THE HOUSE OF COBWEBS AND OTHER STORIES BY GEORGE GISSING 1906 TO WHICH IS PREFIXED THE WORK OF GEORGE GISSING AN INTRODUCTORY SURVEY BY THOMAS SECCOMBE CONTENTS THE WORK OF GEORGE GISSING A CHRONOLOGICAL RECORD THE HOUSE OF COBWEBS A CAPITALIST CHRISTOPHERSON HUMPLEBEE THE SCRUPULOUS FATHER A POOR GENTLEMAN MISS RODNEY'S LEISURE A CHARMING FAMILY A DAUGHTER OF THE LODGE THE RIDING-WHIP FATE AND THE APOTHECARY TOPHAM'S CHANCE A LODGER IN MAZE POND THE SALT OF THE EARTH THE PIG AND WHISTLE THE WORK OF GEORGE GISSING AN INTRODUCTORY SURVEY 'Les gens tout à fait heureux, forts et bien portants, sont-ils préparés comme il faut pour comprendre, pénétrer, exprimer la vie, notre vie si tourmentée et si courte?' MAUPASSANT. In England during the sixties and seventies of last century the world of books was dominated by one Gargantuan type of fiction. The terms book and novel became almost synonymous in houses which were not Puritan, yet where books and reading, in the era of few and unfree libraries, were strictly circumscribed. George Gissing was no exception to this rule. The English novel was at the summit of its reputation during his boyish days. As a lad of eight or nine he remembered the parts of _Our Mutual Friend_ coming to the house, and could recall the smile of welcome with which they were infallibly received. In the dining-room at home was a handsomely framed picture which he regarded with an almost idolatrous veneration. It was an engraved portrait of Charles Dickens. Some of the best work of George Eliot, Reade, and Trollope was yet to make its appearance; Meredith and Hardy were still the treasured possession of the few; the reigning models during the period of Gissing's adolescence were probably Dickens and Trollope, and the numerous satellites of these great stars, prominent among them Wilkie Collins, William Black, and Besant and Rice. Of the cluster of novelists who emerged from this school of ideas, the two who will attract most attention in the future were clouded and obscured for the greater period of their working lives. Unobserved, they received, and made their own preparations for utilising, the legacy of the mid-Victorian novel--moral thesis, plot, underplot, set characters, descriptive machinery, landscape colouring, copious phraseology, Herculean proportions, and the rest of the cumbrous and grandiose paraphernalia of _Chuzzlewit, Pendennis_, and _Middlemarch_. But they received the legacy in a totally different spirit. Mark Rutherford, after a very brief experiment, put all these elaborate properties and conventions reverently aside. Cleverer and more docile, George Gissing for the most part accepted them; he put his slender frame into the ponderous collar of the author of the _Mill on the Floss_, and nearly collapsed in wind and limb in the heart-breaking attempt to adjust himself to such an heroic type of harness.