There was a story, too, in one of the old Blackwoods--"Metempsychosis" it was called, which left so deep an impression upon my mind that I should be inclined, though it is many years since I read it, to number it with the best. Another story which has the characteristics of great work is Grant Allen's "John Creedy." So good a story upon so philosophic a basis deserves a place among the best. There is some first-class work to be picked also from the contemporary work of Wells and of Quiller-Couch which reaches a high standard. One little sketch--"Old Oeson" in "Noughts and Crosses"--is, in my opinion, as good as anything of the kind which I have ever read.
And all this didactic talk comes from looking at that old green cover of Poe. I am sure that if I had to name the few books which have really influenced my own life I should have to put this one second only to Macaulay's Essays. I read it young when my mind was plastic. It stimulated my imagination and set before me a supreme example of dignity and force in the methods of telling a story. It is not altogether a healthy influence, perhaps. It turns the thoughts too forcibly to the morbid and the strange.
He was a saturnine creature, devoid of humour and geniality, with a love for the grotesque and the terrible. The reader must himself furnish the counteracting qualities or Poe may become a dangerous comrade. We know along what perilous tracks and into what deadly quagmires his strange mind led him, down to that grey October Sunday morning when he was picked up, a dying man, on the side-walk at Baltimore, at an age which should have seen him at the very prime of his strength and his manhood.
I have said that I look upon Poe as the world's supreme short story writer. His nearest rival, I should say, was Maupassant. The great Norman never rose to the extreme force and originality of the American, but he had a natural inherited power, an inborn instinct towards the right way of making his effects, which mark him as a great master. He produced stories because it was in him to do so, as naturally and as perfectly as an apple tree produces apples. What a fine, sensitive, artistic touch it is! How easily and delicately the points are made! How clear and nervous is his style, and how free from that redundancy which disfigures so much of our English work! He pares it down to the quick all the time.
I cannot write the name of Maupassant without recalling what was either a spiritual interposition or an extraordinary coincidence in my own life. I had been travelling in Switzerland and had visited, among other places, that Gemmi Pass, where a huge cliff separates a French from a German canton. On the summit of this cliff was a small inn, where we broke our journey. It was explained to us that, although the inn was inhabited all the year round, still for about three months in winter it was utterly isolated, because it could at any time only be approached by winding paths on the mountain side, and when these became obliterated by snow it was impossible either to come up or to descend. They could see the lights in the valley beneath them, but were as lonely as if they lived in the moon. So curious a situation naturally appealed to one's imagination, and I speedily began to build up a short story in my own mind, depending upon a group of strong antagonistic characters being penned up in this inn, loathing each other and yet utterly unable to get away from each other's society, every day bringing them nearer to tragedy. For a week or so, as I travelled, I was turning over the idea.
At the end of that time I returned through France. Having nothing to read I happened to buy a volume of Maupassant's Tales which I had never seen before. The first story was called "L'Auberge" (The Inn)--and as I ran my eye down the printed page I was amazed to see the two words, "Kandersteg" and "Gemmi Pass." I settled down and read it with ever-growing amazement. The scene was laid in the inn I had visited. The plot depended on the isolation of a group of people through the snowfall.