So much of the writer. Of the man Sienkiewicz there is little to be obtained. Like all great creative geniuses, he is so completely identified with his work that even while his personality lives in his creations it eludes them. He offers us no confidences concerning himself, no opinions or prejudices. He does not divert the reader with personalities. He sets before us certain groups of men and women, whom certainly he knows and loves, and has lived among. He sets them in motion; they become living, breathing creations; they assume relations in time and space; they speak and act for themselves. If there be a prompter he remains always behind the scenes. Admire or criticise or love the actors as you will, you cannot for a moment doubt that they are alive. This is the supreme miracle of genius,--the fine union of dramatic instinct, the aesthetic sense, and an intense, vital realism; not the realism of the cesspool or the morgue, but the realism of the earth and sky, and of healthy human nature. We are inclined to believe that Henryk Sienkiewicz has answered an often discussed question that has much exercised the keenly critical intellect of this age. One school of thought cries out, "Let us have life as it is. Paint anything, but draw it as it is. Let the final test of all literary works be, 'Is it real and true?'" To the romantic school quite another class of ideas appeals; to it much of the so-called realistic literature seems very bad, or merely "weary, stale, flat, and unprofitable." The profoundest utterances of realism do not impress it much in themselves. It insists that art has something to say to literature, that in this field as elsewhere holds good the law of natural selection of types and survival of the fittest. While each school has its down-sittings and up-risings, its supporters and its critics, neither school has yet exhausted the possibilities of literature. The novel's aim is to depict Life, and life is neither all romance nor all realism, but a curious mixture of both. Man is neither a beast nor a celestial being, but a compound. Though he can crawl, and may have clinging to him certain brute instincts that may be the relics of his anthropoidal days, he has also, thank God, divine desires and discontents, and certain rudimentary wings. And neither school alone is competent to paint him as he is. The author of "La Bête Humaine" fails as completely as the visionary À Kempis. Neither realism nor romance alone will ever with its small plummet sound to its depths the human heart or its mystery; yet from the union of the two much perhaps might come.