NOVELISTS AND STORY-WRITERS.

Francis Richard Stockton.

Although born in Philadelphia, Mr. Stockton belongs to an old and distinguished New Jersey family, and he has, after many wanderings, at last selected his home in the State of his ancestors.

Within a few years he has purchased and fitted up a quaint and attractive mansion in the suburbs of Morristown, overlooking the beautiful Loantika Valley, where in the Revolutionary days the tents of the suffering patriots were pitched or their log huts constructed for the bitter winter. Beyond the long and narrow valley, the homes of prominent residents of Morristown appear on the Western limiting range of hills, and are charmingly picturesque.

This home Mr. Stockton has named "The Holt" and his legend, taken from Turberville, an old English poet, is painted over the fire-place in his Study which is over the Library on the South corner of the House:

Mr. Stockton and Richard Stockton, the signer of the Declaration of Independence, are descended from the same ancestor, Richard Stockton, who came from England in 1680 and settled in Burlington County, New Jersey.

Much fine and interesting criticism from various directions, has been called out by Mr. Stockton's works.

Edmund Gosse, the well-known Professor of Literature in England, said just before leaving our shores:

"I think Mr. Stockton one of the most remarkable writers in this country. I think his originality, his extraordinary fantastic genius, has not been appreciated at all. People talk about him as if he were an ordinary purveyor of comicality. I do not want to leave this country without giving my personal tribute, if that is worth anything, to his genius."

"More than half of Mr. Stockton's readers, without doubt", says another critic, "think of him merely as the daintiest of humorists; as a writer whose work is entertaining in an unusual degree, rather than weighed in a critical scale, or considered seriously as a part of the literary expression of his time".

It is acknowledged that Americans are masters, at the present day, of the art of writing short stories and these, as a rule, are like the French, distinctly realistic. In this art Mr. Stockton excels. Among his short stories, "The Bee Man of Orn" and "The Griffin and the Minor Canon" represent his power of fancy. "The Hunting Expedition" in "Prince Hassak's March" is particularly jolly, and in "The Stories of the Three Burglars", we find a specimen of his realistic treatment. In the last, he makes the young house-breaker, who is an educated man, say: "I have made it a rule never to describe anything I have not personally seen and experienced. It is the only way, otherwise we can not give people credit for their virtues or judge them properly for their faults." Upon this, Aunt Martha exclaims: "I think that the study of realism may be carried a great deal too far. I do not think there is the slightest necessity for people to know anything about burglars." And later she says, referring to this one of the three: "I have no doubt, before he fell into his wicked ways, he was a very good writer and might have become a novelist or a magazine author, but his case is a sad proof that the study of realism is carried too far."

No critic seems to have observed or noticed the very remarkable manner in which Mr. Stockton renders the negro dialect on the printed page. In this respect he quite surpasses Uncle Remus or any other writer of negro folk-lore. He spells the words in such a way as to give the sense and sound to ears unaccustomed to negro talk as well as to those accustomed to it. This we especially realize in "The Late Mrs. Null".

But besides the qualities we have noticed in Mr. Stockton's writings, there is a subtle fragrance of purity that exhales from one and all, which is in contrast to much of the novel-writing and story-telling of the present day. We have reason to welcome warmly to our homes and to our firesides, one who, by his pure fun and drollery, can charm us so completely as to make us forget, for a time, the serious problems and questions which agitate and confront the thinking men and women of this generation.

So varied and voluminous are the writings of Mr. Stockton, they may be grouped as Juveniles, Novels, Novelettes and Collected Short Stories. Besides, there are magazine stories constantly appearing, and still to be collected. Most prominent among the volumes are "The Lady or The Tiger?"; "Rudder Grange" and its sequel, "The Rudder Grangers Abroad"; "The Late Mrs. Null"; "The Casting Away of Mrs. Lecks and Mrs. Aleshine"; "The Hundredth Man"; "The Great War Syndicate"; "Ardis Claverden"; "Stories of the Three Burglars"; "The House of Martha" and "The Squirrel Inn".

After considering what Mr. Stockton has accomplished and the place which by his genius and industry he has made for himself in Literature, we do not find it remarkable that in July, 1890, he was elected by the readers of The Critic into the ranks of the Forty Immortals.

