Part 1

TRANSCRIBER'S NOTES:

In the unformated text version Italic text is denoted by _underscores_ and small caps are represented by UPPERCASE words.

A number of words in this book have both hyphenated and non-hyphenated variants. For the words with both variants present the one more used has been kept.

Obvious punctuation and other printing errors have been corrected.

The original art cover has been modified and is granted to the public domain.

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MASTERPIECES OF THE MASTERS OF FICTION

OTHER BOOKS BY WILLIAM DUDLEY FOULKE

SLAV OR SAXON

LIFE OF OLIVER P. MORTON

MAYA (A Romance in Prose)

PROTEAN PAPERS

ANNOTATED TRANSLATION OF HISTORY OF THE LANGOBARDS BY PAUL THE DEACON

MAYA (A Dramatic Poem)

DOROTHY DAY

MASTERPIECES OF THE MASTERS OF FICTION

BY

WILLIAM DUDLEY FOULKE

NEW YORK THE COSMOPOLITAN PRESS 1912

Copyright, 1912, by William Dudley Foulke

MASTERPIECES OF THE MASTERS OF FICTION

PREFACE

A short time ago I determined that instead of taking up any new works of fiction I would go over the masterpieces which I had read long since and see what changes time had made in my impressions of them. To do this I chose some forty of the most distinguished authors and decided to select one story from each,--the best one, if I could make up my mind which that was--at all events, one which stood in the first rank of his productions. I determined to read these in succession, one after another, in the shortest time possible, and thus get a comprehensive notion of the whole. Of course under such conditions exhaustive criticism would be out of the question, but I thought that the general perspective and the comparative merits and faults of each work would appear more vividly in this manner than in any other way.

The productions of living authors were discarded, as well as all fiction in verse.

Arranged chronologically, the selections I made were as follows:

1535 RABELAIS “Gargantua” 1605-1615 CERVANTES “Don Quixote” 1715-1735 LE SAGE “Gil Blas” 1719 DEFOE “Robinson Crusoe” 1726 SWIFT “Gulliver’s Travels” 1733 PRÉVOST “Manon Lescaut” 1749 FIELDING “Tom Jones” 1759 JOHNSON “Rasselas” 1759 VOLTAIRE “Candide” 1759-1767 STERNE “Tristram Shandy” 1766 GOLDSMITH “The Vicar of Wakefield” 1774 GOETHE “The Sorrows of Young Werther” 1787 SAINT PIERRE “Paul and Virginia” 1807 CHATEAUBRIAND “Atala” 1813 AUSTEN “Pride and Prejudice” 1813 FOUQUÉ “Undine” 1814 CHAMISSO “Peter Schlemihl” 1820 IRVING “The Legend of Sleepy Hollow” 1820 SCOTT “Ivanhoe” 1827 MANZONI “The Betrothed” 1835 BALZAC “Eugenie Grandet” 1841 GOGOL “Dead Souls” 1845 DUMAS “The Three Guardsmen” 1847 BRONTË “Jane Eyre” 1847 MERIMÉE “Carmen” 1850 DICKENS “David Copperfield” 1850 HAWTHORNE “The Scarlet Letter” 1852 THACKERAY “Henry Esmond” 1852 STOWE “Uncle Tom’s Cabin” 1853 GASKELL “Cranford” 1856 AUERBACH “Barfüssele” 1857 VON SCHEFFEL “Ekkehard” 1857 FEUILLET “The Romance of a Poor Young Man” 1857 FLAUBERT “Madame Bovary” 1859 MEREDITH “The Ordeal of Richard Feverel” 1861 READE “The Cloister and the Hearth” 1862 HUGO “Les Misérables” 1863 ELIOT “Romola” 1866 DOSTOYEVSKY “Crime and Punishment” 1868 TURGENIEFF “Smoke” 1869 BLACKMORE “Lorna Doone” 1878 TOLSTOI “Anna Karenina” 1883 STEVENSON “Treasure Island”

I think I see many picking out here and there a name, and hear them saying, “What a bad selection! Wilkie Collins ought to be in the list rather than Charles Reade; ‘Vanity Fair’ ought to be in the place of ‘Henry Esmond,’ ‘Waverly’ in the place of ‘Ivanhoe’,” etc., etc. But if we except two or three names like Manzoni and Gogol, who are not yet estimated at their full value by English and American readers, I think common opinion will justify, in a general way, my catalogue of authors, and I feel sure that the works chosen, if not the masterpieces, are at least fairly typical of each.

