We read Mr F. M. Hueffer's work because it shows a versatility that is quite out of the common in modern authors.

He is successful with vers libre (which is decidedly uncommon) and even with rhymed vers libre (which is more uncommon still).

"Vers libre," he says, "is the only medium in which I can convey more intimate moods. Vers libre is a very jolly medium in which to write and to read, if it be read conversationally and quietly."

His poem On Heaven, which he afterwards wished to suppress as being "too sloppy," contains these lines:

But it is not as a poet, a taste of whose quality I have just given you, that he would be judged.

It is as the novelist who wrote two of the most interesting novels of our time, Ladies Whose Bright Eyes and The Good Soldier.

The former is the best historical romance that I have ever read.

Mr Sorrell, a mining engineer who had taken up publishing, is travelling up from Plymouth to London when the train goes off the line and he wakes up to find himself living in the fourteenth century possessed of a twentieth-century brain and filled with twentieth-century ideas. He is in possession of a sacred talisman which all the people he meets want to deprive him of: incidentally the fact that he has it causes everyone to treat him with great respect.

With every regard for detail even to language Mr Hueffer builds up a picture for us of life in 1326 in a Hampshire castle:

"A great many sounds of trumpets came from the castle below to proclaim that supper was about to be set on the boards. The sun was just down below the hills, for at that harvest time of the year, when all men and women were wont to be in the fields helping to get in the oat crop and the last of the hay, supper, which was usually at four, was not partaken of till after sunset.

"It was not really dark, but blue shadows had fallen over the long valley of the Wiley, mists were arising amongst the heavy foliage of the trees. The castle of Tamworth, farther down the valley, showed enormous and purple, as if it blocked up all the passage way, and the houses of the little town of Wishford, which was beyond the bridge, being visible from that high place, showed their white mud sides all pink in the light reflected from the sky. From the top of the Portmanmote Hall, the gilded effigy of the Dragon of Wiley turned slowly in the capricious air of the evening, sending forth now a stream of light, and again being obscured. The cavalcade of the Lady Dionissia had reached the foot of the green knoll, and her trumpeter blew a turn of notes to demand admission to the castle of Coucy."

We are given every detail of the lives of these mediÆval people right down to the odours that pervaded the court.

We see Mr Sorrell sitting down to a first course at dinner of fourteen dishes, eating a piece of dark-looking meat, both salt and sweet and tasting of nutmeg and cinnamon, having the consistency of soft jelly. He finds even his wines spiced with cloves.

The first dish of the first course was a compound of the tongues of rabbits, hedgehogs, deer, geese and wild boars, the breasts of partridges and the livers of pheasants. It contained, moreover, forcemeat balls made of honey, cinnamon and flour boiled in wine, and the same was made of honey, nutmegs, cloves, garlic and mint. Next he had to taste a panade of herring boiled in white wine, covered with a sweet sauce compounded out of cherries, which seemed to Mr Sorrel to be a mixture of strawberry jam and oysters.

"The pages carried away the plates and emptied them into a great tub with two handles which served for the broken meat of the poor waiting outside the castle gates. This was done to the sound of trumpets. And whilst the second course was being brought, a man came in with a bear that danced in a sort of horseshoe formed by the two tables along the wall and the small table on the dais. This man had with him a girl who danced upon her hands with her feet in the air."

Conversation ran on exploits in the Holy Land, strange happenings in the Adriatic and miracles, amid a din of knives, teeth, crying out for more wine, more ale, more metheglin, so that Mr Sorrell could neither hear others nor make himself heard. When he complained orders were given and a man armed with a long stick like a hop-pole began running down the tables striking people on the heads and hands, "upsetting drinking vessels and sending platters of meat skimming on to the rushes, where they were devoured by the many and large dogs that lay beneath all the tables."

In the next part of the book we are shown the young knight of Egerton with his leman, a fifteen-year-old girl who sulked because she had no velvet gloves set with stones, no hawk from Norway, no white horse of her own with trappings of silver, no monkey, or collars of pearls, or a weekly allowance of five pounds of sugar. She had to pour hot water over her capricious master as he sat in his bath and bear with all his queer tantrums.

