Page:The Atlantic Monthly, Volume 18.djvu/389

1866.] this the tone of pardoned and penitent treason? Is this the spirit to build up a "National Union Party"? No; but it is the tone and spirit now fashionable in the defeated Rebel States, and will not be changed until the autumn elections shall have proved that they have as little to expect from the next Congress as from the present, and that they must give securities for their future conduct before they can be relieved from the penalties incurred by their past.

for the fact that there is nothing at all automatic in his inventions, there seems to be no good reason why Mr. Collins should not make a perpetual motion. He has a surprising mechanical faculty, and great patience and skill in passing the figures he contrives through the programme arranged for them. Having read one of his novels, you feel as if you had been amused with a puppet-show of rare merit, and you would like to have the ingenious mechanician before the curtain. So much cleverness, however, seems to be thrown away on the entertainment of a single evening, and you sigh for its application to some work of more lasting usefulness; and the perpetual motion occurs to you as the thing worthiest such powers. Let it be a perpetual literary motion, if the public please. Given a remarkable dream and a beautiful bad woman to fulfil it; you have but to amplify the vision sufficiently, and your beautiful bad woman goes on fulfilling it forever in tens of thousands of volumes. As the brother of De Quincey said, when proposing to stand on the ceiling, head downwards, and be spun there like a whip-top, thus overcoming the attraction of gravitation by the mere rapidity of revolution, "If you can keep it up for an instant, you can keep it up all day." Alas! it is just at this point that the fatal defect of Mr. Collins's mechanism appears. But for the artisan's hand, the complicated work would not start at all, and we perceive that, if he lifted it for a moment from the crank, the painfully contrived dream would drop to pieces, and the beautiful bad woman would come to a jerky stand-still in the midst of her most atrocious development. A perpetual literary motion is therefore out of the question, so far as Mr. Collins is concerned; and we can merely examine his defective machinery, with many a regret that a plan so ingenious, and devices so labored and costly, should be of no better effect.

We think, indeed, that all his stories are constructed upon a principle as false to art as it is false to life. In this world, we have first men and women, with certain well-known good and evil passions, and these passions are the causes of all the events that happen in the world. We doubt if it has occurred to any of our readers to see a set of circumstances, even of the most relentless and malignant description, grouping themselves about any human being without the agency of his own love or hate. Yet this is what happens very frequently in Mr. Collins's novels, impoverishing and enfeebling his characters in a surprising degree, and reducing them to the condition of juiceless puppets without proper will or motion. It is not that they are all wanting in verisimilitude. Even the entirely wicked Miss Gwilt is a conceivable character; but, being destined merely to fulfil Armadale's dream, she loses all freedom of action, and, we must say, takes most clumsy and hopeless and long-roundabout methods of accomplishing crimes, to which one would have thought a lady of her imputed sagacity would have found much shorter cuts. It is amazing and inartistic, however, that after all her awkwardness she should fail. Given a blockhead like Armadale, and a dreamer like Midwinter, there is no reason in nature, and no reason in art, why a lady of Miss Gwilt's advantages should not marry both of them; and the author's overruling on this point is more creditable to his heart than to his head. These three people are the chief persons of the story, and their