Criticism And Fiction Part 1

Criticism And Fiction.

by William Dean Howells.

The question of a final criterion for the appreciation of art is one that perpetually recurs to those interested in any sort of aesthetic endeavor.

Mr. John Addington Symonds, in a chapter of 'The Renaissance in Italy'

treating of the Bolognese school of painting, which once had so great cry, and was vaunted the supreme exemplar of the grand style, but which he now believes fallen into lasting contempt for its emptiness and soullessness, seeks to determine whether there can be an enduring criterion or not; and his conclusion is applicable to literature as to the other arts. "Our hope," he says, "with regard to the unity of taste in the future then is, that all sentimental or academical seekings after the ideal having been abandoned, momentary theories founded upon idiosyncratic or temporary partialities exploded, and nothing accepted but what is solid and positive, the scientific spirit shall make men progressively more and more conscious of these 'bleibende Verhaltnisse,'

more and more capable of living in the whole; also, that in proportion as we gain a firmer hold upon our own place in the world, we shall come to comprehend with more instinctive cert.i.tude what is simple, natural, and honest, welcoming with gladness all artistic products that exhibit these qualities. The perception of the enlightened man will then be the task of a healthy person who has made himself acquainted with the laws of evolution in art and in society, and is able to test the excellence of work in any stage from immaturity to decadence by discerning what there is of truth, sincerity, and natural vigor in it."

I

That is to say, as I understand, that moods and tastes and fas.h.i.+ons change; people fancy now this and now that; but what is unpretentious and what is true is always beautiful and good, and nothing else is so. This is not saying that fantastic and monstrous and artificial things do not please; everybody knows that they do please immensely for a time, and then, after the lapse of a much longer time, they have the charm of the rococo. Nothing is more curious than the charm that fas.h.i.+on has.

Fas.h.i.+on in women's dress, almost every fas.h.i.+on, is somehow delightful, else it would never have been the fas.h.i.+on; but if any one will look through a collection of old fas.h.i.+on plates, he must own that most fas.h.i.+ons have been ugly. A few, which could be readily instanced, have been very pretty, and even beautiful, but it is doubtful if these have pleased the greatest number of people. The ugly delights as well as the beautiful, and not merely because the ugly in fas.h.i.+on is a.s.sociated with the young loveliness of the women who wear the ugly fas.h.i.+ons, and wins a grace from them, not because the vast majority of mankind are tasteless, but for some cause that is not perhaps ascertainable. It is quite as likely to return in the fas.h.i.+ons of our clothes and houses and furniture, and poetry and fiction and painting, as the beautiful, and it may be from an instinctive or a reasoned sense of this that some of the extreme naturalists have refused to make the old discrimination against it, or to regard the ugly as any less worthy of celebration in art than the beautiful; some of them, in fact, seem to regard it as rather more worthy, if anything. Possibly there is no absolutely ugly, no absolutely beautiful; or possibly the ugly contains always an element of the beautiful better adapted to the general appreciation than the more perfectly beautiful. This is a somewhat discouraging conjecture, but I offer it for no more than it is worth; and I do not pin my faith to the saying of one whom I heard denying, the other day, that a thing of beauty was a joy forever. He contended that Keats's line should have read, "Some things of beauty are sometimes joys forever," and that any a.s.sertion beyond this was too hazardous.

II

I should, indeed, prefer another line of Keats's, if I were to profess any formulated creed, and should feel much safer with his "Beauty is Truth, Truth Beauty," than even with my friend's reformation of the more quoted verse. It brings us back to the solid ground taken by Mr.

Symonds, which is not essentially different from that taken in the great Mr. Burke's Essay on the Sublime and the Beautiful--a singularly modern book, considering how long ago it was wrote (as the great Mr. Steele would have written the participle a little longer ago), and full of a certain well-mannered and agreeable instruction. In some things it is of that droll little eighteenth-century world, when philosophy had got the neat little universe into the hollow of its hand, and knew just what it was, and what it was for; but it is quite without arrogance. "As for those called critics," the author says, "they have generally sought the rule of the arts in the wrong place; they have sought among poems, pictures, engravings, statues, and buildings; but art can never give the rules that make an art. This is, I believe, the reason why artists in general, and poets princ.i.p.ally, have been confined in so narrow a circle; they have been rather imitators of one another than of nature. Critics follow them, and therefore can do little as guides. I can judge but poorly of anything while I measure it by no other standard than itself.

