In the seclusion of his island, and with the poor assistance of the outlawed medical student, Montgomery, Dr Moreau succeeded in producing some creditable parodies of humanity by his operations on pigs, bulls, dogs and other animals.  These cut and remoulded creatures had something the appearance and intelligence of Homo Sapiens, and could be maintained at that level by the exercise of discipline and the constant recital of “the Law”; left to themselves they gradually reverted to the habits and manners of the individual beasts out of which they had been carved.  We may infer that some subtle organic chemistry worked its determination upon their uncontrolled wills, but Mr Wells offers no explanation, psychic, chemical or biological, and I do not think that he intended any particular fable beyond the evident one that, physically, one species is as like to the next as makes no matter.  What Moreau did well another man might have done better.  It is a good story, and the adventures of the marooned Prendick, alone, are sufficient justification for the original conception. (I feel bound to note, however, the absurd comments of some early reviewers who seemed to imagine that the story was a defence of vivisection.)

The next romance (1897) seeks to answer the question:  “What could a man do if he were invisible?” Various attempts to answer that question had been made by other writers, but none of them had come to it with Mr Wells’ practical grasp of the real problem; the earlier romantics had not grappled with the necessity for clothes and the various ways in which a material man, however indistinguishable his body by our sense of sight, must leave traces of his passage.  The study from beginning to end is finely realistic; and even the theory of the albino, Griffin, and in a lesser degree his method of winning the useless gift of invisibility, are convincing enough to make us wonder whether the thing is not scientifically possible.  As a pure romance set in perfectly natural surroundings, The Invisible Man is possibly the high-water mark of Mr Wells’ achievement in this kind.  He has perfected his technique, and the interest in the development of the story works up steadily to the splendid climax, when the form of the berserker Griffin returns to visibility, his hands clenched, his eyes wide open, and on his face an expression of “anger and dismay,” the elements—­as I choose to think—­of man’s revolt against imprisonment in the flesh.  It is worth while to note that by another statement, the same problem is posed and solved in the short story called The Country of the Blind.