"In the room in which she had to live the walls were all of bare stone and the young knight was accustomed to lock her in there for days at a time, so that she knew every stone and every patch of damp.... The bed was of walnut wood gone black and very huge, so that it would hold four persons: the hutch at its foot was of a rough oak gone grey." The young knight in the midst of his ablutions suddenly notices spots of rain upon his armour and leaps out of his bath on to his page. "His mantle, blazing red and white and clasped at the neck with a buckle of gleaming beaten gold weighing three ounces, whirled out all round him; the water dripped from his wet and hairy limbs that, white beneath the scarlet and all knotted and distorted, fell like the sails of a windmill about the page's ears."

Gertrude the leman taunts him and he rounds on her, and yet he could not "raise his hand against this insulting atomy, he, who had been famed for having in ten years seven of the most beautiful lemans in Christendom. There had been Isabelle de Joie, with hair like corn; Constance de Verigonde, with teeth like pearls; Bearea la Belle, with breasts like mother-of-pearl; Bice de Carnas, with arms like alabaster; and Jeune la Ciboriee, whose breath was sweeter than the odour of pinks...."

We are even shown the Queen Mother and the little King.

"The Queen was a fat matron, with a cunning, determined face. Her eyes were small, brown, and keen. Her dress was of purple velvet, all of one piece, and sewn with thick gold thread that glinted in the seams. About her waist she had a rope of amber beads that was twisted before her and fell in two ropes at her feet. The King was all in scarlet, a boy of fourteen. Upon his yellow hair was a small circlet of gold; round his knees were two garters of solid gold links; the ends, passing through the buckles, fell down to the top of his shoes that were very long and gilded."

In the next part of the book we see Mr Sorrell riding in the narrow streets of Salisbury. "The houses were all very low; they were all built of mud and they were all raggedly thatched, house-leeks growing from many roofs, and on others great tufts of flags. The houses were set down at all angles to the road. Sometimes it was very narrow, so that they could hardly pass, ... and the geese fled shrieking at their approach. Sometimes it was so broad that ... the great pigs would continue to wallow undisturbed in the pools of mud.... He observed noise, dirt, nauseous smells, and great crowds of importunate and ugly people. They were nearly all in ragged clothes of a grey home-spun. Some had capes, some hoods with long tails like funnels; most of the men had leather belts; most of the women went bare-legged, and were very dirty ... most of the children ... were crooked, distorted, or bore upon their faces pock-marks of a hideous kind."

Nearer the cathedral were houses of stone, bales of cloth set out to attract customers, men weaving at looms, and great joints of meat upon hooks, in huge cellars below. Over these cellars were suspended signs of gilded suns, boys painted green and brown, swans and unicorns. Men emerged from the cellars in green jerkins or red surcoats furred with white lamb's-wool. Having accompanied Mr Sorrell to the door of the cathedral, his hostess, Lady Dionissia, went back to the town to buy some juice of fir-trees "said to be sovereign for hardening and strengthening the hands of warriors." Meanwhile Mr Sorrell entered the new, brilliantly coloured building, the interior roof of which was grass-green, picked out with bright golden images of angels, queens and grinning fiends. Everybody round was talking loudly, some drinking, most of them selling cherries and eggs; the monks were painting, the chapter clergy whispered and laughed, for it was blood-letting day. Mr Sorrell performs his mission with the Dean, which is to secure the Church's sanction for the Lady Dionissia to divorce her husband (the young knight of Egerton) and marry him: this is an inimitably humorous piece of satirical writing on bribery and corruption in the Church.

"'It is neither decent nor in order to desire to marry a lady who is already married,' said the Dean.

"'I desire to do it,' Mr Sorrell said, 'with the sanction of the church.'

"'That, of course,' the Dean said seriously, 'is another matter.'"

Mr Sorrell finds himself slipping all too easily into his new life and suffers periodic twinges of conscience.

"'Surely it is pleasant,'" he says to his paramour on the return ride of this visit to Salisbury, "'but I cannot see that it is well, and pleasantness is not the whole of life ... are there not such things as duties, ambitions, and responsibilities?'

"'I do not know what these things are,' answered the Lady Dionissia. 'In the spring the moles come out of the woods and the little birds sing, and we walk in the gardens and take what pleasure we can. And then comes the winter, and shuts us up in our castles so that it is not so pleasant; but with jongleurs and ballad-singers we pass the time as well as we may.'

