Sentry (on duty for first time). "'Alt! Who goes there? Advance to within five paces, and give the countersign 'Waterloo.'"
OUR BOOKING-OFFICE.
(By Mr. Punch's Staff of Learned Clerks.)
In the good old days when that royal pipsqueak, our First James, came to the throne, if you were a physician of a little more than common skill and furnished with theological opinions of a modernist complexion, or a lonely woman with (or without) some cunning in the matter of herbs, who cherished a peculiar (or normal) pussy-cat, you were quite likely to be burnt out of hand. And, in her competent way, Mary Johnston, in The Witch (Constable), deals with this dark blot on the escutcheon of Christianity. Through what suffering and what joys Dr. Aderhold, the kindly free-thinking mystic, and Joan Heron, the simple village maid, found their ultimate and, for the times, merciful release by halter in place of fire, readers who have nerves to spare for horror will read with eagerness. It is indeed a dreadful story. Miss Johnston is not one of your novelists who lets herself off the contemporary document, and on her reputation you may take it she is not far out. The grim tale serves to show to what lengths the force of suggestion will, in times of excitement, carry folk otherwise sober and truthful. Manifestly preposterous evidence, freely given, was freely admitted by trained legal minds—evidence on which innocent lives were sacrificed at the average rate of over a thousand a month in England and Scotland in the two centuries of the chief witch-baiting period. But, after all, have we not, most of us, near relations who saw a quarter-of-a-million of astrakanned Russians steal through England in the dead of an August night? And have we not—— But I grow tedious. The Witch is an eminently readable story of adventure of the coincidental kind.
What I like best in the stories of Mr. W. W. Jacobs, apart from their mere hilarity, is their triumphant vindication of the right to jest. They spread themselves before me like a pageant representing the graceful submission of the easy dupe. They tempt me to filch away chairs from beneath stout and elderly gentlemen who are about to sit down. Take the case of Sergeant-Major Farrer in Night Watches (Hodder and Stoughton). He was afraid of nothing on earth, or off it, but ghosts, and he despised the weedy young man who was in love with his daughter. So the weedy young man dared him to come to a haunted cottage at midnight, and, dressed up as a spectre, terrified the soldier into something more than a strategic retreat, with the result that he surrendered his daughter. In real life of course it is different. I know a colour-sergeant, and somehow I rather think that if I—but never mind. In Mr. Jacobs' beautiful world, as it is with Mr. Farrer so is it with Peter Russet, with Ginger Dick and with Sam Small. They know when the laugh is against them, and, waiving the appeal to force or to law, they grumble but retire. There is one exercise in the gruesome in Night Watches, but it hardly shows Mr. Jacobs at his best in this particular vein. There are also several charming illustrations by Mr. Stanley Davis, executed with a buff tint, which help to sustain the gossamer illusion.
If I were a woman I should always be a little irritated with any story which shows two women in love with the same man. Miss May Sinclair in her new novel does not mind how much she annoys her own sex. She shows us no fewer than three women engaged in this competition, and they are sisters. True, there was not much choice for them in their lonely moorland village, which contained a young doctor and no other eligible man. Of this fellow Rowcliffe we are told that "his eyes were liable in repose to become charged with a curious and engaging pathos," an attraction which had broken many hearts before the story opened, and gave to their owner a great sense of confidence in himself. This set me against him at the start, but the three sisters, as I said, were not in a position to be fastidious. Mary's love for him was of the social-domestic kind; Gwenda's was spiritual; Alice's frankly physical. Though alleged to be "as good as gold," Alice, the youngest of The Three Sisters (Hutchinson), was one of those hysterical women who threaten to die or go mad unless they get married—a very unpleasant fact for a young doctor to have to discuss with her sister, and for us to read about. Indeed, if I were to tell in all its incredible crudity the story of the relations of this gently-bred girl with the drunken farmer who, to her knowledge, had previously betrayed her own servant-girl, I think even Miss Sinclair would be revolted. Her exposure of certain secret things which common decency agrees to leave in silence is a treachery to her sex, not excusable on grounds of physiological interest; and I, for one, who was loud in my praise of the fine qualities of her great romance, The Divine Fire, confess to a sense of almost personal sorrow that such high gifts as hers, which still show no trace of decline in craftsmanship, should have suffered so much taint. I sincerely hope that the noble work she is now doing with the Red Cross at the front—where the best wishes of her many friends follow her—may make more clear the claim that is laid upon her to devote her exceptional powers as a writer to the higher issues of life and death; or, at the least, to something cleaner and sweeter than the morbid atmosphere of her present theme.