CURRENT LITERATURE.
Platonics. A Study by Ethel M. Arnold. (Osgood, McIlvaine, and Co.)—It is a question that will excite the curiosity of the reader of this impressive little tale, whether it was written to illustrate the verse which is placed as a motto on the title-page, or whether, after the story had been written, the verse was recalled because it illustrated it so well. Perhaps, indeed, the reader may think it possible that what Mr. Myers calls the " sub- liminal consciousness " had been so thoroughly saturated with the spirit of Matthew Arnold's verse,- " We in some unknown Power's employ
Move on a rigorous line ; Oan neither, when we will, enjoy, Nor when we will, resign,"
that it suggested the tale first, without the conscious co-operation of the author, and only recalled the verse afterwards, when the story had been already executed. We are disposed, however, to conjecture that the motto created the story, rather than that the story recalled the motto. Certainly, the motto could not possibly have taken concrete shape in a more apt and perfect form. Miss Arnold's picture of the heroine who could neither, when she would, enjoy, nor when she would, resign, applies, we suppose, chiefly to Susan Dormer; but it is not far from applying equally to Kit Drummond. Indeed it fits both heroines, who are both in love with the same man, though he is really in love with only one of them, in spite of his offering himself to both in turn. The first rejects him deliberately, and yet cannot resign him ; the second accepts him reluctantly, but cannot enjoy his love for love of the friend who is, as she knows, dying of her renunciation of him. The one cannot resign her love ; the other cannot resign her friendship. Each alike could neither, when she would, enjoy, nor when she would, resign. The situation is very subtly con- ceived and very delicately executed. On the whole, we sympathise most deeply, of course, with the one who resigns most and enjoys nothing ; but the spoilt happiness of the one who resigns least and enjoys most is also very vividly and subtly delineated. But the painting of Susan Dormer is a finished painting, while that of Kit Drummond is only a spirited sketch. There is more of true art, however, in these hundred and twenty-eight tiny pages, than in many a clever three-volume novel.
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