The true standard of the arts is in every man's power; and an easy observation of the most common, sometimes of the meanest things, in nature will give the truest lights, where the greatest sagacity and industry that slights such observation must leave us in the dark, or, what is worse, amuse and mislead us by false lights."

If this should happen to be true and it certainly commends itself to acceptance--it might portend an immediate danger to the vested interests of criticism, only that it was written a hundred years ago; and we shall probably have the "sagacity and industry that slights the observation" of nature long enough yet to allow most critics the time to learn some more useful trade than criticism as they pursue it. Nevertheless, I am in hopes that the communistic era in taste foreshadowed by Burke is approaching, and that it will occur within the lives of men now overawed by the foolish old superst.i.tion that literature and art are anything but the expression of life, and are to be judged by any other test than that of their fidelity to it. The time is coming, I hope, when each new author, each new artist, will be considered, not in his proportion to any other author or artist, but in his relation to the human nature, known to us all, which it is his privilege, his high duty, to interpret. "The true standard of the artist is in every man's power" already, as Burke says; Michelangelo's "light of the piazza," the glance of the common eye, is and always was the best light on a statue; Goethe's "boys and blackbirds" have in all ages been the real connoisseurs of berries; but hitherto the ma.s.s of common men have been afraid to apply their own simplicity, naturalness, and honesty to the appreciation of the beautiful. They have always cast about for the instruction of some one who professed to know better, and who browbeat wholesome common-sense into the self-distrust that ends in sophistication. They have fallen generally to the worst of this bad species, and have been "amused and misled" (how pretty that quaint old use of amuse is!) "by the false lights" of critical vanity and self-righteousness. They have been taught to compare what they see and what they read, not with the things that they have observed and known, but with the things that some other artist or writer has done. Especially if they have themselves the artistic impulse in any direction they are taught to form themselves, not upon life, but upon the masters who became masters only by forming themselves upon life. The seeds of death are planted in them, and they can produce only the still-born, the academic. They are not told to take their work into the public square and see if it seems true to the chance pa.s.ser, but to test it by the work of the very men who refused and decried any other test of their own work. The young writer who attempts to report the phrase and carriage of every-day life, who tries to tell just how he has heard men talk and seen them look, is made to feel guilty of something low and unworthy by people who would like to have him show how Shakespeare's men talked and looked, or Scott's, or Thackeray's, or Balzac's, or Hawthorne's, or d.i.c.kens's; he is instructed to idealize his personages, that is, to take the life-likeness out of them, and put the book-likeness into them. He is approached in the spirit of the pedantry into which learning, much or little, always decays when it withdraws itself and stands apart from experience in an att.i.tude of imagined superiority, and which would say with the same confidence to the scientist: "I see that you are looking at a gra.s.shopper there which you have found in the gra.s.s, and I suppose you intend to describe it. Now don't waste your time and sin against culture in that way. I've got a gra.s.shopper here, which has been evolved at considerable pains and expense out of the gra.s.shopper in general; in fact, it's a type. It's made up of wire and card-board, very prettily painted in a conventional tint, and it's perfectly indestructible. It isn't very much like a real gra.s.shopper, but it's a great deal nicer, and it's served to represent the notion of a gra.s.shopper ever since man emerged from barbarism. You may say that it's artificial. Well, it is artificial; but then it's ideal too; and what you want to do is to cultivate the ideal. You'll find the books full of my kind of gra.s.shopper, and scarcely a trace of yours in any of them. The thing that you are proposing to do is commonplace; but if you say that it isn't commonplace, for the very reason that it hasn't been done before, you'll have to admit that it's photographic."

As I said, I hope the time is coming when not only the artist, but the common, average man, who always "has the standard of the arts in his power," will have also the courage to apply it, and will reject the ideal gra.s.shopper wherever he finds it, in science, in literature, in art, because it is not "simple, natural, and honest," because it is not like a real gra.s.shopper. But I will own that I think the time is yet far off, and that the people who have been brought up on the ideal gra.s.shopper, the heroic gra.s.shopper, the impa.s.sioned gra.s.shopper, the self-devoted, adventureful, good old romantic card-board gra.s.shopper, must die out before the simple, honest, and natural gra.s.shopper can have a fair field.

