New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-20

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Pierre Lott enjoys the distinction ~ making
more out OF trines than any other writer - his
| line He revels IN rines He rarely treats any
thing else This statement might seem paradox
| al in view Of tn fact that this latest volume X
| his Figures 81 Chooses gu Paeeai'nt' contains
more than one theme ~ a distinctly serious
character But though the book contains serious
things. they are not the things With which Lon
/ IS concerned. IL is his impression - them that
he writes about. never touching the subject
J itself which somehow retres into the back
\ ground as IL has given the author his
excuse for unbo somnc himself ~ his emotions.
The shadows murnur while the deeps are
| dunt. Your Frenchman Il the Lott type pap.-
| 'atcs witt notion and grows loquacious over
| things that stronger natures would not dream
| or talking aboIt Proclamation" in this volume,
! offers an excellent Illustration. An Eng sh-
man, will say Who had % exhume the bod
les Of the Breton sailors over Nhom Lot waves
sentimental would 20 about his ATTY with
definite sense = its tragic Implication ZEE would
feel pteous tender. C,er the rororn relics dug
up under his official eyes. but he would get over
the task quickly possible and preserve 4
decent reticence about what he had seen. Not
so the Lott He mourns and tniddles his I'm
gers. and strings pretty reflections together and
| in vIi no -
making the reader laugh Never were medita-
lions 90 finely spun II IS like stretching out
note Of sorrow until it becomes nothing. but a
! sweet and plaintive echo. with 10 more than a
| hairs breadth between It and pure joy. In fact
Lott purrs SO contentecly over his solem les
that il is hard to think OF him gr!evng very
| seriously
Take the Introductory fragment in the pres
| ent volume. Passage dEnfant" 1t describes
tte feelings OF a on the death Of the child
Of a faithful secvitor. The child, Roger ''e plus
joyous des innoccnts bebes,' makes pictur-
esque image in the employers mind, and ne
leaves Paris at once to revisit the scene OF his
favorite's last hours. There ne sentmentalizes
over Rogers garments his toys, his well-worn
paths in the garden; he gazes upon Rogers
| portrait ne groans over "cette figure DANCE, qui
fut 81 ephenere 81 vite evanoue dams la grande
Tenebre," and, while il il easy L. understand
how the smooth and decorative sylables OF ms
| eegy have pleased fastidioUs Paris to the last
degree the reader who estimates literary leger-
denain al its true value is strangely bored ana
| feels resentfuL For there il something cruel
| something We may even say, little vulgar, IN
| this butchering Of a tender memory to make
decadent holiday Lots style is-LOtis, II IS
delicate full Of color. full OF indescrbable
softness and charm; hence there Is no denying he
sensuous attraction Of every page IL this book
But it is an unspeakably hollow performance.
the air that moves through it moves slugSishly
unhealthy, one is aware Of study walls rather
than of the nature which Lott paints with
I skilful so original. hand. II mere skill, X
mere originality. could make fine art, this book
would be u masterpiece. But the soul Of beauty
is missing there is nothing here but collection
OF brilliant shreds and patches Of eXquis.iely
! written utilities.
Fast on the heels Of Mr. Weymans "shrews-
bury" comes Anthony Hopes Simon Dale. an
historical romance dealing with period IL Eng
land only few years earlier than Jhat with
which the aforementioned novel concerns itself
MI Weyman attempted one innovation that ~
making a hero out Of persstently unheroic ma
teral Mr.. Hope attempts another apply ne
the method eNempllhed by his Dolly Dialogues"
to the unfolding Of a narrative II adventure.
+ simon Dale" is full OF talk some Of ID sprght-
IL and dlyertlrg more Of il mere padding ana
gross obstruction To the progress Of the story.
The time Of Nell Gwynne undoubtedly lends
itself 10 yivacious treatment and when Mr..
Hope brings that fascinating lady upon the stage
TN, dialogue takes a little squirt. becomes ut