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Pierre et Jean itself has no weakness except that narrowing of interest which has been already noted in Maupassant, and which is rather a limitation than a positive fault. There is practically one situation throughout; and though there are several characters, their interest depends almost wholly on their relations with the central personage. This is Pierre Roland, a full-fledged physician of thirty, but not yet successful, and still living with, and on, his parents. His father is a retired Paris tradesman, who has come to live at Havre to indulge a mania for sea-fishing; he has a mother who is rather above her husband in some ways; and a brother, Jean, who, though considerably younger, is also ready to start in his own profession – that of the law. A "friend of the family," Mme. Rosémilly – a young, pretty, and rather well-to-do widow – completes the company, with one or two "supers." Just as the story opens, a large legacy to Jean by an older friend of the family – this time a man – is announced, to the surprise of almost everybody, but at first only causing a little natural jealousy in Pierre. Charitable remarks of outsiders, however, suggest to him the truth – that Jean is the fruit of his mother's adultery with the testator – and this "works like poison in his brain," till – Jean, having gained another piece of luck in Mme. Rosémilly's hand, and having, though enlightened by Pierre and by his mother's confession, very common-sensibly decided that he will not resign the legacy, smirched as it is – Pierre accepts a surgeon-ship on a Transatlantic steamer, and the story ends.

On its own scheme and showing there is scarcely a fault in it. The mere settings – the fishing and prawn-catching; the scenery of port and cliff; the "interiors"; the final sailing of the great ship – are perfect. The minor characters – the good-tempered, thick-headed bourgeois husband and father; the wife and mother, with her bland acceptance of the transferred wages of shame, and (after discovery only) her breaking down with the banal blasphemy of "marriage before God" and the rest of it; the younger brother – not exactly a bad fellow, but thoroughly convinced of the truth of non olet; the widow playing her part and no more, – all are artistically just what they should be. And so, always remembering scale and scheme, is Pierre. One neither likes him (for he is not exactly a likeable person) nor dislikes him (for he is quite excusable) very much; one is only partially sorry for him. But one knows that he is– he has that actual and indubitable existence which is the test and quality alike of creator and creation. His first vague envy of his brother's positive luck in money and probable luck in love – for both have had floating fancies for the pretty widow; the again perfectly natural spleen when this lucky brother, by an accident, secures the particular set of rooms in which Pierre had hoped to improve his position as a doctor; the crushing blow of finding out his mother's shame; the process (the truest thing in the whole book, though it is all true) by which he tortures both her and himself in constant oblique references to her fault; the explosion when he directly informs his brother; and all the rest, could hardly be improved. It is not a novel on the great scale, but rather what may be called a long short story. It does not quite attain to the position of some books on a small scale in different kinds —Manon Lescaut itself, Adolphe, La Tentation de Saint-Antoine. But the author has done what he meant to do, and has done it in such a fashion that it could not, on its own lines, be done better.

Maupassant's last novel of some magnitude, Notre Cœur, was written when the shadow was near enveloping him; and it cannot be said to have the perfection of Pierre et Jean. But it still rises higher in certain very important ways – it is perhaps the book that one likes him best for, outside of pure comedy; and there is none which impresses one more with the sense of his loss to French literature.

Notre Cœur.

The story, like all Maupassant's stories, is of the simplest. André Mariolle, a well-to-do young Parisian bachelor of no profession, is a member of a set of mostly literary and artistic people, almost all of whom have, as a main rendezvous, the house of a beautiful, wealthy, and variously gifted young widow, Mme. de Burne. She lives chaperoned in a manner by her father; indisposed to a second marriage by the fact that she has had a tyrannical husband; accepting homage from all her familiars and being very gracious in differing degrees to all of them; but having no "lover in title" and not even being suspected of having (in the French novel-sense⁴⁹⁵) any "lover" at all. For a long time Mariolle has, from whim, refused introduction to her, but at last he consents to be taken to the house by his friend the musician Massival, and of course falls a victim. It cannot be said that she is a Circe,⁴⁹⁶ nor that, as perhaps might be expected, she revenges herself for his holding aloof by snaring and throwing him away. Quite the contrary. She shows him special favour: when she has to go to stay with friends at Avranches she privately asks him to follow her; and finally, when the party pass the night at Mont Saint-Michel, she comes – uninvited, though of course much longed for – to his room, and (as they used to say with elaborate decency) "crowns his flame." Nor does she turn on him – as again might be expected – even then. On the contrary, she comes constantly to a secret Eden which he has prepared for her in Paris, and though, after long practice of this, she is sometimes rather late, and once or twice actually puts off her assignation, it is "no more than reason,"⁴⁹⁷ and she by no means jilts or threatens jilting, though she tells him frankly that his way of loving (which is more than reason) is not hers. At last he cannot endure seeing her surrounded with admirers, and flies to Fontainebleau, where he is partly – only partly – consoled by a pretty and devoted bonne. Yet he sends a despairing cry to Mme. de Burne; and she, gracious as ever, actually comes to see him, and induces him to return to Paris. He does so, but takes the bonne Elisabeth with him; and the book ends abruptly, leaving the reader to imagine what is the outcome of this "double arrangement" – or failure to arrange.

