The style in which the story is told is worthy of remark. In the beginning, when events are occurring within the realm of things already known or conceived of, he speaks in the matter-of-fact, honest tone of the modern explorer; so far as the language goes we might be reading the reports of an arctic voyage as recounted in the daily newspaper; there is the same unpretentiousness and directness of phrase, the same attention to apparently commonplace detail, and the same candid portrayal of wonder, hope, and fear. But when the stupendous descent into the interior world has been made, and we have been carried through the intermediary occurrences into the presence of the beautiful goddess herself, the style rises to the level of the lofty theme and becomes harmoniously imaginative and poetic. The change takes place so naturally and insensibly that no jarring contrast is perceived; and a subdued sense of humor, making itself felt at the proper moment, redeems the most daring flights of the work from the reproach of extravagance.
Mr. Bradshaw is especially to be commended for having the courage of his imagination. He wastes no undue time on explanations, but proceeds promptly and fearlessly to set forth the point at issue. When, for example, it becomes necessary to introduce the new language spoken by the inhabitants of the interior world, we are brought in half a dozen paragraphs to an understanding of its characteristic features, and proceed to the use of it without more ado. A more timid writer would have misspent labor and ingenuity in dwelling upon a matter which Mr. Bradshaw rightly perceived to be of no essential importance; and we should have been wearied and delayed in arriving at the really interesting scenes.
The philosophy of the book is worthy of more serious notice. The religion of the new race is based upon the worship of the human soul, whose powers have been developed to a height unthought of by our section of mankind, although on lines the commencement of which are already within our view. The magical achievements of theosophy and occultism, as well as the ultimate achievements of orthodox science, are revealed in their most amazing manifestations, and with a sobriety and minuteness of treatment that fully satisfies what may be called the transcendental reader. The whole philosophic and religious situation is made to appear admirably plausible: but we are gradually brought to perceive that there is a futility and a rottenness inherent in it all, and that for the Goddess of Atvatabar, lofty, wise, and immaculate though she be, there is, nevertheless, a loftier and sublimer experience in store. The finest art of the book is shown here: a deep is revealed underneath the deep, and the final outcome is in accord with the simplest as well as the profoundest religious perception.
But it would be useless to attempt longer to withhold the reader from the marvellous journey that awaits him. A word of congratulation, however, is due in regard to the illustrations. They reach a level of excellence rare even at this day; the artists have evidently been in thorough sympathy with the author, and have given to the eye what the latter has presented to the understanding. A more lovable divinity than that which confronts us on the golden throne it has seldom been our fortune to behold; and the designs of animal-plants are as remarkable as anything in modern illustrative art: they are entirely unique, and possess a value quite apart from their artistic grace.
The chief complaint I find to urge against the book is that it stops long before my curiosity regarding the contents of the interior world is satisfied. There are several continents and islands yet to be heard from. But I am reassured by the termination of the story that there is nothing to prevent the hero from continuing his explorations; and I shall welcome the volume which contains the further points of his extraordinary and commendable enterprise.
Julian Hawthorne.