this mind; here its attitude is never merely pessimistic. It does not criticise them, it has absorbed them.
One last word concerning this novel. It does not seek to formulate, or to preach directly. Its chief value and the keynote to its motive lie in the words that Sienkiewicz at the beginning puts into the mouth of his hero:—
"A man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture, but likewise human documents that may be relied upon."
A human document—the modern novel is this, when it is anything at all. If Mr. Crawford's canons of literary art are true, and we believe they are, they give us a standard by which to judge; he tells us that the heart in each man and woman means the whole body of innate and inherited instincts, impulses, and beliefs, which, when quiescent, we call Self, when roused to emotional activity, we call Heart. It is to this self, or heart, he observes, that whatever is permanent in the novel must appeal; and whatever does so must live and find a hearing with humanity "so long as humanity is human." If this be a test, we cannot doubt as to what will be the reception of "Without Dogma."
A few words concerning the novelist himself. The facts obtainable are of the most meagre kind. He was born in 1845, in Lithuania. The country itself, its natural and strongly religious and political influences, its melancholy, seem to have left their strong, lasting impression upon him. He has a passionate fondness for the Lithuanian, and paints him and his surroundings most lovingly.
His student days were spent at Warsaw. He devoted himself afterward to literature, writing at first under a pseudonym. He does not seem to have won immediate recognition. He spent some years in California; a series of articles published in this connection in a Polish paper brought him into notice.
In 1880, various novelettes and sketches of his production were published in three volumes.
In 1884 were given to the Polish public the three historical novels which immediately gave their author the foremost place in Polish literature. It is a matter of pride that the first translation of these great works into English is the work of an American, and offered to the American public.
He is a prolific writer, and it would be impossible to attempt to give even the names of all his minor sketches and romances. Some of them have been translated into German, but much has been lost in the translation.
Sienkiewicz is still a contributor to journalistic literature. He has travelled much, and is a citizen of the world. He is equally at home in the Orient or the West, by the banks of the Dnieper, or beside the Nile. Probably there is scarcely a corner of Poland that he has not explored. He depicts no type of life that has not actually come under his own observation. The various social strata of his own country, the condition of its peasantry, the marked contrast between the simplicity of that life and the culture of the ecclesiastic and aristocratic bodies, the religious, poetic, artistic temperament of the people—all these he paints in a life-like fashion, but always as an artist.
So much of the writer. Of the man Sienkiewicz there is little to be obtained. Like all great creative geniuses, he is so completely identified with his work that even while his personality lives in his creations it eludes them. He offers us no confidences concerning himself, no opinions or prejudices. He does not divert the reader with personalities. He sets before us certain groups of men and women, whom certainly he knows and loves, and has lived among. He sets them in motion; they become living, breathing creations; they assume relations in time and space; they speak and act for themselves. If there be a prompter he remains always behind the scenes. Admire or criticise or love the actors as you will, you cannot for a moment doubt that they are alive.
This is the supreme miracle of genius—the fine union of dramatic instinct, the aesthetic sense, and an intense, vital realism; not the realism of the cesspool or the morgue, but the realism of the earth and sky, and of healthy human nature. We are inclined to believe that Henryk Sienkiewicz has answered an often discussed question that has much exercised the keenly critical intellect of this age. One school of thought cries out, "Let us have life as it is. Paint anything, but draw it as it is. Let the final test of all literary works be, 'Is it real and true?'"
To the romantic school quite another class of ideas appeals; to it much of the so-called realistic literature seems very bad, or merely "weary, stale, flat, and unprofitable." The profoundest utterances of realism do not impress it much in themselves. It insists that art has something to say to literature, that in this field as elsewhere holds good the law of natural selection of types and survival of the fittest.
While each school has its down-sittings and up-risings, its supporters and its critics, neither school has yet exhausted the possibilities of literature. The novel's aim is to depict Life, and life is neither all romance nor all realism, but a curious mixture of both. Man is neither a beast nor a celestial being, but a compound. Though he can crawl, and may have clinging to him certain brute instincts that may be the relics of his anthropoidal days, he has also, thank God, divine desires and discontents, and certain rudimentary wings. And neither school alone is competent to paint him as he is. The author of "La Bête Humaine" fails as completely as the visionary À Kempis. Neither realism nor romance alone will ever with its small plummet sound to its depths the human heart or its mystery; yet from the union of the two much perhaps might come.
We believe that just here lies the value of the novels of Henryk Sienkiewicz. He has worked out the problem of the modern novel so as to satisfy the most ardent realist, but he has worked it out upon great and broadly human lines. For him facts are facts indeed; but facts have souls as well as bodies. His genius is analytic, but also imaginative and constructive; it is not forever going upon botanizing excursions. He paints things and thoughts human.
The greatest genius assimilates unconsciously the best with which it comes in contact, and by a subtle chemistry of its own makes new combinations. Shakespeare, Dante, Goethe, and the realists, as well as all the forces of nature, have helped to make Henryk Sienkiewicz; yet he is not any one of them. He is never merely imitative. Originality and imaginative fire, a style vivid and strong, large humor, a profound pathos, a strong feeling for nature, and a deep reverence for the forms and the spirit of religion, the breath of the true cosmopolitan united with the intense patriotism of the Pole, a great creative genius—these are the most striking qualities of the work of this modern novelist, who has married Romance to Realism.
* * * * *
WITHOUT DOGMA.
ROME, 9 January.
Some months ago I met my old friend and school-fellow, Jozef Sniatynski, who for the last few years has occupied a prominent place among our literary men. In a discussion about literature Sniatynski spoke about diaries. He said that a man who leaves memoirs, whether well or badly written, provided they be sincere, renders a service to future psychologists and writers, giving them not only a faithful picture of the times, but likewise human documents that can be relied upon. He seemed to think that most likely the novel of the future would take the form of diary; finally he asserted that anybody who keeps a diary works for the common good, and does a meritorious thing.
I am thirty-five, and do not remember ever having done anything for my country, for the reason, maybe, that after leaving the University, my life, with slight intervals, was spent abroad. This fact, so lightly touched upon, has given me, in spite of all my scepticism, many a bitter pang; therefore I resolved to follow my friend's advice. If this indeed means work, with some kind of merit in it, I will try to be of some use in this way.
I