But, as always with Maupassant's longer stories and not quite never with his shorter ones, the "fable is the least part." The "atmosphere"; the projection of character and passion; the setting; the situations; the phrase – these are the thing. And, except for the enigmatic and "stump-ended" conclusion, and for a certain overdose of words (which rather grew on him), they make a very fine thing. It is here that, on one side at least, the author's conception of love – which at some times might appear little more than animal, at others conventional-capricious in a fashion which makes that of Crébillon universal and sincere – has sublimed itself, as it had begun to do in Fort comme la Mort (Pierre et Jean is in this respect something of a divagation), into very nearly the true form of the Canticles and Shakespeare, of Donne and Shelley and Heine, of Hugo and Musset and Browning. But it is curious, in the first place, that he whom his friends fondly called a fier mâle, who has sometimes pushed masculinity near to brutality, and who is always cynical more or less, has made his André Mariolle, though a very good lover, a distinct weakling in love. He is a "too quick despairer," and his despair is more illogical than even a lover's has a right to be. And this is very interesting, because, evidently without the author's knowledge (though perhaps, if things had gone more happily, he might have come to that knowledge later), it shows the rottenness of the foundation, and the flimsiness of the superstructure, on and in which the Covenant of Adultery – even that of Free Love – is built. Michelle de Burne gives André Mariolle everything with one exception, if even with that, that the greediest lover can want. She "distinguishes" him at once; she shows keen desire for his company; she makes the last (or first) surrender like a goddess answering a hopeless and unspoken prayer; she is strangely generous in continuing the don d'amoureux merci; she never really wearies of or jilts him, though he is a most exacting lover; and when he has flung away from her she allows him, in the most gracious manner, to whistle himself back. But there is one thing, or rather two which are one, that she will not, or perhaps cannot, give him. It is the idealised passion which nature has denied to her, though not to him, and the absolute faithfulness and "forsaking of all others" proper to what? – to a perfect wife. So here, in the realms of spouse-breach, marriage is once more king, or rather the throne is felt to be empty – the kingdom an anarchy – without it!

The lighter side of the matter reminds one of two celebrated utterances. The first is Paul de Florac's criticism on the Lady Clara-Barnes-Highgate triangle, "Do not adopt our institutions à demi." Here the situation is topsy-turvied in the most curious fashion, for it is the character of marriage that is desiderated in the absence thereof, and in a country where that character itself is scoffed at. Further, it reminds one still more of Sydney Smith's excellent jest when Lady Holland, having previously asked him to stay at Holland House, sent him a formal invitation to dinner, for a day within the period of the larger hospitality. This, said Sydney, was "an attempt to combine the stimulus of gallantry with the security of connubial relations." That was precisely the moon that Mariolle sighed for, and that his not exactly Artemis would not – indeed could not be expected to – give him.

Of Michelle de Burne herself there is less to be said. The curious misogyny which chequered Maupassant's gynomania seems to have tried hard to express itself in her portrait. It is less certain that it does. The other characters are quite subordinate, except the bonne Elisabeth (who, promising as she is, merely makes her début) and a novelist, Gaston de Lamarthe, who may sometimes be taken as the author's mouthpiece, but who does not do him justice. The book on the whole does much to confirm, and hardly anything to invalidate, the position that its writer had far more to say than he ever said.

Les Dimanches, etc.

