A Psychological Counter-Current in Recent Fiction | Page 8

and falls into a fever and dies out of the story, which closes with the lasting happiness of the young wife and husband. There is enough incident, but of the kind that is characterized and does not characterize. The charm, the delight, the supreme interest is in the personality of Yuki. Her father was an Englishman who had married her mother in the same sort of marriage she makes herself; but he is true to his wife till he dies, and possibly something of the English constancy which is not always so evident as in his case qualifies the daughter's nature. Her mother was, of course, constant, and Yuki, though an outcast from her own people--the conventions seen to be as imperative in Tokyo as in Philadelphia--because of her half-caste origin, is justly Japanese in what makes her loveliest. There is a quite indescribable freshness in the art of this pretty novelette--it is hardly of the dimensions of a novel--which is like no other art except in the simplicity which is native to the best art everywhere. Yuki herself is of a surpassing lovableness. Nothing but the irresistible charm of the American girl could, I should think keep the young men who read Mrs. Watana's book from going out and marrying Japanese girls. They are safe from this, however, for the reason suggested, and therefore it can be safely commended at least to young men intending fiction, as such a lesson in the art of imitating nature as has not come under my hand for a long while. It has its little defects, but its directness, and sincerity, and its felicity through the sparing touch make me unwilling to note them. In fact, I have forgotten them.
VI.
I wish that I could at all times praise as much the literature of an author who speaks for another colored race, not so far from us as the Japanese, but of as much claim upon our conscience, if not our interest. Mr. Chesnutt, it seems to me, has lost literary quality in acquiring literary quantity, and though his book, "The Marrow of Tradition," is of the same strong material as his earlier books, it is less simple throughout, and therefore less excellent in manner. At his worst, he is no worse than the higher average of the ordinary novelist, but he ought always to be very much better, for he began better, and he is of that race which has, first of all, to get rid of the cakewalk, if it will not suffer from a smile far more blighting than any frown. He is fighting a battle, and it is not for him to pick up the cheap graces and poses of the jouster. He does, indeed, cast them all from him when he gets down to his work, and in the dramatic climaxes and closes of his story he shortens his weapons and deals his blows so absolutely without flourish that I have nothing but admiration for him. "The Marrow of Tradition," like everything else he has written, has to do with the relations of the blacks and whites, and in that republic of letters where all men are free and equal he stands up for his own people with a courage which has more justice than mercy in it. The book is, in fact, bitter, bitter. There is no reason in history why it should not be so, if wrong is to be repaid with hate, and yet it would be better if it was not so bitter. I am not saying that he is so inartistic as to play the advocate; whatever his minor foibles may be, he is an artist whom his stepbrother Americans may well be proud of; but while he recognizes pretty well all the facts in the case, he is too clearly of a judgment that is made up. One cannot blame him for that; what would one be one's self? If the tables could once be turned, and it could be that it was the black race which violently and lastingly triumphed in the bloody revolution at Wilmington, North Carolina, a few years ago, what would not we excuse to the white man who made the atrocity the argument of his fiction?
Mr. Chesnutt goes far back of the historic event in his novel, and shows us the sources of the cataclysm which swept away a legal government and perpetuated an insurrection, but he does not paint the blacks all good, or the whites all bad. He paints them as slavery made them on both sides, and if in the very end he gives the moral victory to the blacks--if he suffers the daughter of the black wife to have pity on her father's daughter by his white wife, and while her own child lies