MRS. STODDARD'S NOVELS
The human elements of Two Men, for example, seem the more notable for its narrow limits, and for the smallness of the stage on which tragedy and comedy are set forth. The personages are sharply outlined; their play of thought and passion is the more intense for an atmosphere of repression, the Puritan air, tempered by free ocean winds,—breathing which, many an Osmond Parke must needs be a rover and cosmopolite. Yet one is reminded of Thoreau's avowal that he knew the world, for he had travelled many years in Concord. Things and manners doubtless have changed in "Crest," but these folk are still modern—for we read their souls, and their speech bewrayeth them. Generations come and go in this short tale: its scenes of life, love and death are strangely impressive. The commonplace is here, but not dwelt upon, and slight actions are full of meaning; the bustle of Cuth and Elsa at their work, Jason's trick of throwing up his hammer and catching it on the turn,—these are characteristic and essential. How vividly, as the story goes on, each figure lives, moves, and has its being:—Sarah, the typical woman of her race, whose indomitable negative force keeps all within the circle of her narrow will—Cuth and Elsa, the family "help," faithful as dogs, reflecting and commenting like a Greek chorus—the winning, selfish, sensuous, irresolute Osmond and Parke—the wholesome and handsome Theresa—the noble Philippa, slow-moulded into perfect womanhood—the provincial village-folk—among all, over all, the grim form and visage of the heroic carpenter, Jason Auster, the down-
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