Friar Tuck

Many there are who respond to the commonplace, monotonous call of Duty, and year after year uncomplainingly spend their lives on the treadmill of Routine; but who still feel in their hearts the call of the open road, the music of the stars, the wine of the western wind, and the thrilling abandon of a mad gallop out beyond speed limits and grass signs to where life has ceased to be a series of cogs and—a man is still a man.

To the members of this fraternity, whose emblem, hidden behind deep and steadfast eyes, is often missed by man, but always recognized by dogs and horses, I dedicate this book, in the hope that for an hour or two it may lift the pressure a little.

R. A. W.

JUST BETWEEN YOU AND ME

Reviews are not infrequently colored by a temporary elevation of the critic’s mind (or a temporary depression of the critic’s liver), advertisements are not invariably free from bias; so, perhaps, a few words of friendly warning will not be considered impertinent.

Whosoever is squeamishly sensitive as to the formal technique of literary construction will save himself positive irritation by avoiding this book. It is a told, rather than a written story; and this is a compromise which defies Art and frankly turns to the more elastic methods of Nature.

It is supposed to be told by an outdoor man in those delightful moments of relaxation when the restraint of self-consciousness is dropped, and the spirit flows forth with a freedom difficult to find, outside the egoism of childhood. This general suggestion is easily tossed out; but the reader must supply the details—the night camps with the pipes sending up incense about the tiny fires, the winter evenings when the still cold lurks at the threshold or the blizzard howls around the log corners; or those still more elusive moments when the riding man shifts his weight to a single thigh, and tells the inner story which has been rising from his open heart to his closed lips for many a long mile.

Nor will these details suffice to complete the atmosphere in which, bit by bit, the story is told. The greatest charm in the told story comes direct from the teller; and, toil as we will over printed pages, they obstinately refuse to reproduce the twinkle of bright, deep-set eyes, the whimsical twist which gives character to a commonplace word, the subtile modulations of a mellow voice, the discriminating accent which makes a sentence fire when spoken, and only ashes when written; or, hardest of all, those eloquent pauses and illuminating gestures which convey a climax neither tongue nor pen dare attempt.

Happy Hawkins is complex, but the basic foundation of his character is simplicity. His audience is usually a mixed one, men of the range and an Easterner or two, fortunate enough to find the way into his confidence. Occasionally he amuses himself by talking to the one group over the heads of the other; but even then, his own simplicity is but thinly veiled. The phases of life which he holds lightly are exploited with riotous recklessness; but whoever would visit his private shrines must tread with reverent step.

His exaggerations are not to deceive, but to magnify—an adjunct to expression invariably found among primitive people. A brass monkey is really not sensitive to variations of temperature; and yet, even among the civilized, a peculiarly vivid impression is conveyed by stating that a particular cold snap has had a disintegrating effect upon the integrity of a brass monkey. There is a philosophy of exaggeration which is no kin to falsehood.