The Charleston daily news. [volume] (Charleston, S.C.) 1865-1873, 1866-05-14
The Daily News.
MONDAY MORNING, MAY IA, 1866.
LITERATURE.


II the critical question, in regard to NJ. Huoo's
work, only wore as to it's rank in the particular
class of works to which it belongs, task would
be easy. As sensation novel, its merits are
patent AS compared with the writer's in the PO-
lice Gazette, with Miss BRADDoS, or with others
of that school, its author is master of his art.
Poet and dramatist, profoundly versed in tho
science OF human nature, having for external na-
ture the eye Of a painter, and over his language
degree OF command that enables him to repro
duce at will the concets OF his gorgeous and YER
satile fancy, he combines the most important
qualities Of the novelist. "Les Travailleurs de la
Mer" fully sustains the reputation he gained by
.Notre Dame" and previous works. The style is
brilliant and every page sparkles with epigram,
not unworthy Of his great oountryman, the author
OF the "Msxims." The descriptions of natural
scenery are uhequalled by anything we know
OF In our own language. The account of the ma
rine cave into which the hero Giatt, descends, is
marvellous feat Of word-painting. BY the power
OF words the ocean, in calm and storm, is ever
before the readers mind its breezes kiss his cheek
and it's solemn voice is always sounding in his ear
telling OF the infinite and eternal. The dranaatis
personG, or at least tho three principal ones, are
natural, distinct and interesting. Lethierry, the
seaworn, shrewd, successful sailor; Gilliatt, the
''ruuissane file du pays" innocent, playful and
tender-are all charming creations. The opening
chapter, in which these characters are introduced
and their humble homes described, are the plea
santest Of the book, and furnish ample proof OF
III. Huao's ability to attain success i'll the highest
departments of his art.
But II we must admit the excellence Of Ill.
Huao's work, as measured by his standard Of art,
we are obliged to find fault with the standard it
self. To US the French theory Of the art of fic-
ton appears fundamentally wrong The little
girl, who is represented by Pxnch bartering with
the newsmonger for a paper, with at least two
murders and an elopement," is typical OF the
audience to which the French novelist addresses
himself The horrible, the marvellous, and too
often the impossible, are the weapons OF his
dreadful trade. The great Greek critic declared
pity to be the fual cause Of tragedy, andtrasedy
is the most solemn and painful Departmental art.
The French romance writer. finds pity common
place emotion, and is notsatisfed unless he has
oonjured up wonder, disgust and horror. he is
the morbid anatomist Of art. Disease and oorrup-
tion-physical moral, socal-a, his favorite top
ics the cancered breast attracts him, in his cha
.raoter Of artist, more than the rosy cheek; the,
agonies Of the convict moret than the Joy OF the
bridegroom.
His previous works, among others, "Notre
Danae." and "Le dernier jour dur ooneLasnne, >"
;gave the admirers OF NJ. HrGos great abilities
.cause to regret that he had not embraced those
correct principles.of his art which alone want
ing to his complete in It's highest sphere.
His present work gives evidence that the sixty
four years, which ihave not impaired his powers,
have not improved his judgment. Knowledge
may have come to him, but wisdom has fingered.
The scene in which his new tale is laid, it's
machinery and it's plot, are rich in the promise
and possibilities ot great romance, but the
author turns his hand from the diamond which il
within his reach, to pick up gaudy pebble. Had
he restricted himseE to picture Of life in the
islands Of the channel, of the humble fortunes Of
the Guernsey cotters, of the loves, cares, and
Joys Of Gilatt and Deruchette, he might have
produced work that would have ranked with
Hermann and Dorothea," or 4iPaul and Vir-
gnia." But his inclination to the thaumaturgy of
art was too strong to de resisted, and in conee-
quence "Les Travailleurs de la Mer" deserves
only that credit which ie due to pre-eminence in
the sensational school,
In support Of our critieism, We would refer the
reader OF this book to Clubin's visit to the
Gaeressarde in st. Malo, to the murder Of the
-".gdrde-cote' by Rantaine, to the horrible death
of Clubin (who was eaten up by the kreken, not
'''deyil-fsh," as HAnPER's translation has tito
the combat Of Gilliatt with the cephalonod, and
to the final suicide of Gpliatt. loathsome
kennel, wanton murder, o nauseatng act OF
cannibalism, and theatrical suicide, make up o
ghastly feast Of horrors And it must be noticed
that these inoidents are introduced without neces-
sity, and are related con dmore. The murder of
the gardecote does not assist the plot; regards
the demands Of the tale it is gratuitous; il is
forced upon the reader, and he 10 not apared che
sight OF the victims gore. 1t Is not enough for
him to know that Clubin has been devoured piece
meal by the cephalopod, but he must examine the
monsters NAV, and then inspect the Well-gnawed
skeleton
The fate Of the hero, Glistt would be more
cad and touching II 1t ere less theatrical and un-
natural Finding that the "rduissante file du
pays" Deruchette,-the "frail bark on which is
wrecked his bankrupt soul"-loves another he
promotes her marriage to his rival, and assists
her in embarking on the brig Cashmere, which is
about to sail for England He then takes his seat
on rock which he knows will be covered at high
tide; watches the happy lovers on the vessels
deck in each others arms, and as the white sails
sink beneath the horizon the wave washes over
his head, and his brave heart is forever still
There is pathos in the despair Of Gilliatt, but
we cannot see why the reader is tortured with
death scene, that would not have been unworthy
OF the Holy Office.
Those whose taste has been formed in the Eng
lish school of felton, cannot appreciate those por-
tions OF NJ HUdos work which evidently give its
author the most satisfaction. Murder suicide.
shipwreck and combats a outrance with imag-