"'It is just that that is so fatal,' Mr Sorrell said. 'It is just that that I am slipping into. You dress me up in these scarlet clothes, and I take a pleasure in it; you ride a-hawking, and it seems to me the whole end of life when your tassel strikes down a heron or a daw....'

"'When I first set eyes on you,'" she replies a little later, "'I knew that I loved you, and what more is there to ask or to say?... Gentle friend, is it a new thing that a great knight, putting upon himself the garb of a minstrel, and accompanied by a page or two and a few men of arms to give him sufficient state and respect, should journey through the world and sing of the high things of love, or of great adventures in arms?... We should travel through the great forests and along the broad streams and over the endless plains.'

"The breath from her lips was sweet, like the breath of cows that have come out of the clover fields: closer and closer they drew to each other.

"'Before you came,' she said, 'there was nothing in the whole world——'

"'There was no sweetness in the world before I came here to you,' he answered.... 'I have come down to you through centuries; all the men of my past are like a few phantoms—there is only you in all the world.'

"With a great rustling there came from the wood a wild sow, but they did not hear it.... There stole in Mr Sorrell's nostrils a penetrating perfume. An immense dread swept down on him, the dumb agony of a nightmare. He seemed unable to move ... agony was in his heart, on his lips that would not speak, in his throat whose muscles would not act. The perfume overwhelmed him, suffocating, warm, sweet in the throat, sinister and filling him with a mad foreboding. It was the odour of chloroform. He screamed out loud; great beads of sweat burst out on his forehead.

"He stretched out his hand like a madman and clutched at her dress.

"'Are you there?' he asked, and she answered:

"'I am here, beloved of my heart,' and he lifted his face towards hers which was slightly cold with dew and the night.

"'It is so well with me,' she whispered: but Mr Sorrell was full of fears."

The cleverness of that touch of the chloroform at that particular stage in the story is amazing. I know nothing quite like that chapter in all fiction.

We are then swept back at once to a pageant of colour where the ladies hold a tourney and Mr Sorrell is knighted by Sir Ygorac of Fordingbridge as Sir Guilhelm de Winterburne de St Martin. The Lady Dionissia fights in the lists against the Lady Blanche, first with spears and then with axes, which fight the Lady Dionissia, of course, wins. She then goes with Mr Sorrell to his new castle and her husband returns and kills the new knight of Winterburne ... and Mr Sorrell wakes up, wakes up to intolerable agony in a hospital.

Two months afterwards he goes back to Salisbury to retrace the steps and rides all over the country-side in search of——"A girl shot past them going very fast. She had a face of conspicuous fairness, a dress of light blue print, a white linen coif that hid all her hair.

"'My God!' Sir William said suddenly. [He is now Sir William Sorrell.] 'Did you see? Who was that? In God's name who was that?'

"'Why,' young Lee-Egerton said, 'that was Nurse Morane. The one who nursed you till the first time they trepanned you. She broke down the day before they trepanned you the second time. My mother says she couldn't stand the excitement, because she was in love with you."

Sir William galloped off down the road and up the hill towards a cluster of old and falling buildings.... "It was so old that you could hardly recognise it for a house, and so forlorn that you shivered when you passed it ... the living-room into which Sir William went was large, long and low. It was quite empty ... a door ... opened gently. There appeared a girl in a blue dress.

"'You are Sir William Sorrell,' she said. 'I am Dionissia Morane.... I was born in this room....'

"'What does it all mean?' he asked.

"'I can't tell,' she answered. 'Do you know, after they trepanned you for the first time you said suddenly, "Es tu lÀ?" and reached out your hand to me, and I took your hand ... and I kept saying to myself, "It is very well with me," which is what the country people about here say when they are glad.'"

Sir William builds a replica of the fourteenth-century castle and Dionissia ruminates on the future.

"'In the summer it will be very pleasant: the birds will sing, and we shall walk in the gardens. And in the winter we shall go into our little castle, and we shall sit by our fire, and our friends will come and we shall pass the time in talking and devising. And all around us there will be the oceans of time and the ages of space——'

"'I've heard that before,' he said.

"'Yes, certainly you've heard all that before,' she answered. 'It's nothing new; it's the oldest wisdom or the oldest folly. You will find it in Chaucer ... you will find it in the Bible, because there's nothing else really to say.... It's the only thing that's worth saying in life.'"

