"Except for the thick, snow-white hair no one would think him old. His hands are steady, and he stands up straight and tall – perhaps six feet."
In December of that same year the last letter he is known to have written was received by his daughter. It is dated from Chihuahua, and mentions casually that he has attached himself unofficially to a division of Villa's army, and speaks of a prospective advance on Ojinaga. No further word has ever come from or of Ambrose Bierce. Whether illness overtook him, then an old man of seventy-one, and death suddenly, or whether, preferring to go foaming over a precipice rather than to straggle out in sandy deltas, he deliberately went where he knew death was, no one can say. His last letters, dauntless, grave, tender, do not say, though they suggest much. "You must try to forgive my obstinacy in not 'perishing' where I am," he wrote as he left Washington. "I want to be where something worth while is going on, or where nothing whatever is going on." "Good-bye – if you hear of my being stood up against a Mexican stone wall and shot to rags please know that I think that a pretty good way to depart this life. It beats old age, disease, or falling down the cellar stairs. To be a Gringo in Mexico – ah, that is euthanasia!" Whatever end Ambrose Bierce found in Mexico, the lines of George Sterling well express what must have been his attitude in meeting it:
"Dream you he was afraid to live?
Dream you he was afraid to die?
Or that, a suppliant of the sky,
He begged the gods to keep or give?
Not thus the shadow-maker stood,
Whose scrutiny dissolved so well
Our thin mirage of Heaven or Hell —
The doubtful evil, dubious good…
"If now his name be with the dead,
And where the gaunt agaves flow'r,
The vulture and the wolf devour
The lion-heart, the lion-head,
Be sure that heart and head were laid
In wisdom down, content to die;
Be sure he faced the Starless Sky
Unduped, unmurmuring, unafraid."
In any consideration of the work of Ambrose Bierce, a central question must be why it contains so much that is trivial or ephemeral. Another question facing every critic of Bierce, is why the fundamentally original point of view, the clarity of workmanship of his best things – mainly stories – did not win him immediate and general recognition.
A partial answer to both questions is to be found in a certain discord between Bierce and his setting. Bierce, paradoxically, combined the bizarre in substance, the severely restrained and compressed in form. An ironic mask covered a deep-seated sensibility; but sensibility and irony were alike subject to an uncompromising truthfulness; he would have given deep-throated acclaim to Clough's
"But play no tricks upon thy soul, O man,
Let truth be truth, and life the thing it can."
He had the aristocrat's contempt for mass feeling, a selectiveness carried so far that he instinctively chose for themes the picked person and experience, the one decisive moment of crisis. He viewed his characters not in relation to other men and in normal activities; he isolated them – often amid abnormalities.
All this was in sharp contrast to the literary fashion obtaining when he dipped his pen to try his luck as a creative artist. The most popular novelist of the day was Dickens; the most popular poet, Tennyson. Neither looked straight at life; both veiled it: one in benevolence, the other in beauty. Direct and painful verities were best tolerated by the reading public when exhibited as instances of the workings of natural law. The spectator of the macrocosm in action could stomach the wanton destruction of a given human atom; one so privileged could and did excuse the Creator for small mistakes like harrying Hetty Sorrell to the gallow's foot, because of the conviction that, taking the Universe by and large, "He was a good fellow, and 'twould all be well." This benevolent optimism was the offspring of a strange pair, evangelicism and evolution; and in the minds of the great public whom Bierce, under other circumstances and with a slightly different mixture of qualities in himself, might have conquered, it became a large, soft insincerity that demanded "happy endings," a profuse broadness of treatment prohibitive of harsh simplicity, a swathing of elemental emotion in gentility or moral edification.
But to Bierce's mind, "noble and nude and antique," this mid-Victorian draping and bedecking of "unpleasant truths" was abhorrent. Absolutely direct and unafraid – not only in his personal relations but, what is more rare, in his thinking – he regarded easy optimism, sure that God is in his heaven with consequently good effects upon the world, as blindness, and the hopefulness that demanded always the "happy ending," as silly. In many significant passages Bierce's attitude is the ironic one of Voltaire: "'Had not Pangloss got himself hanged,' replied Candide, 'he would have given us most excellent advice in this emergency; for he was a profound philosopher.'" Bierce did not fear to bring in disconcerting evidence that a priori reasoning may prove a not infallible guide, that causes do not always produce the effects complacently pre-argued, and that the notion of this as the best of all possible worlds is sometimes beside the point.
The themes permitted by such an attitude were certain to displease the readers of that period. In Tales of Soldiers and Civilians, his first book of stories, he looks squarely and grimly at one much bedecked subject of the time – war; not the fine gay gallantry of war, the music and the marching and the romantic episodes; but the ghastly horror of it; through his vivid, dramatic passages beats a hatred of war, not merely "unrighteous" war, but all war, the more disquieting because never allowed to become articulate. With bitter but beautiful truth he brings each tale to its tragic close, always with one last turn of the screw, one unexpected horror more. And in this book – note the solemn implication of the title he later gave it, In the Midst of Life– as well as in the next, Can Such Things Be, is still another subject which Bierce alone in his generation seemed unafraid to consider curiously: "Death, in warfare and in the horrid guise of the supernatural, was painted over and over. Man's terror in the face of death gave the artist his cue for his wonderful physical and psychologic microscopics. You could not pin this work down as realism, or as romance; it was the greatest human drama – the conflict between life and death – fused through genius. Not Zola, in the endless pages of his Debâcle, not the great Tolstoi in his great War and Peacehad ever painted war, horrid war, more faithfully than any of the stories of this book; not Maupassant had invented out of war's terrible truths more dramatically imagined plots… There painted an artist who had seen the thing itself, and being a genius, had made it an art still greater.
Death of the young, the beautiful, the brave, was the closing note of every line of the ten stories of war in this book. The brilliant, spectacular death that came to such senseless bravery as Tennyson hymned for the music-hall intelligence in his Charge of the Light Brigade; the vision-starting, slow, soul-drugging death by hanging; the multiplied, comprehensible death that makes rivers near battlefields run red; the death that comes by sheer terror; death actual and imagined – every sort of death was on these pages, so painted as to make Pierre Loti's Book of Pity and Death seem but feeble fumbling."
Now death by the mid-Victorian was considered almost as undesirable an element in society as sex itself. Both must be passed over in silence or presented decently draped. In the eighties any writer who dealt unabashed with death was regarded as an unpleasant person. "Revolting!" cried the critics when they read Bierce's Chickamauga and The Affair at Coulter's Notch.
Bierce's style, too, by its very fineness, alienated his public. Superior, keen, perfect in detail, finite, compressed – such was his manner in the free and easy, prolix, rambling, multitudinous nineteenth century.
Bierce himself knew that although it is always the fashion to jeer at fashion, its rule is absolute for all that, whether it be fashion in boots or books.
"A