl, concealing -behind a completely feminine need, behind clothes never precisely right, -Mr. Walpole's beloved courage. - -Here particularly, in Katherine Trenchard, the individual and universal -humanity are woven one into the other; an immeasurably greater -accomplishment than the projecting of mere eccentricity, called, I -believe, by the doctors, the creation of character. Anyone, almost, can -invent a set of whiskers, a stuttering speech, write imposing -indignations into mechanical masks; but only a few have put all youth -into a girl of their imagination, on almost no pages do we find the -truth that is ourselves. - - - - IV - -For Mr. Walpole, however, the dark secret of being was always hidden in -the heart of Russia. It has been his land of enchantment, of magic and -desire; and it possessed him in the way that Shelley and Browning were -Italianate. The English Merchant Marine had the same fascination for -Mr. Conrad, the same fascination and incalculable influence. Throughout -Hugh Walpole's novels there is the persistent turning to the dream -forests and night-ridden cities of Russia, to the mingled simplicity and -inexplicable complexity of its men and women. - -Russia presented the greatest possible contrast to the England, the -English he knew; and, although Mr. Walpole's descriptions of London are -steeped in beauty, he has been unable to find there--even in the -serenity of March Square--any such creative impulse as Petrograd held -for him. - -The Russian character, too, with its peculiar freedom from the British -defects that he specially hated, offered him an uncommonly broad means -of expression and intelligibility. Philip Mark's years in Warsaw, his -mistress there, Anna, formed an ideal background for the utterly -different purity of Katherine Trenchard. So it was inevitable that Mr. -Walpole should invade Russia not only with the spirit, but, as well, -with the body of his books. This, of course, was brought about by the -war, and resulted in the publication of The Dark Forest and The Secret -City. - -The Dark Forest was, in many ways, a prelude to the latter. Semyonov, -the doctor with a square, honey-colored beard, the fatal spirit of the -former, accomplishes his final fatality in The Secret City; the narrator -of one novel is the narrator of the other; but in The Secret City a -great deal that was nebulous--but in no way ineffective--is exactly -weighed and expressed. - -The surprising quality of The Secret City, and which makes any -description of it difficult, is that while it is a tragedy, it is -nowhere oppressive. The obvious reason for this is that the story is -vividly interesting--not because it includes a remarkable description of -the Russian Revolution, but on account of the humanity and variety of -its characters, the depth of emotion and brilliancy of surface. In -reality, the Revolution constituted a very serious danger, for in -creative fiction, the author, the novel, must be greater than the event. -A novel holds within its covers a world of its own, a complete reality -which, for the moment, must take the place of all other reality; and the -presence in it of an overwhelming contemporary event may well crush the -illusion, the shining ball, into dull fragments. But this Mr. Walpole -avoids in his concentration upon the essentials of his purpose; the -Revolution, as a fact, fades before the more enduring veracity, and -importance, of his imagination. - -Vera and Nina, the fretted Markovitch, and Jerry Lawrence, tied in a -knot of passion and longing and bitterness, now struggling blindly and -now illuminated with devastating flashes of realization, are more -compelling than the accidents of wars and shifting governments. They -are the human means of the drama, but--again--it is a pressure lying -back of living that is mainly important. In The Secret City, Petrograd -itself controls the mood of the action. Mr. Walpole has seen it in a -unity of tone far more perfect than his grasp of London. He sees it -impressively somber, an iron city mostly in the grip of winter, its -blackness emphasized by glittering, immaculate snow, remote and thinly -pure skies, and the crystal stars to which he is so individually -sensitive. It is, in The Secret City, an evil place, with bare, -wind-swept files of apartment houses, broad avenues emptied by the -staccato rattle of machine guns and suffocating slums with dead canals -stirred with the vision of slow-rising, scaly monsters. - -Against this, however, there are glimpses of a peasant, a symbolical -reality, deeply bearded and grave and patient, standing, it might be, on -a bridge or disappearing into the dark. Yet there are no prophecies, no -auguries of a future regenerated from without. Mr. Walpole is not -concerned with the temporary plasters, the nostrums, of propaganda. He -rests serene in the novelist's isolation from small responsibilities, -addressed only to the qualities at the base of humanity from which -current fevers rise. - -And here, at last, he has combined the inner and outer pressures of -which I spoke at the beginning. While it is true that Petrograd strikes -the persistent keynote of The Secret City, while he sees monsters -stirring and records dreams woven into the texture of actuality, these -are projections of the deep significance of Lawrence and Markovitch; -signs and visions are unnecessary with their complete expression of the -states of the spirit. Lawrence, the Englishman, slow, fixed in honor -and duty, romantically pure, and the Russian, worn by doubt, forever -lost in the waste between performance and idea, oppose, perhaps, in -little, their countries. Certainly they illustrate Mr. Walpole's own -questioning and offer facts, entirely convincing, for the support of his -intricate structures. - -Semyonov, who, under almost any other hand, would have degenerated into -a mere villain, is presented with Mr. Walpole's passion for entire -understanding, that comprehension which banishes contempt. Vastly -intricate, a character seen on a hundred sides, he still remains -intelligible, consistent; a consistency which permits him to take -naturally his place in a story at once involved and simple. He is, -above everything, a spoiled soul; the unhappiest possible example of the -oil of heaven arbitrarily imposed on the water of earth. His is the -agony of the animal confronted with the mysteries of the spirit; and the -ruin which emanates from his torment and skeptical detachment is the -result as much of his superiority as of his fault. - -It is, more than anything else, the fusion in The Secret City that, at -the time of its publication, made it the most notable of Mr. Walpole's -novels. As a story it is enthralling, the mere progress of the action -is irresistible; the atmosphere, the envelopment of color, is without a -rent, a somber veil like a heavy mist subduing the flashes of red at the -horizon, muffling the sounds and glints of passion, absorbing the -shouted ambitions of men. That it is not Russia, but himself, Mr. -Walpole has been very careful to point out; it is simply the land of -magic to which he has been always drawn, and which, conceivably, having -explored, he'll leave, returning to England. - - - - V - -As a whole, Hugh