One sees him drinking his black coffee in those early hours of the morning, wrapped in his dressing-gown, and with a sort of clouded Vulcanian grandeur about him, hammering at his population of colossal figures amid the smouldering images of his cavernous brain. He was wise to work in those hours when the cities of men sleep and the tides of life run low; at those hours when the sick find it easiest to die and the pulses of the world's heart are scarcely audible. There was little at such times to obstruct his imagination. He could work "in the void," and the spirit of his genius could brood over untroubled waters.
There was something formidable and noble in the way he drove all light and casual loves, the usual recreations of men of literary talent, away from his threshold. Like some primordial Prometheus, making men out of mud and fire, he kept the perilous worshippers of Aphrodite far-distant from the smoke of his smithy, and refused to interrupt his cosmic labour for the sake of dalliance.
That high imaginative love of his—itself like one of the great passions he depicts—which ended, in its unworthy fulfilment, by dragging him down to the earth, was only one other proof of how profoundly cerebral and psychic that demonic force was which drove the immense engine of his energy.
It is unlikely that, as the world progresses and the generations of the artists follow one another and go their way, there will be another like him.
Such primal force, capable of evoking a whole world of passionate living figures, comes only once or twice in the history of a race. There will be thousands of cleverer psychologists, thousands of more felicitous stylists, thousands of more exact copiers of reality.
There will never be another Balzac.
VICTOR HUGO
My first notions of Victor Hugo were associated with the sea. It was from the old Weymouth harbour that as a child I used to watch those Channel-Island steamers with red funnels setting forth on what seemed to me in those days a wondrous voyage of mystery and peril. I read "The Toilers of the Sea" at my inland school at Mr. Hardy's Sherton Abbas; whither, it may be remembered, poor Giles Winterbourne set off with such trembling anxiety to fetch home his Grace.
I read it in what was probably a very quaint sort of translation. The book was bound in that old-fashioned "yellow back" style which at that time was considered in clergymen's families as a symbol of all that was dissipated and dangerous; and on the outside of the yellow cover was a positively terrifying picture of the monstrous devilfish with which Gellert wrestled in that terrible sea-cavern.