I am in no haste to compa.s.s the end of these good people, whom I find in the mean time very amusing. It is delightful to meet one of them, either in print or out of it--some sweet elderly lady or excellent gentleman whose youth was pastured on the literature of thirty or forty years ago --and to witness the confidence with which they preach their favorite authors as all the law and the prophets. They have commonly read little or nothing since, or, if they have, they have judged it by a standard taken from these authors, and never dreamed of judging it by nature; they are dest.i.tute of the doc.u.ments in the case of the later writers; they suppose that Balzac was the beginning of realism, and that Zola is its wicked end; they are quite ignorant, but they are ready to talk you down, if you differ from them, with an a.s.sumption of knowledge sufficient for any occasion. The horror, the resentment, with which they receive any question of their literary saints is genuine; you descend at once very far in the moral and social scale, and anything short of offensive personality is too good for you; it is expressed to you that you are one to be avoided, and put down even a little lower than you have naturally fallen.

These worthy persons are not to blame; it is part of their intellectual mission to represent the petrifaction of taste, and to preserve an image of a smaller and cruder and emptier world than we now live in, a world which was feeling its way towards the simple, the natural, the honest, but was a good deal "amused and misled" by lights now no longer mistakable for heavenly luminaries. They belong to a time, just pa.s.sing away, when certain authors were considered authorities in certain kinds, when they must be accepted entire and not questioned in any particular.

Now we are beginning to see and to say that no author is an authority except in those moments when he held his ear close to Nature's lips and caught her very accent. These moments are not continuous with any authors in the past, and they are rare with all. Therefore I am not afraid to say now that the greatest cla.s.sics are sometimes not at all great, and that we can profit by them only when we hold them, like our meanest contemporaries, to a strict accounting, and verify their work by the standard of the arts which we all have in our power, the simple, the natural, and the honest.

Those good people must always have a hero, an idol of some sort, and it is droll to find Balzac, who suffered from their sort such bitter scorn and hate for his realism while he was alive, now become a fetich in his turn, to be shaken in the faces of those who will not blindly wors.h.i.+p him. But it is no new thing in the history of literature: whatever is established is sacred with those who do not think. At the beginning of the century, when romance was making the same fight against effete cla.s.sicism which realism is making to-day against effete romanticism, the Italian poet Monti declared that "the romantic was the cold grave of the Beautiful," just as the realistic is now supposed to be. The romantic of that day and the real of this are in certain degree the same.

Romanticism then sought, as realism seeks now, to widen the bounds of sympathy, to level every barrier against aesthetic freedom, to escape from the paralysis of tradition. It exhausted itself in this impulse; and it remained for realism to a.s.sert that fidelity to experience and probability of motive are essential conditions of a great imaginative literature. It is not a new theory, but it has never before universally characterized literary endeavor. When realism becomes false to itself, when it heaps up facts merely, and maps life instead of picturing it, realism will perish too. Every true realist instinctively knows this, and it is perhaps the reason why he is careful of every fact, and feels himself bound to express or to indicate its meaning at the risk of overmoralizing. In life he finds nothing insignificant; all tells for destiny and character; nothing that G.o.d has made is contemptible. He cannot look upon human life and declare this thing or that thing unworthy of notice, any more than the scientist can declare a fact of the material world beneath the dignity of his inquiry. He feels in every nerve the equality of things and the unity of men; his soul is exalted, not by vain shows and shadows and ideals, but by realities, in which alone the truth lives. In criticism it is his business to break the images of false G.o.ds and misshapen heroes, to take away the poor silly, toys that many grown people would still like to play with. He cannot keep terms with "Jack the Giant-killer" or "Puss-in-Boots," under any name or in any place, even when they reappear as the convict Vautrec, or the Marquis de Montrivaut, or the Sworn Thirteen n.o.blemen. He must say to himself that Balzac, when he imagined these monsters, was not Balzac, he was Dumas; he was not realistic, he was romanticistic.