Walpole's novels maintain an impressive unity of -expression; they are the distinguished presentation of a distinguished -mind. Singly, and in a group, they hold possibilities of infinite -development. This, it seems to me, is most clearly marked in their -superiority to the cheap materialism that has been the insistent note of -the prevailing optimistic fiction. There is a great deal of happiness -in Mr. Walpole's pages, but it isn't founded on surface vulgarities of -appetite; the drama of his books is not sapped by the automatic security -of invulnerable heroics. Accidents happen, tragic and humorous, the -life of his novels is checked in black and white, often shrouded in -grey. The sun moves and stars come out; youth grows old; charm fades; -girls may or may not be pretty; his old women-- - -But there he is inimitable, the old gentlewomen, or caretakers, dry and -twisted, brittle and sharp, the repositories of emotion--vanities and -malice and self-seeking--like echoes of the past, or fat and loquacious -with alcoholic sentimentality, are wonderfully ingratiating. They -gather like shadows, ghosts, about the feet of the young, and provide -Mr. Walpole with one of his main resources--the restless turning away of -the young from the conventions, the prejudices and inhibitions, of -yesterday. He is singularly intent upon the injustice of locking age -about the wrists of youth; and, with him, youth is very apt to escape, -to defy authority set in years ... only to become, in time, age itself. - -This, of course, is inescapable: the old are the old, and not least -among their infirmities is the deadening of their sensibilities, the -hardening of their perceptions. But then, as well, the young are the -young, and youth is folly, blind revolt, contumacy. Here is perpetual -drama and, with it, Mr. Walpole's hatred of brutality is drawn into -practically all his pictures of childhood, as, for example, the school -in Fortitude. - -In all this he recognizes clearly that beauty and ugliness are twisted -into the fibre of man, they are man; without one the other must -cease--in spite of the contrary legend--to exist. Beauty lies in -struggle, in the overcoming of evil; without struggle there is not only -no story, there is no fineness; and without evil there can be no good. -Victory, certainly, is not unheard of; but it is rare, the result of -amazing courage, strength, or amazing luck. To say that anyone, almost, -can triumph over life, that temptation is easily cast aside, the devil -denied on every hand, is one of the most insidious lies imaginable. It -is an error into which Hugh Walpole has never fallen; the progress of -his books has been an increasing recognition of the tragic difficulty of -any accomplishment whatever; and, as time goes by, such success becomes -smaller, more momentary, and more heroic. - -The course of the novelist is from the bright surface of life inward to -its impenetrable heart, from the striking the easy, the lovely, to the -hopelessly hidden mystery of being; and Mr. Walpole is steadily, perhaps -unconsciously, entering the profounder darkness. It is a march -practically condemned to failure at the start; but, not only -unavoidable, it is the only attempt worth consideration. Not a happy -fate, God knows, to leave everything that the world, that people, most -applaud; there is no possibility of mistake about the latter--the beauty -that is truth is not popular in a society which, blind to its transitory -and feeble condition, must see itself as the rulers of creation. - -Yet this, for its part, is entirely commendable, the illusion necessary -to the sustaining of an affair difficult at best. Novels that ring a -musical chime of bells, an anodyne for the heart, are always sure of -their welcome; they represent an appreciation in the dimension of width; -while the reception of The Secret City goes rather in the direction of -depth. At the same time there is that strange absence of oppression -already noted, a story always enjoyable for its suspense, the play of -character on character. - -The result of the commingling, in Hugh Walpole, of the seen and the -unseen! If he were a conventional materialist the disasters to the -flesh would be unrelieved tragedy, his Roderick Seddon, paralyzed for -life, would be, to the haphazard mind, unsupportable; but Mr. Walpole -manages to put the emphasis on Seddon's spirit, that proves to be above -accident. When Markovitch, at the end of his unendurable suffering, -kills Semyonov, there is no horror, but only pity. - -The novel, of course, is the man; and the emotions of The Secret City -are the emotions of Mr. Walpole; it is merely the extension, by an art -and a record, of the mind of its creator. The pity of the reader is Mr. -Walpole's; wherever his novel goes, wherever it is read, if there is any -response it is one touched with dignity and wisdom. There is the -validity of the superior accomplishment, the payment for the failure -implied in the greater undertaking: the recognition of the insignificant -novel is insignificant, it is a part of the life flashing for a moment -in the sunlight, dead, forgotten, by evening. But if there is any -discoverable solidarity in men, any hope of final escape from -intolerable futility, it must be assisted, if ever so little, by the -simple honesty, the communication of fortitude, in books founded, at -least, on what is changeless, inevitable, to living. - -When these qualities form the pleasure of the multitude, as they now do -of a minority, the world will be a vastly different and better place. -Yet this is not primarily, not at all, I personally feel, Mr. Walpole's -concern: he is the carver on the stone, the embellisher on parchment; -his art is the sign, the recompense, of civilization. He is the pot of -geraniums in the window, the beauty, utility, above utility. Not for -nothing do we allow the philosophies, the doctrines, even the -humanities, of the past to fall into oblivion; while we preserve any -marble fragment of beauty we are so fortunate as to recover. - -Mr. Walpole is a part of that great necessity, of the longing, really, -for perfection, for perfect beauty. This, too, is the only salvation -for ease; the animal, when he is replete, fat, dies; and man, successful -in the flesh, degenerates. There only spirit, beauty, animates the -clay. Roses, in the end, are more important than cabbages. Here, Hugh -Walpole, cultivating the fine flowers of his imagination, setting out -his gardens in the waste, is indispensable ... very few have -accomplished that. - - - - - NOVELS by HUGH WALPOLE - - _Description and Comment_ - - - - THE SECRET CITY - - -What is the secret city of the title? Petrograd? Yes, partly. But much -more is it the citadel of the Russian proverb which recites: "In each -man's heart there is a secret town at whose altars the true prayers are -offered!" And so what we have in this book before us is first (and -always foremost) the story of several lives. Petrograd itself, with its -insane atmosphere on the eve of the Revolution, is painted for us -persistently, with many patient and wonderful brush strokes. The -Revolution, or the first weeks of it, are narrated for us with an -eyewitness's veracity and an