John Trevena - By Violence

For eight years or more, since I first became acquainted with the novels and tales of John Trevena it has been my firm conviction that only Thomas Hardy and George Moore among contemporary novelists rival his art at its best. Like Meredith, he has written for twenty years in obscurity, and like Meredith also he has been content with a small discriminating audience. I suppose that in 1950 our grandchildren will be electing college courses on his literary method, but meanwhile it would be more gratifying if there were even a slight public response to the quality of his individual talent.

Trevena's novels are the expression of a passionate feeling for Nature, regarded as the sum of human personality and experience, in all its moods, – benign and malign, as man is benign and malign, and faithful to life in the stone as well as the flower. What a gallery of memorable characters they are, Mary and Peter Tavy, Brightly, Cuthbert Orton, Jasper Ramrige, Anthonie and Petronel, William and Yellow Leaf, Captain Drake and dark Pendoggat, Ann Code, Cyril Rossingall, and a hundred others, passionate and gentle, with wind and water and earth and sky for a chorus, and the shifting pageantry of Nature as a stage.

His fourteen volumes reveal a gift for characterization equalled by none of the contemporary English realists, and a Shakespearian humor elsewhere gone from our day. In Furze the Cruel , Bracken , Wintering Hay , and Sleeping Waters , to name no others, John Trevena has written novels of Dartmoor that will take their rightful place in the great English line, when the honest carpentering of Phillpotts that now overshadows them is totally forgotten.

The feeling has spread among Trevena's few critical American admirers who have written about him, that he is fundamentally morbid and one-sided. On the contrary, I know of few novelists who are more recklessly and irresistibly gay, in whom sheer fun bubbles over so spontaneously and wholeheartedly. To ignore life's harshness is simply to ignore life. Trevena's many-sidedness will be apparent only when there is a definitive edition of his work. His habit of confining a novel to a single mood or passion of nature, together with the fact that Americans have only had an opportunity to read those novels by him which deal with nature's most cruel moods, have done the reputation of Trevena a grave injustice.

By Violence and Matrimony are Trevena's most beautiful short tales, and I hardly know which is the finer revelation of poetic grace and gentle vision. Their message is conveyed so quietly that they may be read for their sensuous beauty only, and yet convey a rare pleasure. If their feeling is veiled and somewhat aloof from the common ways of men, there is none the less a fine human sympathy concealed in them, and a golden radiance indissolubly woven into their pages.

If Nature's power is inevitable in these stories, it is also kind, and I like to think that from By Violence as a text a new reading of earth may be deciphered. Trevena has written the books of furze and heather and granite and bracken, which outlast time on the hills of Dartmoor. But this tale hints at a fifth force which survives all the others. Some day, when the wind is strong, John Trevena will write the book of "The Rain-drop," which is the gentlest of all elements, and yet outlasts the stone.

South Yarmouth, Mass.

February 26, 1918

"Dear Sir, —

"The wooden enemies are out.

Simon Searell read this short message as he tramped the streets of Stonehouse, which were full of fog, from the sea on one side and the river on the other. Vorse was an uneducated man; the mysticism of flowers was nothing to him, the time of spring was merely a change of season, and the most spiritual of blooms were only "wooden enemies." Searell frowned a little, not at the lack of education, which was rather a peace to be desired, but at the harshness of the words, and went on, wondering if the wood-anemones were to be his friends, or little cups of poison.

He climbed streets of poor houses, their unhappy windows curtained with mist, and came out near a small church made of iron, a cheap and gaudy thing, almost as squalid on the outside as the houses. The backslider looked at it with a shudder. It was his no longer; he had given it up; he was forgetting those toy-like altars, the cheap brass candlesticks, the artificial flowers, and all the images. They were wooden and stone enemies to him now. He was going deeper to find the throbbing heart of religion, putting aside dolls and tapers and the sham of sentimentality. Solitude and mysticism were to be his stars through the night, and he trusted, with their aid, to reach the dawn. He turned from the church, stopped at a house, and that was squalid too, knocked, then wiped his boots, as if certain of being admitted.

"Father Damon?" he asked shortly. Searell's voice was sweet; he had helped people "home," as they called it, with his tongue, not with his soul, just as a sweet-toned organ calls for tears with the beauty of its sounds, though the instrument itself is dead.

"Yes, your reverence," the housekeeper answered, as shortly; and Searell walked up the foggy stairs murmuring to himself, "The wind-flowers are out, and I am free."

Father Damon stood in a little square room hideously papered. He was small, dark, heavy-featured, peasant-like; and Searell saw at a glance that his successor was as dull in many ways as Oliver Vorse. All that he knew had been forced upon him almost violently; he had not gone forth gathering for himself, he dared not, his mind had been tilled by careful teachers, kept under restraint, all his side-growths pruned away, in order that orthodoxy might develop in one large unlovely head. When the order went forth to kneel, he knelt, and when it was time to lift his eyes to Heaven, he lifted them. It was a life of prison, and he could never smell the woodland through the fog of incense.

"He knows nothing," muttered Searell. "He thinks it is daylight where he stands."

"I come to give you information about the mission," he said aloud, and then began; but the telling took some time. How troublesome, how paltry, the details; and Father Damon was so dull. Everything had to be repeated, explained so carefully; and was it worth the words? The successor was very earnest, but not enthusiastic, that had been crushed out of him; and Searell grew impatient at the wooden figure, with its simple face and child-like questions. He spoke faster, almost angrily, desiring to get away and smell the earth; and his eyes wandered about the room, which was so unlovely, not bare, but filled with those things that make for the nakedness of life. There was wanting something to galvanise that sluggish Damon into passion, to destroy the machinery, turn him into a strong animal with dilating nostrils. One little touch would have done it. A portrait of a pretty woman upon the mantelshelf would have gone far; but there was nothing except pictures of mythical saints.

"You are retiring. You seem strong and well," said Damon, when he had obtained all the information that was required.

Searell was in a hurry to be gone, as the sleeper struggles to awake from a bad dream; but that voice and its stagnant repose aroused him.

"I am old, I am sixty," he said. "I am beginning again, trying to find what the Church has not shown me."

"What is that?"

"Light."

Damon stared with the eyes of horror, and put out his peasant-like hands as if to force away some weight that pressed against him; but he said nothing.

"I will not depart in the odour of hypocrisy. Listen," said Searell. "I am far from saying that the Church does not lead towards a kind of light; but it has not led me. And this do I say, that in the world at large all religion is a failure; and I am going to find mine in the solitudes."