We give to represent Mr. Stockton, an extract from his novel of "Ardis Claverden", containing one of those clever conversations so characteristic of the author, and success in which marks a high order of dramatic genius, in making characters express to the listener or reader their own individuality through familiar talk.

EXTRACT FROM "ARDIS CLAVERDEN."

Mr. and Mrs. Chiverly were artists.

The trouble with Harry Chiverly was that he had nothing in himself which he could put into his work. He could copy what he could see, but if he could not see what he wanted to paint, he had no mental power which would bring that thing before him, or to transform what he saw into what it ought to be.

The trouble with Mrs. Chiverly was that she did not know how to paint. With her there was no lack of artistic imagination. Her brain was full of pictures, which, if they could have been transferred to the brain of her husband, who did know how to paint, would have brought fame and fortune. At one end of her brush was artistic talent, almost genius; at the other was a pigment mixed with oil. But the one never ran down to the other. The handle of the brush was a non-conductor.

We pass on to a scene in the studio. An elderly man enters, a stranger, to examine pictures, and stops before Mr. Chiverly's recently finished canvass.

"Madam," said he, "can you tell me where the scene of this picture is laid? It reminds me somewhat of the North and somewhat of the South, and I am not sure that it does not contain suggestions of the East and the West."

"Yes," thought Ardis at her easel, "and of the North-east, and the Sou-sou'-west, and all the other points of the compass."

Mrs. Chiverly left her seat and approached the visitor. She was a little piqued at his remark.

"Some pictures have a meaning," she said, "which is not apparent to every one at first sight."

"You are correct, madam," said the visitor.

"This painting, for instance," continued Mrs. Chiverly, "represents the seven ages of trees." And then with as much readiness as Jacques detailed the seven ages of man to the duke, she pointed out in the trees of the picture the counterparts of these ages.

"Madam," said the visitor, "you delight me. I admit that I utterly failed to see the point of this picture; but now that I am aware of its meaning I understand its apparent incongruities. Meaning despises locality."

"You are right," said Mrs. Chiverly, earnestly. "Meaning is above everything."

"Madam," said the gentleman, his eyes still fixed upon the canvass, "as a student of Shakespeare, as well as a collector, in a small way, of works of art, I desire to have this picture, provided its price is not beyond my means."

Mrs. Chiverly gazed at him in an uncertain way. She did not seem to take in the import of his remark.

From her easel Ardis now named the price which Mr. Chiverly had fixed upon for the picture. He never finished a painting without stating very emphatically what he intended to ask for it.

"That is reasonable," said the gentleman, "and you may consider the picture mine." And he handed Mrs. Chiverly his card. Then, imbued with a new interest in the studio, he walked about looking at others of the pictures.

"This little study," said he, "seems to me as if it ought to have a significance, but I declare I am again at fault."

"Yes," said Mrs. Chiverly, "it ought to have a significance. In fact there is a significance connected with it. I could easily tell you what it is, but if you were afterwards to look at the picture you would see no such meaning in it."

"Perhaps this is one of your husband's earlier works" said the gentleman, "in which he was not able to express his inspirations."

"It is not one of my husband's works," said Mrs. Chiverly; "it is mine."

The moment that the gentleman had departed Ardis flew to Mrs. Chiverly and threw her arms around her neck. "Now my dearest," she exclaimed, "you know your vocation in life. You must put meanings to Mr. Chiverly's pictures."

When the head of the house returned he was, of course, delighted to find that his painting had been sold.

"That is the way with us!" he cried, "we have spasms of prosperity. One of our works is bought, and up we go. Let us so live that while we are up we shall not remember that we have ever been down. And now my dear, if you will give me the card of that exceptional appreciator of high art, I will write his bill and receipt instantly, so that if he should again happen to come while I am out there may be nothing in the way of an immediate settlement."

Mrs. Chiverly stood by him as he sat at the desk. "You must call the picture," she said, "'The Seven Ages of Trees.'"

"Nonsense!" exclaimed Mr. Chiverly, turning suddenly and gazing with astonishment at his wife. "That will do for a bit of pleasantry, but the title of the picture is 'A Scene on the Upper Mississippi.' You don't want to deceive the man, do you?"

"No, I do not," said Mrs. Chiverly, "and that is one reason why I did not give it your title. It is a capitally painted picture, and as a woodland 'Seven Ages' it is simply perfect. That was what it sold for; and for that and nothing else will the money be paid."