eyewitness's incompleteness. But Petrograd -and the Revolution ... all that ... are put before us only so far as -they enter into the lives of a few people--a family of Russians and -three casual Englishmen. Which is as it should be. Petrograds change, -revolutions come and go; but the secret city of the human heart is not -transformed. Human motives remain. Human passions ebb and flow. Human -hopes perish--and are reborn. - -The people of Mr. Walpole's novel are completely realized. They are as -much alive as if they moved in the flesh before you. The reader may be -baffled by them--many a reader will be, though to most readers they will -be comprehensible before the closing chapters. But baffling or not, -there is no disbelieving in them. Two of the most important--Alexei -Petrovitch Semyonov and John Durward, the narrator--are characters in -Mr. Walpole's earlier novel, _The Dark Forest_. It is not absolutely -necessary that before reading The Secret City you should read _The Dark -Forest_, but it is much to be desired that you do so. Otherwise you -will be unable to fathom Alexei Petrovitch (the overshadowing character) -as adequately as you ought to from his first entrance. - -But about the others, the others besides the sinister Alexei Petrovitch. -Take poor old Markovitch, for example. It's not easy, of course, to see -him as anything but a self-befooled, ridiculous figure until you grasp -that he had three ideals to live up to. The first was his wife, Vera; -then there were his hopeless inventions; lastly, there was Russia. Came -a time when, as young Bohun, one of the Englishmen, put it: "He'd lost -Russia, he was losing Vera, and he wasn't very sure about his -inventions." At the last he clung to Russia, hopefully. This -revolution meant something wonderful for her--and for the whole world! - -Take Vera, beautiful and with immortal pride; with a great and candid -courage, too. She had her sister, the girlish Nina, she had her -husband. What was this tragedy of love that came to her and destroyed -everything? Nina, tempestuous, lovable, like a child--why in the name -of all that is merciful should _she_ have to suffer? Thank God! there -was a happy ending here! - -Others--a half dozen or so--that we mustn't speak of singly. Even such -minor characters as Uncle Ivan and Baron Wilderling are etched -perfectly. We would say a few words about the background. - -Mr. Walpole makes Petrograd as memorable a city as does Tolstoy his -Moscow, with Napoleon gazing upon its rounded domes. And that is -memorable indeed, as any one who ever read _War and Peace_ will certify. -An intensely colorful city, lighted by stars and bonfires, exhaling the -stink of the swamp and Rasputin's corpse, coldly menaced by the frozen -Neva River, a volcano of human destiny with its thick ice melting -rapidly from the heat of terrible flames underneath. A city where a -great slimy beast seems to appear apocalyptically from the sheeted -waters of the canal. A city where always there stands silhouetted -against the evening glow the immense figure of a black-bearded peasant, -grave, controlled, thoughtful, watching. A city of dream--only the -dream is true. - -There can be no doubt about it; this is a noteworthy book, a beautifully -written book and--what is best of all--a book with a backbone. You may -like it or you may not; you will be unable, we believe, to withhold -admiration.--From a review in _The New York Sun_. - - -"Hugh Walpole has proved his right to eminence. _The Secret City_ is a -worthy successor to _The Dark Forest_. His art in presentation is -consummate. But the trait that stands out in his writings is his -humanity."--_Chicago Daily News_. - -"This is, we believe, Mr. Walpole's best novel, a finer book even than -_The Dark Forest_. Its descriptive passages are many of them superb; we -get the sense of the strange and alien forces lying beneath the somewhat -Europeanized surface of Petrograd in a truly remarkable way."--_New York -Times_. - -"It is one of Mr. Walpole's achievements in this book that along with -his philosophic study of Russian minds and matters, he maintains a -running, throbbing story of the romance-tragedy of the Markovitch home. -Its form and style confirm it in a place of great literary distinction. -Being the sort of book one desires to keep as well as to read, it -sustains the final test of a fictional work."--_New York World_. - -"Hugh Walpole has equalled himself at his best and far surpassed himself -at his second best. A novel of the rare sort that is meant for the -delight of discriminating readers."--_Washington Star_. - -"The best recommendation of his novel is its excellent quality as a -story: its absorbing interest in character."--_Boston Herald_. - -"The story is tensely dramatic in its incidents and situations, its -characters are real and interesting.... You cannot merely read this -book, for if you mean to keep on you must think and keep on -thinking."--_San Francisco Chronicle_. - -"Mr. Walpole is a story-teller with something in him besides fine -facility, and it is fascinating to consider this excellent example of -his work."--_The New Republic_. - -"Somehow, by the magic of his words, Mr. Walpole, in his portrayal of a -people in the process of evolving, makes his readers understand better -what has taken place in Russia than political experts in many an -analytical treatise."--_Springfield Union_. - -"One of the best sustained, most continuously interesting and dramatic -stories Mr. Walpole has written."--_New York Globe_. - -"It is his best work as a piece of literature and it is his most -important as an ethical, sociological and political study."--_New York -Tribune_. - - - - JEREMY - - -The real beauty, tenderness and gaiety of childhood is an elusive -thing--too elusive often to be caught and pressed into words. By some -magic of his own Hugh Walpole has made live again in Jeremy the -childhood that we all knew and that we turn back to with infinite -longing. - -With affectionate humorousness, Mr. Walpole tells the story of Jeremy -and his two sisters, Helen and Mary Cole, who grow up in Polchester, a -quiet English Cathedral town. There is the Jam-pot, who is the nurse; -Hamlet, the stray dog; Uncle Samuel, who paints pictures and is -altogether "queer"; of course, Mr. and Mrs. Cole, and Aunt Amy. - -Mr. Walpole has given his narrative a rare double appeal, for it not -only recreates for the adult the illusion of his own happiest youth, but -it unfolds for the child-reader a genuine and moving experience with -real people and pleasant things. No child will fail to love the birthday -in the Cole household, the joyous departure for the sea and the country -in the long vacation. - - -"A story of the most human elements, tender, witty, penetrating in a -breath. It is the study of one year in a boy's life.... Mr. Walpole -goes straight to the heart of the child for his inspiration, and never -strays outside the narrow limits of a child's experience. It is 'the -real thing,' wonderfully remembered, and most sympathetically and -unaffectedly recorded."