ard to
literature, writing at first under a pseudonym. He does not seem to
have won immediate recognition. He spent some years in California;
a series of articles published in this connection in a Polish paper
brought him into notice.

In 1880, various novelettes and sketches of his production were
published in three volumes.

In 1884 were given to the Polish public the three historical novels
which immediately gave their author the foremost place in Polish
literature. It is a matter of pride that the first translation of
these great works into English is the work of an American, and offered
to the American public.

He is a prolific writer, and it would be impossible to attempt to give
even the names of all his minor sketches and romances. Some of them
have been translated into German, but much has been lost in the
translation.

Sienkiewicz is still a contributor to journalistic literature. He has
travelled much, and is a citizen of the world. He is equally at home
in the Orient or the West, by the banks of the Dnieper, or beside the
Nile. Probably there is scarcely a corner of Poland that he has not
explored. He depicts no type of life that has not actually come under
his own observation. The various social strata of his own country, the
condition of its peasantry, the marked contrast between the simplicity
of that life and the culture of the ecclesiastic and aristocratic
bodies, the religious, poetic, artistic temperament of the
people,--all these he paints in a life-like fashion, but always as an
artist.

So much of the writer. Of the man Sienkiewicz there is little to
be obtained. Like all great creative geniuses, he is so completely
identified with his work that even while his personality lives in
his creations it eludes them. He offers us no confidences concerning
himself, no opinions or prejudices. He does not divert the reader with
personalities. He sets before us certain groups of men and women, whom
certainly he knows and loves, and has lived among. He sets them in
motion; they become living, breathing creations; they assume relations
in time and space; they speak and act for themselves. If there be a
prompter he remains always behind the scenes. Admire or criticise or
love the actors as you will, you cannot for a moment doubt that they
are alive.

This is the supreme miracle of genius,--the fine union of dramatic
instinct, the aesthetic sense, and an intense, vital realism; not the
realism of the ce