CONTENTS

PAGE

PREFACE 5

RABELAIS “Gargantua” 11

CERVANTES “Don Quixote” 16

LE SAGE “Gil Blas” 25

DEFOE “Robinson Crusoe” 36

SWIFT “Gulliver’s Travels” 39

PRÉVOST “Manon Lescaut” 43

FIELDING “Tom Jones” 45

JOHNSON “Rasselas” 49

VOLTAIRE “Candide” 55

STERNE “Tristram Shandy” 60

GOLDSMITH “The Vicar of Wakefield” 64

GOETHE “The Sorrows of Young Werther” 72

SAINT PIERRE “Paul and Virginia” 76

CHATEAUBRIAND “Atala” 79

AUSTEN “Pride and Prejudice” 82

FOUQUÉ “Undine” 93

CHAMISSO “Peter Schlemihl” 95

IRVING “The Legend of Sleepy Hollow” 99

SCOTT “Ivanhoe” 101

MANZONI “The Betrothed” 107

BALZAC “Eugenie Grandet” 125

GOGOL “Dead Souls” 130

DUMAS “The Three Guardsmen” 132

BRONTË “Jane Eyre” 134

MERIMÉE “Carmen” 138

DICKENS “David Copperfield” 141

HAWTHORNE “The Scarlet Letter” 150

THACKERAY “Henry Esmond” 158

STOWE “Uncle Tom’s Cabin” 176

GASKELL “Cranford” 180

AUERBACH “Barfüssele” 183

VON SCHEFFEL “Ekkehard” 189

FEUILLET “The Romance of a Poor Young Man” 192

FLAUBERT “Madame Bovary” 194

MEREDITH “The Ordeal of Richard Feverel” 196

READE “The Cloister and the Hearth” 200

HUGO “Les Misérables” 209

ELIOT “Romola” 215

DOSTOYEVSKY “Crime and Punishment” 228

TURGENIEFF “Smoke” 231

BLACKMORE “Lorna Doone” 237

TOLSTOI “Anna Karenina” 240

STEVENSON “Treasure Island” 267

GARGANTUA FRANÇOIS RABELAIS

Coleridge classed Rabelais among the greatest creative minds of the world, with Shakespeare, Dante, Cervantes, etc. Not many will be found to-day who will agree with such an estimate. Rabelais himself would perhaps laugh at it as heartily as he laughed at the vices and foibles of his time.

“Gargantua,” a burlesque romance, is the biography of a good-natured giant of that name, the son of King Grangousier, who is born in a remarkable manner out of the left ear of Gargamelle, his mother. The author expresses a doubt whether his readers will thoroughly believe the truth of this strange nativity, but says that it is not impossible with God, and that there is nothing in the Bible against it. He cites the examples of other prodigies and declares that he is not so impudent a liar as Pliny was in treating of strange births. Then follow many absurd and farcical descriptions of the conduct and apparel of the infant giant, his colors and liveries, his wooden horses, and the silly instruction given to him by foolish sophisters. In Paris he steals the bells of Notre Dame to adorn the neck of the hideous great mare upon whose back he has travelled thither, and Master Janotus is sent to him to pronounce a great oration, imploring the return of the bells. This nonsensical speech is a laughable potpourri of French, Latin, and gibberish. The bells are returned, and now Gargantua submits himself to the government of his new tutor, Ponocrates, who establishes a novel system of instruction for his big pupil.

