Lippincott's Magazine, August, 1885

By Maurice Thompson.

New York: Cassell & Co.

Although the scene of "At the Red Glove" is laid in Berne, it is a typical French story of French people with French ideas and characteristics, and it is French as well in the symmetry of its arrangements and effects and its admirable technique. In point of fact, Berne is a city where a German dialect is spoken, but among the lively groups of bourgeois who carry on this effective little drama a prettier and politer language is in vogue. Madame Carouge, whose personality is the pivot upon which the story revolves, is a native of southern France, and is the proprietor of the Hôtel Beauregard. Her husband, who married her as a mere child and carried her away from a life of poverty and neglect, has died before the opening of the story and bequeathed all his property to his young and handsome wife. "Ah, but I do not owe him much," the beautiful woman said: "he has wasted my youth. I am eight-and-twenty, and I have not yet begun to live." Thus Madame Carouge as a widow sets out to realize the dreams she has dreamed in the dull apathetic days of her long bondage. Although she is bent on love and happiness, she is yet sensible and discreet, and manages the Hôtel Beauregard with skill and tact, while secluding herself from common eyes. Destiny, however, as if eager at last to work in her favor, throws in her way a handsome young Swiss, Rudolf Engemann by name, a bank-clerk, with whom she falls deeply in love. Everything is progressing to Madame's content, when a little convent-girl, Marie Peyrolles, comes to Berne to live with her old aunt, a glove-seller, whose sign in the Spitalgasse gives the name to the story. It would be a difficult matter to find a prettier piece of comedy than that which ensues upon Marie's advent. It is all simple, spontaneous, and, on the part of the actors, entirely serious, yet the effect is delightfully humorous. Berne, with its quaint arcaded streets, its Alpine views, and its suburban resorts, makes a capital background, and gives the group free play to meet with all sorts of picturesque opportunities. The story is told without any straining after climaxes, but with many felicitous touches that enhance the effect of every picture and incident. In scene, characters, and plot, "At the Red Glove" offers a brilliant opportunity to the dramatist, and one is tempted to think that the story must have been originally conceived and planned with reference to the stage.

"Upon a Cast" is also a very amusing little story, and turns on the experiences of a couple of ladies who, with a longing for a quiet life,

The world forgetting, by the world forgot,

settle on the North River in a town which, though called Newbroek, might easily be identified as Poughkeepsie. Little counting upon this niche outside the world becoming a centre of interest or a theatre of events, the necessity of presenting their credentials to the social magnates of the place does not occur to these ladies,—one the widow of a Prussian officer, and the other her niece, who have returned to America after a long residence abroad. They prefer to remain, as it were, incognito; and, pried; into as the seclusion of the new-comers is by all the curious, this reticence soon causes misconstructions and scandals. The petty gossip, the solemnities of self-importance, and the Phariseeism of a country neighborhood are very well portrayed, and, we fear, without any especial exaggeration. The story is told with unflagging spirit, and shows quick perceptions and a lively feeling for situations. Carol Lester's friendship for Oliver Floyd while she is ignorant of the existence of his wife is a flaw in the pleasantness; but "Upon a Cast" is well worthy of a high place in the list of summer novels.

Although "Down the Ravine" belongs to the category of books for young people, the story is too true to life in characters and incidents, and too artistically handled, not to find appreciative readers of all ages. In fact, we are inclined to discover in the book stronger indications of the author's powers as a novelist than in anything she has hitherto published. "Where the Battle was Fought," in spite of all its fine scenes, had not the same sustained interest nor the same spontaneity. The plot of the present story is excellent, and the characters act and react on each other in a simple and natural way. The youthful Diceys, with the faithful, loyal Birt at their head, are a capital study; and from first to last the author has nowhere erred in truth or failed in humor.

Taking into consideration the ease with which Mr. Bret Harte won his laurels, and the belief which all his early admirers shared that here at last was the great American novelist, who was to hold a distinctive place in the world's literature, he has perhaps not fulfilled expectations nor answered the demands upon his powers. The very individuality of his work, its characteristic bias, has been, in point of fact, a hinderance and an impediment. The unexpectedness of his first stories, the enchanted surprise, like that of a new and delicious vintage or a wonderful undiscovered chord in music,—these effects are not easily made to recur with undiminished strength and charm. However, one may generally find some bubbles of the old delightful elixir in Mr. Harte's stories, and in this little group of them, regathered, we believe, from English magazines, each is interesting in its way, and each true to the author's typical idea, which is to discover to his readers some heroic quality in unheroic human beings which transforms their whole lives before our eyes.

Mr. Thompson on his title-page announces himself as the author of two novels, "A Tallahassee Girl" and "His Second Campaign," both of which we read with pleasure, and this impression led us to turn hopefully to a third by the same hand. "At Love's Extremes" does not, however, take our fancy. If the author undertook to discuss a complex problem seriously, he has failed to make it clear or vital to the reader; and if the various episodes of Colonel Reynolds's life are to be passed over as mere slight deviations from the commonplace, we can only say that we consider them too unpleasant and abhorrent to good taste to be imposed upon us so lightly. There are also points of the story which seem to mock the good sense of the reader. Has the author considered the state of mind of a young widow who has heard that her husband has been murdered in a street-brawl in Texas, who has mourned him for years, and then, after yielding to the solicitations of a new suitor and promising to marry him, learns from his own lips that it was his hand (although the act was one of self-defence) which sent her husband to his tragic death? Mr. Thompson seems to violate the sanctities and the proprieties of womanhood in allowing the widow, after a faint interval of shock, to pass over this fact as unimportant. This situation has, of course, its famous precedent in the scene in which Gloster wooes and wins the Lady Anne beside her murdered husband's bier; but that is tragedy, and we moderns are, besides, more squeamish than the people of those mediæval times. In this story the situation becomes more logical, even if more absurd, after the return of the husband who was supposed to have been murdered. With a good deal of effort to show powerful feeling, the characters in the book are all automatons, who say and do nothing with real thought or real passion. The vernacular of the mountaineers seems to have been carefully studied, and is so thoroughly outlandish and so devoid of fine expressions that we are inclined to believe it more accurate than the poetic and musical dialects which it is the fashion to impose upon our credulity. But it must be confessed that, with only his own rude and pointless patois in which to express himself, the Southern cracker becomes painfully devoid of interest, to say nothing of charm.

notes

1

John Sevier's Memorial to the North Carolina Legislature.

2

J.G.M. Ramsay, "Annals of Tennessee."

3

Haywood.