The first lines of Still Life (CONSTABLE), which begins in “the night train from the German frontier to Paris,” gave me much the same impression of impossibility (was there ever such a train?) that I should have felt about a story that opened in the moon.  But the shock of this was nothing to some, different in character, that were to follow.  Frankly, I confess that Mr. MIDDLETON MURRY’S book has me baffled.  Others perhaps may admire the pains lavished by the author in analysing the emotions of a group of characters whose temperaments certainly give him every opportunity for this exercise.  An impressionist, and impressionable, youth, whom I have (reluctantly) to call hero, intrigues his unpleasant way through the plot; first in Paris—­where you may make a shrewd guess at his pre-occupations—­then in an English village, to which he has eloped with the wife of a friend; in France again, and so on.  The emotions to which these amorous adventures expose him are handled by the author with a care that suggests rather the naughtiness of the antique nineties than anything belonging to these more vigorous days.  I am far from suggesting that, as a study in super-sensibility, the book lacks skill.  There are indeed scenes of almost painful cleverness.  My complaint is that it is out of date, or (I should perhaps better say) conspicuously out of harmony with the present time.  But if you hanker for these pictures of the past that is another matter.  I will merely issue a warning that you should preserve this book on some shelf not too accessible by those who are still young enough to overestimate its importance.

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It was an odd experience to turn, as I did, directly from the new Haymarket play, of which the late TOM GALLON was part author, to what I suppose was the last story he ever wrote, The Lady in the Black Mask (MILLS AND BOON), which begins in a theatre with the heroine watching a play.  It begins, moreover, very well and excitingly; much better, I regret to add, than it goes on.  When the heroine arrived home from the theatre, the girl whose companion she was, pleading fatigue, persuaded her to go out again to a masked ball, wearing the dress and indeed assuming the personality of her mistress.  The two girls, Ruth, the heroine, and Damia, lived in a gloomy house with old Mr. Verinder, who was Damia’s guardian.  But when Ruth returned from the ball she found that this arrangement no longer held good, Verinder having been melodramatically stabbed during her absence.  And as no one knew, or would ever believe, that it was Damia and not herself who had remained at home you recognise a very pretty gambit of intrigue.  Unfortunately, as I said above, the tension is not quite sustained, partly because the characters all behave in an increasingly foolish and improbable fashion (even for tales of this genre); partly because there is never sufficient uncertainty as to who it was (not, of course, Damia) who really killed Verinder.  Still, of its kind, as the sort of shocker that used to be valued at a shilling, but appears, like everything else, to have risen in price, The Lady in the Black Mask is fairly up to the average.  I fancy her profits might have been greater before the discouragement of railway travelling.  That is precisely the environment for which she is best fitted.