The book gives a detailed description of the ingenious division of time made by this wise preceptor, so that every moment of the day might be devoted to the acquisition of some useful branch of knowledge.

A strife arises between the shepherds of the country and some cake-bakers of the neighboring kingdom of Lerne. The cake-bakers, being worsted, complain to Picrochole, their king, who collects an army and invades the country of Grangousier, pillaging and ravaging everywhere. But when the invaders come to steal the grapes of the convent of Seville, the stout Friar John with his “staff of the cross” lays about him energetically dealing death and destruction on every side. Picrochole storms the rock and castle of Clermond, and news is brought to Grangousier of the invasion. The good old king at first tries to conciliate his neighbor, and sends him a great abundance of cakes and other gifts, but the choleric Picrochole will not retire, though he keeps everything that is sent to him. The Duke of Smalltrash, the Earl of Swashbuckler, and Captain Durtaille persuade him that he is about to conquer the world, and there is a long burlesque catalogue of all the countries they are to subdue, after which they will return, sit down, rest and be merry. But the wise Echephron, another of the king’s counsellors, tells him that it will be more prudent to take their rest and enjoyment at once and not wait till they have conquered the world. Meanwhile Gargantua is sent forth against Picrochole. The enemy’s artillery has so little power against him that he combs the cannonballs out of his hair. Among other episodes, he unwittingly eats up six pilgrims in a salad, but one of them strikes the nerve of a hollow tooth in his mouth, upon which he takes them all out again. They escape, and then one of them shows the others how their adventure had been foretold by the Prophet David in the Psalms.

There is much droll conversation at a feast given by Gargantua to Friar John. The stout friar has many adventures, and plays an important part in the attack upon Picrochole’s army, when the poor choleric king flees in disguise and at last becomes a porter at Lyons. Here he is as testy and pettish as ever, and hopes for the fulfillment of a prophecy that he should be restored to his kingdom “at the coming of the Cocklicranes,” who it seems could never come at all.

Gargantua proclaims amnesty to the vanquished, the spoil is divided and Friar John rewarded by the establishment of the Abbey of Theleme, which is filled with all beautiful things and inhabited by fair knights and ladies who keep no hours nor vigils, take no vows, but enjoy the delights of liberty under the rule, “Do what thou wilt,” spurred by their own instincts to virtuous actions and with no temptation to transgress the laws.

In a very attractive prologue to this strange medley, the author sets our curiosity agog with the simile of a philosophical dog and a marrow bone, telling his readers to break the bone and suck out the allegorical sense “or the things proposed to be signified by these Pythagorical symbols.” So the world has been trying very hard ever since to guess whether Gargantua was Francis I of France or Henry d’Albret of Navarre; whether Friar John was Cardinal Chatillon or Martin Luther, or both together; whether Picrochole was Charles V or someone else; whether the cake-bakers were Popish priests or anyone in particular; and so on to the end of a very long chapter. Certainly the personages described in this burlesque had to be obscurely drawn in order to protect the author from the dungeon or the stake. In one place Rabelais intimates that he did not mean anything at all by his absurdities. “When I did dictate them I thought thereon no more than you who possibly were drinking the whilst I was. For in the composing of this very lordly book I never lost nor bestowed any more nor any other time than what was appointed to serve me for taking my bodily refection, that is, whilst I was eating and drinking.” And indeed “Gargantua” is a work that, like the verses of Ennius to which he alludes, smells much more of the wine than the oil; for, with all its drollery, and occasional wisdom, there are chapters which seem little less than the products of inebriety. Moreover, the work is defaced, especially the earlier part of it, by a mass of obscenity which is not to be excused either by the manners of the time nor by the exigencies of the story.

DON QUIXOTE MIGUEL DE CERVANTES

Among works of prose fiction “Don Quixote” has undoubtedly the most universal reputation. Mr. Henry Edward Watts, the latest and best translator, considers it “the finest book,” and Justin McCarthy, the recent editor of Shelton’s version, calls it “the noblest novel” in the world. Probably this would be the verdict of a majority of the best literary critics.

