TALES OF THE SEA—­1898

It is by his irresistible power to reach the adventurous side in the character, not only of his own, but of all nations, that Marryat is largely human.  He is the enslaver of youth, not by the literary artifices of presentation, but by the natural glamour of his own temperament.  To his young heroes the beginning of life is a splendid and warlike lark, ending at last in inheritance and marriage.  His novels are not the outcome of his art, but of his character, like the deeds that make up his record of naval service.  To the artist his work is interesting as a completely successful expression of an unartistic nature.  It is absolutely amazing to us, as the disclosure of the spirit animating the stirring time when the nineteenth century was young.  There is an air of fable about it.  Its loss would be irreparable, like the curtailment of national story or the loss of an historical document.  It is the beginning and the embodiment of an inspiring tradition.

To this writer of the sea the sea was not an element.  It was a stage, where was displayed an exhibition of valour, and of such achievement as the world had never seen before.  The greatness of that achievement cannot be pronounced imaginary, since its reality has affected the destinies of nations; nevertheless, in its grandeur it has all the remoteness of an ideal.  History preserves the skeleton of facts and, here and there, a figure or a name; but it is in Marryat’s novels that we find the mass of the nameless, that we see them in the flesh, that we obtain a glimpse of the everyday life and an insight into the spirit animating the crowd of obscure men who knew how to build for their country such a shining monument of memories.

Marryat is really a writer of the Service.  What sets him apart is his fidelity.  His pen serves his country as well as did his professional skill and his renowned courage.  His figures move about between water and sky, and the water and the sky are there only to frame the deeds of the Service.  His novels, like amphibious creatures, live on the sea and frequent the shore, where they flounder deplorably.  The loves and the hates of his boys are as primitive as their virtues and their vices.  His women, from the beautiful Agnes to the witch-like mother of Lieutenant Vanslyperken, are, with the exception of the sailors’ wives, like the shadows of what has never been.  His Silvas, his Ribieras, his Shriftens, his Delmars remind us of people we have heard of somewhere, many times, without ever believing in their existence.  His morality is honourable and conventional.  There is cruelty in his fun and he can invent puns in the midst of carnage.  His naiveties are perpetrated in a lurid light.  There is an endless variety of types, all surface, with hard edges, with memorable eccentricities of outline, with a childish and heroic effect in the drawing.  They do not belong to life; they belong