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Updated: May 31, 2025
These, who have been content to read and admire without spreading the news, may well be inclined to regard my performance as repetitive and impertinent. Of these I must crave indulgence and of Saltus himself too. For he, knowing how well he has done his work, must sit like Buddha, ironic and indulgent, smiling on the poor benighted who have yet to approach his altars.
The dance on the hands is a detail from Flaubert, a detail which Tissot followed in his painting of Salome.... From the later chapters it is possible that Paul Heyse filched an idea. The turning point of his drama, Maria von Magdala, hinges on Judas's love for Mary and his jealousy of Jesus. Saltus develops exactly this situation. Heyse's play appeared in 1899, eight years after Saltus's novel.
It is enough, in the way of obviating objections, to show that the philosophical difficulties of the one are the same, and only the same, as of the other. Probably the supposed transmutation is per saltus. "Homoeopathic doses of transmutation," indeed! Nat. Hist. U.S., Vol. i. p. 130; and Amer.
But now you call these the apexes of the intellectual pyramid: it would, however, seem that between the broad, heavily burdened foundation up to the highest of the free and unencumbered peaks there must be countless intermediate degrees, and that here we must apply the saying natura non facit saltus.
If any one had the courage to wade through its muddy paragraphs he doubtless emerged vowing never to read Saltus. Besides only the novels are touched on. The work is done without sense or sensitiveness and the prefatory essay is without salt or flavour of any sort.
There are no deaths, no suicides, no murders in these pages: a very eunuch of a book! A motto from Tasso, "Perdute e tutto il tempo che in amor non si spende" adorns the title page and the work is dedicated to "E H Amicissima." With "The Pace that Kills" Saltus doffs his old coat and dons a new and gaudier garment.
Even his early reviewers shoved him impatiently aside or ignored him altogether; a writer in "Belford's Magazine" for July, 1888, says: "Edgar Saltus should have his name changed to Edgar Assaulted." Soon he became a literary leper. The doctors and professors would have none of him. To most of them, nowadays, I suppose, he is only a name. Many of them have never read any of his books.
There is a chapter on cooking and we learn that Saltus does not care for food prepared in the German style ... nor yet in the American. He forbids us champagne: "Champagne is not a wine. It is a beverage, lighter indeed than brandy and soda, but, like cologne, fit only for demi-reps." But he seems untrue to himself in an essay condemning the use of perfumes. His own books are heavily scented.
Saltus returned to the central theme of "Enthralled" in a story called "The Impostor," printed in "Ainslee's" for May, 1917. "When Dreams Come True" again brings us in touch with Tancred Ennever, the stupid hero of "The Transient Guest." In the meantime he has become an almost intolerable prig. It is probable that Saltus meant more by this fable than he has let appear.
Never!"... Again Saltus demonstrates how completely he is master of the story-telling gift, how surely he possesses the power to compel breathless attention. "The Monster" is fiction, incredible, insane fiction. The monster is incest, in this instance inceste manqué because it doesn't come off. Leilah disappears and to put barriers between her and the man she loves becomes the bride of another.
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