III

Such a critic will not respect Balzac's good work the less for contemning his bad work. He will easily account for the bad work historically, and when he has recognized it, will trouble himself no further with it. In his view no living man is a type, but a character; now n.o.ble, now ign.o.ble; now grand, now little; complex, full of vicissitude. He will not expect Balzac to be always Balzac, and will be perhaps even more attracted to the study of him when he was trying to be Balzac than when he had become so. In 'Cesar Birotteau,' for instance, he will be interested to note how Balzac stood at the beginning of the great things that have followed since in fiction. There is an interesting likeness between his work in this and Nicolas Gogol's in 'Dead Souls,' which serves to ill.u.s.trate the simultaneity of the literary movement in men of such widely separated civilizations and conditions. Both represent their characters with the touch of exaggeration which typifies; but in bringing his story to a close, Balzac employs a beneficence unknown to the Russian, and almost as universal and as apt as that which smiles upon the fortunes of the good in the Vicar of Wakefield. It is not enough to have rehabilitated Birotteau pecuniarily and socially; he must make him die triumphantly, spectacularly, of an opportune hemorrhage, in the midst of the festivities which celebrate his restoration to his old home. Before this happens, human nature has been laid under contribution right and left for acts of generosity towards the righteous bankrupt; even the king sends him six thousand francs. It is very pretty; it is touching, and brings the lump into the reader's throat; but it is too much, and one perceives that Balzac lived too soon to profit by Balzac. The later men, especially the Russians, have known how to forbear the excesses of a.n.a.lysis, to withhold the weakly recurring descriptive and caressing epithets, to let the characters suffice for themselves. All this does not mean that 'Cesar Birotteau' is not a beautiful and pathetic story, full of shrewdly considered knowledge of men, and of a good art struggling to free itself from self-consciousness. But it does mean that Balzac, when he wrote it, was under the burden of the very traditions which he has helped fiction to throw off. He felt obliged to construct a mechanical plot, to surcharge his characters, to moralize openly and baldly; he permitted himself to "sympathize" with certain of his people, and to point out others for the abhorrence of his readers. This is not so bad in him as it would be in a novelist of our day. It is simply primitive and inevitable, and he is not to be judged by it.

IV

In the beginning of any art even the most gifted worker must be crude in his methods, and we ought to keep this fact always in mind when we turn, say, from the purblind wors.h.i.+ppers of Scott to Scott himself, and recognize that he often wrote a style c.u.mbrous and diffuse; that he was tediously a.n.a.lytical where the modern novelist is dramatic, and evolved his characters by means of long-winded explanation and commentary; that, except in the case of his lower-cla.s.s personages, he made them talk as seldom man and never woman talked; that he was tiresomely descriptive; that on the simplest occasions he went about half a mile to express a thought that could be uttered in ten paces across lots; and that he trusted his readers' intuitions so little that he was apt to rub in his appeals to them. He was probably right: the generation which he wrote for was duller than this; slower-witted, aesthetically untrained, and in maturity not so apprehensive of an artistic intention as the children of to-day. All this is not saying Scott was not a great man; he was a great man, and a very great novelist as compared with the novelists who went before him. He can still amuse young people, but they ought to be instructed how false and how mistaken he often is, with his mediaeval ideals, his blind Jacobitism, his intense devotion to aristocracy and royalty; his acquiescence in the division of men into n.o.ble and ign.o.ble, patrician and plebeian, sovereign and subject, as if it were the law of G.o.d; for all which, indeed, he is not to blame as he would be if he were one of our contemporaries. Something of this is true of another master, greater than Scott in being less romantic, and inferior in being more German, namely, the great Goethe himself. He taught us, in novels otherwise now antiquated, and always full of German clumsiness, that it was false to good art--which is never anything but the reflection of life--to pursue and round the career of the persons introduced, whom he often allowed to appear and disappear in our knowledge as people in the actual world do. This is a lesson which the writers able to profit by it can never be too grateful for; and it is equally a benefaction to readers; but there is very little else in the conduct of the Goethean novels which is in advance of their time; this remains almost their sole contribution to the science of fiction. They are very primitive in certain characteristics, and unite with their calm, deep insight, an amusing helplessness in dramatization. "Wilhelm retired to his room, and indulged in the following reflections," is a mode of a.n.a.lysis which would not be practised nowadays; and all that fancifulness of nomenclature in Wilhelm Meister is very drolly sentimental and feeble. The adventures with robbers seem as if dreamed out of books of chivalry, and the tendency to allegorization affects one like an endeavor on the author's part to escape from the unrealities which he must have felt hara.s.singly, German as he was. Mixed up with the shadows and illusions are honest, wholesome, every-day people, who have the air of wandering homelessly about among them, without definite direction; and the mists are full of a luminosity which, in spite of them, we know for common-sense and poetry.

