'He and you had to carry Lisa Weber across the Stage'
'That's the old fellow,' I reply; 'I owe a good deal to him, and so do you. I used to read bits of you to him in a whisper as we stood in the bar; and he always had one formula of praise for you: "It's damned clever, young 'un; damned clever. I shouldn't have thought it of you."
'And that reminds me,' I continue—I hesitate a little here, for I fear what I am about to say may offend him—'what have you done to yourself since I wrote you? I was looking you over the other day, and really I could scarcely recognise you. You were full of brilliancy and originality when you were in manuscript. What have you done with it all?'
By some mysterious process he contrives to introduce an extra twist into the squint with which he is regarding me, but makes no reply, and I continue:
'Take, for example, that gem I lighted upon one drizzly night in Portland Place. I remember the circumstance distinctly. I had been walking the deserted streets, working at you; my note-book in one hand and a pencil in the other. I was coming home through Portland Place, when suddenly, just beyond the third lamp-post from the Crescent, there flashed into my brain a thought so original, so deep, so true, that involuntarily I exclaimed: "My God, what a grand idea!" and a coffee-stall keeper, passing with his barrow just at that moment, sang out: "Tell it us, guv'nor. There ain't many knocking about."
That Brilliant Idea
'I took no notice of the man, but hurried on to the next lamp-post to jot down that brilliant idea before I should forget it; and the moment I reached home I pulled you out of your drawer and copied it out on to your pages, and sat long staring at it, wondering what the world would say when it came to read it. Altogether I must have put into you nearly a dozen startlingly original thoughts. What have you done with them? They are certainly not there now.'
Still he keeps silence, and I wax indignant at the evident amusement with which he regards my accusation.
'And the bright wit, the rollicking humour with which I made your pages sparkle, where are they?' I ask him, reproachfully; 'those epigrammatic flashes that, when struck, illumined the little room with a blaze of sudden light, showing each cobweb in its dusty corner, and dying out, leaving my dazzled eyes groping for the lamp; those grand jokes at which I myself, as I made them, laughed till the rickety iron bedstead beneath me shook in sympathy with harsh metallic laughter; where are they, my friend? I have read you through, page by page, and the thoughts in you are thoughts that the world has grown tired of thinking; at your wit one smiles, thinking that anyone could think it wit; and your humour your severest critic could hardly accuse of being very new. What has happened to you? What wicked fairy has bewitched you? I poured gold into your lap, and you yield me back only crumpled leaves.'
With a jerk of his quaint legs he assumes a more upright posture.
'My dear Parent,' he begins in a tone that at once reverses our positions, so that he becomes the monitor and I the wriggling admonished; 'don't, I pray you, turn prig in your old age; don't sink into the "superior person" who mistakes carping for criticism, and jeering for judgment. Any fool can see faults, they lie on the surface. The merit of a thing is hidden within it, and is visible only to insight. And there is merit in me, in spite of your cheap sneers, sir. Maybe I do not contain an original idea. Show me the book published since the days of Caxton that does! Are our young men, as are the youth of China, to be forbidden to think, because Confucius thought years ago? The wit you appreciate now needs to be more pungent than the wit that satisfied you at twenty; are you sure it is as wholesome? You cannot smile at humour you would once have laughed at; is it you or the humour that has grown old and stale? I am the work of a very young man, who, writing of that which he knew and had felt, put down all things truthfully as they appeared to him, in such way as seemed most natural to him, having no thought of popular taste, standing in no fear of what critics might say. Be sure that all your future books are as free from unworthy aims.'
'Besides,' he adds, after a short pause, during which I have started to reply, but have turned back to think again, 'is not this talk idle between you and me? This apologetic attitude, is it not the cant of the literary profession? At the bottom of your heart you are proud of me, as every author is of every book he has written. Some of them he thinks better than others; but, as the Irishman said of whiskies, they are all good. He sees their shortcomings. He dreams he could have done better; but he is positive no one else could.'
His little twinkling eyes look sternly at me, and, feeling that the discussion is drifting into awkward channels, I hasten to divert it, and we return to the chat about our early experiences.
I ask him if he remembers those dreary days when, written neatly in round hand on sermon paper, he journeyed a ceaseless round from newspaper to newspaper, from magazine to magazine, returning always soiled and limp to Whitfield Street, still further darkening the ill-lit room as he entered. Some would keep him for a month, making me indignant at the waste of precious time. Others would send him back by the next post, insulting me by their indecent haste. Many, in returning him, would thank me for having given them the privilege and pleasure of reading him, and I would curse them for hypocrites. Others would reject him with no pretence at regret whatever, and I would marvel at their rudeness.
I hated the dismal little 'slavey' who, twice a week, on an average, would bring him up to me. If she smiled as she handed me the packet, I fancied she was jeering at me. If she looked sad, as she more often did, poor little over-worked slut, I thought she was pitying me. I shunned the postman if I saw him in the street, sure that he guessed my shame.
'Did anyone ever read you out of all those I sent you to?' I ask him.
'Do editors read manuscript by unknown authors?' he asks me in return.
I hated the dismal little 'slavey'
'I fear not more than they can help,' I confess; 'they would have little else to do.'
'Oh,' he remarks demurely, 'I thought I had read that they did.'
'Very likely,' I reply; 'I have also read that theatrical managers read all the plays sent to them, eager to discover new talent. One obtains much curious information by reading.'
'But somebody did read me eventually,' he reminds me; 'and liked me. Give credit where credit is due.'
'Ah, yes,' I admit; 'my good friend Aylmer Gowing—the "Walter Gordon" of the old Haymarket in Buckstone's time, "Gentleman Gordon" as Charles Matthews nicknamed him—kindliest and most genial of men. Shall I ever forget the brief note that came to me four days after I had posted you to "The Editor—Play":—"Dear Sir, I like your articles very much. Can you call on me to-morrow morning before twelve?—Yours truly, W. Aylmer Gowing."'
So success had come at last—not the glorious goddess I had pictured, but a quiet, pleasant-faced lady. I had imagined the editor of Cornhill, or the Nineteenth Century, or The Illustrated London News writing me that my manuscript was the most brilliant, witty, and powerful story he had ever read, and enclosing me a cheque for two hundred guineas. The Play was an almost unknown little penny weekly, 'run' by Mr. Gowing—who, though retired, could not bear to be altogether unconnected with his beloved stage—at a no inconsiderable yearly loss. It could give me little fame and less wealth. But a crust is a feast to a man who has grown weary of dreaming dinners, and as I sat with that letter in my hand a mist rose before my eyes, and I—acted in a way that would read foolish if written down.