It is deeply to be regretted that Stephens's health declined simultaneously with his procession to the seats of the famous, yet these distressing conditions are hardly discernible in either the quantity or the quality of his work. In April, 1898, his second novel, "The Continental Dragoon," appeared, and in the following June the latest of his plays, "The Ragged Regiment," was produced at the Herald Square Theatre, New York. In October of that year appeared his third novel, "The Road to Paris"; in May, 1899, "A Gentleman Player"; in May, 1900, his highly popular Revolutionary romance, "Philip Winwood," written almost entirely in England, and published on the same day in England, Canada, and the United States. His latest novel, "Captain Ravenshaw," in which he returns to the scene of "A Gentleman Player"—Elizabethan London—has just reached the public.
Shortly after the publication of "A Gentleman Player," the novelist, in the assurance of a handsome income and of consequent ease, went abroad with his wife. Abroad he has lived ever since. This fall, we understand, he will spend traveling on the Continent. The first part of the winter he plans to pass in Italy or in Sicily, the second part on the Riviera. The spring of 1902 will find him in Paris, whence, by the end of spring, he expects to start for home. We say "home" purposely, for we are told that his protracted residence abroad has served if anything to deepen and enliven his loyalty to his native land.
We have been privileged to read the preface to "Captain Ravenshaw." The main part of it is a spirited and well-pointed defence of the neo-romanticists against the eccentric assault of Mr. William Dean Howells. Then, referring to the book itself, Stephens goes on to say:
"Now, as to this little attempt at romance in a certain kind, I wish merely to say, for the benefit of those who turn over the first leaves of a novel in a bookstore or library, before deciding whether to take it or leave it, that it differs from the usual adventure story in being concerned merely with private life and unimportant people. Though it has incidents enough, and perils enough, it deals neither with war nor with state affairs. It contains no royal person; not even a lord—nor a baronet, indeed, for baronets had not yet been invented at the period of the tale. The characters are every-day people of the London of the time, and the scenes in which they move are the street, the tavern, the citizen's house and garden, the shop, the river, the public resort—such places as the ordinary reader would see if a miracle turned back time and transported him to London in the closing part of Elizabeth's reign. The atmosphere of that place and time, as one may find it best in the less known and more realistic comedies of Shakespeare's contemporaries, in prose narratives and anecdotes, and in the records left of actual transactions, strike us of the twentieth century as a little strange, somewhat of a world which we can hardly take to be real. If I have succeeded in putting a breath of this strangeness, this (to us) seeming unreality, into this busy tale, and yet have kept the tale vital with a human nature the same then as now, I have done something not altogether bad. Bad or good, I have been a long time about it, for I have grown to believe that though novel-reading properly comes under the head of play, novel-writing properly comes under the head of work. My work herein has not gone to attain the preciosity of style which distracts attention from the story, or the brilliancy of dialogue which—as the author of 'John Inglesant' says, 'declares the glory of the author more pregnantly than it increases reality of effect.' My work has gone, very much, to the avoidance of anachronisms. This is a virtue possessed by few novels which deal with the past, as only the writers of such novels know. It may be a virtue not worth achieving, but it was a whim of mine to achieve it. Ill health forbade fast writing, the success of my last previous work permitted slow writing, and I resolved to utilize the occasion by achieving one merit which, as it required neither genius nor talent, but merely care, was within my powers. The result of my care must appear as much in what the story omits as in what it contains. The reader may be assured at the outset, if it matters a straw to him, that the author of this romance of Elizabethan London (and its neighborhood) is himself at home in Elizabethan London; if he fails to make the reader also a little at home there in the course of the story, it is only because he lacks the gift, or skill of imparting."
Months ago the demand for "Captain Ravenshaw" was so great that the publishers were forced to issue an unprecedentedly large first edition. The present circumstance is an eloquent commentary on the increase of the author's power and popularity.
That power and that popularity seem destined to grow larger book by book. The master of a most graceful style and of diction unsurpassed for simplicity and clearness; a trained observer, as every successful writer must be; a diligent and uncommonly perspicacious student of the periods from which he takes his characters, the author of "Captain Ravenshaw" promises ably to sustain his already high reputation. As the fulfilment of this promise depends largely on the state of his health, we wish him well, confident that in expressing the wish we but echo the sentiment of his wide circle of admirers.
CHARLES G. D. ROBERTS.