his own observation. The various social strata of his own country, the
condition of its peasantry, the marked contrast between the simplicity
of that life and the culture of the ecclesiastic and aristocratic
bodies, the religious, poetic, artistic temperament of the
people,--all these he paints in a life-like fashion, but always as an
artist.

So much of the writer. Of the man Sienkiewicz there is little to
be obtained. Like all great creative geniuses, he is so completely
identified with his work that even while his personality lives in
his creations it eludes them. He offers us no confidences concerning
himself, no opinions or prejudices. He does not divert the reader with
personalities. He sets before us certain groups of men and women, whom
certainly he knows and loves, and has lived among. He sets them in
motion; they become living, breathing creations; they assume relations
in time and space; they speak and act for themselves. If there be a
prompter he remains always behind the scenes. Admire or criticise or
love the actors as you will, you cannot for a moment doubt that they
are alive.

This is the supreme miracle of genius,--the fine union of dramatic
instinct, the aesthetic sense, and an intense, vital realism; not the
realism of the cesspool or the morgue, but the realism of the earth
and sky, and of healthy human nature. We are inclined to believe that
Henryk Sienkiewicz has answered an often discussed question that has
much exercised the keenly critical intellect of this age. One school
of thought cries out, "Let us have life as it is. Paint anything, but
draw it as it is. Let the final test of all literary works be, 'Is it
real and true?'"