The ordinary list of Maupassant's "Romans," as distinct from "Nouvelles" and "Contes," ends with Les Dimanches d'un Bourgeois de Paris. This, however, is merely a series of tales (some of them actually rehandled from earlier ones), with a single figure for centre, to wit, a certain M. Patissot, a bachelor government-official, who is a sort of mixture of Leech's Mr. Briggs and of Jérôme Paturot, with other predecessors who get into scrapes and "fixtures." It is not unamusing, but scarcely first-class, the two political skits at the end being about the best part of it.

Yvette.

On the other hand, Yvette, which is only allowed the eponymship of a volume of short stories, though it fills to itself some hundred and seventy pages, is one of Maupassant's most carefully written things and one of his best – till the not fully explained, but in any case unsatisfactory, end⁴⁹⁸. Its heroine is the daughter of a sham Marquise and real courtesan, who has attained wealth, who can afford herself lovers "for love"⁴⁹⁹ and not for money, when she chooses, and who keeps up a sort of demi-monde society, in which most of the men are adventurers and all the women adventuresses, but which maintains outward decencies. In consequence of this Yvette herself – in a fashion a little impossible, but artistically made not improbable – though she allows herself the extreme "tricks and manners" of faster society, calls half the men by nicknames, wanders about alone with them, etc., preserves not merely her personal purity but even her ignorance of unclean things in general, and especially of her mother's real character and conduct. Her relations with a clever and not ungentlemanly roué, one M. de Servigny; his difficulties (these are very curiously and cleverly told) in making love to a girl not of the lower class (at least apparently) and not vicious; his attempt to brusque the matter; her horror at it and at the coincident discovery of her mother's ways; her attempt to poison herself; and her salvage by Servigny's coolness and devotion – are capitally done. Out of many passages, one, where Madame la Marquise Obardi, otherwise Octavie Bardin, formerly domestic servant, drops her mask, opens her mouth, and uses the crude language of a procuress-mother to her daughter, is masterly. But the end is not from any point of view satisfactory. Apparently (for it is not made quite clear) Yvette retracts her refusal to be a kept mistress. In that case certainly, and in the almost impossible one of marriage probably, it may be feared that the catastrophe is only postponed. Now Yvette has been made too good (I do not mean goody) to be allowed to pine or poison herself, as a soon-to-be-neglected concubine or a not-much-longer-to-be-loved wife.

Short stories – the various collections.

That the very large multitude⁵⁰⁰ of his short stories (or, one begs pardon, brief-narratives) is composed of units very different in merit is not wonderful. It was as certain that the covers of the author of Boule de Suif⁵⁰¹ would be drawn for the kind of thing frequently, as that these would sometimes be drawn either blank, or with the result of a very indifferent run. To an eye of some expertness, indeed, a good many of these pieces are, at best, the sort of thing that a clever contributor would turn off to editorial order, when he looked into a newspaper office between three and five, or ten and midnight. I confess that I once burst out laughing when, having thought to myself on reading one, "This is not much above a better written Paul-de-Kockery," I found at the end something like a frank acknowledgment of the fact, with the name. In fact, Maupassant was not good at the pure grivoiserie; his contemporary M. Armand Silvestre (v. inf.) did it much better. Touches of tragedy, as has been said, save the situation sometimes, and at others the supernatural element of dread (which was to culminate in Le Horla, and finally to overpower the author himself) gives help; but the zigzags of the line of artistic success are sharp and far too numerous. For a short story proper and a "proper" short story, L'Épave, where an inspector of marine insurance visits a wreck far out on the sands of the Isle of Rhé, and, finding an Englishman and his daughter there, most unprofessionally forgets that the tides come up rapidly in such places, is nearly perfect. On the other hand, Le Rosier de Mme. Husson, one of the longest, is almost worthless.

Classes – stories of 1870-71.

At one time I had designed – and to no small extent written – a running survey of a large number of these stories as they turn up in the volumes, most of which – the Contes de la Bécasse is the chief exception – have no unity, and are merely "scoopings" of pieces enough to fill three hundred pages or so. But it would have occupied far too much space for its importance and interest. As a matter of fact, they are to some extent classifiable, and so may be dealt with on a representative system. There is the division of "La Revanche," which might have saved some of our fools at home from mistaking the Prussian for anything but a Prussian. Boule de Suif heads this, of course; but Mlle. Fifi, which is a sort of tragic Boule de Suif– the tragedy being, one is glad to say, at the invaders' expense – is not far below it. Deux Amis, one of the best, records how two harmless Parisian anglers, pursuing their beloved sport too far, were shot for refusing to betray the password back; and La Mère Sauvage, the finest of all, how a French mother, hearing of her son's death, burnt her own house with some Germans billeted in it, and was, on her frank confession, shot. But Un Duel, though a Prussian officer (vile damnum) pays for his brutality with his life, restores the comic element, partly at the expense of the two English seconds.⁵⁰²

Connected with the war of 1870 too, though not military, is the capital Coup d'État, in which a Monarchist French squire checkmates, for the moment at least, a blatant Republican village doctor.