Quite another vein is struck in The Good Soldier, which is essentially a modern novel. It is a story of betrayals. The man who tells the story finds that his wife is the mistress of his friend, the good soldier.

"I can't believe that that long, tranquil life, which was just stepping a minuet, vanished in four crashing days at the end of nine years and six weeks."

Edward Ashburnham, the man in the case, "was the cleanest-looking sort of chap: an excellent magistrate, a first-rate soldier, one of the best landlords in Hampshire."

There is practically no conversation; the whole novel is a monologue, a going forward or a harking back to unravel intricate motives and to lay bare the souls of men and women.

Florence, the wife of the narrator, had apparently always been a harlot at heart, but had successfully hoodwinked him for years. Leonora, the betrayed wife of the good soldier, adored her husband with a passion that was like an agony, and hated him with an agony that was as bitter as the sea.

Florence one day had laid one finger on Captain Ashburnham's wrist. "I was aware of something treacherous, something frightful, something evil in the day.... In Ashburnham's face I knew that there was absolute panic.... 'I can't stand this,' said Leonora, with a most extraordinary passion. 'I must get out of this.' I was horribly frightened.... 'Don't you see,' she said, 'don't you see what's going on?... Don't you see that that's the cause of the whole miserable affair; of the whole sorrow of the world? And of the eternal damnation of you and me and them?' Her eyes were enormously distended; her face was exactly that of a person looking into the pit of hell and seeing horrors there." But he sees nothing. In Florence he thought he had a wife and an unattained mistress—and in the retaining of her in the world (she pretended to have serious heart trouble) he had his occupation, career and ambition.

Ashburnham had begun his intrigues by being arrested for kissing a servant girl in a train. He left servants alone after that and ran amok with girls of his own class. There was Mrs Maidan, who died—of heart trouble, at twenty-three. Florence had come upon Leonora boxing Mrs Maidan's ears.... There had been an affair with a harpy mistress of a Russian Grand Duke, who exacted a twenty-thousand-pound pearl tiara from Edward as the price of her favours for a week. It was not that he was a promiscuous libertine: he was a sentimentalist.

We find it hard to realise all through this rambling discourse that until Edward and the last girl concerned and Florence were all dead the narrator had not the shadow of a suspicion that there was anything wrong. "I suppose that during all that time I was a deceived husband and that Leonora was pimping for Edward.... You ask how it feels to be a deceived husband.... It is not Hell, certainly it is not necessarily Heaven.... I hate Florence. I hate Florence with such a hatred that I would not spare her an eternity of loneliness ... she cut out poor dear Edward from sheer vanity; she meddled between him and Leonora from a sheer, imbecile spirit of district visiting. Do you understand that, whilst she was Edward's mistress, she was perpetually trying to reunite him to his wife?... Once she said to Florence in the early morning: 'You come to me straight out of his bed to tell me that that is my proper place. I know it, thank you.... Yes, you would give him up. And you would go on writing to each other in secret, and committing adultery in hired rooms. I know the pair of you, you know. No. I prefer the situation as it is.'"

Mrs Maidan had died on the 4th of August 1904 and then nothing happened until the 4th of August 1913. It was on the 4th of August 1901 that the narrator had married Florence, who had then hinted that she did not want much physical passion from her husband. She elaborated rules so that she should never be caught. "I must never enter her room without knocking, or her poor little heart might flutter away to its doom." Her first lover, Jimmy, she discarded for Edward as soon as he appeared on the scene. It was because she was afraid that her husband would murder her that she took such precautions.

"Well, there you have the position ... the husband an ignorant fool, the wife a cold sensualist with imbecile fears ... and the blackmailing lover ... and then ... Edward Ashburnham, who was worth having." But within three years he was sick of Florence and would willingly have let the husband see what his wife was like, but Leonora threatened to wreak appalling vengeance if any inkling of the truth filtered through. The worst vengeance would have been to refuse herself ever to see him again ... but the husband discovers the truth about his wife from a stranger in an hotel.

"'Do you know who that is?' asked the stranger of me as Florence burst past. 'The last time I saw that girl she was coming out of the bedroom of a young man at five o'clock in the morning....'