What is useful in any review of Goethe's methods is the recognition of the fact, which it must bring, that the greatest master cannot produce a masterpiece in a new kind. The novel was too recently invented in Goethe's day not to be, even in his hands, full of the faults of apprentice work.

V.

In fact, a great master may sin against the "modesty of nature" in many ways, and I have felt this painfully in reading Balzac's romance--it is not worthy the name of novel--'Le Pere Goriot,' which is full of a malarial restlessness, wholly alien to healthful art. After that exquisitely careful and truthful setting of his story in the shabby boarding-house, he fills the scene with figures jerked about by the exaggerated pa.s.sions and motives of the stage. We cannot have a cynic reasonably wicked, disagreeable, egoistic; we must have a lurid villain of melodrama, a disguised convict, with a vast criminal organization at his command, and

"So dyed double red"

in deed and purpose that he lights up the faces of the horrified spectators with his glare. A father fond of unworthy children, and leading a life of self-denial for their sake, as may probably and pathetically be, is not enough; there must be an imbecile, trembling dotard, willing to promote even the liaisons of his daughters to give them happiness and to teach the sublimity of the paternal instinct.

The hero cannot sufficiently be a selfish young fellow, with alternating impulses of greed and generosity; he must superfluously intend a career of iniquitous splendor, and be swerved from it by nothing but the most cataclysmal interpositions. It can be said that without such personages the plot could not be transacted; but so much the worse for the plot.

Such a plot had no business to be; and while actions so unnatural are imagined, no mastery can save fiction from contempt with those who really think about it. To Balzac it can be forgiven, not only because in his better mood he gave us such biographies as 'Eugenie Grandet,' but because he wrote at a time when fiction was just beginning to verify the externals of life, to portray faithfully the outside of men and things.

It was still held that in order to interest the reader the characters must be moved by the old romantic ideals; we were to be taught that "heroes" and "heroines" existed all around us, and that these abnormal beings needed only to be discovered in their several humble disguises, and then we should see every-day people actuated by the fine frenzy of the creatures of the poets. How false that notion was, few but the critics, who are apt to be rather belated, need now be told. Some of these poor fellows, however, still contend that it ought to be done, and that human feelings and motives, as G.o.d made them and as men know them, are not good enough for novel-readers.

This is more explicable than would appear at first glance. The critics --and in speaking of them one always modestly leaves one's self out of the count, for some reason--when they are not elders ossified in tradition, are apt to be young people, and young people are necessarily conservative in their tastes and theories. They have the tastes and theories of their instructors, who perhaps caught the truth of their day, but whose routine life has been alien to any other truth. There is probably no chair of literature in this country from which the principles now shaping the literary expression of every civilized people are not denounced and confounded with certain objectionable French novels, or which teaches young men anything of the universal impulse which has given us the work, not only of Zola, but of Tourguenief and Tolstoy in Russia, of Bjornson and Ibsen in Norway, of Valdes and Galdos in Spain, of Verga in Italy. Till these younger critics have learned to think as well as to write for themselves they will persist in heaving a sigh, more and more perfunctory, for the truth as it was in Sir Walter, and as it was in d.i.c.kens and in Hawthorne. Presently all will have been changed; they will have seen the new truth in larger and larger degree; and when it shall have become the old truth, they will perhaps see it all.

VI.

In the mean time the average of criticism is not wholly bad with us.

