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1857.] Miller, The Modern Novel, and Currer Bell. Though of various degrees of merit, they all evince careful study and patient thought, and are written with considerable brilliancy and eloquence. As a critic, Mr. Bayne is generally candid, conscientious, and intelligent, with occasional remarks evincing delicacy and depth of thought; but his perceptions are not always trustworthy, and his judgments are frequently of doubtful soundness. Thus when we are told that Wordsworth owed his fame to his moral elevation rather than to his "intellectual or æsthetic capacities," and that there is hardly an instance of the highest creative imagination in the whole range of his poetry,—when we are informed that since Shakspeare no one "has laid bare the burning heart of passion" so perfectly as Byron,—and when the question is triumphantly asked, "Where, out of Shakspeare, can we find such a series of female portraits as those" in Bulwer's "Rienzi,"—we feel inclined, in this association of Byron and Bulwer with Shakspeare, and this oversight of Wordsworth's claim to represent the highest original elements in the English poetry of the present century, to dispute Mr. Bayne's right to assume the chair of interpretative criticism. But still there are so many examples in his book of fine and true perception, and so evident a sympathy with intellectual excellence and moral beauty, that we do not feel disposed to quarrel with him on account of the apparent erroneousness of some of his separate opinions. Besides, his work is written in a style which will recommend it to a class of readers who are not especially interested in the subjects of which it treats, and it cannot fail to stimulate in them a desire to know more of the great writers of the century.

early chapters of this novel lack the brisk movement, the sparkling compactness, the stinging surprises of Mr. Reade's usual style, but he kindles and condenses as he proceeds. As a whole, the work compares favorably with his most brilliant compositions. He is a Writer difficult to criticize, because his defects are pleasing defects. Dogmatism is commonly offensive, and Mr. Reade’s dogmatism is of the most uncompromising, not to say insulting character; yet it is exhibited in connection with insight so sure and vivid, that we pardon the positiveness of the assertion for the truth of what is asserted. Then he has a way of forcing Nature, much against her wish, to be epigrammatic,—of producing startling effects by artifices almost theatrical; and though his devices are obvious, they are more than forgiven for the genuine power and real naturalness behind the rhetorical masquerade. Other men’s freaks and eccentricities lead to the distortion of truth and the confusion of relations, but Mr. Reade has freaks of wisdom and eccentricities of practical sagacity. Occasionally he has a stroke of observation that comes like a flash of lightning, blasting and shattering in an instant a prejudice or hypocrisy which was strong enough to resist all the arguments of reason and all the appeals of humanity. "White Lies" is full of examples of his power, and of the peculiarities of his power. Blunt and bold and arrogant as his earnestness often appears, it is capable of the most winning gentleness, the most delicate grace, and the most searching pathos. The delineation of the female characters in this novel is especially admirable. Josephine and Laure are exquisite creations, and the Baroness and Jacintha, though different, are almost as perfect, considered as examples of characterization. In the invention and management of incidents, the author exhibits a sure knowledge of the means and contrivances by which expectation is stimulated, and the interest of the story kept from flagging. We hope to read many more novels from the same pen as delightful as "White Lies."

is a country but little known to the majority of readers, and the little that is known is so fragmentary that it is as likely to convey a false idea as an