Studies in Literature and History Part 6

We may now take up a book of a very different kind, the production, not of an Anglo-Indian amateur, but of an eminent English novelist who has lived, though not long, in India--Mr. Marion Crawford. Here we are back again in the region of romance, for, although the story opens at Simla in Lord Lytton's reign and during the second Afghan War, Mr.

Isaacs, the hero (whose name gives the book its t.i.tle) is outwardly a Persian dealer in precious gems, but esoterically an adept in the mysteries of what has been called occult Buddhism. This queer science, as professed by a certain Madame Blavatsky, had much vogue in Northern India about 1879, particularly at Simla. To sceptics it appeared to be an adroit mixture of charlatanry and mere juggling tricks, with some elementary knowledge of the beliefs and practices of the true Indian Yogi, who seeks to attain supernatural powers by rigid asceticism, and who has really some insight into secret mental phenomena, being in this line of discovery the forerunner of the English Psychical Society.

The part played in this story by Mr. Isaacs, who is not in all respects an imaginary personage, might remind one of Disraeli's Sidonia. He is an enigmatic character, versed in the philosophy of the East and the West, who excels on horseback and in tiger shooting, yet can discourse mystically and can bring the mysterious influences at his command to bear upon critical situations. The novel has thus two sides: we have the usual sketch of Anglo-Indian society--the soldiers, the civilians, the charming young English girl whom Mr. Isaacs fascinates. But a writer of Mr. Crawford's high repute is bound to put some depth and originality into his Indian tale, and so we have the Pandit Ram Lal, who is somehow also a Buddhist, and who is Mr.

Isaacs's colleague whenever occult Buddhism is to give warning or timely succour. The chief exploit occurs in a wondrous expedition to rescue and carry away into Tibet the Afghan Amir, Sher Ali, who had just then actually fled from Kabul before the advance of an English army; and it must be confessed that so fantastic an adventure sounds rather startling in connection with a bit of authentic contemporary history.

On the whole, whether we a.s.sume that the object of a novel is to ill.u.s.trate history, or to present a faithful reflection of life and manners, or to render strenuous action dramatically yet not improbably--by whatever standard we measure Mr. Crawford's book, it cannot be awarded a high place on the list of Indian fiction. But we have run over this list so rapidly, touching only upon typical examples, that we are now among the latest writers of the present day; and we may take _Helen Treveryan_ (1892) as a very favourable specimen of their productions. Comparing it with earlier novels, we may remark, in the first place, that there is no great variety of plot or treatment, Anglo-Indian society being everywhere, and at most times, very much the same, except so far as closer intercourse with Europe softens down its roughness, materially and morally, increases the feminine element, and a.s.similates its outer form to the English model. _Helen Treveryan_, whose author is a very distinguished member of the Indian Civil Service, is, like all other novels of the kind, the narrative of the adventures, in love and war, of a young English military officer in India. The characters are evidently drawn from life; the main incidents belong to very recent Indian history; the description of society in an up-country station, with which the movement of the drama begins, is an exact and humorous photograph. A tiger hunt is done better, with more knowledge of the business, than a similar episode in Mr. Crawford's novel; and the pa.s.sionate love between Guy Langley and Helen Treveryan is well painted in bright colours to intensify the gloom and pathos of Langley's death in battle.

As Chesney went to the sepoy mutiny for his scenes of tragedy and heroism, so Sir Mortimer Durand (we believe that the original pseudonym has been dropped) takes them from the second Afghan War, having been at Kabul with General Roberts in the midst of hard fighting, where he first placed his foot on the ladder which has led him upward to high places and unusual distinction. In the chapters describing the march upon Kabul, its occupation, the rising of the tribes, and their attack upon the British army beleaguered in the Sherpur entrenchments, we have simply a memoir of actual events, written with truth, spirit, and with the pictorial skill of an artist who understands the value and proportion of romantic details. The English commanders, the Afghan sirdars, and several other well-known folk are mentioned by name; the skirmishes and perilous situations are described just as they really occurred. No book could better serve the purpose of a home-keeping Englishman who might desire to see as in a moving photograph what was going on in the British camp before Kabul during the perilous winter of 1879-80, to hear the camp-talk, and to realise the nature and methods of Afghan fighting.