--_Daily Telegraph_. - - - - THE DARK FOREST - - -Out of Russia, where Hugh Walpole had been serving with the Russian Red -Cross, came this strange, wonderful, exotic book, containing an -inexplicable treasure of beauty,--the glamour of the Russian forest, the -scent of blossoming orchards, the wistful heroism of young Russian -soldiers. _The Dark Forest_ would be an astonishing performance if only -in this--that Walpole has conceived and written a _Russian novel in -English_. But there are scenes that are the most vividly realized -moments of which Walpole has ever written. Scenes which the -_Westminster Gazette_ calls "the equal of the most dramatic passages in -English fiction." Mystical, poetical, spiritual, the theme of _The Dark -Forest_ is the triumph of the soul over death. One may read in it an -allegory of the soul of Russia. - - -"To say that this book is remarkable is only to lay hold on a convenient -word as expressive of at least a part of the sensation the story -produces. Here is a book for which many of us have dimly waited; a book -that transcends the outer facts and reveals the inner significance of -war. _The Dark Forest_ is a love story of unusual beauty, as well as a -story of war. Who, having read it, will forget this book; at once awful -and beautiful? It must be read, for neither quotation nor description -is capable of giving more than a bare hint of the nobleness, the -intensity of this work of art so deeply rooted in reality."--_New York -Times_. - -"Of all the novels that have come out of European battlefields there is -probably none of such scope, such penetrating analysis and such -completely spiritual quality as Hugh Walpole's _Dark Forest_. It is many -novels in one.... It is instinct with the sense of spiritual adventure. -It is young, finely emotional, stamped with the consciousness of beauty -and infinity, of heroism and horror, love of life and the vision of -death."--_Eleanore Kellogg, in The Chicago Evening Post_. - -"At last there issues a novel with qualities of greatness and the -promise of endurance. Hugh Walpole's _Dark Forest_ should, indeed, as a -work of literary art, easily survive the terror and the turmoil."--_New -York World_. - -"Dostoievsky compressed within a few pages. A remarkable book -indeed--beyond doubt the most notable novel inspired by the war."--_New -York Tribune_. - -"_The Dark Forest_ is the first fine story product of a high order of -creative art we have had from the European war."--_Boston Herald_. - -"The very spirit of Russia is here. This is unusual. Walpole appears -to have become gifted in a few months with the true Russian literary -method. Its magic is his."--_Boston Transcript_. - -"It is a story of sustained power; tragic import and impress, and -careless disregard of western conventions. The rapt mysticism and -unselfish devotion of the heroine; the downright, uncompromising -materialism of her Russian lovers; the pathetic appeal of Trenchard's -loyalty, and the situation finally developed by the heroine's untimely -taking off--these, in connection with the continually recurring episodes -of grim war, afford large opportunity for originality of treatment and -characteristic, forceful dramatism."--_Philadelphia North American_. - -"Such a novel needed the war for its background. It needed the war for -its origin. It could only have been planned on the battle line. It -could be written for and appreciated by only such an audience as has -been prepared by the melancholy of catastrophe. War's blood is in it, -war's nerves and sinews. It is the very soul, upheaved, bereft, of war. -It is the one great romance that has come from a world of armies."--_New -York Evening Sun_. - -"_The Dark Forest_ is a novel of extraordinary beauty and power.... It -is a work of art, unqualifiedly a great book."--_Review of Reviews_. - -"Hugh Walpole's _The Dark Forest_ is the best story yet written about -the war that we have read."--_New York Globe_. - - - - THE GREEN MIRROR - - -The title of _The Green Mirror_ is symbolic. In the drawing-room of the -London house of the Trenchards, not far from Westminster Abbey, it -represented the past and the present of a great and typical English -family. - -"Above the wide stone fireplace was a large old gold mirror, a mirror -that took into its expanse the whole of the room, so that, standing -before it, with your back to the door, you could see everything that -happened behind you. The mirror was old, and gave to the view that it -embraced some comfortable touch, so that everything within it was soft -and still and at rest." Henry Trenchard, gazing into it, saw "the -reflection of the room, the green walls, the green carpet, the old faded -green place, like moss covering dead ground. Soft, dark, damp.... The -people, his family, his many, many relations, his world, he thought, -were all inside the mirror--all imbedded in that green, soft, silent -inclosure. He saw, stretching from one end of England to the other, in -all provincial towns, in neat little houses with neat little gardens, in -cathedral cities with their sequestered closes, in villages with the -deep green lanes leading up to the rectory gardens, in old country -places by the sea, all these people happily, peacefully sunk up to their -very necks in the green moss.... His own family passed before him. His -grandfather, his great-aunt Sarah, his mother and his father, Aunt Aggie -and Aunt Betty, Uncle Tim, Millicent, Katherine." - -Katherine embodied the spirit of revolt from the tyranny of family. -When Philip Mark, a young Englishman, who has spent the greater part of -his life in Russia, and whose experiences have made him more Russian -than English, comes wooing in tempestuous fashion, she throws off the -yoke of her family and chooses for herself. It is when the ties of -family are about to be shattered that Henry Trenchard, in a fit of -passion, flings a book at Mark, the invader, who has shaken Katherine's -faith in the family, and, instead of hitting Mark, demolishes the -mirror. "There was a tinkle of falling glass, and instantly the whole -room seemed to tumble into pieces, the old walls, the old prints and -water colors, the green carpet, the solemn bookcases, the large -armchairs--and with the room the house, Westminster, Garth, Glebeshire, -Trenchard and Trenchard traditions--all represented now by splinters and -fragments of glass." - - -"_The Green Mirror_, the second in the series of the _Rising City_ -series, which was opened by _The Duchess of Wrexe_, is not only quite -individual in style but the story is told with a most vivid sense of -that which the realists are supposed to lack--form. But there is no -sacrifice of truth to it. The psychology of the characters rings true. -The reaction of an unimaginative, sober, righteous family to a -prospective son-in-law has seldom been better done. The story will add -to Mr. Walpole's reputation and will not at all suffer from the fact -that it was written before the war, as his overmodest preface might -indicate that he fears."--_Chicago Evening Post_. - -"Henry James once said of the author that he was 'saturated' with youth, -and in this story Walpole idealizes the triumph of the youth of the new -generation that breaks the cords that bind it to the old and starts out -for itself--a careful, coherent and brilliant study."