To be sure, the critic sometimes appears in the panoply of the savages whom we have supplanted on this continent; and it is hard to believe that his use of the tomahawk and the scalping-knife is a form of conservative surgery. It is still his conception of his office that he should a.s.sail those who differ with him in matters of taste or opinion; that he must be rude with those he does not like. It is too largely his superst.i.tion that because he likes a thing it is good, and because he dislikes a thing it is bad; the reverse is quite possibly the case, but he is yet indefinitely far from knowing that in affairs of taste his personal preference enters very little. Commonly he has no principles, but only an a.s.sortment of prepossessions for and against; and this otherwise very perfect character is sometimes uncandid to the verge of dishonesty. He seems not to mind misstating the position of any one he supposes himself to disagree with, and then attacking him for what he never said, or even implied; he thinks this is droll, and appears not to suspect that it is immoral. He is not tolerant; he thinks it a virtue to be intolerant; it is hard for him to understand that the same thing may be admirable at one time and deplorable at another; and that it is really his business to cla.s.sify and a.n.a.lyze the fruits of the human mind very much as the naturalist cla.s.sifies the objects of his study, rather than to praise or blame them; that there is a measure of the same absurdity in his trampling on a poem, a novel, or an essay that does not please him as in the botanist's grinding a plant underfoot because he does not find it pretty. He does not conceive that it is his business rather to identify the species and then explain how and where the specimen is imperfect and irregular. If he could once acquire this simple idea of his duty he would be much more agreeable company than he now is, and a more useful member of society; though considering the hard conditions under which he works, his necessity of writing hurriedly from an imperfect examination of far more books, on a greater variety of subjects, than he can even hope to read, the average American critic--the ordinary critic of commerce, so to speak--is even now very, well indeed. Collectively he is more than this; for the joint effect of our criticism is the pretty thorough appreciation of any book submitted to it.

VII.

The misfortune rather than the fault of our individual critic is that he is the heir of the false theory and bad manners of the English school.

The theory of that school has apparently been that almost any person of glib and lively expression is competent to write of almost any branch of polite literature; its manners are what we know. The American, whom it has largely formed, is by nature very glib and very lively, and commonly his criticism, viewed as imaginative work, is more agreeable than that of the Englishman; but it is, like the art of both countries, apt to be amateurish. In some degree our authors have freed themselves from English models; they have gained some notion of the more serious work of the Continent: but it is still the ambition of the American critic to write like the English critic, to show his wit if not his learning, to strive to eclipse the author under review rather than ill.u.s.trate him.

He has not yet caught on to the fact that it is really no part of his business to display himself, but that it is altogether his duty to place a book in such a light that the reader shall know its cla.s.s, its function, its character. The vast good-nature of our people preserves us from the worst effects of this criticism without principles. Our critic, at his lowest, is rarely malignant; and when he is rude or untruthful, it is mostly without truculence; I suspect that he is often offensive without knowing that he is so. Now and then he acts simply under instruction from higher authority, and denounces because it is the tradition of his publication to do so. In other cases the critic is obliged to support his journal's repute for severity, or for wit, or for morality, though he may himself be entirely amiable, dull, and wicked; this necessity more or less warps his verdicts.

The worst is that he is personal, perhaps because it is so easy and so natural to be personal, and so instantly attractive. In this respect our criticism has not improved from the accession of numbers of ladies to its ranks, though we still hope so much from women in our politics when they shall come to vote. They have come to write, and with the effect to increase the amount of little-digging, which rather superabounded in our literary criticism before. They "know what they like"--that pernicious maxim of those who do not know what they ought to like and they pa.s.s readily from censuring an author's performance to censuring him. They bring a stock of lively misapprehensions and prejudices to their work; they would rather have heard about than known about a book; and they take kindly to the public wish to be amused rather than edified. But neither have they so much harm in them: they, too, are more ignorant than malevolent.

VIII.

Our criticism is disabled by the unwillingness of the critic to learn from an author, and his readiness to mistrust him. A writer pa.s.ses his whole life in fitting himself for a certain kind of performance; the critic does not ask why, or whether the performance is good or bad, but if he does not like the kind, he instructs the writer to go off and do some other sort of thing--usually the sort that has been done already, and done sufficiently. If he could once understand that a man who has written the book he dislikes, probably knows infinitely more about its kind and his own fitness for doing it than any one else, the critic might learn something, and might help the reader to learn; but by putting himself in a false position, a position of superiority, he is of no use.

He is not to suppose that an author has committed an offence against him by writing the kind of book he does not like; he will be far more profitably employed on behalf of the reader in finding out whether they had better not both like it. Let him conceive of an author as not in any wise on trial before him, but as a reflection of this or that aspect of life, and he will not be tempted to browbeat him or bully him.

The critic need not be impolite even to the youngest and weakest author.

A little courtesy, or a good deal, a constant perception of the fact that a book is not a misdemeanor, a decent self-respect that must forbid the civilized man the savage pleasure of wounding, are what I would ask for our criticism, as something which will add sensibly to its present l.u.s.tre.