Mr. Chiverly looked at her for a moment longer, and then bursting into a laugh he returned to his desk. "You have touched me to the quick," he said. "Money has given title before and it shall do so now. There is the receipted bill!" he cried, pushing back his chair.

Francis Bret Harte.

Bret Harte, so far as we can discover, has written the only story of Revolutionary times in Morristown, and the only story of those times in New Jersey except Miss Holdich, who follows, and James Fenimore Cooper, whose "Water Witch" is located about the Highlands of New Jersey. By a passage from his story of "Thankful Blossom" we shall represent him at the close of this sketch.

Between 1873 and 1876 Bret Harte lived in Morristown, in several locations: in the picturesque old Revere place on the Mendham Road, the very home for a Novelist, now owned and occupied by Mr. Charles G. Foster; in the Whatnong House for one summer, near which are located old farms, which seem to us to have many features of the "Blossom Farm" and to which we shall refer; in the Logan Cottage on Western Avenue and in the house on Elm Street now owned and occupied by Mr. Joseph F. Randolph.

The steps by which Bret Harte climbed to the eminence that he now occupies, are full of romantic interest. Left early by his father, who was a Professor in an Albany Seminary and a man of culture, to struggle with little means, the boy, at fifteen, had only an ordinary education and went in 1854, with his mother, to California. He opened a school in Sonora, walking to that place from San Francisco. Fortune did not favor him either in this undertaking or in that of mining, to which, like all young Californians in that day, he resorted as a means to live. He then entered a printing office as compositor and began his literary career by composing his first articles in type while working at the case. Here he had editorial experiences which ended abruptly in consequence of the want of sympathy in the miners with his articles. He returned to San Francisco and became compositor in the office of The Golden Era. His three years experience among the miners served him in good stead and his clever sketches describing those vivid scenes, soon placed him in the regular corps of writers for the paper. The Californian, a literary weekly, then engaged Harte as associate manager and, in this short-lived paper appeared the "Condensed Novels" in which Dickens' "Christmas Stories", Charlotte Brontë's "Jane Eyre", Victor Hugo's "Les Misérables", and other prominent and familiar writings of distinguished authors are most cleverly taken off. These have amused and delighted the reading world since their first appearance. During the next six years, he filled the office of Secretary of the United States Branch Mint, and also wrote for California journals, many of his important poems, among them, "John Burns of Gettysburg", and "The Society upon the Stanislau", which attracted wide attention by their originality and peculiar flavor of the "Wild West". In July, 1868, Harte organized, and became the editor of, what is now a very successful journal, The Overland Monthly.

For this journal he wrote many of his most characteristic stories and poems and introduced into its pages, "The Luck of Roaring Camp"; "The Outcasts of Poker Flat", and others having that peculiar pseudo-dialect of Western mining life of which he was the pioneer writer. He had now taken a great step towards high and artistic work. At this point his reputation was established.

As for Revolutionary New Jersey poems, abundant as the material is for inspiration, Bret Harte's "Caldwell of Springfield" seems to be one of very few. At the luncheon of the Daughters of the American Revolution held in May of 1892, a prominent member of the Association recited "Parson Caldwell" and mentioned, that strange to say, it was as far as she had been able to ascertain, the only poem on Revolutionary times in New Jersey that had ever been written, though she had searched thoroughly. In addition to this, we find only, besides the two poems of Mr. Charles D. Platt, given in this volume, (and others of his referred to) one or two of the sort in a volume published years ago, privately, by Dr. Thomas Ward, of New York (a great uncle of Mrs. Luther Kountze). Very few copies of his poems were printed and all were given to his friends, not sold.

We must not forget the very beautiful poem of "Alice of Monmouth", by Edmund Clarence Stedman, and also, perhaps, might be included his spirited "Aaron Burr's Wooing". There was also an early writer, Philip Freneau, of Monmouth County, who lived in Colonial and Revolutionary times, and wrote some quaint and charming poems of that period.

If there are any others we would be glad to be informed.

In this book, "Plain Language From Truthful James", better known as "The Heathen Chinee", represents Mr. Harte among the poets, in our group of writers, for the reason that it is so widely known as a satire upon the popular prejudices against the Chinese, who were at that time pursued with hue and cry of being shiftless and weak-minded.