--_St. Louis -Globe-Democrat_. - -"This is a splendid study, the love story is charming and altogether the -book is an exceptionally good piece of work."--_The New York Tribune_. - -"In _The Green Mirror_ Hugh Walpole shows his masterly skill in building -up a really dramatic novel out of plot material that is almost without -action. His crises are always crises of feeling and no one equals Mr. -Walpole in his analysis of the feeling of his characters and his -exposition of their motives, development and change."--_Cincinnati -Enquirer_. - -"_The Green Mirror_ will serve further to intensify the belief that Mr. -Walpole is one of the great novelists of the time. The reviewer does -not hesitate to proclaim the conviction that he will be the greatest -novelist of his generation who uses English as the medium of his -expression."--_Providence Journal_. - -"Mr. Walpole has written a most unusual story and has handled it in an -exceedingly capable manner. His plot is so out of the ordinary and is -so well worked out that _The Green Mirror_ may well be classed as an -exceptional novel and as such is likely to rank high among the fiction -of the present years."--_Brooklyn Daily Eagle_. - -"As a picture of contemporary life, the novel contains some elements -that are as fundamental as those which make Dickens characters of old -London real flesh and blood to readers of today. As a study in motives -animating society the book is worthy the best traditions of English -literature. _The Green Mirror_ is a distinct contribution to -literature."--_Detroit News Tribune_. - -"_The Green Mirror_ has not one touch of aniline in all its warm colors, -rich presences and faithful portraiture. It is a fine novel, grappling -bravely with the great ironies of mother-love."--_New Republic_. - -"In the development and disclosure of the essential and incidental -scenes of the domestic embroilment following upon disclosure of the -central situation Walpole vindicates his title to the primacy in the -ranks of British fictionists who have undertaken to represent -imaginatively the source, spirit and outcome of insularity translated in -terms of selfishness and family pride. It is life transcribed as -inexorable and fatalistic as _Fortitude_ and _Duchess of -Wrexe_."--_Philadelphia North American_. - - - - FORTITUDE - - -The novel which first introduced Walpole to America was _Fortitude_, -that most beautiful, most strong story of a man's fight against heredity -and circumstance for mastery over himself. The theme of the book lies -in a saying of the Cornish fisherman, old Frosted Moses: "'Tisn't life -that matters, but the courage you bring to it." - -Peter Westcott, son of the black and sullen generations of Scaw House, -heard Frosted Moses say that, as he, a tiny little boy, crouched in a -chimney corner at the old inn and heard the sages talk of ancient -Cornish legends, and of the glory of the great world without. So did he -imbibe a spirit of adventure which he never lost. - -He left Scaw House and his gloomy father, fought his way through school, -through the welter of a London boarding-house, through poverty and -failure to success as a novelist. But his struggle and his success were -not the poor desire for petty fame which many conventional heroes of -fiction regard as struggle. What he desired in life was fortitude, not -headlines; the power to face failure as well as the ability to become -known. The spirit of adventure, humanity, these ever stirred him, and -he lost neither in becoming a victor. - -Of the woman who loved Peter and the woman whom Peter loved, Walpole -makes a magnificent love story. There were many hours of dramatic -misunderstanding in the passion that sprang up between the solid, -broad-shouldered Peter, with his quiet desire to write and be friendly -toward all sorts of people, and Clare, the slender, nervous, gay, -red-haired girl who had always been protected. But there was a great -and beautiful wonder of passion as well; and the happiness of the little -London house to which they returned from the honeymoon is not to be -forgotten. - -And throughout there are very many people who are not to be -forgotten--Stephen, the Cornishman, huge and bearded and bewildered and -inarticulate, loving the youngster Peter and the girl he could not have, -tramping the hard white roads of England, an outcast for love; Zanti, -the "foreigner," always a-quiver with babbling excitement over some new -adventure on whose trail he was following; quiet Norah, untidy and pale, -yet burning with a love which gave back his fortitude to Peter when it -seemed lost; Cardillac, the elegant; Galleon, the great novelist; the -kiddies who adored big Peter; Peter's own son, whom he so terribly -loved. - -It is a marvellous gallery, and more marvellous, even, is the gallery of -scenes, not painted in long and laborious descriptions, but in quick -snatches, which show the fact that Walpole watches sky and wind and tree -as does no other novelist. - -Do you not come from the heart of dusty country back to the sea again as -you read this? If you do not, then you do not love the sea, whose very -breath is here in this description from _Fortitude_: - -"They were at the top of the hill now. The sea broke upon them with an -instant menacing roar. Between them and this violence there was now only -moorland, rough with gorse bushes, uneven with little pits of sand, -scented with sea pinks, with stony tracks here and there where the -moonlight touched it." - -Put this with the first lines in _Maradick at Forty_ and you have a -whole seaside holiday: - -"The gray twilight gives to the long, pale stretches of sand the sense -of something strangely unreal. As far as the eye can reach, it curves -out into the mist, the last vanishing garments of some fleeing ghost. -The sea comes smoothly, quite silently, over the breast of it; there is -a trembling whisper as it catches the highest stretch of sand and drags -it for a moment down the slope; then, with a little sigh, creeps back -again a defeated lover." - -Or, if you will have the soul of the gay city, here it is in a quotation -from _Fortitude_: - -"The street stirred with the pattering of dogs out for an airing. The -light slid down the sky--voices rang in the clear air softly as though -the dying day besought them to be tender. The colours of the shops, of -the green trees, of slim and beautifully dressed houses, were powdered -with gold-dust; the church in Sloane Square began to ring its bells." - -But it is not so much beautiful imagery, not so much interesting people, -that distinguish _Fortitude_ and make it a great-hearted book, as the -courage for life, the demand for fortitude. - - -"_Fortitude_ is a book in which the writer has put much passionate -intensity of thought and conviction. It has no faults of insincerity, -weakness, nor poverty of mind or heart. It is fascinating. It is the -expression of a born writer. One reads it all. There is humor, there is -generosity; as of some big man overflowing with ideas. There is a noble -spirit in the book that blows fresh upon one, like a wind from the sea. -The wind may have blown through desperate places and seen bitter things, -but it is clean and bracing, and one is glad of it."