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Buys For Her Friends.
Glenshaw, Pa., Oct. 20th, 1904.
“Dear Sir:—lnclosed, find SI.OO, for
which please send me two boxes of Tetter
ine for my friends. It is so good that I
have tpld a great many people about it.
and I hope that they will send to you for
it Mrs. Henrietta Herron.”
Tetterlne destroys the disease germs in
all forms of skin diseases. 50c per box.
J. T. SHUPTRINE, Mfr., Savannah, Ga.
’DBSwtral
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CAUTION.
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; of 70 samples of witch hazel, bought of
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son), or both, and not one of the other 18
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AUGVSTA, GA.
‘BOOK REVIEWS
“FENWICK’S CAREER.”
By Mrs. Humphry Ward.
(Harper Bros., Publisher), Cole Book Co., Atlanta, Price $1.20.
The appearance of a new book by Mrs. Humphry Ward is always eagerly
welcomed by her American readers, for she has found her most ardent ad
mirers in this country. There can be little question that Mrs. Ward is one
of the very few contemporary novelists whose work will endure and who can
be considered very nearly on a. parity with her great countrywoman, George
Eliot. Yet no comparison between these two writers could ever be attempted
because of the entirely different trend of thought displayed in the works of
noth. As is well known, Mrs. Yard’s earliest efforts in a literary way have
all been somewhat iconoclastic in tone, and it is only within very recent years
lhat she has, in a great measure, deserted the field of the philosophical novel
for that of the semi-realistic one.
Tn her latest effort, “Fenwick’s Career,” the reader is reminded in “A
Prefatory Word” that “the story owes something to the past in its picturing
of the present” and in the development of “Fenwick’s Career” the life
story of the great English artist, Romney, is forcibly recalled to the mind of
the reader. Tn fact, frequent reference is made to this fact in the body of
the book itself. “John Fenwick,” like Romney, is an artist of great power,
who is hampered by poverty and lack of opportunity, as well as the additional
handicap of a wife and child. The chance for a season in London comes to
him through a fortuitous loan, and despite his affection for his wife, he
leaves her and her baby girl in a lonely cottage in wild Westmoreland and
goes to London to “try his fortune.” Meeting with a wealthy patron of art
who, accidentally treats the artist to a diatribe against matrimony, Fenwick
fails to admit that he has a wife, or that she is*the subject of his great pic
ture. On being asked, “Who is your model?” he replies, “A Westmoreland
type,” and thus begins the long train of concealment, which eventually brings
the artist, his wife and his friends to great straits.
Mrs. Fenwick is patient but passionate, and on hearing that her husband
is posing as an unmarried man, she goes to London, finds his studio empty
save for a picture of a beautiful woman before which the lamps are lighted
as though a shrine. She has heard of this woman before, and knows she is
the daughter of her husband’s rich patron, Lord Findon. She does not know,
however, that Madame de Pastourelles has a husband living, nor does she know
or could she understand the purely intellectual character of the friendship
between Fenwick and Madame de Pastourelles. Thinking of Romney, and his
guilty friendship for the beautiful Lady Hamilton, Mrs. Fenwick decides to
leave her husband and to take her child with her. This visit to London is
dramatically timed just on the eve of Fenwick’s first great success, and it so
happens that his heart has turned suddenly and tenderly toward his wife.
But her disappearance is complete, and despite his efforts to find her, twelve
years elapse before any trace of her is seen. And it is during this interval
that the reader is brought into contact with the character of Madame de
Pastourelles, a character almost superhuman in its perfections, and yet very
human in its cravings for some sort of happiness. Possibly Madame de Pas
tourelles will linger in the' reader’s mind long after every other character in
the somewhat disappointing story has faded away. Fenwick is too weak, too
irrational, to command much interest or any regard; Mrs. Fenwick is also
somehow “out of drawing;” not a weak character, but not strong enough for
the wife of an erratic man of genius. She returns, however, to her husband
just at the crucial time when he is about to take his own life—Madame de
Pastourelles visits him at his studio to bring him news of his wife and dis
covers the situation from which she rescues him. Her own husband had died
a year before this climax, and for a few months she had allowed herself to
drift into a close relation to Fenwick before she knew of his marriage. Her
attitude throughout the story is commendable in every respect, though just
a trifle “too rare and good for human nature’s daily food.” There is an ap
parent effort to impress the reader with Madame de Pastonrelle’s perfections,
and this is ever a fatal mistake on the part of a writer. The story ends with
a general reconciliation between husband and wife, and more than a hint of
the “living happy ever after” note. Its general motive is not plain, unless
it be to emphasize the fact that an artist should never marry a woman of his
own class who is most liable to misunderstand him, but that he should wait
until his genius brings him into contact with a higher and perhaps better
class of woman who will be to him an inspiration as well as a wife and a help
meet.
There is no trace of the power displayed in many of Mrs.. Ward’s earlier
books, but there is one significant item not to be overlooked. There is a “lit
tle rift within the lute” of Mrs. Ward’s almost invariably agnostic philoso
phy, for in “Fenwick’s Career” several of the most important characters are
shown to have deep reliance on religious faith. Madame de Pastourelles goes
regularly to some chapel service, “which soothes and strengthens,” and
Fenwick himself prays “to a personal God” eagerly and abjectly in the most
difficult parts of his life. We wonder if this means a “change of heart”
on the part of Mrs. Ward herself?
S. T. D.
The Golden Age for June 7, 1906.
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