Norman stories.

Very much larger than any other group is, naturally enough, that on Norman subjects. Maupassant does not flatter his fellow-subjects of the great Duchy, but he loves them, and knows them, and delights to talk of them – talking always well and often at his best. There must be, in all, several volumes-full of these, though they are actually scattered over a dozen: and it is not easy to go wrong with them. Perhaps a new "Farce du Cuvier," quite different from those known to readers of Boccaccio and the Fabliaux (a very drunk peasant sells his wife⁵⁰³ by weight or measure to another, and scientifically ascertains the exact sum to be paid by making her fill a butt with water and putting her into it – the displacement giving the required result) is the merriest. The story of the schoolboy who negotiates a marriage between his Latin tutor and a young person is excellent; and that of "Boitelle," a poor fellow who is prevented (through that singular abuse of patria potestas so long allowed by French law) from marrying an agreeable negress, is the most pathetic. But I myself am rather fond of the Légende du Mont Saint-Michel. At first one is a little shocked at finding "the great vision of the guarded mount"⁵⁰⁴ yoked to the old Scandinavian troll-and-farmer story of the fraudulent bargain as to alternate upper- and under-ground crops. But the magnificent opening description of "the fairy castle planted in the sea"⁵⁰⁵ excuses, and is thrown up by, the sequel. Mont-Saint-Michel is not like Naples. When you have seen it, it is not your business to die, but to live and remember the sight of it; and, if you are lucky, your remembrance will have anticipated Maupassant's words, and be freshened by them.

Algerian and Sporting.

Algiers and the Riviera were also fruitful in quantity, rather less so in quality. But on the former two stories, Allouma and Au Soir, may be found together, the whole of the first of which, and the beginning of the second, are first-rate. The above mentioned Contes de la Bécasse are almost all good, though by no means all sporting.

Purely comic.

For pure comedy one might put as the first three – with the caution that Mrs. Grundy had better keep away from them —Les Sœurs Rondoli,⁵⁰⁶ for which I feel certain that, when Maupassant reached the Elysian Fields, Aristophanes and Rabelais jointly requested the pleasure of introducing him to the company, and crowned him with the choicest laurels; Mouche, which is really touching as well as tickling at the end, though the grave and precise must be doubly warned off this; and Enragée– which is a sort of blend of an old smoking-room story of the perils of the honeymoon when new, and that curious tale⁵⁰⁷ of Vigny's which has been given above.

Tragic.

For pure, or almost pure, tragedy and pathos, again, Monsieur Parent stands first – the history of the late vengeance of a deceived husband and friend. Miss Harriet gives us something more than a stage Englishwoman with large feet, projecting teeth, tartan skirts, and tracts, though it gives us this too. Madame Baptiste– the very short tale of a hapless woman who, having been the victim of crime in her youth, is pursued by the scandal thereof to suicide, in spite of her having found a worthy husband – is one of Maupassant's intensest.

Tales of Life's Irony.

As examples, bending sometimes to the comic, sometimes to the pathetic side of studies in the irony of life, one may recommend A Cheval (a holiday taken by a poor but well-born family, which saddles them with an unconscionable "run-over" Old-Woman-of-the-Land); La Parure and Les Bijous (the first a variant of A Cheval, the second a discovery by a husband, after his wife's death, of her shame); and perhaps best of all, Regret, in which a gentleman of sixty, reflecting on his wasted life, remembers a picnic, decades earlier, where the wife of his lifelong friend – both of them still friends and neighbours – behaved rather oddly. He hurries across to ask her (whom he finds jam-making) what she would have done if he had "failed in respect," and receives the cool answer, "J'aurais cédé." It is good; but fancy not being able to take a walk, and observe the primroses by the river's brim, without being bound in honour to observe likewise whether the lady by your side was ready to "cede" or not! It seems to me that in such circumstances one would, to quote a French critic on an entirely different author and matter, "lose all the grace and liberty of the composition."