--_Hildegarde -Hawthorne In The New York Times_. - -"_Fortitude_ is a story that one will like to linger over after it is -read. It is reminiscent of Thackeray at his best, mellowed with the -charity of well-proportioned truth."--_New York American_. - -"_Fortitude_ is impressive. Its revelations of life strike deeply into -those springs of youth from which are filled the wells of -manhood."--_The New York World_. - -"This novel is a genuine performance. All is worked out in the finest -detail, like the careful etching of a great, stone-made -cathedral."--_The Chicago Evening Post_. - -"Hugh Walpole is a literary force to be reckoned with. He knows life; -he is not afraid to depict it. He can be sympathetic without being -sentimental. He is afraid neither of pleasure nor pain--nor of seeming -to fear the conventionalities. He has the true idea of romance. He -knows that the enchanted land of adventure may be found in a London -boarding house as surely as on stormy seas or in deep hidden gold mines. -He knows that man's fiercest battles seldom are fought to the -accompaniment of cannon. He knows that loneliness is one of the -hardest, one of the most universal of humanity's tests and sorrows. -_Fortitude_ is a book to read more than once, to ponder. Instinct with -life and vigor, lovers of sentiment, fighting, psychology, romance, -realism, each will find it worth while."--_The Chicago Record-Herald_. - -"_Fortitude_ is a book of splendid strength and significance. It is -done with much care for workmanship and with a large understanding of -the meaning of life, so proving doubly worth while.... Throughout the -book is marked by a penetrating knowledge of humanity, so that it brings -one continually into touch with real people and real human -crises."--_The Continent_. - -"Mr. Hugh Walpole has the faculty of infusing vibrant life into his -characters in fiction, and in _Fortitude_ he presents one of the -strongest and best novels of the season."--_The Baltimore Sun_. - -"The people here are as real as life. The theme is big. The movement -is controlled and steady, a leisurely movement, as stories that deal -with character rather than action must be. The sketches of London, in -their whimsically personal note, make one think of Dickens in the same -field. The whole is big in every sense. One of the two or three or -maybe four novels of the year that will live to celebrate even a single -birthday."--_The Washington Evening Star_. - -"There is not a dull page in the book. Its people are real flesh and -blood beings, with courage, with love and with humor in their souls. -All of them are interesting, while the circumstances which surround them -in _Fortitude_ increase the delight of the many readers the book is -certain to achieve."--_The Boston Globe_. - -"The book is full of thought. Mr. Walpole has written a chapter of -life, pure and simple. The reader cannot skip one page."--_The -Philadelphia Public Ledger_. - -"Fortitude is a great book. It marks the arrival of Hugh Walpole as a -novelist to be reckoned with. We will await further performance with an -anticipation like that with which we look forward to a new Five Towns -tale by Bennett."--_Norma Bright Carson in Book News Monthly_. - -"One of the remarkable novels of the year. This is a great book."--_The -San Francisco Chronicle_. - -"This book of humor, romance, and realism is a pæan of youth and -strength and love, a valiant and bracing sermon."--_The Nashville -Tennessean_. - - - - THE DUCHESS OF WREXE - - -Walpole's constantly increasing perception of the breadth and dignity of -the world has given to _The Duchess of Wrexe: A Romantic Commentary_ a -spaciousness, a universality which make it apply to the big problems of -today wherever found--yet his ceaseless interest in human nature keep it -a pleasant tale to read, with a surge of power. - -It is the story of the second generation's struggle for freedom, for the -right to think and grow and love and form social circles as it wills, -against the tradition which commends them to do as tradition wills. It -is the struggle which is identical all over the world, whether in London -or San Francisco, Paris or Peking. It is the struggle which expresses -itself in feminism, in changing art, in growing rationalism of manner -and speech and thought. - -The Duchess of Wrexe is the autocrat of the autocrats; the modern -cavalier; old, shriveled, feeble of body, but keen of eye as ever, with -her cynical wit and sophisticated manner unchanged, who until she is -dead will never give up her fight to keep the race of cavaliers ruling -the nation, to keep the despised race of ordinary people (especially the -_nouveau riche_) in their places. From her darkened rooms, where she -sits in a great chair with grim china dragons on either side, she plots -against the spread of democracy shrewdly, ruthlessly, ceaselessly. - -The spirit of the times is proving toe much for the Duchess. But she -fights on. However glad the reader may be of the defeat of all the -tyranny for which the Duchess stands, he cannot but be touched by her -plucky fight and the grim persistence of her cynical wit. - -It may be mentioned that Walpole does not, like many writers, draw on -imagination entirely for his pictures of aristocracy and smart society. -Essential democrat though he is, Hugh Walpole is the cousin of the Earl -of Orford, the son of a bishop, and a descendant of the famous prime -minister, Sir Robert Walpole. - - -"_The Duchess of Wrexe_ is a wonderful piece of creative character -study. There is a maturity, a sureness of touch in the book that marks -the man who knows just what he can do with his medium and does it -enthusiastically and well."--_Book News Monthly_. - -"A definite and notable addition to English letters is made when a new -novel by Hugh Walpole is published. His latest book, _The Duchess of -Wrexe_, deals on large elemental lines with the restless, changing -spirit of the time. To the strange medley of modern life the novelist's -powers of invention, description and characterization are highly -addressed. His spirited and finished portrayal of one phase of the -changing social order exemplifies finely and naturally the picturesque -realism of new-century romance."--_Philadelphia North American_. - -"_The Duchess of Wrexe_ stimulates thought and encourages reflection. -It contains a multitude of ideas and it also allows the reader to think -for himself. It is energetic and vigorous without being truculent; it -sets forth social conditions without being polemic. It is genuinely a -story, and it is at the same time a suggestive commentary on life. _On -every page it dignifies the art of the novelist_.... With all his -subtlety, with all his restraint, with all his ingenuity in making it a -social study, Mr. Walpole has not made _The Duchess of Wrexe_ any the -less effective as a story. It is a novel that entertains, that charms. -On a single page of it will be found more about mankind and life than is -discoverable in the entirety of many another novel.... He has lavished -upon it ideas, situations, events and characters sufficient for the -lifework of numerous other novelists."