The Knight of the Sorrowful Countenance is more widely known and recognized among mankind everywhere than any other single character in fiction. And indeed there has never been any other character more elaborately developed.

In the matter of plot, as well as personages, the scope of this work is rather narrow. It is merely a series of adventures, and while the priest, the barber, the bachelor, the duke, the duchess, and many other persons appear incidentally, and while all of these are well sketched, the work would be nothing except for the wonderful sayings and doings of the mad knight and his squire. And the contrast between the two sets forth in the strongest possible relief the characteristics of each. Don Quixote, solemn, tall, lank, “with cheeks that kissed each other on the inside,” and Sancho, short, fat, round-bellied,--the knight filled with fine spiritual fire, his madness enhanced by endless fasts and vigils; the squire sleeping, eating, thinking of nothing but the facts of physical existence,--Don Quixote, the dreamer, the idealist, the gentleman--for there is no one trait which shines through all his madness as unmistakably as his gentility; Sancho, a coarse, sensuous clod, an odd mixture of simplicity and shrewdness, garrulous, full of proverbs, with a rustic and very fleshly philosophy of his own, a squire who sometimes cheats his master with false tales.

Don Quixote goes forth upon his battered Rocinante, to redress all wrongs, actual or imaginary, to fight windmills, to engage in desperate battles with flocks of sheep; to sail upon enchanted barks; to fly through the air on a wooden horse; and perform a thousand extravagances, travesties of the impossible prodigies recorded in books of chivalry and enchantment.

The description of Don Quixote’s madness is masterly. His inability to separate actual occurrences from the figments of his imagination appears with wonderful power; for instance, in the scene of the puppets, where he demolishes the apparatus of the show, and then agrees to pay for the damage, and again refuses when the lady for whom compensation is demanded has been already rescued, fact and fancy contending with each other inextricably in his soul. As a study in psychology, no character of fiction or drama outside of Shakespeare is at all comparable to “Don Quixote.” Yet through all his grotesque hallucinations appears his essential nobility. As Sancho says of him, “He has a soul as clean as a pitcher. He can do no harm to anyone, but good to all. He has no malice at all. A child might persuade him it is night at noonday. And it is for this simplicity I love him like my heartstrings, and cannot be handy at leaving him for all the pranks he plays.” Thus do we love the simple-minded, even in madness.

One of the clearest evidences of Cervantes’ genius is his power to make even the vagaries of a madman so laughable. In any other hands the adventures of Don Quixote would not be funny. I remember once seeing a dramatic representation of the story, in which Henry Irving impersonated the hero. It was well done, but it was not amusing. The poor knight was so utterly wrapped in his hallucinations that he was an object of pity rather than of laughter. But in the novel itself the humor of Cervantes overcomes even our sympathy. The wild reasoning of Don Quixote is often so irresistibly absurd that his madness is forgotten. For instance, he does penance in the Sierra Morena in honor of his Dulcinea, and proposes to imitate Amadis and Orlando, who tore up trees by the roots, slew shepherds, demolished houses, and performed a thousand other extravagances. Sancho remarks that these knights of old had a reason for their follies and penances, but that Don Quixote had none, to which his master replies, “In this consists the refinement of my plan. A knight errant that runs mad with cause deserves no thanks, but to do so without reason is the point, giving my lady to understand what I should perform in the wet, if I do this in the dry.”

