Two Pastels

Two Pastels by Edmund Gosse (1893)

The work is divided into two parts that examine, respectively, a renowned writer’s venture into poetry and a contemporary storyteller’s short stories set chiefly in India. In the first part, the critic discusses how the writer, long known for his prose, gradually emerged as a poet. Early efforts in verse were marked by a moral rigidity and an almost hidden, occult quality that few could appreciate until fragments appeared in periodicals. Over time a clearer, more personal voice reached the public with a collection of poems recalling childhood. The early work, characterized by its precise and vivid reconstruction of youthful fantasies, evoked both wonder and debate. Later, more mature verse confirmed that what had been read as innocent invention was in fact inspired by genuine memory. The poems, whether recounting the imaginative play of a child or the nuances of a grown-up perspective on earlier experiences, display a sincere, buoyant simplicity and a tone that is both intimate and engaging. The writer’s mastery in adapting traditional forms—favoring a metre that recalls the early experiments of Swift and others—imbues the verse with an unforced freshness. His confident yet unpretentious personal insights are contrasted favorably with more pedantic or overly sentimental attempts by others. The critic suggests that although opinions may vary regarding the poet’s technical innovations, his ability to capture the essence of childhood and the continuity of life is striking and indicates that his reputation in verse may well eventually surpass that of his prose. In the second part the focus shifts to the short stories of a dynamic author whose early career was shaped in the landscapes of India. Emerging as a strong, prolific talent through a series of narratives set against an exotic backdrop, his writings challenged the feminized delicacy of contemporary fiction with a robust, masculine verve. The stories are categorized into several themes: the life of the British soldier in India, the immersive depiction of the Anglo-Indian milieu, portrayals of native life and customs, and sketches concerning the experiences of British children grown up in the colony. For the soldier in India, the writer fills a significant void in English literature by presenting a vivid, unromanticized portrait of a man isolated from home and thrust into a harsh environment. Through a series of interrelated tales—featuring vividly drawn characters such as an Irish giant, a Yorkshireman, and a resourceful little man—the narrative exposes the raw emotions, the battles both external and internal, and the often unacknowledged vulnerability and camaraderie among the ranks. The stories succeed in mixing humor, satirical irony, and poignant melancholy without resorting to sentimentality, thereby shining a light on a neglected segment of the community. In his treatment of Anglo-Indian life and native manners, the writer exhibits a keen eye for detail. While his depictions of upper-class social episodes sometimes lack subtlety, his portrayal of the minutiae of colonial existence—whether in the satire of priggish officials or in the atmospheric evocation of India’s vast, mysterious landscape—is compelling. Certain tales, notably those involving encounters with the supernatural or extreme adventures, combine exotic realism with a concentrated narrative technique that heightens the dramatic effect. The collection also encompasses stories that observe childhood in India. Here, the author, less interested in creating allegory than in recording the peculiar, vivid reality of colonial child-life, crafts narratives where even an infant’s actions acquire mythic proportions. His keen observation transforms everyday misadventures into artful records, whether detailing the brave exploits of a fearless youngster or evoking the inner life of a child who acts with both innocence and precocious resourcefulness. Overall, the work presents a dual portrait: one of a sensitive, self-revealing poet who captures the fleeting, idealized visions of early life with clear-eyed candour, and that of a daring storyteller who, with a robust and direct style, brings to life the multifaceted characters of colonial India. Both parts celebrate an unadulterated fidelity to lived experience and a refusal to pander to established literary conventions, offering fresh, enduring insights into personal memory and the harsh realities of empire.

By Edmund Gosse · First published 1893 · Genre: Autobiographical Essay, Art Criticism, Literary Essay · 13,745 words

First lines

I. Mr. R. L. Stevenson as a Poet

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essay · criticism · art criticism · aesthetics · literary analysis · British literature · Victorian era · cultural commentary · art · visual arts · style · memory

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