--_Boston Transcript_. - -"Those who take Mr. Walpole's work as a plain story will find it of -compelling interest. Those who read its message complete will be -impressed by the sense of a great theme thoughtfully and powerfully -presented. There is no flattery in the statement that this book is _one -of the really great pieces of modern fiction_."--_New York World_. - -"All the grim, unyielding pride of race of England's old autocracy is -made incarnate in the personality of one aged woman, the ever-dominating -title-character in this admirable study of changing social orders. It -is a heroic picture that the author paints of this grim old head of the -house of Beaminster. She stands out supreme amid the pages, one of the -most notable figures put into a book in a long time."--_Philadelphia -Press_. - -"Walpole has strengthened his claim to position by proving that he is -not a man of one book, for _The Duchess of Wrexe_ is without doubt one -of the big novels of the year. It is a novel of extreme -significance."--_Samuel Abbott in The Boston Post_. - - - - THE GOLDEN SCARECROW - - -"If you love enough we are with you everywhere--forever"--that is the -word of the little children that stupid people call "dead." Always -here, playing in the room they loved. Such is the end of _The Golden -Scarecrow_, the most original book by the author of _Fortitude_. It is -the story of a dozen children living about a spacious old square, a -square filled with leisure and the sound of leaves, in the heart of -London. The son of a duke is one, and one the forlornly playing child -of a housekeeper who drank and was untidy, but their lives were all -bound together by the Friend--who is the Friend of Stevenson's -child-verses--who in dangerous or unhappy moments comes to children and -with his great warm arm guides them.... There is a wonderful -fancifulness in _The Golden Scarecrow_, a mellow and gentle beauty; and -a really remarkable ability to enter into the children's own world, -where carpets are vast moors, and the fire whispers secrets, and the -lashing out of a whip of wind suggests things vast and secret and -perilous. Mr. Walpole has "loved enough"; has so loved children and the -little land of the imagination that he has put into this book the -quality which can never be quite plumbed--tenderness. And it is not the -awkward tenderness of the person not born to write; but graceful and -perfect and winning as a Greek vase. - - -"The fact that childhood is not a mere prelude to adult life but worth -while for its own sake has seldom been more beautifully -expressed."--_Chicago Evening Post_. - -"Few adults preserve their line of communication with that world of -fancy so real to children. But when one of rare fancy visualizes it a -chord of kinship is struck; memory rolls back the years, and the heart -responds. Barrie did it in _The Little White Bird_. Hugh Walpole joins -him with _The Golden Scarecrow_."--_Boston Herald_. - -"Only those readers of Mr. Walpole's novels who have missed any real -sense of them will be surprised by this singularly attractive series of -sketches. There is an infinite pathos and a quite exquisite charm in -the first sketch, the one which suggests the spirit of them all.... It -cannot be too strongly insisted upon that in these child-studies there -is not a whiff of the pseudo-sentiment about childhood which in some -writings has reached the nauseating point. Mr. Walpole simply has the -very rare gift of actually getting the child's point of view, and we -always feel that he really understands what he is talking -about."--_Providence Journal_. - -"In one sense it bears kinship to Barrie's _Peter Pan_ and Maeterlink's -_Blue Bird_, for although it is unlike either of these fairy tales in -material and treatment, it is related to them in that it recreates for -older readers the magical world of the imagination that plays so large a -part in the lives of little folk. Mr. Walpole writes with charm and -tenderness."--_Philadelphia Press_. - -"It is as beautiful as it is unusual--a wonderfully sympathetic and -illuminating study of the mind of the child done with an understanding -and sympathy so complete that it is uncanny."--_New York Evening Mail_. - - - - THE WOODEN HORSE - - -With hesitation one approaches the first novel of an author whose growth -has been so steady as that of Walpole. It is therefore a double delight -to find _The Wooden Horse_ a thoroughly good story. Indeed, it has in -it certain qualities which should, as Walpole's work becomes more and -more known in mass, be one of his most popular. For it is filled with -the youth's first joy of expression; its excitement about life and its -yearning for strange new roads. - -_The Wooden Horse_ is the story of the Trojans, a family which accepted -as tranquilly as did the Duchess of Wrexe the belief that they were the -people for whom the world was created. But when Harry Trojan came home -after twenty years in New Zealand, with the democracy learned by working -his hands, he was the "wooden horse" who boldly carried into the Trojan -walls a whole army of alien ideals, which made of that egotistic family -a group of human beings content to be human. - -Interesting are his struggles against stubborn prejudice; dreamlike the -pictures of the old Trojan house, rising from the edge of the gray -Cornish cliff like an older cliff, yet surrounded by fragrant rose -gardens; but what most distinguishes _The Wooden Horse_ is its -passionate adoration of the sea, the cliffs, the weather-worn old -Cornish houses, where bearded men tell of haunted moors and the winds of -the deep. - - -"Reading this story after reading his later ones will not prove the -disappointment that such a procedure usually is. Here are no signs of -faults outgrown, no weaknesses that will hurt the lover of Walpole's -later works--by which statement we do not wish to be taken as denying -that he has developed. Mr. Walpole is a realist with a wide angle -vision to whom not only the littered and close ways of short-sighted and -selfish men are real, but to whom the large species of nature and her -healing quiet are just as real. He sees life steadily and sees it -whole--yet keeps his temper and his hopes."--Llwellyn Jones in _The -Chicago Evening Post_. - -"Nowhere has Walpole shown a greater grip upon life's realities, a -stronger appreciation of the elusiveness of man-made conventionalities -and a better artistic sense of the dramatic value of contrasts. In -describing the subtle changes brought about in the family circle by the -presence of one outside influence, Walpole has displayed much skill and -literary power. There are no long disquisitions, no democratic -preachments, but his dramatic personæ, when brought face to face with -new situations, are moved to action according to their light. This is -one of the very best novels from the pen of Mr. Walpole, and that is -saying much."--_Philadelphia Public Ledger_. - -"A most notable piece of artistry. In Harry Trojan, the 'unrepentant -prodigal,' Mr. Walpole has given us a splendid vigorous personality -whose acquaintance is a delight to readers wearied by heroes of the type -of Harry's semidecadent son. The picture of the Trojan family is one -which for vividness could scarcely be surpassed. And, indeed, Mr. -Walpole has scarcely written anything more excellent than the account of -the dying of Sir Jeremy Trojan--'I am going, but I don't regret -anything--your sins are experience--and the greatest sin of all is not -having any.' That, in a sense, is the motto of the book. _The Wooden -Horse_ is one of the few novels which not only may be read, but must be -read by the discriminating reader."