'He turned to the westward, and as he did so there was a flicker in the darkness, where the rugged top of the Asmai Hill could just be made out. For an instant there was perfect silence; then, as the flame caught and flared, there rose from the men around him a low, involuntary "A--h," such as one may sometimes hear at Lord's when a dangerous wicket goes down. Then in the distance two musket shots rang out, and after them a few more; but along the cantonment wall all was silent; men stood with beating hearts awaiting the onslaught. For some minutes the suspense lasted, and then suddenly burst from the darkness a wild storm of yells, "Allah, Allah, Allah," and fifty thousand Afghans came with a rush at the wall, shouting and firing. The cantonment was surrounded by a broad continuous ring of rifle-flashes, and over the parapet and over the trenches the bullets began to stream.'

But the subjoined extract, which gives Langley's death, is a better example of the book's general style--cool, circ.u.mstantial, abhorrent of glitter or exaggeration, leaving a clear impression of things actually witnessed and done, a brief glimpse of one of the incidents that remain stamped on the brain of those who saw it, but are otherwise forgotten in war-time, after a day or two's regret for the lost comrade.[13]

'They were all weary, and marched carelessly forward in silence.

The night was closing fast, and a little fine snow was falling....

There was a sudden flash in the darkness to the right, a shot, and then a scattering volley. Guy Langley threw up his arms with a cry, and as the startled horse swerved across the road he fell with a dull thud on the snow. There was a moment of confusion, but the Sikhs, though careless, were good soldiers, and two or three of them dashed towards the low wall from which the shots had come.

They were just in time to see four men running across a bit of broken ground towards a deep water-cut, fringed with poplars. The hors.e.m.e.n were very quick after them, being light men on hardy horses; and one of the four Afghans, a big man in a dirty sheepskin coat, lost his head, and ran down under a bit of wall; the other three crossed the water-cut. The hors.e.m.e.n saw the position at once, and rode after the man on their side of the trench. They were up to him in a minute, and Atar Singh made a lunge at him with his lance; but the Afghan avoided it, and swinging up his heavy knife cut the boy across the hand. Before he could turn to run again a second horseman was on him, and with a grim "Hyun--Would you?" drove the lance through his chest.'

The dialogue is occasionally used to bring out contending views in regard to Indian politics, as might be expected from a writer who has thoroughly studied them. At a Simla dinner-party the conversation turns upon the question whether, in the event of a collision between the armed forces of Russia and England on the Indian frontier, the Anglo-Indian army could hold its own successfully against such a serious enemy. We have on one side the man of dismal forebodings, so well known in India, and against him the hopeful, resolute officer, who lays just stress on England's superior position, with all the strength and resources of India and the British empire at her back.

One supremely important point in the discussion is, by consent of both speakers, the probable behaviour in such a crisis of the native Indian army; and we may here express our agreement with the view that our best native regiments would prove themselves faithful soldiers and formidable antagonists to the Russians. As is well said in the course of the argument, the Sikhs and Goorkhas faced us well when they fought us, 'and with English officers to lead them, why should they not face the Russians?... I believe the natives will be true to us if we are true to ourselves; some few are actively disloyal, but not the ma.s.s of them. If we begin to falter they will go, of course; but if we show them we mean fighting they will fight too.' This is the true political creed for Englishmen in India, outside of which there is no salvation, but the reverse.

It is perhaps to be regretted that so capable a writer upon Indian subjects has given us nothing of native life and character beyond a few silhouettes; and after Guy Langley's death, when the scene is transferred entirely to England, the story's interest decidedly flags.

Yet we may fairly a.s.sign a high place in the series of Indian novels to _Helen Treveryan_, not only for its literary merits, but also for the historical value of the chapters which preserve the day by day experience of one who took his share in the culminating dangers and difficulties of an arduous campaign.

Mrs. Steel's book, _On the Face of the Waters_, has been so widely read and reviewed since it appeared, so lately as 1897, that another criticism of it may appear stale and superfluous; yet to omit mentioning in this article the most popular of recent Indian novels would be impossible. Here, at any rate, is a book which is not open to the remark that the Anglo-Indian novelist usually leaves the natives in the background, or admits them only as supernumeraries. For Mrs.

Steel's canvas is crowded with Indian figures; their talk, their distinctive peculiarities of character and costume, their parts in the great tragedy which is taken as the ground-plan of her story, are so abundantly described as occasionally to bewilder the inexperienced reader. The scene of action is the Sepoy mutiny at Meerut and the siege of Delhi, and while the Indian _dramatis personae_ are mainly types of different cla.s.ses and castes--except where, like the King of Delhi, they are historical--the English army leaders act and speak under their own names, as in Durand's book, being of course modelled upon the ample personal knowledge of them still obtainable from their surviving contemporaries in India.

