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Then he informs us that a naked woman is such a fright “that Don Juan himself were fain to hide his eyes in sorrow and disenchantment and fly to other climes.” How thankful Cupid must be that he was born blind! Still the most of us are willing to risk one eye on the average “altogether” model. Du Maurier–who is a somewhat better artist than author–illustrates his own book. He gives us several portraits of Trilby, all open-mouthed, with a vacant stare. Strange that he did not draw his heroine nude as she sat on the bed hugging and kissing the Laird–that he did not hang up “on the floor every weapon” by which Venus herself “can pierce to the grosser passions of men.” But perchance he was afraid the Laird would “hide his eyes in sorrow and disenchantment and fly to other climes.” He could not be spared just yet. Despite his plea for the nude, I think he exercised excellent judgment in leaving Trilby “clothed and in her right mind”–such as it was–while the Laird roosted on her couch in that attic bedroom and was– to us a Tennysonianism–mouthed and mumbled. Even New York’s “four hundred” might have felt a little squeamish at seeing this pair of platonic turtle doves hid away in an obscure corner of naughty Paris in puris naturalibus even if “there is nothing so chaste as nudity.”

Du Maurier says that Trilby never sat to him for “the altogether,” and adds: “I would as soon have asked the Queen of Spain to let me paint her legs.” If nudity be so chaste, and Trilby didn’t mind the exposure even a little bit, why should he hesitate? And why should he not paint the legs of the Queen of Spain–or even the underpinning of the Queen of Hawaii–as well as her arms? But if we pause to point out all the absurd contradictions in this flake of ultra-French froth we shall wear out more than one pencil.

Little Billee is a very nice young man who has been kept too close to his mother’s apron-strings for his own good–a girlish, hysterical kind of boy, who should be given spoon- victuals and put to bed early. Of course he wants to marry Trilby, for he is of that age when the swish of a petticoat makes us seasick. She is perfectly willing to become his mistress–although she had “repented” of her sins and been “forgiven” but a few days before. She has sense enough–despite Du Maurier’s portraits of her–to know that she is unworthy to become a gentleman’s wife, to be mated with a he-virgin like Little Billee. But she is overpersuaded– as usual–and consents. Then the young calf’s mother comes on the scene and asks her to spare her little pansy blossom–not to blight his life with the frost of her follies. And of course she consents again. She’s the great consenter–always in the hands of friends, like an American politician. “The difficulty of saying nay to earnest pleading” prevents a mesalliance. Trilby skips the trala and Little Billee–who has no chance to secure a reconsideration cries himself sick, but recovers,–comes up smiling like a cotton- patch after a spring shower. He is taken to England, but fails to find that “absence makes the heart grow fonder.” He gets wedded to his art quite prettily, and even thinks of turning Mormon and taking the vicar’s daughter for a second bride, but slips up on an atheistical orange peel, something has gone wrong with his head. Where his bump of amativeness should stick out like a walnut there is a discouraging depression which alarms him greatly, and worries the reader not a little. But finally he sees Trilby again, and, the wheel in his head, which has stuck fast for five years, begins to whizz around like the internal economy of an alarm clock–or a sky terrier with a clothespin on his tail.

Of course there is now nothing for Trilby to do but to die. They could be paired off in a kind of morganatic marriage; but it is customary in novels where the heroine has been too frolicsome, for her to get comfortably buried instead of happily married,–and perhaps it is just as well. Even a French novelist must make some little mock concession to the orthodox belief that the wage of sin is death. So Trilby sinks into the grave with a song like the dying swan, and Little Billee follows suit–upsets the entire Christian religion by dying very peaceably as an Atheist, without so much as a shudder on the brink of that outer darkness where there’s supposed to be weeping and wailing and gnashing of teeth. Svengali has also fallen by the wayside, a number of characters have been very happily forgotten, so the story drags along to the close on three not very attractive legs, Taffy, the Laird and Gecko. It is a bad drama worse staged, with an ignorant bawd for heroine, a weak little thing for leading man, an impossible Caliban for heavy villain and Atheism for moral. Such is the wonderful work that has given this alleged land of intelligence a case of literary mania a potu, set it to singing the praises of a grimy grisette more melodiously than she warbled, “mironton, mirontaine” at the bidding of the villainous Svengali. Such is this new lion of literature who has set American maids and matrons to paddling about home barefoot and posing in public with open mouths–flattering themselves that they resemble a female whom they would scald if she ventured into their back yard.