Oddments.

Some oddments⁵⁰⁸ may deserve addition. Fini, which might have been mentioned in the last group, is a very perfect thing. A well-preserved dandy in middle age meets, after many years, an old love, and sees, mirrored in her decay, his own so long ignored. Nobody save a master could have done this as it is done. Julie Romain is a quaint half-dream based on some points in George Sand's life, and attractive. The title of L'Inutile Beauté has also always been so to me (the story is worth little). It would be, I think, a fair test of any man's taste in style, whether he did or did not see any difference between it and La Beauté Inutile. In Adieu, I think, Maupassant has been guilty of a fearful heresy in speaking of part of a lady's face as "ce sot organe qu'on appelle le nez." Now that a nose, both in man and woman, can be foolish, nobody will deny. But that foolishness is an organic characteristic of it – in the sense of inexpressiveness, want of character, want of charm – is flatly a falsehood.⁵⁰⁹ Neither mouth nor eyes can beat it in that respect; and if it has less variety individually, it gives perhaps more general character to the face than either. However, he is, if I mistake not, obliged to retract partially in the very story.

I have notes of many others – some of which may be special favourites with readers of mine – but room for no more. Yet for me at least among all these, despite the glaring inequality, despite the presence of some things utterly ephemeral and not in the least worth giving a new day to; despite the "saleté bête"⁵¹⁰ and the monotonous and obligatory adultery,⁵¹¹ there abides, as in the large books, and from circumstances now and then with gathered intensity, that quality of above-the-commonness which has obliged me to speak of Maupassant as I have spoken.

General considerations.

The vividness and actuality of his power of presentation are unquestioned, and there has been complaint rather of the character of his "illusions" (v. sup.) than of his failure to convey them to others. It is not merely that nature, helped by the discipline of practice under the severest of masters, had endowed him with a style of the most extraordinary sobriety and accuracy – the style of a more scholarly, reticent, and tightly-girt Defoe. It is not merely that his vision, and his capacity of reproducing that vision, were unsurpassed and rarely equalled for sharpness of outline and perfection of disengagement. He had something else which it is much less easy to put into words – the power of treating an incident or a character (character, it is true, less often and less fully than incident) as if it were a phrase or a landscape, of separating it, carving it out (so to speak), and presenting it isolated and framed for survey. His performances in these tracks are so numerous that it is difficult to single out any. But I do not know that finer examples (besides those noticed above in Une Vie) of his power of thus isolating and projecting a scene are to be found than two of the passages in Pierre et Jean, the prawn-catching party and Pierre's meditation at the jetty-head. Of his similar but greater faculty of treating incident and character Monsieur Parent is perhaps the very finest example (for Boule de Suif is something greater than a mere slice), though Promenade, Les Sœurs Rondoli, Boitelle, Deux Amis, and others are almost as good. But this very excellence of our author's carries with it a danger which most of his readers must have recognised. His definition and vignetting of separate scenes, incidents, and characters is so sharp and complete that he finds a difficulty in combining them. The attempt to disdain and depreciate plot which the above-mentioned Preface contains is, I suspect (though I am, as often confessed, no plot-worshipper), as our disdains and depreciations so often are, itself a confession. At any rate, it is allowed that the longer books, with the exception of Pierre et Jean (which was for that very reason, and perhaps for others, disdained by the youngest and most impressionist school of critics), are deficient in beginning, middle, and end. Une Vie and Bel-Ami are surveys or chronicles, not dramas or histories. Mont-Oriol, open enough to objection in some ways, is rather better in this point. Fort Comme la Mort relapses under the old curse of the situation of teasing unhappiness from which there is no outlet, and in which there is little action. Notre Cœur should perhaps escape criticism on this head, as the shadow of the author's fate was already heavy on him. In fact, as observed above, it is little more than a torso. Even Pierre et Jean, by far the greatest of all, if scale and artistic perfection be taken together, falls short in the latter respect of Boule de Suif, which, small as it is, is a complete tragi-comedy in little, furnished with beginning, middle, and end, complying fully with those older exigences which its author affected to despise, and really as great as anything of Mérimée's – greater it could not be.