The book, in fact, attempts, as is frankly stated in its preface, 'to be at once a story and a history.' And we observe that Mrs. Steel tells us, as if it were a credit and a recommendation to her work, that she 'has not allowed fiction to interfere with fact in the slightest degree.'

'The reader may rest a.s.sured that every incident bearing in the remotest degree on the Indian Mutiny, or on the part which real men took in it, is scrupulously exact, even to the date, the hour, the scene, the weather. Nor have I allowed the actual actors in the great tragedy to say a word regarding it which is not to be found in the accounts of eye-witnesses, or in their own writings.'

Is such minute matter-of-fact copying a virtue in the novelist? or is it not rather a defect arising out of a misunderstanding of the principles of his art? In our opinion the business of the novelist, even when he chooses an historical subject, is not to reproduce as many exact details as he can pick out of memoirs, official reports, and histories, but, on the contrary, to avoid making up his story out of a string of extracts and personal reminiscences, or at any rate to use his skill rather for disguising than for disclosing the precise verbal accuracy of his borrowed material. What would be thought of a naval romance that adopted, word for word, the authentic account of Nelson's death, or of a military novel that seasoned a full and particular account of Waterloo with a few imaginary characters and incidents? Any one who has observed how two fine writers, Thackeray and Stendhal, have brought that famous battle into the plot of their masterpieces (_Vanity Fair_ and _La Chartreuse de Parme_), will have noticed that they carefully avoid the crude and undisguised employment of detail, either in words or incidents; they allow fiction to interfere very constantly with fact in all petty matters of this sort; their art consists, not in historical accuracy, but in verisimilitude; they discard authentic phrases and incidents; they do not aim at precision, but at dramatic probabilities. But Mrs. Steel does not only draw too copiously, for a novelist, upon history; she also undertakes to pa.s.s authoritative judgments upon disputable questions of fact and situation, with which fiction, we submit, has no concern. She very plainly intimates that nothing but culpable inaction and want of energy prevented instant pursuit by a force from Meerut of the mutineers who made a forced march upon Delhi on the night of May 10, and whose arrival produced the insurrection in that city.

'Delhi lay,' she says, 'but thirty miles distant on a broad white road, and there were horses galore and men ready to ride them--men like Captain Rosser, of the Carabineers, who pleaded for a squadron, a field battery, a troop, or a gun--anything with which to dash down the road and cut off that retreat to Delhi.'

To argue the point in this review would be to fall into the very error on which we desire to lay stress, of attempting to deal with serious history in a light, literary way. We shall therefore be content with reminding our readers that Lord Roberts, who is perhaps the very best living authority on the subject, has come to the conclusion, after a careful survey of the circ.u.mstances, that the refusal of the Meerut commanders to pursue the mutineers was justifiable.

Yet Mrs. Steel's performance is better than her principles. The unquestionable success of _On the Face of the Waters_ is in no way due to her scrupulous exact.i.tude in particulars, for if this had been the book's chief feature it would have failed. She has a clear and spirited style; she knows enough of India to be able to give a fine natural colour to the stirring scenes of the Sepoy mutiny, and to execute good character-drawing of the natives, as they are to be studied among the various cla.s.ses in a great city. And whenever her good genius takes her off the beaten road of recorded fact her narrative shows considerable imaginative vigour. The ma.s.sacres at Meerut and Delhi, the wild tumult, terror, and agony, are energetically described; and her picture of the confusion inside Delhi during the siege is admirably worked up, remembering that she wrote forty years after the event, at a time when the people and even the places had very greatly changed. The storming of the breach at the Kashmir gate by the forlorn hope that led the English columns is dexterously brought into an animated narrative; and although that story has been much better told in Lord Roberts's autobiography, we need not look too austerely on the crowd of readers who find history more attractive under a thin and embroidered veil of fiction.

