"Have you ever noticed how Renshaw—"I said -
"Suppose someone took a gun—someone who could aim very straight—and went out and shot Renshaw till he was quite dead, would you tennis players drop him and talk about somebody else?"
"Oh, but who would shoot Renshaw?" he said indignantly.
"Never mind," I said, "supposing someone did?"
"Well, then, there would be his brother," he replied.
I had forgotten that.
"Well, we won't argue about how many of them there are," I said. "Suppose someone killed the lot, should we hear less of Renshaw?"
"Never," he replied emphatically. "Renshaw will always be a name wherever tennis is spoken of."
I dread to think what the result might have been had his answer been other than it was.
The next year he dropped tennis completely and became an ardent amateur photographer, whereupon all his friends implored him to return to tennis, and sought to interest him in talk about services and returns and volleys, and in anecdotes concerning Renshaw. But he would not heed them.
Whatever he saw, wherever he went, he took. He took his friends, and made them his enemies. He took babies, and brought despair to fond mothers' hearts. He took young wives, and cast a shadow on the home. Once there was a young man who loved not wisely, so his friends thought, but the more they talked against her the more he clung to her. Then a happy idea occurred to the father. He got Begglely to photograph her in seven different positions.
When her lover saw the first, he said -
"What an awful looking thing! Who did it?"
When Begglely showed him the second, he said -
"But, my dear fellow, it's not a bit like her. You've made her look an ugly old woman."
At the third he said
"Whatever have you done to her feet? They can't be that size, you know. It isn't in nature!"
At the fourth he exclaimed
"But, heavens, man! Look at the shape you've made her. Where on earth did you get the idea from?"
At the first glimpse of the fifth he staggered.
"Great Scott!" he cried with a shudder, "what a ghastly expression you've got into it! It isn't human!"
Begglely was growing offended, but the father, who was standing by, came to his defence.
"It's nothing to do with Begglely," exclaimed the old gentleman suavely. "It can't be HIS fault. What is a photographer? Simply an instrument in the hands of science. He arranges his apparatus, and whatever is in front of it comes into it."
"No," continued the old gentleman, laying a constrained hand upon Begglely, who was about to resume the exhibition, "don't—don't show him the other two."
I was sorry for the poor girl, for I believe she really cared for the youngster; and as for her looks, they were quite up to the average. But some evil sprite seemed to have got into Begglely's camera. It seized upon defects with the unerring instinct of a born critic, and dilated upon them to the obscuration of all virtues. A man with a pimple became a pimple with a man as background. People with strongly marked features became merely adjuncts to their own noses. One man in the neighbourhood had, undetected, worn a wig for fourteen years. Begglely's camera discovered the fraud in an instant, and so completely exposed it that the man's friends wondered afterwards how the fact ever could have escaped them. The thing seemed to take a pleasure in showing humanity at its very worst. Babies usually came out with an expression of low cunning. Most young girls had to take their choice of appearing either as simpering idiots or embryo vixens. To mild old ladies it generally gave a look of aggressive cynicism. Our vicar, as excellent an old gentleman as ever breathed, Begglely presented to us as a beetle-browed savage of a peculiarly low type of intellect; while upon the leading solicitor of the town he bestowed an expression of such thinly-veiled hypocrisy that few who saw the photograph cared ever again to trust him with their affairs.
As regards myself I should, perhaps, make no comment, I am possibly a prejudiced party. All I will say, therefore, is that if I in any way resemble Begglely's photograph of me, then the critics are fully justified in everything they have at any time, anywhere, said of me—and more. Nor, I maintain—though I make no pretence of possessing the figure of Apollo—is one of my legs twice the length of the other, and neither does it curve upwards. This I can prove. Begglely allowed that an accident had occurred to the negative during the process of development, but this explanation does not appear on the picture, and I cannot help feeling that an injustice has been done me.
His perspective seemed to be governed by no law either human or divine. I have seen a photograph of his uncle and a windmill, judging from which I defy any unprejudiced person to say which is the bigger, the uncle or the mill.
On one occasion he created quite a scandal in the parish by exhibiting a well-known and eminently respectable maiden lady nursing a young man on her knee. The gentleman's face was indistinct, and he was dressed in a costume which, upon a man of his size—one would have estimated him as rising 6 ft. 4 in.—appeared absurdly juvenile. He had one arm round her neck, and she was holding his other hand and smirking.
I, knowing something of Begglely's machine, willingly accepted the lady's explanation, which was to the effect that the male in question was her nephew, aged eleven; but the uncharitable ridiculed this statement, and appearances were certainly against her.
It was in the early days of the photographic craze, and an inexperienced world was rather pleased with the idea of being taken on the cheap. The consequence was that nearly everyone for three miles round sat or stood or leant or laid to Begglely at one time or another, with the result that a less conceited parish than ours it would have been difficult to discover. No one who had once looked upon a photograph of himself taken by Begglely ever again felt any pride in his personal appearance. The picture was invariably a revelation to him.
Later, some evil-disposed person invented Kodaks, and Begglely went everywhere slung on to a thing that looked like an overgrown missionary box, and that bore a legend to the effect that if Begglely would pull the button, a shameless Company would do the rest. Life became a misery to Begglely's friends. Nobody dared to do anything for fear of being taken in the act. He took an instantaneous photograph of his own father swearing at the gardener, and snapped his youngest sister and her lover at the exact moment of farewell at the garden gate. Nothing was sacred to him. He Kodaked his aunt's funeral from behind, and showed the chief mourner but one whispering a funny story into the ear of the third cousin as they stood behind their hats beside the grave.
Public indignation was at its highest when a new comer to the neighbourhood, a young fellow named Haynoth, suggested the getting together of a party for a summer's tour in Turkey. Everybody took up the idea with enthusiasm, and recommended Begglely as the "party." We had great hopes from that tour. Our idea was that Begglely would pull his button outside a harem or behind a sultana, and that a Bashi Bazouk or a Janissary would do the rest for us.
We were, however, partly doomed to disappointment—I say, "partly," because, although Begglely returned alive, he came back entirely cured of his photographic craze. He said that every English-speaking man, woman, or child whom he met abroad had its camera with it, and that after a time the sight of a black cloth or the click of a button began to madden him.
He told us that on the summit of Mount Tutra, in the Carpathians, the English and American amateur photographers waiting to take "the grand panorama" were formed by the Hungarian police in queue, two abreast, each with his or her camera under his or her arm, and that a man had to stand sometimes as long as three and a half hours before his turn came round. He also told us that the beggars in Constantinople went about with placards hung round their necks, stating their charges for being photographed. One of these price lists he brought back with him as a sample.