From 1868, Harte became a regular contributor to the Atlantic Monthly and he also entered the lecture field. It was during this period that he lived in Morristown. In 1878 he went to Crefeld, Germany, as United States Consul, and here began his life abroad. Two years later he went, as Consul, to Glasgow, Scotland, since which time he has remained abroad, engaged in literary pursuits.

The Contributor's Club, of the Atlantic Monthly, gives a curious little paper on "The Value of a Name", in which the writer insists that Bret Harte, Mark Twain, Dante Rossetti and others owe a part of their success, at least, to the phonic value of their names. He says that "much time and thought are spent in selecting a name for a play or novel, for it is known that success is largely dependent on it" and he therefore censures parents who are "so strangely careless and unscientific in giving names to their children."

Bret Harte's publications include besides "Condensed Novels", "Thankful Blossom", and others already mentioned, several volumes of Poems issued at different periods: among them are "Songs of the Sierras" and "Echoes of the Foot Hills". Then there are "Tales of the Argonauts and Other Stories"; "Drift from Two Shores"; "Twins of Table Mountain"; "Flip and Found at Blazing Star"; "On the Frontier"; "Snow Bound at Eagle's"; "Maruja, a Novel"; "The Queen of the Pirate Isle", for children; "A Phyllis of the Sierras"; "A Waif of the Plains" and many others, besides his collected works in five volumes published in 1882.

Writing to Bret Harte in London, for certain information about the story of "Thankful Blossom", the author of this volume received the following reply:

15 Upper Hamilton Terrace, N. W., 31st May, '90.

Dear Madam:

In reply to your favor of the 14th inst., I fear I must begin by saying that the story of "Thankful Blossom", although inspired and suggested by my residence at Morristown at different periods was not written at that place, but in another part of New Jersey. The "Blossom Farm" was a study of two or three old farm houses in the vicinity, but was not an existing fact so far as I know. But the description of Washington's Head-Quarters was a study of the actual house, supplemented by such changes as were necessary for the epoch I described, and which I gathered from the State Records. The portraits of Washington and his military family at the Head-Quarters were drawn from Spark's "Life of Washington" and the best chronicles of the time. The episode of the Spanish Envoy is also historically substantiated, and the same may be said of the incidents of the disaffection of the "Connecticut Contingent."

Although the heroine, "Thankful Blossom", as a character is purely imaginary, the name is an actual one, and was borne by a (chronologically) remote maternal relation of mine, whose Bible with the written legend, "Thankful Blossom, her book", is still in possession of a member of the family.

The contour of scenery and the characteristics of climate have, I believe, changed but little since I knew them between 1873 and 1876 and "Thankful Blossom" gazed at them from the Baskingridge Road in 1779.

I remain, dear madam,

Yours very sincerely, Bret Harte.

Two of the farms from which Bret Harte may have drawn the inspiration for the surroundings of his story, may be seen on the Washington Valley road as you turn to the right from the road to Mendham. Turning again to the left,—before you come to the junction of the road which crosses at right angles to the Whatnong House, where Mr. Harte passed a summer,—you come upon the Carey Farm, the house built by the grandfather of the present occupants. There you see the stone wall,—crumbling now,—over which the bewitching Mistress Thankful talked and clasped hands with Captain Allen Brewster of the Connecticut Contingent. The elm-tree, upon whose bark was inscribed "the effigy of a heart, divers initials and the legend 'Thine Forever'", has been lately cut down and the trunk decorated with growing plants and flowers.

We see the black range of the Orange Hills over which the moon slowly lifted herself as the Captain waited for his love, "looking at him, blushing a little, as if the appointment were her own". We see also the faintly-lit field beyond,—the same field in which, further on in the story after Brewster's treachery, Major Van Zandt and Mistress Thankful picked the violets together and doing so, revealed their hearts' love to one another on that 3rd of May, 1780.

The orchard is there, still bearing apples, but the "porch" and the "mossy eaves" evidently belong to the next farm house, which we find exactly on the corner at the junction of the two roads. It is the old Beach farm. The original house has a brick addition, with the inscription among the bricks, "1812".

It is on the wooden part built earlier and evidently an ancient structure, that we see the "porch and eaves".

We select from "Thankful Blossom" the very fine pen portrait of Washington and his military family at the Headquarters.

THANKFUL BLOSSOM.

A Romance of the Jerseys, 1779.