"Les Travailleurs de la Mer" the wind and the sea gain strength and depth from the human figure set to fight them; from the depth and strength of the incarnate spirit so doing and suffering. Thus in this book there is a new sense and a new sublimity added to the tempest by the remorse of men sinking at once under sin and storm, drowned under a double weight of deeds and waves.
Not even in that other book is the supreme mastery of nature, the lordship of the forces of things, more admirable and wonderful than throughout the first part of this. He who could think to describe might think to rival it. But of one point I cannot but take note; there is nothing, even at the height of tragic horror, repellent, ugly, hateful. It has been said there is, and will be said again; for how should there not be distorted eyes and envious tongues in the world? Indeed a pieuvre is no pleasant playfellow, the "tree of man's making" bears a fearful fruit, the monstrous maidenhood of Josiane is no sister to the starry virginity of Dea; but how has the great poet handled these things? The mutilation of a child's face is a thing unbearable for thought to rest on; but have we not seen first the face of a heroic soul? Far elsewhere than in the work of our sovereign poet must we look for the horror which art will have none of, which nature flings back with loathing in the bringer's face. If not, we of this time who love and serve his art should indeed be in a bad case. But upon this matter we cannot permit the blind and nameless leaders of the nameless blind to decide for us. Let the serious and candid student look again for himself and see. That "fight of the dead with the dark," that swinging of carrion birds
