ABSTRACT
More than a literary interest is aroused by the posthumous publication of an unfinished work by so conspicuously able a writer as George Gissing. But the most indulgent and sympathetic critic will perhaps be able to find no other estimate of Veranilda than that it is a falling behind Mr Gissing's other work, a mistaken undertaking altogether. In his studies of contemporary life Gissing showed great strength, penetration, sympathy, humor. Curiously, none of these qualities is discoverable in Veranilda, and for the reason, undoubtedly, that the motive was wrong. In his most ambitious book he was urged, most unfortunately, by the historian's, not the novelist's impulse, and the result fairly reeks ofthe library and the note-book. However faithful it may be, therefore, to sixth-century Rome, it is not vital, which is a far more important thing. The Gothic heroine is a mere conventional suggestion not a definitely realized character. Throughout the style is stilted, the conversations absurd, the action tiresomely slow, and the story destitute of a single throb of real humanity. Fortunately, Mr Gissing will be remembered by his earlier substantial, even brilliant, achievements.