A still more recent novel, ent.i.tled _Bijli the Dancer_ (1898), should be mentioned here, not only for its intrinsic merits, but also because the author has boldly faced the problem of constructing a story out of the materials available from purely native society, the stock themes and characters of Anglo-India being entirely discarded. Bijli is a professional dancing girl, whose grace and accomplishments so fascinate a great Mohammedan landholder of North India, that he persuades her to abandon her profession and to abide with him as his mistress. This arrangement is correctly treated in the book as quite consistent with the maintenance of due respect and consideration for the Nawab's lawful wife, who occupies separate apartments, and, according to Mohammedan ideas in that rank of society, has no reasonable ground for complaint. Yet Bijli, though she has every comfort, and is deeply attached to her lord, grows restless in her luxurious solitude; she pines for the excitement and triumphs of singing and dancing before an a.s.sembly. So, in the Nawab's absence, she takes professional disguise, and sings with a lute in the harem before his wife. To those who would like to see a Mohammedan lady of high rank in full dress, the following description of costume may be commended:

'She was dressed and adorned with scrupulous care; her eyebrows trimmed of every stray hair that might deform the beauty-arch; the lids pencilled with lampblack; the palms of her hands and the soles of her feet stained with henna; not one stray lock encroached on the straight parting of her glossy hair.

'She wore gold-embroidered trousers of purple satin, loose below the knee and full over the ankles, and fastened round her waist by a gold cord with jewelled ta.s.sels. A black c.r.a.pe bodice adorned with spangles and gold edging confined her full bosom, and an open vest of grey gauze with long, tight sleeves hung loosely over her waistband. Upon the back of her head was thrown a veiling-sheet of the fine muslin known as the dew of Dacca. Her feet and hands, arms and wrists and neck, were adorned with numerous rings, jewels, and chains, and from her nose was hung a ring of gold wire, on which was strung a ruby between two grey pearls.'

But Bijli's intrusion into the harem is a grave breach of etiquette; she is detected, and told to be gone, though the lady bears her no malice. The incident brings home to her a sense of degradation; she asks the Nawab to marry her, and her discontent is increased by his refusal, until at last she escapes secretly from his house. The Nawab follows, and finds her in a hut on the bank of a flooded river which has stopped her flight; but after a really pathetic interview she returns to her free life--and 'thus ended the romance of Bijli the Dancer.'

In this short story, written with much truth and feeling, the style and handling rises above the commonplace device of dressing up European sentimentality in the garb and phraseology of Asia; and we have, so far as can be judged, a fairly real picture of the inner and the emotional side of native life in India, sufficiently tinged with romantic colouring. The fascination which professional dancers often exercise over natives of the highest rank is a well-known feature of Indian society; and although the dancer is always a courtesan, yet to invest her with a capacity for tender and honourable affection is by no means to overstep the limits of probability. We have noticed this book because it proves that the study of native manners, and sympathetic insight into their feelings and character, still survive among Anglo-Indians, albeit officials; and because it stands out in quiet relief among tales of fierce wars and savage mutiny; it neither chronicles the heroic deeds of Englishmen, nor does it devote even a single page to the loves, sorrows, or comic misadventures that break the monotony of a British cantonment.

_The Chronicles of Dustypore_, by H. S. Cunningham, takes us back again from the sombre, half-veiled interior of an Indian household, into the fierce light which beats upon English society at some station in the sun-dried plains of the Punjab. We have here a sketch, half satirical, half in earnest, of official work and ways, with one or two personages that can be easily identified from among the provincial notabilities of twenty years ago. The book, which had considerable success in its time, will still provide interest and amus.e.m.e.nt for those who enjoy an exceedingly clever delineation of familiar scenes and characters; and it is in the main as true and lively a picture of Anglo-Indian life as when it was first written. Here is the summer landscape of the Sandy Tracts, a region just annexed to British administration after the usual skirmish with, and discomfiture of, the native ruler:

'Vast plains, a dead level but for an occasional clump of palms or the dome of some despoiled and crumbling tomb, stretched away on every side and ended in a hazy, quivering horizon that spoke of infinite heat. Over these ranged herds of cattle and goats, browsing on no one could see what; or bewildered buffaloes would lie, panting and contented, in some muddy pool, with little but horns, eyes, and nostrils exposed above the surface. Little ill-begotten stunted plants worked hard to live and grow and to weather the roaring fierce winds. The crows sat gasping, open-beaked, as if protesting against having been born into so sulphurous an existence. Here and there a well, with its huge lumbering wheel and patient bullocks, went creaking and groaning night and day, as if earth grudged the tiny rivulet coming so toilfully from her dry breast, and gave it up with sighs of pain.