--_Providence Journal_. - -"If one wishes to read a good story without being preached at, he can do -no better than read _The Wooden Horse_. The story catches the -atmosphere of the Cornish coast, and you have the feel of the salt spray -in your nostrils as you read."--_Indianapolis News_. - -"As delicate a piece of work as any modern novelist has attempted and -superlatively well done."--_Lexington Kentucky Herald_. - - - - THE GODS AND MR. PERRIN - - -Hugh Walpole spent some time as a master at an English provincial -school, and consequently he has been able to put into _The Gods and Mr. -Perrin_ quite all the atmosphere of a school where the system, the -confinement, the routine of petty tasks get on everyone's nerves and -turn a group of human beings into strange hybrids that are at once -machines and animals with raw nerves sticking out all over them. -Whoever has--whether in the confinement of a school or an unhappy office -or a jarring household--been smothered by the atmosphere of some set of -human beings, will find himself in this book, and rejoice with Perrin's -fight to break free. - -_The Gods and Mr. Perrin_ finds Mr. Perrin coming back to the -workhouse-like school for boys at the beginning of term-time, determined -to be kind this year. But the drudgery, the smell of cold mutton and -chalk, the endless succession of frightened boys, the smug ironies of -the reverend head-master, get on his nerves, and then the Cat of Cruelty -begins to whisper at his ear and suggest that it would be pleasant to -twist one boy's ear and cuff another. - -He bursts out, at last, gloriously, and at a solemn gathering of the -school for the awarding of prizes, tells what he really thinks of the -hypocritical headmaster and the drab futility of the whole school. -Uncompromisingly, unflinchingly, Walpole has painted that school as it -is. His picture should be enough to make any head-master who still -believes in education by repression go off and commit suicide. It -should be enough to make any man who is yearly growing more choked, more -afraid of life, more smothered in a stuffy environment, rebel and fight -his way out of that kingdom of dullness, cost what it may. - -But because of that very spirit of revolt, _The Gods and Mr. Perrin_ is -not a drably disagreeable novel which will frighten off soft-minded -readers. - - -"Marked by technical excellence, insight, imagination, and -beauty--Walpole at his best."--_San Francisco Bulletin_. - -"The psychological crisis in the life of a schoolmaster, uncouth, -unhappy and unloved, is keenly analyzed by the hand of a master. The -hysteria that attacks the faculty of a boys' school at examination time -has never been so well described as in the moving chronicle of the -'Battle of the Umbrella' which proves that Mr. Walpole has the crowning -gift of humor."--_The Independent_. - - - - THE PRELUDE TO ADVENTURE - - -So excellent is the versatility of Hugh Walpole that this writer of -dignified and realistic and always beautiful pictures of life has among -his books one with all the tension and strange plot of a Poe -masterpiece--_The Prelude to Adventure_. It starts with a murder. Dune -the silent, the cleverest yet laziest and most snobbish man in his class -at Cambridge, has struck down a red-faced, silly, ignoble, beast of an -undergraduate who has been boasting of his conquest over a poor little -shopgirl. He did not mean to do murder, but there lay the man dead, -where the gray Druids' Wood dripped with rain and gray twilight. - -He calmly went back to his rooms and kept silent. What happened is so -filled with suspense that, very real and human though it is, the plot -comes to have all the unexpectedness of the cleverest detective story. -And Dune's vision of God, as a great gray spirit standing gigantic there -on the campus, waiting, waiting, is a revelation in spiritual motives. -Dune's love story, too, is fascinating--and his victory. - -Suspense--color of life--love--fear--triumph--they all mingle in an -atmosphere as effective as the Cornish sea. - -"A powerful novel of Cambridge life, or rather the story of a Cambridge -student with the university sketched in with rapid and sure strokes as a -place through which Dune's tragic and lonely figure moves. The -sentiment is lofty and manly--Hugh Walpole walks with a sure and firm -tread toward a definite goal."--_The Independent_. - - - - MARADICK AT FORTY - - -The theme of _Maradick at Forty_ again gets into the life of every man -and every woman; a theme equally timely in 1000 B.C., 1000 A.D. and -10000 A.D.--the question of what is to be done when a man wakes up to -find himself getting almost old, with life slipping from him to the next -generation. One may smile at the white slave terror, and be quite -selfish as regards educational movements, but one cannot smile away the -progress of one's self from the forties into the fifties. - -Maradick, strong, large, well-bred, a capable stock broker, awakes at -forty to find that life has eluded him. He has married respectably--his -fussy little wife does not love him. His children are dutiful--they are -not admiring. His business is safe--it is not absorbing. - -While spending the summer at the "Man at Arms," that marvelous dark old -inn with unexpected bits of gardens and tower rooms rambling over the -Cornwall cliffs and fronting a vast sweep of sea and sky, he meets with -a young man to whom life and poetry are real, to whom women and seas are -"bully! marvelous!" The youngster's youth stirs Maradick to demand that -he no longer be taken for granted by wife and children and business--and -life! He plunges into a spiritual adventure which is the Adventure of -Everyman. - - - - - THE NOVELS OF HUGH WALPOLE - - -THE SECRET CITY -THE DARK FOREST -JEREMY -THE GOLDEN SCARECROW -THE GREEN MIRROR -THE DUCHESS OF WREXE -FORTITUDE -THE PRELUDE TO ADVENTURE -MARADICK AT FORTY -THE GODS AND MR. PERRIN -THE WOODEN HORSE - - -GEORGE H. DORAN COMPANY, _Publishers_ -244 Madison Avenue NEW YORK - - - - - - -*** END OF THIS PROJECT GUTENBERG EBOOK HUGH WALPOLE: AN APPRECIATION -*** - - - - -A Word from Project Gutenberg - - -We will update this book if we find any errors. - -This book can be found under: http://www.gutenberg.org/ebooks/42383 - -Creating the works from public domain print editions means that no one -owns a United States copyright in these works, so the Foundation (and -you!) can copy and distribute it in the United States without permission -and without paying copyright royalties. Special rules, set forth in the -General Terms of Use part of this license, apply to copying and -distributing Project Gutenberg(tm) electronic works to protect the -Project Gutenberg(tm) concept and trademark. Project Gutenberg is a -registered trademark, and may not be used if you charge for the eBooks, -unless you receive specific permission. 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