James M. Barrie.
Above all, the St. James's Gazette had published the first of the 'Auld Licht Idylls' November 17th, 1884; and the editor, Frederick Greenwood, instantly perceiving a new and rich genius, advised him to work the vein further, enforcing the advice by refusing to accept his contributions on other subjects.
He had the usual painful struggle to become a successful journalist, detailed in 'When a Man's Single'; but his real work was other and greater. In 1887 'When a Man's Single' came out serially in the British Weekly; it has little merit except in the Scottish prelude, which is of high quality in style and pathos. It is curious how utterly his powers desert him the moment he leaves his native heath: like Antæus, he is a giant on his mother earth and a pigmy off it. His first published book was 'Better Dead' (1887); it works out a cynical idea which would be amusing in five pages, but is diluted into tediousness by being spread over fifty. But in 1889 came a second masterpiece, 'A Window in Thrums,' a continuation of the Auld Licht series from an inside instead of an outside standpoint,--not superior to the first, but their full equals in a deliciousness of which one cannot say how much is matter and how much style. 'My Lady Nicotine' appeared in 1890; it was very popular, and has some amusing sketches, but no enduring quality. 'An Edinburgh Eleven' (1890) is a set of sketches of his classmates and professors.
In 1891 the third of his Scotch works appeared,--'The Little Minister,'--which raised him from the rank of an admirable sketch writer to that of an admirable novelist, despite its fantastic plot and detail. Since then he has written three plays,--'Walker, London,' 'Jane Annie,' and 'The Professor's Love Story,' the latter very successful and adding to his reputation; but no literature except his novel 'Sentimental Tommy,' just closed in Scribner's Magazine. This novel is not only a great advance on 'The Little Minister' in symmetry of construction, reality of matter, tragic power, and insight, but its tone is very different. Though as rich in humor, the humor is largely of a grim, bitter, and sardonic sort. The light, gay, buoyant fun of 'The Little Minister,' which makes it a perpetual enjoyment, has mostly vanished; in its stead we feel that the writer's sensitive nature is wrung by the swarming catastrophes he cannot avert, the endless wrecks on the ocean of life he cannot succor, and hardly less by those spiritual tragedies and ironies so much worse, on a true scale of valuation, than any material misfortune.
The full secret of Mr. Barrie's genius, as of all genius, eludes analysis; but some of its characteristics are not hard to define. His wonderful keenness of observation and tenacity of remembrance of the pettinesses of daily existence, which in its amazing minuteness reminds us of Dickens and Mark Twain, and his sensitiveness to the humorous aspects of their little misfits and hypocrisies and lack of proportion, might if untempered have made him a literary cynic like some others, remembered chiefly for the salience he gave to the ugly meannesses of life and the ironies of fate. But his good angel added to these a gift of quick, sure, and spontaneous sympathy and wide spiritual understanding. This fills all his higher work with a generous appreciativeness, a justness of judgment, a tenderness of feeling, which elevate as well as charm the reader. He makes us love the most grotesque characters, whom in life we should dislike and avoid, by the sympathetic fineness of his interpretation of their springs of life and their warping by circumstance. The impression left on one by the studies of the Thrums community is not primarily of intellectual and spiritual narrowness, or niggardly thrift, or dour natures: all are there, but with them are souls reaching after God and often flowering into beauty, and we reverence the quenchless aspiration of maligned human nature for an ideal far above its reach. He achieves the rare feat of portraying every pettiness and prejudice, even the meannesses and dishonors of a poor and hidebound country village, yet leaving us with both sincere respect and warm liking for it; a thing possible only to one himself of a fine nature as well as of a large mind. Nor is there any mawkishness or cheap surface sentimentality in it all. His pathos never makes you wince: you can always read his works aloud, the deadly and unfailing test of anything flat or pinchbeck in literature. His gift of humor saves him from this: true humor and true pathos are always found together because they are not two but one, twin aspects of the very same events. He who sees the ludicrous in misfits must see their sadness too; he who can laugh at a tumble must grieve over it: both are inevitable and both are coincident.
As a literary artist, he belongs in the foremost rank. He has that sense of the typical in incident, of the universal in feeling, and of the suggestive in language, which mark the chiefs of letters. No one can express an idea with fewer strokes; he never expands a sufficient hint into an essay. His management of the Scotch dialect is masterly: he uses it sparingly, in the nearest form to English compatible with retaining the flavor; he never makes it so hard as to interfere with enjoyment; in few dialect writers do we feel so little alienness.
'Auld Licht Idylls' is a set of regular descriptions of the life of "Thrums," with special reference to the ways and character of the "Old Lights," the stubborn conservative Scotch Puritans; it contains also a most amusing and characteristic love story of the sect (given below), and a satiric political skit. 'A Window in Thrums' is mainly a series of selected incidents in detail, partly from the point of view of a crippled woman ("Jess"), sitting at her window and piecing out what she sees with great shrewdness from her knowledge of the general current of affairs, aided by her daughter "Leeby." 'The Little Minister' is developed from the real story of a Scotch clergyman who brought home a wife from afar, of so alien a sort to the general run that the parish spent the rest of her short life in speculating on her previous history and weaving legends about her. Barrie's imagined explanation is of Arabian-Nights preposterousness of incident, and indeed is only a careless fairy-tale in substance; but it is so rich in delicious filling, so full of his best humor, sentiment, character-drawing, and fine feeling, that one hardly cares whether it has any plot at all. 'Sentimental Tommy' is a study of a sensitive mobile boy, a born poseur, who passes his life in cloud-castles where he always dramatizes himself as the hero, who has no continuity of purpose, and no capacity of self-sacrifice except in spasms of impulse, and in emotional feeling which is real to itself; a spiritual Proteus who deceives even himself, and only now and then recognizes his own moral illusiveness, like Hawthorne's scarecrow-gentleman before the mirror: but with the irresistible instincts also of the born literary creator and constructor. The other characters are drawn with great power and truth.
The judgment of contemporaries is rarely conclusive; and we will not attempt to anticipate that of posterity. It may be said, however, that the best applicable touchstone of permanency is that of seeming continuously fresh to cultivated tastes after many readings; and that Mr. Barrie's four best books bear the test without failure.