The sky was cloudless, pitiless, brazen. The sun rose into it without a single fleck of vapour to mitigate its fierceness ... all day it shone and glistened and blazed, until the very earth seemed to crack with heat and the mere thought of it was pain.'

Such is the environment in which many English officers live and labour for years; and this is the side of Anglo-Indian existence that is unknown to, and consequently unappreciated by, the rapid tourist, who runs by railway from one town to another during the bright cold winter months, is delighted with the climate and the country, takes note of the deficiencies or peculiarities of Anglo-Indians, and has a very short memory for their hospitality. The narrative carries us, as a matter of course, to a Himalayan Elysium, with its b.a.l.l.s, picnics, and its flirtations, among which the leading lady of the piece is drawn to the brink of indiscretion, but steps happily back again into the secure haven of domestic felicity. A good deal of excellent light comedy and sparkling dialogue will always maintain for this novel a creditable place upon the Indian list; and as an indirect ill.u.s.tration of the social wall that separates ordinary English folk from the population which surrounds them, it is complete, since we have here a story plotted out upon the stage of a great Indian province which contains absolutely no mention of the natives beyond occasional necessary reference to the servants.

For a strong contrast to _Dustypore_, both in subject and style of treatment, we may take a story which merits notice, even though it be hardly long enough to be ranked among Indian novels. _The Bond of Blood_, by R. E. Forrest (1896), draws, like _Bijli the Dancer_, its incidents and their environment exclusively from Indian life; and the book may be placed high in this cla.s.s of difficult work, which few have ventured to attempt, and where success has been very rare. It is a study of peculiarly local manners, that may be also called contemporary; for though the period belongs to the early years of this century, yet the sure drawing from life of a skilful hand may still be verified by those readers who actually know the customs and feelings at the present day of the Rajput clans, among whom primitive ideas and inst.i.tutions have been less obliterated in the independent States than in any other region of India. The descriptive and personal sketches attest the writer's gift of close observation; there is good workmanship in all the details; his sentences. .h.i.t the mark and are never overcharged or superfluous. The tale is of a dissipated Rajput chief, to whom a moneylender has lent a large sum upon a bond which has been endorsed by the sign-manual of the family Bhat, or hereditary bard, herald, and genealogist--an office of great repute and importance in every n.o.ble Rajput house. Debauchees and cunning gamblers empty the chief's purse; the moneylender, an honest man enough in his way, is obliged to press him for the sum due; until at last the bewildered chief is persuaded by one of the gamblers to declare flatly that he will not pay at all, whereupon the creditor falls back upon the surety. Now the Bhat has pledged upon the bond not his property but his life, according to an ancient and authentic custom among Rajput folk, as formerly throughout India, whereby a man who has no other means of enforcing a just claim against a powerful debtor has always the resource of bringing down upon him a fearful curse by committing suicide before his door. The Rajput chief pretends that the bond is illegal and void, being founded upon an obsolete custom disallowed by the English rulers; but in truth he has brought himself to believe that the blood penalty will not really be paid, and he is struck with horror when the Bhat, after formal and public warning, stabs his own mother in the chief's presence, whereupon the curse falls and clings to the family. We may add that the subst.i.tution of the Bhat's mother for himself as an expiatory victim is in accordance with accepted precedents on such occasions, while it makes room for a pathetic situation, and greatly enhances the dramatic interest of the closing scene. Here we have the antique Oriental version of the story in Shakespeare's _Merchant of Venice_, where Shylock takes the same kind of security from Antonio, upon whose person he subsequently demands execution of his bond of blood; nor does the law refuse it to him. But the Hindu custom is so far milder than the Venetian code that the Rajput Shylock could not have rejected a tender of full payment in cash. Mr. Forrest's tale might be turned into an effective stage-tragedy if the main incident were not too shockingly improbable for Europeans, although to an Indian audience it would be credible enough. The final scene of the mother's death is stamped on the reader's imagination by the writer's power of giving intense significance not only to the speech but to slight movements of the actors, so that the mental picture becomes almost objective, while the strained expectation of the crowd makes itself felt by the force of the words.

'"Will you redeem the bond?" asks the herald once more.

'"Say 'No,'" exclaims Takht Singh.

'"No," shouts Hurdeo Singh (the chief).

'"Then blood must be shed at your door, and the life forfeit paid at your threshold, so that the curse may alight upon you and your house."

