His creative power is not yet mature. That is to say, he does not convince the reader in the measure which one would expect from a writer of his undoubted emotional faculty. And yet he is often guilty of carelessness in corroborative detail--such carelessness as only a mighty tyrant over the reader could afford. The story deals largely with journalism. And one of the papers most frequently mentioned is "The Backwash." Now no paper could possibly be called "The Backwash." It is conceivable that a paper might be called "The Tip Top." It is just conceivable that a paper might be called "Snip Snap." But "The Backwash," never! Mr. Masefield knows this as well as anybody. The aim of his nomenclature was obviously satiric--an old dodge which did very well in the loose Victorian days, but which is excruciatingly out of place in a modern strictly realistic novel. A trifle, you say! Not at all! Every time "The Backwash" is mentioned, the reader thinks: "No paper called 'The Backwash' ever existed." And a fresh break is made in Mr. Masefield's convincingness. A modern novelist may not permit himself these freakish negligences. Another instance of the same fault is the Christian name of Mrs. Bailey in "The New Machiavelli." It was immensely clever of Mr. Wells to christen her "Altiora." But in so doing he marred the extraordinary brilliance of his picture of her. If you insist that I am talking about trifles, I can only insist that a work of art is a series of trifles. * * * * * Mr. Masefield's style suffers in a singular manner. It is elaborate in workmanship--perhaps to the point of an excessive self-consciousness. But its virtue is constantly being undermined by inexactitudes which irritate and produce doubt. For example: "They entered the tube station. In the train they could not talk much. Lionel kept his brain alert with surmise as to the character of the passengers. Like Blake, a century before, he found 'marks of weakness, marks of woe,' on each face there." Blake in the tube! Mr. Masefield will produce a much better novel than "The Street of To-day." LECTURES AND STATE PERFORMANCES [_25 May '11_]