These themes, we see, are chosen from character and life in a typical French-Canadian village, yet the sentiments, the ideals of human love and character and conduct, and the natural and spiritual color, are Canadian and even universal. They depend not upon mere accidents of circumstance, but upon lasting and universal human emotions and human relationships—permanent literary values. In these stories, Dr. Scott achieves structural unity and harmony of emotional tone with an entire absence of any striving for effect—with that finished art that conceals the artifice of the craftsman.
Always a careful workman rather than a prolific writer, it was not until 1923 that Duncan Campbell Scott published another volume of short stories, The Witching of Elspie. Some of these are French-Canadian in their setting, but those most exquisitely wrought deal with the lonely and heart-searching life of the Hudson Bay posts. Although Scott’s method was fully formed in his first volume, there is here a very evident advance in artistry, a greater economy in expression, but a deeper intensity of effect. Here he shows a remarkable skill in the almost imperceptible transition from explanation or description to the inside of the mind of the varying personages of the story and back again to description or explanation—one of the most artistic touches of the work of a finished craftsman.
Charles G. D. Roberts developed, in the story of animal psychology, a species of Canadian short story that depends not so much upon emotional and artistic effects and a unity of impressionistic tone as upon intellectual and stylistic effects and novelty of theme. Scott worked with an artistry so exquisite that his stories possess the simplicity and directness which conceal art. Roberts wrought his animal and romantic short stories with an artistry so much in the manner of the prose-poet that they reveal the stylist consciously aiming to impress the intellect with niceties of structure, and the sensibility with word-painting, always couleur de rose.
When Roberts is the psychologist he is also most the true structural stylist. But for an example of more impressionistic color, of sheer word-painting, of prose-poetry couleur de rose, the following paragraphs from The Watchers in the Swamp are convincing:—
Under the first pale lilac wash of evening, just where the slow stream of the Lost-Water slipped placidly from the open meadows into the osier-and-bulrush tangles of the swamp, a hermit thrush, perched in the topmost spray of a young elm tree, was fluting out his lonely and tranquil ecstasy to the last of the sunset.
• • • •
It was high morning in the heart of the swamp. From a sky of purest cobalt flecked sparsely with silver-white wisps of cloud, the sun glowed down with tempered, fruitful warmth upon the tender green of the half-grown rushes and already rank water-grasses—the young leafage of the alder and willow thickets—the wide pools and narrow, linking lanes of unruffled water already mantling in spots with lily-pad and arrow-weed. A few big red-and-black butterflies wavered aimlessly above the reed-tops. Here and there, with a faint elfin clashing of transparent wings, a dragon-fly, a gleam of emerald and amethyst fire, flashed low over the water. From every thicket came a soft chatter of the nesting red-shouldered blackbirds.
These stories are lyrical poems in prose; as an impressionistic stylist in the medium of the animal short story Roberts is inimitable. We find the same mellifluous prose (as Mr. T. G. Marquis discriminatingly terms it) in his romantic short stories, By the Marshes of Minas, in which themes, settings, and color are authentically Canadian (Acadian).
Gilbert Parker’s short stories exhibit many of the qualities of his longer fiction. They are not always as artistically constructed as those of Duncan Campbell Scott, nor are they as finely written as those of Roberts, but in the main they are based on sufficient character motivation and have a sustained dramatic power. Ernest Thompson Seton and W. A. Fraser are engaging tellers of short tales abounding in incident and humor, with a sound basis of characterization, yet of the short story writers of the Systematic School, Duncan Campbell Scott has produced the most uniformly excellent work.