There is no doubt that the theory which Maupassant says he learnt from Flaubert (in whose own hands it was always subordinated to an effort at larger completeness) does lead to the composition of a series or flock of isolated vignettes or scenes rather than to that of a great picture or drama. For it comes perilously close – though perhaps in Maupassant's own case it never actually reached – the barest and boldest (or baldest) individualising of impressions, and leaving them as they are, without an attempt at architectonic. For instance, once upon a time⁵¹² I was walking down the Euston Road. There passed me a fellow dragging a truck, on which truck there were three barrels with the heads knocked out, so that each barrel ensheathed, to a certain extent, the one in front of it. Astride of the centre barrel, his arms folded and a pipe in his mouth, there sat a man in a sort of sailor-costume – trousers, guernsey, and night-cap – surveying the world, and his fellow who dragged him, with an air of placid goguenarderie. It was really a striking impression, and absorbed me, I should think, for five or six seconds. I can conceive its coming into a story very well. But Maupassant's theories would have led to his making a whole story out of it, and his followers have already done things quite as bad, while he has himself come near to it more than once.⁵¹³ In other words, the method tends to the presentations of scraps, orts, fragments, instead of complete wholes. And Art should always seek the whole.

As for the character of Maupassant's "illusions," there could never be much doubt about some of them. Boule de Suif itself pretty clearly indicated, and La Maison Tellier shortly after showed, at the very opening of his literary career, the scenes, the society, and the solaces which he most affected: while it was impossible to read even two or three of his stories without discovering that, to M. de Maupassant, the world was most emphatically not the best of all possible worlds. This was by no means principally shown in the stories of supernatural terror to which, with an inconsistency by no means uncommon in declared materialists, and, had it not been for his unhappy end, very amusing, he was so much given. The chief of these, Le Horla, has not been much of a favourite with the lovers of "ghost-stories" in general. I think they are rather unjust to it. But if it has a fault, that fault lies (and, to avoid the charge of being wise after the event, I may observe that I thought so at the time) in too much conviction. The darkness is darkness which has been felt, and felt so much by the artist that he has lost his artistic grasp and command. There was, perhaps, in his own actual state, too much reason for this. In earlier things of the kind it is less perceptible. Fou? is rather splendid. Auprès d'un Mort– an anecdote of the death-bed of Schopenhauer, whom Maupassant naturally admired as the greatest of saccageurs de rêves, though there are some who, admiring the first master of thoroughly good German prose style and one of the best of German critics, have kept the fort of their dreams safe from all he could do – has merits. Lettre trouvée sur un noyé is good; L'Horrible not quite so good; Le Loup (a sort of fancy from the "bête du Gévaudan" story) better; Apparition of the best, with La Morte to pair it, and Un Cas de Divorce and Qui sait? to make up the quartette. Perhaps the best of all (I do not specify its title in order that those who do not know it may read till they find it out) is that where the visionary sees the skeletons of the dead rising and transforming their lying epitaphs into confessions – the last tomb now bearing the true cause of his own mistress's death. But the double-titled La Nuit – Cauchemar runs it hard.

Yet it is not in these stories of doubt and dread, or in the ostensible and rather shallow philosophisings of the travel-books, that Maupassant's pessimism is most obvious. His preference for the unhappy ending amounts almost to a tic, and would amount wholly to a bore – for toujours unhappy-ending is just as bad as toujours marriage-bells – if it were not relieved and lightened by a real presence of humour. With this sovereign preservative for self, and more sovereign charm for others, Guy de Maupassant was more richly provided than any of his French contemporaries, and more than any but a very few of his countrymen at any time. And as humour without tenderness is an impossibility, so, too, he could be and was tender. Yet it was seldom and malgré lui, while he allowed the mere exercise of his humour itself too scantily for his own safety and his readers' pleasure. That there was any more fanfaronnade either of vice or of misanthropy about him, I do not believe. An unfortunate conformity of innate temperament and acquired theory made such a fanfaronnade as unnecessary as it would have been repugnant to him. But illusion, in such cases, is more dangerous, if less disgusting, than imposture. And so it happened that, in despite of the rare and vast faculties just allowed him, he was constantly found applying them to subjects distasteful if not disgraceful, and allowing the results to be sicklied over with a persistent "soot-wash" of pessimism which was always rather monotonous, and not always very impressive.