'He draws the dagger from its sheath. He had not laid his hand upon its handle in the same manner that he would have laid it on the hilt of his sword, but the reverse way to that; he puts the palm of his hand under it and not over it, so he could best use it in the way he intended to use it--so could he best strike the blow he meant to strike.

'"Begone! Begone!" shouts Hurdeo Singh, waving him away with his hand.

'The people around stand fixed as statues, eyes straining, necks craning. The herald stretches his left arm behind his mother, and she, throwing open her _chudder_, leans back against it....

'The money-lender had given a sudden cry, stretched out his hand, uttered some words.

'When Hurdeo Singh had beheld the herald raise his right arm, his own had gone up with it, and from his mouth had come the cry, "Don't! Don't."

'But it was too late. The herald had raised his arm, turned round his head, and plunged the sharp stiletto into his mother's breast.'

It would be scarcely possible in an article that ranges over the light literature of Anglo-India to omit mentioning the name of Mr. Rudyard Kipling, who is the most prominent and by far the most popular of Anglo-Indian authors. Yet our reference to his writings must be very brief, since most of them lie beyond the scope of our present subject; for although Mr. Kipling's short stories are famous, and he is a consummate artist in black and white, yet in the complete edition of his volumes up to date there is, in fact, but one full-sized Indian novel, and for this he is only responsible in part. Nor, a.s.suming that the Indian chapters of the _Naulakha_[14] may be ascribed to him, would it be fair criticism to treat them as good samples of his work, or as ill.u.s.trating his distinctive genius. The attempt in this story to bring together West and East, and to strike bold contrasts by setting down a Yankee fresh from Colorado before the palace gate of a Maharaja in the sands of western Rajputana, is too daring a venture; and the plot's development, though here and there are some touches of true vision and some vigorous pa.s.sages, labours under the weight of its extravagant improbability. The American's restless energy, brought face to face with Oriental immobility, expresses itself in the following way:

'It made him tired to see the fixedness, the apathy, and lifelessness of this rich and populous world, which should be up and stirring by rights--trading, organising, inventing, building new towns, making the old ones keep up with the procession, laying new railroads, going in for fresh enterprises, and keeping things humming.

'"They've got resources enough," he said. "It isn't as if they had the excuse that the country's poor. It's a good country. Move the population of a lively Colorado town to Rhatore, set up a good local paper, organise a board of trade, and let the world know what is here, and we'd have a boom in six months that would shake the empire. But what's the use? They're dead. They're mummies. They're wooden images. There isn't enough real, old-fashioned, downright rustle and razzle-dazzle and 'git up and git' in Gokral Seetaram to run a milk-cart."'

Such indeed might be the sentiments of an eager speculator who found himself among primitive folk. But the discord of ideas puts the whole piece so completely out of tune as to produce only a harsh and jarring sensation; the rough Western man is thoroughly out of his element, and flounders heavily, like a c.o.c.kney among mediaeval crusaders. This must be taken in fairness to be the result of collaboration, for in his own short stories Mr. Kipling never commits solecisms of the kind; on the contrary, he excels in the shading of strong local colours, and in the rapid, unerring delineation of characters that stand out in clear relief, yet blend with and act upon each other when they encounter.

But Mr. Kipling's volumes would require a separate article to themselves, so that we will merely take this occasion of recording our wish that he may some day turn his unique faculty of painting real Indian pictures toward the composition of a novel which shall _not_ be about Anglo-Indian society (for the thin soil of that field has already been over-harrowed), but shall give a true and lively rendering of the thoughts which strike an imaginative Englishman when he surveys the whole moving landscape of our Indian empire, watches the course of actual events, and tries to forecast its probable destiny.

It has been manifestly impossible in this brief article to do more than touch upon a few books that may ill.u.s.trate the prominent characteristics, and the general place in light literature, of Indian novels. This must explain why we have omitted several other works, of which _Transgression_[15] is the latest. In this tale we have a sketch of life on the North-West Frontier at the present day, with some well-known incidents of the Afridi War of 1897-98 introduced, and so coloured from the writer's own point of view as to convey, under a thin varnish of fiction, some sharp and sarcastic criticism on the management of affairs, the politics of the Government, and the personal behaviour of certain officials, who can be at once identified. Although the book is not without interest as a true account of hazardous and stirring frontier duties, we are bound to repeat our warning that this abuse of the novel for controversial purposes is not only unfair, but profoundly inartistic. No literary success, but failure and the confusion of styles, lies that way.