"A long time afterwards I ... went up to Florence's room. She had not locked the door—for the first night of our married life. She was lying ... on her bed. She had a little phial ... in her right hand. That was on the 4th of August 1913.

"Florence had found that Edward for the first time in his life was really finally in love with a young girl called Nancy Rufford.

"For every man there comes at last a time of life when the woman who then sets her seal upon his imagination has set her seal for good. He travels over no more horizons ... that was the case with Edward and the poor girl."

Anyway that was the end of Florence. "You have no idea how quite extraordinarily for me that was the end of Florence. From that day to this I have never given her another thought ... she just went completely out of existence, like yesterday's paper.... It was as if an immensely heavy knapsack had fallen off my shoulders. I was in love with Nancy Rufford—I who was forty-five and she twenty-two, a miracle of patience who could be almost miraculously impatient."

Edward then began to drink heavily, owing to his frustrated passion for her: she looked on him as an uncle and he could not make love to her and it was killing him.

The chronicler at this stage goes over his tracks as he often does to give us the earlier history of Leonora and Edward, who had come together in an extraordinary state of innocence. He had admired her for her truthfulness, her cleanness of mind, the clean-run-ness of her limbs, the fairness of her skin, the gold of her hair, her religion, her sense of duty. But she failed to have for him a touch of magnetism, while in her admiration for his qualities soon became love of the deepest description. "There could not have been a happier girl for five or six years." They never had any children: they did not even know how they were produced for some years after their marriage. He came to regard her as physically and mentally cold: she wished for the child that never came. Meanwhile after the episode of the servant girl Edward could not have a mistress without falling violently in love with her; but the Spanish dancer cured him of that. The passion that he had for her arose "like fire in dry corn" ... and from the moment of his unfaithfulness with her Leonora never acted the part of wife to him, though there were moments when she was within a hair of yielding to her physical passion for him. She had the vague, passionate idea that when Edward had exhausted a number of other types of women he must turn to her.... Florence knocked all that on the head.

The cleverest and most interesting thing in the book is the masterly way in which the narrator manages to convey to us all the points of view of everybody concerned—Leonora's, Edward's, Florence's and his own.

Never till the moment when Florence began to gain ascendency over Edward did Leonora despair of getting him back. But when she saw Florence lay her hand upon Edward's wrist she knew that that touching of hands gave that woman an irrevocable claim—to be seduced. And she so despised Florence that she would have preferred it to be a parlour-maid. But she said nothing to Florence's husband. She had to give Edward to understand "that if ever I came to know of his intrigue she would ruin him beyond repair." And then Florence had died, and the girl Nancy with whom the narrator is in love becomes the object of Edward's fiercest passion: his love for her threatened to kill him and she knew ... and she offered him herself and he could not accept the offer of her virtue and they sent her back to her father in India.

"'You can't let that man,' said Leonora, 'go on to ruin for want of you. You must belong to him.'

"'I knew you would come to that,' answered Nancy very slowly. 'But we are not worth it—Edward and I.'"

And because she wouldn't Edward killed himself and Nancy went mad: they sent the narrator out to bring Nancy home.

"She is, I am aware, sitting in the hall, forty paces from where I am now writing.... I should marry Nancy if her reason were ever sufficiently restored to let her appreciate the meaning of the Anglican marriage service.... Is there any terrestrial paradise where, amidst the whispering of the olive-leaves, people can be with whom they like and have what they like and take their ease in shadows and in coolness? Or are all men's lives like the lives of us good people—like the lives of the Ashburnhams, of the Dowells, of the Ruffords—broken, tumultuous, agonised, and unromantic lives, periods punctuated by screams, by imbecilities, by deaths, by agonies?... I can't conceal from myself the fact that I loved Edward Ashburnham—and that I love him because he was just myself. If I had had the courage and the virility and possibly also the physique of Edward Ashburnham I should, I fancy, have done much what he did."

We read novels like The Good Soldier and Ladies Whose Bright Eyes for their freshness and honesty of outlook. They follow no stereotyped form of writing; they lay bare character in an unusual manner; they demand intelligent reading and an appreciation of the quietly subtle. They give a picture of life which is devoid of sentimentality, true to experience and courageously uncoloured. Most of all they give the impression of being written by a careful and highly gifted artist.

Mr Hueffer is a master of English prose style.