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Now, the poor lady meant well enough: she may even have thought to show how deep her faith in the novelist's domestic genius and financial impeccability! It simply did not occur to her that she was not the only call upon Mr. Caine's time; and she may have felt as resentful at his reluctance as the beggar who stigmatises Rothschild as niggard because he cannot wheedle a share in his bounty.
"'But now, what ho for a merry round of pleasure, says I. 'Here's one of Hall Caine's shows, and a stock-yard company in "Hamlet," and skating at the Hollowhorn Rink, and Sarah Bernhardt, and the Shapely Syrens Burlesque Company. I should think, now, that the Shapely "But what does this healthy, wealthy, and wise man do but reach his arms up to the second-story windows and gape noisily.
Q. What is force in style? A. We may illustrate with a quotation from Hall Caine's unannounced book: "He drew her to him and kissed her as men and women have kissed through the æons, since the first star hymned to the first moonrise."
It has been, for a long time, their great desire to publish in these pages a "Life of Christ" which shall be, to quote Mr. Hall Caine's words in the December MCCLURE'S, "as vivid and as personal from the standpoint of belief as Renan's was from the standpoint of unbelief."
Hall Caine's first writings for the public were done in the Isle of Man, at the age of sixteen, when he had come over to recruit his health at the house of his uncle, the schoolmaster at Kirk Maughold. At that time the island was divided by a discussion as to the maintenance or abolition of Manx political institutions, and the boy threw himself into this discussion with characteristic ardor.
My theory is also on the matters which divide novelists into realists and idealists that the highest form of art is produced by the artist who is so far an idealist that he wants to say something and so far a realist that he copies nature as closely as he can in saying it." His methods of work are particular to himself. It is difficult for a visitor in Hall Caine's house to find pens or ink.
The two friends had discussed Hall Caine's plot of "The Shadow of a Crime," which Rossetti had found "immensely powerful but unsympathetic," and it was with this novel that Hall Caine began his career as a writer of fiction. "I labored over it fearfully," he says, "but not so much as I do now over my books. At that time I only wanted to write a thrilling tale.
Rossetti died on Easter Day, 1882, at the seashore, near Margate, in Hall Caine's arms. It shows the extent of their friendship that, the bungalow being crowded that night, Caine readily offered to sleep in the death-chamber. "It is Rossetti," he said. This was followed by "Cobwebs of Criticism," the title he gave to a collection of critical essays, originally delivered as lectures.
Witness: Farjeon's The Turn of the Screw; Bierce's The Damned Thing; Bulwer's A Strange Story; Cranford's Witch of Prague; Howells' The Shadow of a Dream; Winthrop's Cecil Dreeme; Grusot's Night Side of Nature; Crockett's Black Douglas; and The Red Axe, Francis' Lychgate Hall; Caine's The Shadow of a Crime; and countless other stories, traditions, tales, and legends, written and unwritten, that invite and receive a gracious hospitality on every hand.
His vehement articles in favor of the maintenance of the political independence, published each week in "Mona's Herald," were full of force. They attracted, however, little notice beyond that of James Teare, Caine's uncle, the great temperance reformer, who admired them justly.
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