What, then, are the conclusions which we may draw from this brief survey of the more prominent and typical Indian novels? To the repertory of English fiction, which is perhaps the largest and most varied that any national literature contains, they have undoubtedly made a not unworthy contribution; for we may agree that fiction has some, if not the highest, value when it produces an animated representation of life and manners, even upon a limited and distant field. In the present instance the narrow range of plot and character that may be observed in the pure Anglo-Indian novel reflects the uniformity of a society which consists almost entirely, outside the Presidency capitals on the sea-coast, of civil and military officials--a society that is also upon one level of cla.s.s and of age, for among the English in India there are neither old men nor boys and girls; the men and women are in the prime of life, with a number of small children. This age-limit lops off from both ends of human existence a certain proportion of the characters that are available for filling up the canvas of the social novelist at home. And it is in truth a peculiar feature, not only of Anglo-Indian society, but of the Anglo-Indian administration, because the enforced retirement of almost every officer after the age of fifty-five years greatly diminishes the influence of weighty and mature experience exercised by the senior men in the services and government of most countries. In regard to the equality of cla.s.s it may be observed that here also the lack of variety produces a similar dearth of materials; we miss the picturesque contrasts of rich and poor, of townsfolk and country folk, of the diverse groups which make up a European population. The 'short and simple annals of the poor' cannot be woven into the Indian tapestry which records higher and broader scenes; the peasantry, for example, whose quaint figures and idioms are so useful in English novels, do not come into the Anglo-Indian tale. They cannot be blended in fiction with the foreign element because they are wholly apart in reality. In short, the whole company that play upon the exclusively Anglo-Indian stage belong to one grade of society, and the hero is invariably a military officer.

The most popular of Anglo-Indian novels are probably those which deal in exact reproduction of ordinary incidents and conversation, related in a sprightly and humorous style. This accords with the taste of present-day readers, many of whom take up a book only for the momentary amus.e.m.e.nt that it gives them, and are well content with interminable dialogues that do little more than echo, with a certain spice of epigram and smart repartee, the commonplaces interchanged among clever people at a country house or in a London drawing-room.

Nevertheless, we believe that Anglo-Indian fiction is seen at its best in the novel of action, since war and love-making must still, as formerly, rule the whole kingdom of romance; since as emotional forces they are the same in every climate and country. Each successive campaign in India, from the first Afghan War to the latest expedition across the Afridi frontier, has furnished the Anglo-Indian writer with a new series of striking incidents that can be used for his heroic deeds and dire catastrophes, for new landscapes and figures, all of them bearing the very form and stamp of impressive reality. If he is artist enough to avoid abusing these advantages, if he is neither an extravagant colourist nor a mere copyist or compiler, he has this fresh field to himself, he can give us a stirring narrative of frontier adventures, he can sketch in the aspect of a country or the distinctive qualities of a people that have preserved many of the features which in Europe have now vanished into the dim realms of early romance. His danger lies, as we have seen from some examples already quoted, in the temptation to make too much use of the attractive materials that are readily found to hand in military records or in such a real tragedy as the Sepoy mutiny, so that the novel is liable to become little more than authentic history related in a glowing, exuberant style of writing and portraiture.

In short, the Indian novel belongs to the objective outdoor cla.s.s; it is full of open air and activity, and the introspective psychological vein is almost entirely wanting. There are, indeed, pa.s.sages which indicate that peculiar sense of the correlation, so to speak, of the environment with the moods and feelings of men, the influence upon the human mind of nature--a sense which has inspired some of our finest poetry, and which is so well rendered by the best Russian novelists, by Tourgueneff and by Tolstoi. One work of Tolstoi's, _Les Cosaques_, might be especially recommended for study to the Anglo-Indian novelist of the future, as an example of the true impress that can be made upon a reader's mind by the literary art, when it succeeds in giving vivid interest to the picture of a solitary officer's life upon a dull and distant frontier.

FOOTNOTES:

[12] (1) _Tara._ By Meadows Taylor. London, 1898. (2) _Oakfield._ By William D. Arnold. London, 1853. (3) _The Wetherbys, Father and Son._ By John Lang. London, ?1850. (4) _Mr. Isaacs._ By F. Marion Crawford.