The New York herald., 1921-09-11
May Sinclair and Rose Macaulay
New Plutarch and Bible Versions

Babies and savages feel their life
and don't think about it-simple con-
sciousness. But soon they find that
there is something outside of them
selves. Still they escape the nuisance
of thought. This external world
simply modifes their feeling-makes
them comfortable or cross extends
the range Of their simple conscious
ness.
This isn't the first chapter of a new
book on psychology. But IL one Is
going to talk about books he will have
a hard time ploughing round all the
psychological stumps So here goes.
We have man waking up to the fact
of himself as an individual.
1t is a long way from the starting
point to the stage in which the mind
becomes conscious of its own con-
sciousness: when the critical intelli-
gence stands off and watches the an
tics of the emotional life to which 1t is
chained and even sees its own reason
ing processes in the glass.
That is what a good many novelists
are putting in the form of fiction If
they are born story tellers, so much
the better. But this theme of con-
sciousness is the very air their people
breathe. The two latest examples are.
Dangerous Ages (Boni and Live
right by Rose Macaulay and "Mr.
Waddington of Wyck" (Macmillan)
by May Sinclair.
Both books are good reading, clear.
free from crotchets and irritating in
terruptions. And each has a story to
tell. Things happen. But compared
with Three Musketeers," where ex-
ternal action Is the theme the readers
interest Is centred on the self-con-
sciousness of the characters.
In Miss Sinclair's book there is a
curious likeness to Twelfth Night"
Mr.. Waddington is kind of Malvolio,
even to the parallel between that poor
dupe's cross -gartering and the others
absurd pajamas. In the modern story
Barbara Madden and Ralph Bevan are
amused spectators like Maria. Sir
Toby and Sir Andrew in Shakespeare
But observe this difference, which
marks a change in the public itself.
The Elizabethan comedy is offered as
a pleasant pastime of the stage, ex-
ternal to the audience. May Sinclair
drags the reader into her world Or,
rather. she insinuates continually the
implication that in Barbara and Ralph
she is only reporting the general mod
ern custom of character study.
In other words, Shakespeare may
have been something of a psyche
analyst for playgoers, but now the
footlights are down and we're all in
the play. Psychology is the great
modern indoor sport.
Mr.. Waddington is an egoist. but
much simpler type than the central
figure of George Meredith's novel
For 1t is Barbara's and Ralph's pur-
suit of him as a specimen. their in
tense consciousness of themselves in
the process of observing him that
forms the novels true theme. Con-
sidered by himself Waddington Is a
rather old-fashioned creation. And
very likely May Sinclair intended him
to be that. IL he had been too en-
crossing he would have distracted the
readers attention from Barbara and
Ralph. and from his own wife. who
is a kind of bridge between Wadding-
ton and the other two.
II the nominal subject of the story
rouses any emotion In the reader, 1t
is kind of pity because of the relent-
less bounding of him by the novelist
Very likely the author intended that
result also.
"Potterism' gave Rose Macaulay a
place, but its rather special kind of
appeal left her in some danger of
being counted one-book author
Dangerous Ages" is complete proof
that she isn't that Good as. Pot
terism" was. this is better. 1t Strikes
the note of pure beauty on as musical
n first page as any novelist has writ
ten for a long time. with It's ''multitu-
dinous silver calling of world full
OF birds. They chartered and bickered
about the creepered house, shrll and
sweet, like a hundred brooks running
together down steep rocky places
after snow"
Rose Macaulay can paint landscapes
and seascapes-for the surf beats
through many pages. But earth and
ocean are only the setting for her
living human figures. And her people
are absolutely alive-obstinately, cry
ingly alive--no matter what their age.
Like "Milestones'' this deals with
generations. But instead OF coming
one after another as In the successive
acts of the play these are shown to-
gether. So the contrasts Of mode are
emphasized, but underneath all
changes Is the fundamental desire 10
live and to SAVIOR life. to capture its
essence.
Neville. the fresh young mother OF
grave. all-knowing children, felt II on
her birthday-felt II historically and
prophetically-for all the others, as
in the overture Of an opera They
have lived, they have eaten, drunk,
loved. bathed. suffered, talked, danced
in the night and rejoiccd In the dawn,
warmed, In fact, both hands before
the fire OF life. but still they are not
ready to depart. For they are be-
hindhand with time. obsessed with so