The Spaniards say that “Don Quixote” is untranslatable. Of course a masterpiece of this kind can not be enjoyed to the full, with all its delicate aroma, in any other tongue, and in one sense it can not be fully understood by any one who is not himself a Spaniard, who has not the feelings, the surroundings, and perhaps the prejudices to which the great book was addressed. But, judged by such a standard, what masterpiece of past times can any of us fully enjoy? In another sense, however, a foreigner can enjoy “Don Quixote” better than a Spaniard; for some of its most characteristic features are those which to one who lives amid the same surroundings will pass unobserved. No one can judge of the perspective of a great work unless he be far enough away to see it in its relations to the rest of the world. In this larger sense, I think that Don Quixote can be understood by an American of our century as well as by a Spaniard of the time in which it was written. Something of the details will escape him, but the beauty of the whole may be even more apparent. The things that we lose in translation,--for instance, the sonorous solemnity of the magniloquent diction of Don Quixote,--are atoned for by the fact that Don Quixote himself is a more distinctive type to us than he could have been to the people of his own age and country.

I am not sure but that the Englishman or the American can grasp the sum total of his qualities better through a good translation than even in the original. The Spanish of “Don Quixote” is somewhat archaic, and in places a little obscure, even to the most proficient in the living tongue. So elusive is the pleasure which comes with the dry humor of such a book that it must offer itself spontaneously, it must fit the mood of the reader, it must be the luxury of an idle hour, or much of the charm of it will escape. Therefore it is that I have found in Shelton’s translation, and still more in the recent rendering of Mr. Watts, a keener pleasure than I have ever been able to dig out of the original mine.

“Don Quixote” is not without great faults. It was written carelessly. This indeed often adds to the naturalness of the descriptions and the situations, but the blemishes are sometimes self-evident and glaring. For instance, after Sancho’s ass has been stolen by Ginés de Pasamonte, the squire is represented, sometimes as walking, sometimes as riding on the very animal he has lost. Some of Cervantes’s commentators, like Clemencin, who are mathematical rather than artistic in their criticisms, call our attention to the numerous incongruities of this sort. But the greatest masters of literature, even Homer and Shakespeare--have been guilty in the same way.

Indeed, there is a good deal in “Don Quixote” which reminds one of Shakespeare. Take for instance the following discourse between Don Quixote and Sancho Panza:

“Prithee, tell me, hast thou not seen some comedy played wherein are introduced kings, emperors, pontiffs, knights, ladies and divers other personages? One plays the bully, another the knave; one the merchant, one the soldier; others the witty fool and the foolish lover; and, the comedy ended and their apparel put off, all the players remain equal.”

“Yes, marry have I,” answered Sancho.

“But the same,” pursued Don Quixote, “happens in the comedy and commerce of this world, wherein some play the emperors, others the pontiffs; in short all the parts that can be introduced into a drama; but on reaching the end, which is when life is done, Death strips all of the robes which distinguished them, and they remain equal in the grave.”

“A brave comparison!” cried Sancho, “though not so new but that I have heard it many and divers times, like that of the game of chess,--how, so long as the game lasts, each piece has its particular office, and the game being finished, they are all mixed, shuffled, and jumbled, and put away into a bag, which is much like putting away life in the grave.”

“Every day, Sancho,” quoth Don Quixote, “thou becomest less simple and more wise.”

The passages in “Macbeth,” “Sleep that knits up the ravelled sleeve of care,” and “The sleeping and the dead are but as pictures,” find their counterparts in the following dialogue, in which Sancho says to his master:

“I only know that while I sleep I have no fear, nor hope, nor trouble, nor glory; and good luck to him who invented sleep, a cloak which covers all a man’s thoughts, the meat which takes away hunger, the water which quenches thirst, the fire which warms the cold, the cold which tempers the heat; to end up, the general coin with which all things are bought, the balance and weight which levels the shepherd with the king and the fool with the wise man. There is only one thing, as I have heard say, is bad about sleep, and it is that it looks like death, for between the sleeping and the dead there is very little difference.”

The great fault of “Don Quixote” is its excessive prolixity. Provided the best parts might be selected, it would be a better novel if it filled only half the space. The same moralizing by the knight and his squire is too often repeated; the same proverbs come forth again and again. This is the reason why the work is read far less at the present time than it used to be. In these busy days there is not much place for the four volume novel.